title: Sādhanā

text: Sadhana is done for attaining detachment from worldly things, which can be a goal of a Sadhu. Karma yoga, Bhakti yoga and Gnyan yoga can also be described as Sadhana, in that constant efforts to achieve maximum level of perfection in all streams in day-to-day life can be described as Sadhana.


title: Sādhanā

text: "Sādhanā" can also refer to a tantric liturgy or liturgical manual, that is, the instructions to carry out a certain practice.


title: Sādhanā

text: B. K. S. Iyengar (1993: p. 22), in his English translation of and commentary to the "Yoga Sutras of Patanjali", defines sādhanā in relation to abhyāsa and kriyā:


title: Sādhanā

text: The term sādhanā means "methodical discipline to attain desired knowledge or goal". Sadhana is also done for attaining detachment from worldly things which can be a goal, a person undertaking such a practice is known in Sanskrit as a sādhu (female "sādhvi"), sādhaka (female "sādhakā") or yogi (Tibetan "pawo"; feminine yogini or dakini, Tibetan "khandroma"). The goal of sādhanā is to attain some level of spiritual realization, which can be either enlightenment, pure love of God (prema), liberation (moksha) from the cycle of birth and death (saṃsāra), or a particular goal such as the blessings of a deity as in the Bhakti traditions.


title: Sādhanā

text: Sādhanā can involve meditation, chanting of mantra sometimes with the help of prayer beads, puja to a deity, yajña, and in very rare cases mortification of the flesh or tantric practices such as performing one's particular "sādhanā" within a cremation ground.


title: Sādhanā

text: Traditionally in some Hindu and Buddhist traditions in order to embark on a specific path of sādhanā, a guru may be required to give the necessary instructions. This approach is typified by some Tantric traditions, in which initiation by a guru is sometimes identified as a specific stage of sādhanā. On the other hand, individual renunciates may develop their own spiritual practice without participating in organized groups.


title: Sādhanā

text: The "Yoga Sutras" has 196 sūtras with ideas and wisdom that a sādhaka can take for a path towards self-realization. B. K. S. Iyengar (1993: p. 3) notes that:Kriyāyoga gives us the practical disciplines needed to scale the spiritual heights...the four padas of the Yoga Sūtras describe different disciplines of practice, the qualities or aspects of which vary according to the development of intelligence and refinement of consciousness of each sādhaka. In the "Yoga Sutras" II.1, Patañjali and his commentators write that the Kriyāyoga (action-oriented type of yoga) is to be undertaken by those whose mind is not already fixed. The fixing or "stilling of the changing states of mind" ("Yoga Sutras" I.2) is the goal of yoga, for which Kriyāyoga is necessary as a first step for a sādhaka. There are three aspects of Kriyāyoga:


title: Sādhanā

text: Vachaspati Mishra, an influential commentator on the "Yoga Sutras", notes that these three aspects of Kriyāyoga are necessary in order to purify the mind, making it more "sāttvic" than "rājasic" or "tāmasic". Such purity of the mind allows one to then cultivate practice ("abhyāsa") and dispassion ("vairāgya"), which are prerequisites for achieving the stilling of the mind.


title: Sādhanā

text: All of these are available in Tibetan form, many are available in Chinese and some are still extant in ancient Sanskrit manuscripts.


title: Sādhanā

text: Kværne (1975: p. 164) in his extended discussion of sahajā, treats the relationship of sādhanā to mandala thus:


title: Jaimoe

text: John Lee Johnson (born July 8, 1944), frequently known by the stage names Jai Johanny Johanson and Jaimoe, is an American drummer and percussionist. He is best known as one of the founding members of the Allman Brothers Band.


title: Jaimoe

text: Johanson played with a number of Muscle Shoals and Memphis soul acts in the early-mid 1960s, such as Otis Redding and Sam and Dave, as a session and touring drummer. While recording and touring he would meet the various members of what would become the Allman Brothers Band. One of the few bands at the time to employ two drummers, alongside Butch Trucks they drew on R&B, blues, jazz, country, and rock to create a unique variety of southern rock. Upon the death of founding bassist Berry Oakley, Johanson brought in frequent collaborator Lamar Williams to replace him. While on hiatus from the Allman Brothers Band in the late 1970s, he formed the band Sea Level around a core of former Allman Brother Band members including Williams and pianist/vocalist Chuck Leavell. He briefly rejoined the Allman Brothers in 1979, but left again in 1980 due to back problems, and spent much of the 1980s playing in local Macon, Georgia-area bands. He rejoined the Allman Brother Band in 1989, as the band transitioned from a southern rock sound to a more jam band feel, having added a third drummer/percussionist Marc Quiñones. The band continued to perform until formally retiring in 2014. Johanson has since fronted his own jazz outfit, Jaimoe's Jasssz Band, and appeared with former Allman Brothers Band members for one-off reunions and in a number of different side projects.


title: Jaimoe

text: Along with the other members of the Allman Brother Band, Johanson was inducted into the Rock and Roll Hall of Fame in 1995. As of 2022, he and guitarist Dickey Betts are the two surviving original members of the Allman Brothers Band.


title: Jaimoe

text: Born John Lee Johnson in Ocean Springs, Mississippi on July 8, 1944, he came up in the R&B world and began drumming at an early age, often accompanied by friend Lamar Williams on bass. Johanson backed soul singers, including a membership in Otis Redding's touring band in 1966, and afterward touring with the acclaimed soul duo, Sam & Dave. After joining up with Duane Allman in February 1969, he quickly became the first recruit into Allman's new group, soon joined by bassist Berry Oakley, fellow drummer Butch Trucks, guitarist Dickey Betts and lastly Allman's younger brother, singer, organist and pianist Gregg Allman. The group, quickly named after the brothers Allman, began recording demos that April in Macon, Georgia, which became the group's home base.


title: Jaimoe

text: According to "The Wall Street Journal", Jaimoe's "passion for jazz helped form the nascent Allman Brothers Band's improvisational approach, which incorporated blues, country and Western swing into a unique musical approach that nodded toward the Grateful Dead's West Coast explorations but never became as loosey-goosey."


title: Jaimoe

text: “Music is music, and there's no such things as jazz or rock ’n’ roll,” Jaimoe told the WSJ. “I wanted to be the world's greatest jazz drummer, and I thought rock or funk were too easy—then I got a chance and couldn't play what needed to be played. I had to learn, and music was everything to me.”


title: Jaimoe

text: The band's mixture of blues, country, jazz, and rock, spearheaded by the dual lead guitars of Betts and Allman, and the double-drums of Trucks and Jaimoe, was unique at that time, and they rapidly became known as an act that "you had to see live." Their first two albums, their eponymous debut (November 1969) and "Idlewild South" (September 1970) brought positive critical reviews but only limited commercial success. Their third album, however, recorded live at one of their favorite concert halls, Bill Graham's Fillmore East in New York City in March 1971, made them one of the biggest rock acts in America. "At Fillmore East" became a RIAA certified gold album in late October 1971, finally bringing the group the chart success that had eluded them. The band quickly suffered tragedy, however. Duane Allman was killed in a motorcycle accident a few days later. Shaken by the loss of Allman, the group soldiered on and released "Eat A Peach", which reached #4 in the "Billboard" charts in 1972, a hybrid studio and live album, with outtakes from the Fillmore East concerts and studio cuts both with and without their original leader.


title: Jaimoe

text: After touring in late 1971 and early- to mid-1972 as a five piece band, the group added keyboardist Chuck Leavell to their lineup, and began recording their fifth album. After recording only a handful of tracks, however, Berry Oakley was also killed in a motorcycle accident mere blocks from where Duane Allman had been struck. Lamar Williams, a bass guitarist who was a friend of Johansen, became a member of the group in the wake of Oakley's death. The album that resulted, 1973's "Brothers and Sisters", added more of a country feel to their trademark sound and gave the group their only hit single, "Ramblin' Man." Just prior to the release of the album, they co-headlined the largest one-day rock concert in American history, in 1973 Summer Jam at Watkins Glen, complementing the Grateful Dead, and The Band as a support act.


title: Jaimoe

text: In 1975, the Allman Brothers Band released the tepid "Win, Lose or Draw", which, while a chart success, signaled an end for the band. A growing distance between Gregg Allman, who had risen to a de facto bandleader (then based in Los Angeles) and the rest of the band (still based in Macon, Georgia) exacerbated tensions. Perhaps most telling, the double drums of Jaimoe and Trucks, a signature of the group's sound, turned up missing on two of the album's seven tracks, with the drumming provided by producer Johnny Sandlin and occasional session musician, road drummer Bill Stewart (not the jazz drummer of the same name). The next year, the group disbanded in a storm of drug abuse and acrimony involving Gregg Allman's testimony at the drug trial of former roadie, Scooter Herring. Betts and Allman focused on their own careers, while Johanson joined forces with Leavell and Williams in the band Sea Level. Johanson played with Sea Level on their first two albums, before rejoining the reformed Allman Brothers Band in 1979.


title: Jaimoe

text: After being terminated from the band in late 1980 due to increasing back problems stemming from a 1974 automobile accident, and the group's financial woes, Jaimoe lived near poverty in Macon (playing off and on with "SouthBound" – Coop Frazier, Mike Joseph, Edd Anderson, Jay Cranford, and Stan Daniell at a small honky-tonk in Forsyth, Georgia known as Willie Lee's Good Time Tavern). Johanson and bassist Lamar Williams were asked to join longtime friend Wayne Sharp and his band, The SharpShooter Band, in California. In January 1983, Lamar died, and the band went on hiatus. Jaimoe would eventually go back to the Allman Brothers in 1989; reunited with the group and rejuvenated by the growing jam band scene that viewed the Allman Brothers Band as one of the pioneering influences in the newly named genre, Johanson helped lead the band back into national prominence. Though guitarist Warren Haynes, bassist Allen Woody, and pianist Johnny Neel (all having joined the Allmans with their second reformation in 1989) would all leave, as would Haynes' replacement, Jack Pearson, Jaimoe remained. However, he watched Dickey Betts' acrimonious departure in 2000, who was ultimately to be replaced by a returning Warren Haynes. Despite their difficulties, he continued with the band.


title: Jaimoe

text: 2000 to 2014 saw renewed success for the band. Jaimoe, Butch Trucks and Gregg Allman were joined by percussionist Marc Quiñones in 1991, bassist Oteil Burbridge (1997), guitar and vocalist, Warren Haynes (1989–1997; then again starting in 2000), and slide guitarist Derek Trucks (in 1999). Every March, the band had taken up a residency at New York's Beacon Theatre for several weeks of shows, often featuring an extended percussion battle between Trucks, Jaimoe, and Quiñones. This practice came to a final halt, after 40 years of performances since the Cirque du Soleil was given a permanent contract year-round at the Beacon Theatre. To celebrate this final tradition, in 2009, the band dedicated that year's multiple concerts to the late Duane Allman, inviting special guests from many genres to participate with them, including Eric Clapton, Levon Helm, Trey Anastasio, and many others. The band retired in 2014.


title: Jaimoe

text: Jaimoe presently leads a jazz-rock collective known as Jaimoe's Jasssz Band, which he started during breaks in Allman Brothers Band touring. The collective plays clubs in New York and his adopted home of Bloomfield, Connecticut. In 2015 he joined Les Brers, a band led by his longtime Allman Brothers drumming partner Butch Trucks.


title: Jaimoe

text: In 2017, Jaimoe received the Lifetime Achievement Award in the Arts, from his native state of Mississippi.


title: Jaimoe

text: In 1995, Jaimoe and the other founding members of the Allman Brothers Band were inducted into the Rock and Roll Hall of Fame.


title: Jaimoe

text: Following the 2017 deaths of Butch Trucks and Gregg Allman, Jaimoe and Dickey Betts are the last surviving original members of the Allman Brothers Band.


title: Jaimoe

text: On March 10, 2020, "The Brothers" reunited at a sold-out Madison Square Garden, featuring Jaimoe, Warren Haynes, Derek Trucks, Oteil Burbridge, and Marc Quiñones - the surviving members of the final Allman Brothers lineup, which played together from 2001-2014. They were joined by drummer Duane Trucks (Derek's brother), organist Reese Wynans, who played with the then-unnamed band in 1969 before Gregg Allman joined, and pianist Chuck Leavell.


title: Jaimoe

text: "I wanted to play music with my brothers," Jaimoe told "The Wall Street Journal", explaining why he jump-started the idea of celebrating the band's 50th anniversary. "Everyone else is paying homage to the Allman Brothers music—and some of us are still here."


title: Robert Helpmann

text: Sir Robert Murray Helpmann CBE ( Helpman, 9 April 1909 – 28 September 1986) was an Australian ballet dancer, actor, director, and choreographer. After early work in Australia he moved to Britain in 1932, where he joined the Vic-Wells Ballet (now The Royal Ballet) under its creator, Ninette de Valois. He became one of the company's leading men, partnering Alicia Markova and later Margot Fonteyn. When Frederick Ashton, the company's chief choreographer, was called up for military service in the Second World War Helpmann took over from him while continuing as a principal dancer.


title: Robert Helpmann

text: Helpmann, from the outset of his career was an actor as well as a dancer, and in the 1940s he turned increasingly to acting in plays, at the Old Vic and in the West End. Most of his roles were in Shakespeare plays but he also appeared in works by Shaw, Coward, Sartre and others. As a director his range was wide, from Shakespeare to opera, musicals and pantomime.


title: Robert Helpmann

text: Helpmann became co-director of the Australian Ballet, in 1965, for whom he created several new ballets. He became sole director in 1975 but disagreements with the company's board led to his dismissal a year later. He directed for Australian Opera and acted in stage plays into the 1980s. Although primarily a stage artist, he appeared in fifteen films between 1942 ("One of Our Aircraft is Missing") and 1984 ("Second Time Lucky"), including "The Red Shoes", "The Tales of Hoffmann", a film version of Igor Stravinsky's ballet-drama "The Soldier's Tale" ("L'Histoire du soldat") in which Helpmann played the Devil, and "Chitty Chitty Bang Bang".


title: Robert Helpmann

text: Helpmann died in Sydney and was given a state funeral in St Andrew's Cathedral. The Prime Minister, Bob Hawke, gave a tribute in the Parliament of Australia, and a motion of condolence was passed – a rare tribute for a non-politician. Helpmann is commemorated in the Helpmann Awards for Australian performing arts, established in his honour in 2001.


title: Robert Helpmann

text: Helpmann was born in Mount Gambier, South Australia, the eldest of the three children of James Murray Helpman (1881–1927), a stock and station agent and auctioneer, and his wife, Mary, "née" Gardiner (1883–1970). Mary Helpman had a passion for the theatre, and her enthusiasm was passed on to all three of her children. Helpmann's younger brother Max (1914–1987) and their sister Sheila (1916–1994) both made their own careers on stage, television and screen.


title: Robert Helpmann

text: After being what his biographer Kathrine Sorley Walker calls "an uninterested and recalcitrant scholar" at Prince Alfred College, Adelaide, Helpmann was taken on as a student apprentice by Anna Pavlova when she was on tour in Australia in 1926. He was trained by Alexis Dolinoff, her leading male dancer. He then joined the theatrical producers J. C. Williamson Ltd, as principal dancer for musicals, revues, and pantomimes, beginning with Franz Lehár's "Frasquita" in 1927. He later appeared in "Katinka", "The Merry Widow", "The New Moon", "Queen High", "This Year of Grace" and "Tip-Toes", appearing with stars such as Gladys Moncrieff, Marie Burke and Maisie Gay. Sorley Walker writes, "His vitality and bravura presentation of dances stopped various shows".


title: Robert Helpmann

text: Robert Helpmann cites Melbourne eccentric, beautician, radio broadcaster, actor and dancer Stephanie Deste as one of the influences over his dancing and acting career.


title: Robert Helpmann

text: The English actress Margaret Rawlings, who was touring Australia, was impressed by Helpmann. She encouraged him to pursue a career in Britain, and provided him with an introduction to Ninette de Valois, director of the Vic-Wells Ballet (later named the Sadler's Wells Ballet). Helpmann left Australia in 1932, and did not return until 1955. De Valois accepted him into her company. He impressed her – she later wrote "Everything about him proclaims the artist born" – although she noted not only his strengths but also his weaknesses: "talented, enthusiastic, extremely intelligent, great facility, witty, cute as a monkey, quick as a squirrel, a sense of theatre and his own possible achievements therein" but "academically technically weak, lacking in concentration, too fond of a good time and too busy having it". In the mid-1930s, probably at Rawlings's suggestion, he added a second "n" to his surname, to give it a more foreign and exotic air.


title: Robert Helpmann

text: In April 1934 de Valois created a new ballet, "The Haunted Ballroom", with Helpmann and Alicia Markova in the leading roles. "The Times" commented that of the soloists Helpmann "had the greatest opportunities, and made fine use of them". He co-starred with Markova in "Swan Lake", danced in operas, and appeared at the Open Air Theatre, Regent's Park. In 1935 he was leading dancer in the revue "Stop Press", with music by Irving Berlin. At Sadler's Wells he danced the principal role in another new de Valois ballet, "The Rake's Progress", and in 1936 Frederick Ashton choreographed a highly romantic ballet, "Apparitions", to music by Liszt, featuring Helpmann and the teenaged Margot Fonteyn. Sorley Walker writes that he and Fonteyn were a "perfectly matched partnership", exemplified by "their superb rendering of the Aurora pas de deux in "The Sleeping Beauty"". As well as romantic leading roles, Helpmann became known for his gift for comedy. Sorley Walker singles out his roles in "Coppélia", Ashton's "A Wedding Bouquet" and de Valois's "The Prospect Before Us". Character roles included the doddery Red King in de Valois' "Checkmate", which he first danced at the age of 28 and last danced in 1986 when he was 77.


title: Robert Helpmann

text: Helpmann's non-ballet work in the later 1930s included his Oberon in Tyrone Guthrie's production of "A Midsummer Night's Dream" at the Old Vic, which also starred Vivien Leigh as Titania and Ralph Richardson as Bottom. The drama critic of "The Times" wrote:


title: Robert Helpmann

text: The doyen of London critics, James Agate, pronounced Helpmann's Oberon to be, in its way, "the best I have ever seen or ever shall see". While at the Old Vic Helpmann met the director Michael Benthall; they formed a lifelong personal partnership and frequently worked together in the theatre.


title: Robert Helpmann

text: During the Second World War Sadler's Wells Ballet became a prominent contributor to public morale, giving London seasons interspersed with a demanding programme of provincial tours. Helpmann's workload often required him to dance leads in three performances in one day, and when Ashton was called up for active service in 1941, Helpmann took on the additional role of choreographer to the company. Ashton, in his enforced absence from the company, observed Helpmann's rise to pre-eminence with feelings of envy, and their relationship became edgy on Ashton's part. The ballets that Helpmann created for the wartime company were "Comus" (1942, based on Milton), "The Birds" (1942, to Respighi's "Gli uccelli"), "Miracle in the Gorbals" (1944, a story of redemption with a plot by Benthall and music by Arthur Bliss), and a version of "Hamlet" set to Tchaikovsky's music. While on leave from the RAF in 1943, Ashton created a new ballet for Helpmann, "The Quest", a patriotic tale of Saint George, with music by William Walton, who commented that Helpmann in the lead "looked more like the Dragon than St George." The music has survived but the ballet has not.


title: Robert Helpmann

text: Helpmann returned to Hamlet in 1944 in the title role of the original play, with the Old Vic company. After the laudatory reviews for his Oberon, those for his Hamlet were more mixed. Ivor Brown thought it "eager, intelligent and exciting", Agate called Helpmann's prince "most heart-breaking" and the young Peter Brook found Helpmann's fast-paced performance highly exciting, but other critics thought it a lightweight interpretation, and opinions varied about the quality of Helpmann's verse-speaking. During the war Helpmann played his first film roles: the supercilious traitor De Jong in "One of Our Aircraft is Missing" (1942) and the comically fussy Bishop of Ely in Laurence Olivier's "Henry V" (1944).


title: Robert Helpmann

text: At the end of the war David Webster was appointed chief executive of the Royal Opera House, tasked with reopening it for opera and ballet after its wartime closure. He invited de Valois and her company to base themselves there to complement the new opera company he was setting up. In due course the companies became The Royal Ballet and The Royal Opera. Helpmann and Fonteyn led the ballet company in the opening gala performance of "The Sleeping Beauty". The first new work staged at the reopened house was "Adam Zero" (1946), with a libretto by Benthall and music by Bliss, choreographed by and starring Helpmann as an Everyman figure. The work was well received and was revived the following year, but has not held a place in the repertoire.


title: Robert Helpmann

text: In 1947, together with Benthall, Helpmann took over the artistic direction of the Duchess Theatre in the West End of London. They presented a revival of John Webster's tragedy "The White Devil" with Helpmann as the villainous Flamineo and Rawlings as his equally villainous sister. This was well received but their next production, a revival of Leonid Andreyev's "He Who Gets Slapped", quickly folded. In the same year Helpmann worked on the film "The Red Shoes", which he and Leonid Massine choreographed and appeared in. Helpmann joined the Shakespeare Memorial Theatre Company at Stratford-upon-Avon for the 1948 season, playing the title role in "King John", Shylock in "The Merchant of Venice" and alternating with Paul Scofield in a new production of "Hamlet".


title: Robert Helpmann

text: In 1950 Helpmann directed an opera for the first time – the Covent Garden production of "Madama Butterfly", with Elisabeth Schwarzkopf in the title role. The production outlasted its director: after many revivals its final performances at the Royal Opera House were in 1993. The following year he joined Olivier and Vivien Leigh at the St James's Theatre, where they presented Shakespeare's "Antony and Cleopatra" and Shaw's "Caesar and Cleopatra". Helpmann played Octavius Caesar in the first and Apollodorus in the second. When the productions were taken to Broadway at the end of the year he played the same roles. He appeared in another Shaw play the following year, as the male lead, the Doctor, opposite Katharine Hepburn as Epifania, in "The Millionairess". Between these plays Helpmann acted in the Powell and Pressburger film "The Tales of Hoffmann", conducted by Sir Thomas Beecham and choreographed by Ashton. Helpmann played all four of the villains in the various stories within the opera, his singing voice dubbed by the Welsh bass Bruce Dargavel.


title: Robert Helpmann

text: In 1953 Helpmann returned to the Old Vic, directing a new production of "Murder in the Cathedral" with Robert Donat as Becket. On Coronation night in June 1953 Helpmann returned to Covent Garden as a guest artist to dance Prince Siegfried in "Swan Lake". The following year he again directed and choreographed an opera there, "The Golden Cockerel", with a cast including Mattiwilda Dobbs, Hugues Cuénod and Geraint Evans. The following year brought two contrasting directing engagements: the first was "The Tempest" at the Old Vic, with Michael Hordern as Prospero, Richard Burton as Caliban and Claire Bloom as Miranda. Then followed Noël Coward's musical "After the Ball", based on Oscar Wilde's "Lady Windermere's Fan". Helpmann discovered that the combination of Coward and Wilde was not a success: "Everything that Noël sent up, Wilde was sentimental about, and everything that Wilde sent up Noël was sentimental about. It was two different points of view and it didn't work."


title: Robert Helpmann

text: In May 1955 Helpmann returned to Australia, leading a tour of the country by the Old Vic company, with Hepburn as a guest artist. He played Petruchio in "The Taming of the Shrew", Angelo in "Measure for Measure" and Shylock. At the Old Vic in 1956 he directed John Neville and Claire Bloom in "Romeo and Juliet", a production later given on Broadway. He joined the company as an actor later in the year, playing Shylock, Launce in "The Two Gentlemen of Verona", Saturnius in "Titus Andronicus" and the title role in "Richard III".


title: Robert Helpmann

text: During 1957 Helpmann played the title role in Jean-Paul Sartre's "Nekrassov", and then took over the lead part of Sebastien in Coward's comedy "Nude with Violin" in London. The role had been created by John Gielgud, who had been succeeded, not altogether satisfactorily, by Michael Wilding. Helpmann's vitality revived the spirits of the company, and the play continued its run into the following year. Helpmann toured Australia in the piece in 1958–59, after he had returned to ballet for a season at Covent Garden in "The Rake's Progress", "Hamlet", "Coppélia", "Miracle in the Gorbals" and "Petrushka". His performance in the last of these was not well received: in the role of a lovelorn puppet, he was seen as too overtly human and intelligent.


title: Robert Helpmann

text: At the start of the 1960s Helpmann worked mostly in non-ballet theatre, forgoing the opportunity to create the role of the Widow Simone in Ashton's "La fille mal gardée" in favour of directing Vivien Leigh and Mary Ure in Jean Giraudoux's play "Duel of Angels" on Broadway. In 1962 he performed again for Australian audiences in another Old Vic company, this time headed by Vivien Leigh, which appeared in the Far East, South America and Australia. In 1963 he choreographed his sixth work for The Royal Ballet, the short-lived and critically damned "Elektra", with music by Malcolm Arnold and featuring Nadia Nerina, David Blair, Monica Mason and Derek Rencher. He also supervised a new production of "Swan Lake" for the company, with important new choreographic contributions from Ashton. In the same year he played Prince Tuan in the film "55 Days at Peking".


title: Robert Helpmann

text: In 1962 Peggy van Praagh, formerly of Sadler's Wells, launched a new company, the Australian Ballet, which, Sorely Walker writes, steadily gained ground as "a company full of lively young Australian talent, helped along by top-level international stars like Erik Bruhn, Rudolf Nureyev, and Sonia Arova." Van Praagh approached Helpmann to create a new work for the company and he suggested a story based around the native Australian lyrebird. He was keen to promote Australian talent, and recruited Sidney Nolan to design the costumes and scenery and Malcolm Williamson to compose the score. The work, titled "The Display", was premiered at the Adelaide Festival in March 1964, with Kathleen Gorham in the leading role, to an enthusiastic reception.


title: Robert Helpmann

text: Back in London, Helpmann directed and choreographed the first British production of Lerner and Loewe's musical "Camelot" in 1964. He had been approached by its authors to play Merlin in the original Broadway production, but nothing came of the suggestion. For the London production he sought to recapture, more than the American production had done, the sprit of "The Once and Future King", the book on which the show was based. The musical received tepid reviews, but Helpmann's production, with designs by John Truscott, was praised as a "dazzling" and "gorgeous spectacle"; the show ran for well over a year.


title: Robert Helpmann

text: The success of "The Display" led to Helpmann's appointment as co-director of the Australian Ballet in 1965. His biographer Christopher Sexton comments that Helpmann and van Praag "complemented each other with their different personalities and skills: she the pedagogue, teacher and administrator; he the restless 'jet-setting' star who spent six months of the year overseas and attracted international names to perform with the company". His ballets for the company during the rest of the 1960s were "Yugen" (1965); an expanded version of "Elektra" (1966) and "Sun Music" (1968).


title: Robert Helpmann

text: Helpmann made two more films during the 1960s. In 1966 he played Weng in "The Quiller Memorandum" and in 1968 he played the Child Catcher in "Chitty Chitty Bang Bang". One critic observed, "He will eternally frighten children as the demented child catcher"; others called Helpmann's performance "the most sinister presence I have ever seen on film", and "a devastating turn" that would give children nightmares.


title: Robert Helpmann

text: In 1968 Helpmann was appointed artistic director designate of the Adelaide Festival of 1970, and spent much time seeking out the performers for it. As well as showcasing Australian talent he aimed to attract internationally prestigious performers.


title: Robert Helpmann

text: Under Helpmann's direction the line-up for the 1970 Adelaide Festival was, by common consent, exceptionally impressive. Among those appearing were the Royal Shakespeare Company, led by Judi Dench and Donald Sinden, in "The Winter's Tale" and "Twelfth Night"; Benjamin Britten and Peter Pears brought the English Opera Group; there were art exhibitions from Pompeii and Mexico. Dance was represented not only by the Australian Ballet, but also by the Royal Thai Ballet, the Balinese Dance Company and the Georgian State Dance Company. Nureyev was guest artist with the Australian Ballet in a revival of Helpmann's "Hamlet", new to the company's repertoire and greatly admired. Nureyev also presented his version of Marius Petipa's classic ballet "Don Quixote", dancing the romantic lead, Basilio, with Helpmann in the title role of the deluded knight. This was the first time the two dancers had worked together; they took to each other with enthusiasm and continued their fruitful professional relationship. Nureyev continued to play Helpmann's old role of Hamlet in revivals of the 1942 ballet, and the two starred in a film of "Don Quixote" with the Australian company in 1973, shown internationally and subsequently published on DVD.


title: Robert Helpmann

text: By the 1970s the combination of Helpmann and Ashton in comic drag as the Ugly Sisters in Ashton's "Cinderella" had become a much-loved institution at Covent Garden in various revivals since its 1948 premiere. In 1972 Helpmann succeeded in getting Ashton to join him for a production by the Australian Ballet, but despite Helpmann's urging, Ashton never created a new work for the company, although he restaged his "La fille mal gardée" for them.


title: Robert Helpmann

text: Helpmann's biographer Elizabeth Salter comments that 1974 was "a year of disaster" for both directors of the Australian Ballet. Van Praag was forced by arthritis to retire, and Helpmann's partner, Michael Benthall, died. The two men had lived together in London since the 1940s, and although both had extracurricular affairs they remained devoted to each other, and Helpmann felt the loss deeply.


title: Robert Helpmann

text: 1974 was also the year of the last ballet created by Helpmann, the plotless "Perisynthyon". He commissioned scores from two Australian composers in succession, but finding neither satisfactory he turned at the last minute to Sibelius's First Symphony. The late changes caused inadequate preparation time for the dancers, and the piece was not well received. The following year disagreements between Helpmann and the board of the Australian Ballet came to a head. He was outspoken about the inadequacy of the company's budget, and refused to cut costs, on the grounds that doing do would be artistically and technically damaging. He made it publicly clear that he felt the board had become "dominated by money-men who had no experience or understanding of artistic matters". The board decided that he must go, and tried to ease him out quietly. He did not cooperate, and made it known that he had been dismissed: "I want the public and the dancers to know that I didn't decide to leave them. I would have stayed with them until I dropped dead."


title: Robert Helpmann

text: In 1977 Peter Wright, director of the Sadler's Wells Royal Ballet, invited Helpmann to appear with the company in two of his old starring roles: the Red King in "Checkmate" and Dr Coppélius in "Coppélia". British ballet audiences had seen little of him in leading roles for some years, and his return was greeted with enthusiasm. The ballet critic of "The Times" described his Coppélius as "a legend come to life", and his "Financial Times" colleague wrote of Helpmann's "riotous and wonderful control", concluding, "British ballet owes Helpmann a vast debt – his present performances in "Coppélia" and "Checkmate" increase it still further".


title: Robert Helpmann

text: In 1981 Helpmann staged another revival of his ballet "Hamlet", this time featuring Anthony Dowell. The production was given first at Covent Garden and was later taken to New York. In Sydney, Helpmann directed and choreographed Handel's opera "Alcina", and in the US he directed Lilli Palmer in a one-woman show about Sarah Bernhardt, "Sarah in America". The following year he appeared with Diana Rigg in Harvey Schmidt's musical, "Colette", which opened in Seattle but folded before reaching Broadway. He then made his last British appearance in an acting role, playing Cardinal Pirelli in a revival of Sandy Wilson's "Valmouth" at the Chichester Festival. Irving Wardle wrote in "The Times", "It is not a large part, but Helpmann's hooded smiles and baleful oeuillades, his capacity to express elegant corruption to his beringed finger-tips, lodge one imperishable image."


title: Robert Helpmann

text: In 1983 Helpmann directed Gounod's opera "Roméo et Juliette" in Sydney, and later in the year appeared there as the elderly Bosie in Justin Fleming's play about Oscar Wilde, "The Cobra", with Mark Lee as Bosie's young self. In 1984, together with Googie Withers and John McCallum, he toured in Ted Willis's play "Stardust", and joined his sister Sheila to record two episodes of the Australian soap opera "A Country Practice", which were shown in 1985. Early in that year he was in the US directing a revival of the operetta "The Mery Widow" for the San Diego Opera. In June, at the Sydney Opera House, he directed Joan Sutherland in Bellini's "I Puritani". His last stage appearances were as the Red King in "Checkmate", with the Australian Ballet, in Melbourne and Sydney in May 1986.


title: Robert Helpmann

text: Helpmann died of emphysema in Sydney on 28 September 1986. He was given the rare tribute of a state funeral, held on 2 October at St Andrew's Cathedral, Sydney. Tributes were paid in both Houses of the Parliament of Australia. In the Senate all senators present stood in silence. This was noted as a rarity, and it was put on record that "it is only in exceptional circumstances that motions of condolence are moved for distinguished Australians who have not sat in the Parliament". Senator Stan Collard said:


title: Robert Helpmann

text: In the House of Representatives the Prime Minister, Bob Hawke, said, "No one should underestimate Sir Robert Helpmann's role in the development of the growing maturity of Australia's art and culture. ... He demonstrated to the world the diversity of this nation's talents and capabilities."


title: Robert Helpmann

text: In London a memorial service was held at St Paul's, Covent Garden (known as "the actors' church"); Ashton represented Princess Margaret, Fonteyn gave the address, a tribute was read from de Valois, and the British ballet and theatre were represented by some of their best-known members.


title: Robert Helpmann

text: In 1954 Helpmann was appointed to the Royal Order of the Polar Star (Sweden) and in 1957 he was created a Knight of the Cedar (Lebanon). He was appointed CBE in 1964, named as Australian of the Year for 1965, and was created a Knight Bachelor in 1968.


title: Robert Helpmann

text: An unsigned obituary in "The Times" caused upset by calling Helpmann "A homosexual of the proselytising kind, [who] could turn young men on the borderline his way." It was quickly pointed out that Helpmann kept his professional and private lives firmly separate. An assessment in "The Guardian" ranked him as capable in "princely" roles in classic ballets, but "peerless" in dramatic parts, and best of all in comic roles. The "Australian Dictionary of Biography" (ADB) describes Helpmann as "the complete man of the theatre", but adds that in some people's view he worked in too many fields to achieve supremacy in any one of them. Malcolm Williamson observed, "he never became a Gielgud, Olivier or Redgrave, or an Ashton, Balanchine or Petit because he was the most pluralistic of the lot"; the ADB quotes the dancer Moira Shearer: "he wasn't a great dancer – he wasn't a great actor – but he was most certainly a great mime, the perfect bridge between the two". "The New York Times" said of him:


title: Robert Helpmann

text: The Helpmann Academy in South Australia was named in his honour; it is a partnership of the major visual and performing arts education and training institutions in South Australia offering award courses for people seeking professional careers in the arts. The Helpmann Awards were instituted 2001, and recognise distinguished artistic achievement and excellence in Australia's live performing arts sectors. The Sir Robert Helpmann Theatre is named after him at his birthplace in Mount Gambier. Onstage, Helpmann has been commemorated in the play "LyreBird (Tales of Helpmann)", by Tyler Coppin.


title: Cleveland Barons (NHL)

text: The Cleveland Barons was a professional ice hockey team in the National Hockey League (NHL) from 1976 to 1978. They were a relocation of the California Golden Seals franchise that had played in Oakland since 1967. After just two seasons, the team merged with the Minnesota North Stars (now the Dallas Stars). As a result, the NHL operated with 17 teams during the 1978–79 season.


title: Cleveland Barons (NHL)

text: As of , the Barons remain the last franchise in the four major North American sports leagues to cease operations. Ohio did not have another NHL team until the Columbus Blue Jackets joined the league 22 years later in 2000.


title: Cleveland Barons (NHL)

text: The Barons originated as the California Golden Seals in the 1967 NHL expansion. After new arena plans in San Francisco were cancelled, the NHL dropped its objection to a relocation of the perpetually troubled franchise from Oakland. Minority owner George Gund III persuaded majority owner Melvin Swig to move the team to his hometown of Cleveland for the 1976–77 season. The team was named "Barons" in honor of the successful team in the American Hockey League (AHL) that played in the city from 1929 to 1973, winning nine Calder Cups. The AHL Barons' owner, Nick Mileti, moved that team to Florida in favor of his Cleveland Crusaders team in the new World Hockey Association (WHA).


title: Cleveland Barons (NHL)

text: Cleveland had been mentioned as a possible NHL city as early as the 1930s, when the then-struggling Montreal Canadiens considered moving there. It had also been turned down for an NHL expansion team on three previous occasions, in the 1950s and 1960s.


title: Cleveland Barons (NHL)

text: The Barons played in the suburban Richfield Coliseum in Richfield, Ohio, an arena originally built for the WHA's Crusaders (who left to become the second incarnation of the Minnesota Fighting Saints for the 1976–77 WHA season on the Barons' arrival) and the NBA's Cleveland Cavaliers. At the time, the Richfield Coliseum had the largest seating capacity in the NHL, at 18,544.


title: Cleveland Barons (NHL)

text: The NHL approved the move to Cleveland on July 14, 1976, but details were not finalized until late August, and there was little time or money for promotion of the new team. The Barons never recovered from this lack of visibility. They never came close to filling the Coliseum in their two years in Cleveland. The team's home opener on October 7, 1976, drew only 8,900 fans. They drew 10,000 or more fans in only seven out of 40 home games. Attendance was worse than it had been in Oakland and the team did not even draw as many fans as the WHA's Crusaders had. The Barons were also troubled by an unfavorable lease with the Coliseum.


title: Cleveland Barons (NHL)

text: In January 1977, Swig hinted the team might not finish the season because of payroll difficulties. He asked the board of governors for a bailout. The board turned down Swig's request almost out of hand. At the time, no one in the NHL offices believed that the Barons' situation was nearly as dire as Swig claimed. No NHL team had folded since the Montreal Maroons had their franchise formally canceled in 1947 after not icing a team since 1938. No team had folded in mid-season since the Montreal Wanderers disbanded during the NHL's inaugural season in 1917–18 after their arena burned down. The situation quickly deteriorated and team workers went unpaid for two months. The bottom fell out in February, when the team missed two payrolls. The league seriously considered folding the team and holding a dispersal draft for the players; by then, some of the Barons' players were actively being courted by other teams. By February 18, the players had lost their patience, and threatened to not take the ice for their game against the Colorado Rockies. Wanting to avoid the embarrassment of a player strike, as well as a team folding at mid-season (the latter had previously happened in the rival WHA), the league and the NHLPA made a last-minute $1.3 million loan to allow the Barons to finish the season. After the team finished last in the Adams Division again, Swig sold his interest to Gund and his brother Gordon.


title: Cleveland Barons (NHL)

text: For 1977–78, the Gunds poured money into the team, and it seemed to make a difference at first. The Barons stunned the defending Stanley Cup champion Montreal Canadiens on November 23 before a boisterous crowd of 12,859. After a brief slump, general manager Harry Howell pulled off several trades in an attempt to make the team tougher. It initially paid off, and the Barons knocked off three of the NHL's top teams, the Toronto Maple Leafs, New York Islanders and Buffalo Sabres in consecutive games in January 1978. A few weeks later, a record crowd of 13,110 saw the Barons tie the Philadelphia Flyers 2–2. It did not last; a 1-13-8 streak knocked the Barons out of playoff contention.


title: Cleveland Barons (NHL)

text: After the season, the Gunds tried to buy the Coliseum, but failed. (They would later succeed in buying the Coliseum, and eventually bought the Cavaliers from Ted Stepien in 1983). With the Barons barely registering on Cleveland's sports landscape, the Gunds searched for a way out. A bid by Kenneth Schnitzer, owner of the WHA's Houston Aeros (who were not being included as part of any proposed merger between the two leagues at the time) to buy the Barons and relocate them to Houston was unsuccessful.


title: Cleveland Barons (NHL)

text: Meanwhile, the consortium that owned the Minnesota North Stars was having its own financial difficulties similar to those faced by the Barons. Fearing that two franchises were on the verge of folding, the league granted approval on June 14, 1978, for the two teams to merge. The amalgamated team retained the North Stars' name, colors, and history, while the wealthier Gunds became the principal owners of the North Stars.


title: Cleveland Barons (NHL)

text: The NHL finally agreed to absorb the WHA one year later, a development which resulted in a two decade absence of major league hockey in Ohio since the WHA's Cincinnati Stingers were not included in the merger. However, the NHL worked to keep interest in hockey alive in the state. The Pittsburgh Penguins, who from 1978 to 1991 were owned by Northeast Ohio native Edward J. DeBartolo, Sr., played two designated home games at the Richfield Coliseum in the early 1990s before the arena was demolished and the land added to Cuyahoga Valley National Park. The NHL finally returned to Ohio in 2000 with the expansion Columbus Blue Jackets.


title: Cleveland Barons (NHL)

text: Dennis Maruk was the last Baron (and last Golden Seal as well) to be active in the NHL, retiring from the North Stars after the 1988–89 season with 356 goals in 888 games.


title: Cleveland Barons (NHL)

text: With the North Stars continuing to struggle financially, the Gunds began looking to bring NHL hockey back to the Bay Area. By the late 1980s, they sought to relocate the North Stars but were blocked by the league. In 1991, the Gunds were granted an expansion franchise in San Jose, which became the San Jose Sharks, in return for selling their stake in the North Stars to a group led by Hartford Whalers' founder Howard Baldwin. As a compromise, the league arranged a special dispersal and expansion draft in which the Sharks claimed 16 North Stars players in a dispersal draft, with both teams then allowed to choose players in an expansion draft.


title: Cleveland Barons (NHL)

text: Although the Sharks are officially a separate franchise from the Seals/Golden Seals/Barons, the arrangement effectively reversed the original Barons-North Stars merger, with the Sharks occupying the same market as the Golden Seals prior to their move to Cleveland. The new North Stars owners ultimately moved their team to Dallas as the Dallas Stars in 1993. The Gunds also later moved an existing American Hockey League team from Lexington, Kentucky, to Cleveland, operating the Cleveland Barons from 2001 to 2006 as the Sharks' minor league affiliate.


title: Cleveland Barons (NHL)

text: "Note: GP = Games played, W = Wins, L = Losses, T = Ties, Pts = Points, GF = Goals for, GA = Goals against, PIM = Penalties in minutes"


title: Cleveland Barons (NHL)

text: In their two years in Cleveland, Larry Hirsch served as the Barons' radio play-by-play announcer on WJW. On the television side, WUAB channel 43 did a very limited schedule with Steve Albert and Dick Hammer on commentary in 1976–77, and perhaps only one game in 1977–78 with Charlie Steiner and Pete Franklin on commentary.


title: Shaun Pollock

text: Shaun Maclean Pollock OIS (born 16 July 1973) is a South African cricket commentator and former cricketer, who was captain in all formats of the game. He is widely regarded as one of the greatest fast bowlers and allrounders of all time. A genuine bowling all-rounder, Pollock along with Allan Donald formed a bowling partnership for many years. From 2000 to 2003 he was the captain of the South African cricket team, and also played for Africa XI, World XI, Dolphins and Warwickshire. He was chosen as the "Wisden" Cricketer of the Year in 2003.


title: Shaun Pollock

text: On 11 January 2008 he announced his retirement from all forms of international cricket after his 303rd One Day International on 3 February. Pollock now works as a commentator on SuperSport's coverage of South African cricket.


title: Shaun Pollock

text: He is joint 10th in the all-time best ever bowler ratings in the LG ICC Ratings, and has taken over 400 wickets and at the time of his retirement was one of only six players to have scored 3000 runs and taken 300 wickets in Test matches.


title: Shaun Pollock

text: In June 2007 he represented an Africa XI in an ODI game against an Asia XI in Bangalore. Playing as a specialist batsman, Pollock scored 130 from number 7 in the batting order, the highest ever score by an ODI batsman in that position. The record would however not last long, MS Dhoni bettered it later in the series. In 2007, he received the SA Player's Player award and the SA ODI Player of the Year Award.


title: Shaun Pollock

text: He was the leading wicket taker for South Africa in Tests until Dale Steyn overtook him on 26 December 2018. He took over 400 test wickets and scored over 3,700 test runs in his 108 Test matches.


title: Shaun Pollock

text: Shaun Pollock was a bowling all-rounder. After Hansie Cronje was banned from cricket for life, Pollock took over the captaincy in April 2000. He was eventually removed from the captaincy after South Africa's performance in the 2003 Cricket World Cup.


title: Shaun Pollock

text: Although no longer captain, he retained his place in the team. After a disappointing Test series tour of Australia in 2005/2006, he faced criticism for losing his wicket taking ability. He has the lowest (best) economy rate of any bowler to have taken 300 ODI wickets, and he is also the first South African and only the tenth player to take 400 Test wickets. In September 2007 he was dropped from the South African test side for the first time in his career. Pollock was later readded to the test series against the West Indies, whereupon he announced his retirement, effective on 3 February 2008. He stated that "I realise I have been blessed by God and feel I have nurtured my talents to the best of my abilities." After South Africa sealed a series victory against the West Indies, Graeme Smith paid tribute to Pollock, stating "It's very important that people celebrate what he's given to South African cricket and what he's achieved as an individual."


title: Shaun Pollock

text: Pollock took four wickets in four balls on his first appearance for Warwickshire – in a limited-overs (B&H Cup) game v Leicestershire at Birmingham in 1996.


title: Shaun Pollock

text: In Summer 2008 Pollock represented Mumbai Indians in the Indian Premier League, and Durham Dynamos in the 2008 Twenty20 Cup in England. He played for Durham County Cricket Club in the North East of England and along with fellow South African Albie Morkel was used mainly in the Twenty20 Cup competition.


title: Shaun Pollock

text: Of the 18 players who have bowled at least 2,000 balls for South Africa in ODIs, Pollock's economy rate of 3.65 runs per over was the second best behind that of Fanie de Villiers.


title: Shaun Pollock

text: Pollock comes from a family of mainly Scottish ancestry. His paternal grandfather, Andrew Pollock, who played for Orange Free State, was born in Edinburgh. He attended Northwood School in Durban, KwaZulu-Natal. He is married with two daughters. His wife was a finalist in the Miss South Africa pageant in the early '90s and worked for a South African telecom company. He is a teetotaler and a devout Christian. Pollock is a graduate of the University of Natal with a bachelor's degree in commerce.


title: Frederick Abberline

text: Frederick George Abberline (8 January 1843 – 10 December 1929) was a British chief inspector for the London Metropolitan Police. He is best known for being a prominent police figure in the investigation into the Jack the Ripper serial killer murders of 1888.


title: Frederick Abberline

text: Born in Blandford Forum, Dorset, England, Abberline was the youngest son of Edward Abberline, a saddlemaker, sheriff's officer and clerk of the market, minor local government positions; and his wife Hannah ( Chinn). Edward Abberline died in 1849, and his widow opened a small shop and brought up her four children, Emily, Harriett, Edward and Frederick, alone.


title: Frederick Abberline

text: Frederick was a clockmaker until he left home to go to London, where he enlisted in the Metropolitan Police on 5 January 1863, being appointed to N Division (Islington) with the Warrant Number 43519. PC Abberline so impressed his superiors that they promoted him to Sergeant two years later on 19 August 1865. On his promotion he moved to Y Division (Highgate). Throughout 1867 he investigated Fenian activities as a plain-clothes officer. He was promoted to Inspector on 10 March 1873, and three days later, on 13 March, transferred to H Division in Whitechapel. On 8 April 1878 Abberline was appointed Local Inspector in charge of H Division's CID.


title: Frederick Abberline

text: On 26 February 1887 Abberline transferred to A Division (Whitehall), and then moved to CO Division (Central Office) at Scotland Yard on 19 November 1887, being promoted to Inspector First-Class on 9 February 1888 and to Chief Inspector on 22 December 1890. Following the murder of Mary Ann Nichols on 31 August 1888, Abberline was seconded back to Whitechapel due to his extensive experience in the area. He was placed in charge of the various detectives investigating the Ripper murders. Chief Inspector Walter Dew, then a detective constable in Whitechapel's H Division in 1888, knew Abberline and, while describing him as sounding and looking like a bank manager, also stated that his knowledge of the area made him one of the most important members of the Whitechapel murder investigation team.


title: Frederick Abberline

text: Among the many suspects in the case, Abberline's primary suspect was Severin Antoniovich Klosowski, a.k.a. George Chapman. That theory was reiterated decades later by Robert Milne, MFSSoc, FFS, FA IA-IP, who had recently retired from the Metropolitan Police Directorate of Forensic Services. He presented a paper about the case to the International Association for Identification Conference in 2011 and to the Chartered Society of Forensic Sciences in 2014, suggesting Chapman as the most likely Ripper. Based on his expertise, review of investigation documents, and the use of geographical profiling software, he was convinced that the killer lived in the area of the murders. Chapman fit that bill accurately. Milne also pointed out that Chapman "a now known serial poisoner of women" ... "would go out carrying a small bag, not coming home until 4:30 a.m.", according to his estranged wife. In his 2014 paper, Milne also discussed a 1902 murder victim (1901 according to some sources), Mary Ann Austin, who had described a client before her death. According to Milne, "a Russian 5ft 7 inches tall with a black moustache [who] visited Mary and in the course of having sex stabbed her and tried to cut out her uterus". (Austin died of ten wounds to her abdomen, inflicted at Annie Chapman's former home, Crossingham's Lodging House, at 35, Dorset Street.)


title: Frederick Abberline

text: Among Abberline's theories about the murders, one suggested that the crimes could have been perpetrated by a female killer.


title: Frederick Abberline

text: Abberline was subsequently involved in the investigation of the Cleveland Street scandal in 1889. This case left him disenchanted with police work, convinced that there had been cover-ups by his superiors; if so, this was because, during the investigation, some sources claimed that Queen Victoria's grandson had been a frequent visitor to the homosexual brothel on Cleveland Street. That was Abberline's last major case.


title: Frederick Abberline

text: Chief Inspector Abberline retired from the police on 8 February 1892, having received 84 commendations and awards.


title: Frederick Abberline

text: Abberline was married twice: once in March 1868 to 25-year-old Martha Mackness, the daughter of a labourer, from Elton, Northamptonshire; she died of tuberculosis two months after the marriage. On 17 December 1876 Abberline married 32-year-old Emma Beament, the daughter of a merchant, from Hoxton New Town, Shoreditch. The marriage lasted until Frederick's death over 50 years later. They had no children.


title: Frederick Abberline

text: On his retirement from the Metropolitan Police, he returned to Bournemouth and was hired by the Pinkerton Detective Agency in 1904. Initially, he worked in casinos in Monte Carlo to find customers who were cheating. He then returned to England and continued working for the agency, until another retirement in 1904. He then bought a home, "Estcourt", 195 Holdenhurst Road, Springbourne, Bournemouth.


title: Frederick Abberline

text: Abberline died on 10 December 1929, aged 86, just under three months before his wife Emma, and was buried in Bournemouth at Wimborne Road Cemetery. A blue plaque commemorating Abberline was unveiled at 195 Holdenhurst Road (now divided into flats) on 29 September 2001. In 2007, following a campaign for Abberline's unmarked grave to be recognised, and with the approval of his surviving relatives, a black granite headstone, inscribed and donated by a local stonemason, was erected on the grave where Abberline and Emma are buried.


title: Frederick Abberline

text: Several fictional retellings of the events surrounding the Jack the Ripper murders have cast Abberline in a lead role. The suggestion is often but erroneously made for the sake of drama that Abberline was unmarried and formed an attachment to one of the women connected to the events. The two most popular film depictions have also cast him as an addict, for which there is no known historical basis.


title: Tool and die maker

text: Tool and die makers are highly skilled crafters working in the manufacturing industries. Variations on the name include tool maker, toolmaker, die maker, diemaker, mold maker, moldmaker or tool jig and die-maker depending on which area of concentration or industry an individual works in.


title: Tool and die maker

text: Tool and die makers work primarily in toolroom environments—sometimes literally in one room but more often in an environment with flexible, semipermeable boundaries from production work. They are skilled artisans (craftspeople) who typically learn their trade through a combination of academic coursework and with substantial period of on-the-job training that is functionally an apprenticeship. They make jigs, fixtures, dies, molds, machine tools, cutting tools, gauges, and other tools used in manufacturing processes.


title: Tool and die maker

text: Traditionally, working from engineering drawings developed by the toolmaker, engineers or technologists, tool makers lay out the design on the raw material (usually metal), then cut it to size and shape using manually controlled machine tools (such as lathes, milling machines, grinding machines, and jig grinders), power tools (such as die grinders and rotary tools), and hand tools (such as files and honing stones).


title: Tool and die maker

text: Art and science (specifically, applied science) are thoroughly intermixed in their work, as they also are in engineering.


title: Tool and die maker

text: Manufacturing engineers and tool and die makers often work in close consultation as part of a manufacturing engineering team. There is often turnover between the careers, as one person may end up working in both at different times of their life, depending on the turns of their particular educational and career path. There was no codified difference between them during the 19th century and earlier parts of the 20th century; it was only after World War II that engineering became a regulated profession exclusively defined by a university or college engineering degree. Both careers require some level of talent in both artistic/artisanal/creative areas and math-and-science areas.


title: Tool and die maker

text: Since the advent of computing in the manufacturing fields (including CNC, CAD, CAM, and other computer-aided technologies), tool and die makers have increasingly added IT skills to their daily work. Today's tool and die makers are generally required to have all of the traditional skills plus substantial digital skills; these formidable requirements make the field challenging to master.


title: Tool and die maker

text: Although the details of training programs vary, many tool and die makers begin an apprenticeship with an employer, possibly including a mix of classroom training and hands-on experience. Some prior qualifications in basic mathematics, science, engineering science or design and technology can be valuable. Many tool and die makers attend a 4- to 5-year apprenticeship program to achieve the status of a journeyman tool and die maker. Today's employment relationships often differ in name and detail from the traditional arrangement of an apprenticeship, and the terms "apprentice" and "journeyman" are not always used, but the idea of a period of years of on-the-job training leading to mastery of the field still applies.


title: Tool and die maker

text: In the United States, tool and die makers who graduate from NTMA (National Tooling and Machining Association) have gone through 4 years of college courses as well as 10,000 working hours in order to complete their apprenticeship. They are also accredited through the U.S. Department of Labor.


title: Tool and die maker

text: A jig and fixture maker is under the faction of a tool and die maker/toolmaker. The standard differentiation of jigs from fixtures is that a jig guides the tool for the operation being carried out while a fixture simply secures the work. The terms are sometimes used interchangeably. A jig and fixture maker needs to know how to use an assortment of machines to build these devices such as having skills in welding and in some cases the knowledge of wood working equipment, of course with the tool room machining skills.


title: Tool and die maker

text: They are often advised by an engineer in building the devices. A wide knowledge of various materials is needed beyond wood and metal such as plastics. They also can create, design and build without engineering plans/bluprints.


title: Tool and die maker

text: Jig/fixture makers gain hands on practical experience while monitoring and making alterations as the manufacturing process is constantly improved and reviewed with/by engineering. They also can be required to make these adjustments without engineering help, depending on the size of the company. Some Jigs and fixtures require electronic and pneumatic actuation, which will involve knowledge/training in these fields as well.


title: Tool and die maker

text: Properly built jigs and fixtures reduce waste by ensuring perfectly fitting parts. Jigs and fixtures can be as big as a car or be held in hand. Production needs dictate form and function. Jigs, fixtures and gages are needed to maintain quality standards for repeated low and high volume production demands.


title: Tool and die maker

text: Ongoing evolution of computerized design and control technologies, such as CAD/CAM, CNC, PLC, and others, has limited the use of jigs in manufacturing, however all the computer run machines need some sort of clamping fixture for production runs. A common example is that a drill jig is not needed to guide the drill bits to the hole centers if it is done on a CNC, since it is Computer Numerically Controlled. However, fixtures are still needed to hold the part[s] in place for the operation needed. Jigs are currently needed in many areas of manufacturing but mainly for low-volume production.


title: Tool and die maker

text: Die making is a subdiscipline of tool making that focuses on making and maintaining dies. This often includes making punches, dies, steel rule dies, and die sets. Precision is essential in die making; punches and die steels must maintain proper clearance to produce parts accurately, and it is often necessary to have components machined with tolerances of less than one thousandth of an inch.


title: Tool and die maker

text: Tool making typically means making tooling used to produce products. Common tooling includes metal forming rolls, cutting tools (such as tool bits and milling cutters), fixtures, or even whole machine tools used to manufacture, hold, or test products during their fabrication. Due to the unique nature of a tool maker's work, it is often necessary to fabricate custom tools or modify standard tools.


title: Tool and die maker

text: One person may be called upon for all of the above activities, and the skills and concepts involved overlap, which is why tool and die making is often viewed as one field and is also why mold making is often viewed as a subset thereof (rather than a totally separate field).


title: Tool and die maker

text: A toolroom in the original sense of the word is a room where tools are stored; a tool crib. In larger companies, the tools stored there must be checked in and out, and there may be a person assigned to attend the area. In a factory, the toolroom refers to a space where artifacts are made and repaired, particularly tools for use throughout the rest of the factory, jigs for setups, and other parts to assist workers and, as an extension, production. In engineering and manufacturing, toolroom activity is everything related to tool-and-die facilities in contrast to production line activity.


title: Tool and die maker

text: Originally a toolroom was literally in one room, but like "emergency room", the term has been figuratively extended in both substantive and adjectival senses to all such places and the methods used there, regardless of the physical space. The name was originally styled tool room or tool-room, but toolroom is now the norm in engineering and machining.


title: Tool and die maker

text: The simplest sense of the word "toolroom" refers to the storage of tools. A broader use of the term includes reference to a space where tools are made, repaired, inventoried, and/or distributed for use within the factory. This extension of the latter sense reflects the development of greater systemization in manufacturing. During the 19th century, there gradually developed a division of labor whereby the people who made, repaired, kept records of, stored, and retrieved tools were not necessarily the same people who used the tools to do the manufacturing work itself. Examples of such division of labor had existed in prior centuries, but most manufacturing had been done on a craft basis, where there had been no need for the idea of a toolroom separate from the rest of the workshop.


title: Tool and die maker

text: The simplest sense above can also be conveyed by the word toolcrib (sometimes styled tool-crib or tool crib).


title: Tool and die maker

text: In engineering and manufacturing, a toolroom is everything related to tool-and-die facilities and methods, in contrast to the factory floor and production line activity. For people not familiar with these fields, in order to understand the specialist usage, some explanation is needed:


title: Tool and die maker

text: Within the general field of machining there is a rough but recurring division between (a) toolroom practice and (b) production practice (the making of large numbers of duplicate parts). It is the difference between manufacturing itself and the tool-and-die work that is done in support of the manufacturing. Anecdotal examples of similar distinctions can probably be found here and there throughout human history, but as a widespread part of the "fabric" of material culture, this distinction (and the terminology with which to talk about it) has evolved since the Industrial Revolution, and most especially since the advent of armory practice and later mass production.


title: Tool and die maker

text: A good, simplistic way to summarize the change in ideas is to compare the making of a certain product in different time periods. In 1750, a rifle was made in a workshop by a craftsman using hand tools, and if he needed a new tool, it is likely that he would make it himself using the same tools and methods that he would use to make his product, the rifle (smithy, files, woodcarving knives, etc.) This type of craftsmanship can still be done today, but it is expensive in terms of skilled labor time per unit of output, and therefore it implies small total output volume and high unit price. However, today the way to make rifles in large quantity with low unit price is to first do the tool-and-die work (toolroom work) (that is, make, or have someone else make, machine tools, jigs, and fixtures), and then use those specialized tools to mass-produce the rifles in an automated way that involves no toolroom methods.


title: Tool and die maker

text: Another example, instead of comparing different centuries, simply compares different methods of toolpath control that could be chosen today: If you need a certain hole location on each part for your drill bit, will you dial it carefully by hand "many times" (once for each part produced), or will you dial it carefully by hand "only once"—while making a drill jig for subsequent drilling to be quickly and effortlessly guided by?


title: Tool and die maker

text: The manufacturing of small batches has often presented the biggest challenge to this division of methods. When only a small batch of output is demanded, will one (a) produce each piece using "custom" methods (handcrafting or toolroom-style layout and machining), which drives up unit cost; or (b) maintain the capital-cost-intensive toolroom-production division, which also drives up unit costs in its own ways? In other words, is it worth one's time to make a fixture, and is it worth tying up a drill press's availability by setting it up for dedicated use with that fixture? The drill press may be needed tomorrow for a different part, with a different setup. For 100 parts, the costs of making a fixture and tying up a machine's availability are justified. For 5 parts, maybe one should just make each of the 5 using toolroom-style layout and toolpath control.


title: Tool and die maker

text: The evolution of IT and its integration into manufacturing is changing the questions and equations still further. For example, CNC and robotics have led the way to rapid prototyping and instant manufacturing, which shift the toolroom-production division by giving an up-front toolroom investment the flexibility to be quickly and easily used for any product design, with batch size irrelevant.


title: Tool and die maker

text: In large corporations there may be a very distinct division of labor between toolroom work and production machining, with different employees for each, whereas job-shop work is often a blend of toolroom work and production work, because each project requires some of both, and the same employees may "wear each hat" in sequence.


title: F.C. Südtirol

text: Fußball Club Südtirol is an Italian association football club, based in the city of Bolzano, in the autonomous province South Tyrol. The club was formerly known as its bilingual name F.C. Südtirol – Alto Adige. They will play in Serie B for the first time in the 2022–23 season after having been crowned Serie C champions in the current campaign.


title: F.C. Südtirol

text: In the early ‘90s came the idea to bring professional football back to South Tyrol, because since the ‘80s with FC Bolzano, no South Tyrolean team played in a professional league. Negotiations for the takeover of FC Bolzano, which was in financial difficulties, failed. A South Tyrolean entrepreneurial group then took over SV Milland, founded in 1974 and based in a district of Brixen, which played before the acquisition in the season 1994/95 in the regional Eccellenza, but was relegated after that season into the Promozione.


title: F.C. Südtirol

text: The team was renamed FC Südtirol–Alto Adige in 1995; Alto Adige is the Italian name of the province while Südtirol is its German indigenous name. The club started its first season in 1995 in the regional Promozione (then still the seventh-highest league in Italy). Immediate promotion to the Eccellenza was achieved via a first place finish. From the 1997/98 season, the club played in the national league Serie D (V). Each season, the FC Südtirol was able to improve. In 2000, then under coach Giuseppe Sannino, it was promoted to Serie C2 (IV), the lowest professional league.


title: F.C. Südtirol

text: In 2000 the company incorporated as Fußballclub Südtirol S.r.l., thus becoming F.C. Südtirol and relocating to Bolzano (though it was legally based in Brixen until 2011). The club was able to establish itself quickly in the professional league. The aim of the club was to achieve promotion into Serie C1 as soon as possible. The team failed in the following seasons each time in the play-offs. FC Südtirol got into financial difficulties and then focused more on youth work.


title: F.C. Südtirol

text: Just before the end of the season 2008/09, youth coach Alfredo Sebastiani took over the first team. With him, the club avoided relegation in the play-outs against Valenzana Calcio. Under Sebastiani, the team in 2009/10 reached for the first time promotion to Serie C1 (III), by finishing the season in first place.


title: F.C. Südtirol

text: In the 2010–11 Lega Pro Prima Divisione season, Südtirol was relegated to Lega Pro Seconda Divisione after the relegation "play-out", but on 4 August 2011 was readmitted to Lega Pro Prima Divisione to fill vacancies.


title: F.C. Südtirol

text: In the next season, the club hired Giovanni Stroppa, who was at that time youth coach of Milan. The team was able to establish itself in the third tier and narrowly missed the promotion play-offs. With good performances, players like Manuel Fischnaller and Alessandro Iacobucci moved to the Serie B. After the season Stroppa became Coach of the Serie A club Pescara.


title: F.C. Südtirol

text: In the 2012–13 Lega Pro Prima Divisione season, the team was coached by Stefano Vecchi. With him the team was able to reach the promotion playoffs of the Italian third tier for the first time in club history. In the play-off semi-final the team was eliminated by Carpi, which eventually won promotion. In the following season, Vecchi was hired by Carpi.


title: F.C. Südtirol

text: The 2013–14 season started with Lorenzo D'Anna as coach, previously youth coach of Chievo. Under him, the team could score only five points in the first five matches, which was not enough for the promotion ambitions of the club. They changed coaches and hired Claudio Rastelli. During the championship, the team was able to prevail better and in the end reached third place in the table. That was the best result of the club's history and the repeated achievement of the play-offs. In the quarterfinals, the team prevailed against Como on penalties. In the semi-final, Cremonese was defeated over two legs. The final round for promotion to Serie B was lost against Pro Vercelli.


title: F.C. Südtirol

text: Südtirol's 2021–22 season turned out to be the most successful in club history, as they won the title race on the final matchday, with a five-point advantage to runners-up Padova, and also reached the 2021–22 Coppa Italia Serie C final, losing on aggregate to Padova. They will therefore play in Serie B in the 2022–23 season, both Südtirol's first time in the league, as well as the very first time a club from Südtirol/Alto Adige qualified for a spot in the Italian second division.


title: F.C. Südtirol

text: The team's colors are white and red. With these colors, the club shows its roots in the Province of South Tyrol and the city of Bolzano, which both have the colors of white and red in their traditional coats of arms and flags. Historically, the home jerseys of the club are white. Most of the time the team plays away matches in red jerseys, but from time to time they can be black as well.


title: F.C. Südtirol

text: The current logo of the association is a slightly different form of the badge used since the club was founded in 1995 to 2016. Among other things, the lettering "Alto Adige" was removed.


title: F.C. Südtirol

text: The logo of the association is a circular badge with a white-red diamond pattern and a football inside. The logo is circled with the words "FC Südtirol" (German term for "FC South Tyrol") and "Bolzano - Bozen". Compared to the previous badge, the diamond pattern was renewed and the red color darkened slightly.


title: F.C. Südtirol

text: The home games of FC Südtirol are played in the Drusus stadium in Bolzano, named after Nero Drusus, a Roman general. Built in 1936 as a multi-sport facility and wholly renovated between 2019 and 2021 as a pure football ground, the Drusus stadium has a main and opposite tribune and it can accommodate up to 5,500 spectators.


title: F.C. Südtirol

text: The FCS Center is the training center of the team in Eppan, near Bolzano. In 2015, the training areas were completed and include two natural turf pitches, two artificial turf pitches and another small artificial turf pitch. The service center was opened in 2018 and offers the club changing rooms, offices, a gym with a medical department, meeting rooms, a restaurant and a fan shop. In the training center also the championship games of the national youth teams of FC Südtirol are held.


title: F.C. Südtirol

text: In 2010, the training center was the training camp of the German national football team for the preparation of the World Cup in South Africa. In 2018, the German national team again used the center for the preparation of the World Cup in Russia.


title: F.C. Südtirol

text: The following list includes players who played or have played more than 10 matches in either Serie A or Serie B.


title: Aussie

text: Aussie is Australian slang for "Australian", both the adjective and the noun, and less commonly, Australia.


title: Aussie

text: In Australia, New Zealand, South Africa, the United Kingdom, and Ireland, the word is pronounced , hence the alternative form "Ozzie"; however, in the United States, it is most often pronounced .


title: Aussie

text: "Aussie" is used defensively by some Australians as a term of identification for people and as a nickname for the cultural group of Anglo-Celtic descent.


title: Southfield, Michigan

text: Southfield is a city in Oakland County in the U.S. state of Michigan. As of the 2010 census, the city had a population of 76,618.


title: Southfield, Michigan

text: As a northern suburb of Detroit, Southfield shares part of its southern border with Detroit. The city was originally part of Southfield Township before incorporating in 1958. The autonomous city of Lathrup Village is an enclave within Southfield. The city is home to the Southfield Town Center complex, which includes five connected office buildings. The tallest of these, 3000 Town Center, is tall; it is the state's second-tallest building outside Detroit (after the River House Condominiums in Grand Rapids) and the state's 16th-tallest building overall.


title: Southfield, Michigan

text: Southfield was surveyed in 1817 according to the plan by Michigan territorial governor Lewis Cass. The first settlers came from nearby Birmingham and Royal Oak, Michigan, as well as New York and Vermont. The area that became Southfield was settled by John Daniels in 1823. Among the founders were the Heth, Stephens, Harmon, McClelland and Thompson families.


title: Southfield, Michigan

text: Town 1 north, 10 east was first organized as Ossewa Township on July 12, 1830, but the name was changed to Southfield Township 17 days later. The township took its name from its location in the "south fields" of Bloomfield Township. A US post office was established in 1833 and the first town hall built in 1873.


title: Southfield, Michigan

text: The Southfield Fire Department was formed on April 6, 1942, and the Southfield Police Department in 1953. In the 1950s, cities and villages began to incorporate within the township, including Lathrup Village in 1950, and Beverly Hills in 1957. Most of what was left of the township was formally incorporated as a city on April 28, 1958, to protect it from annexation attempts by Detroit; whites who had migrated to the suburbs did not want to be associated with Detroit's expanding black community.


title: Southfield, Michigan

text: City Hall was built in 1964 as part of the new Civic Center complex, which also became home to Southfield's police headquarters. The Civic Center was expanded in 1971 to include a sports arena with swimming pool. Evergreen Hills Golf Course was added in 1972, and in 1978, a new public safety building, the Southfield Pavilion, and a new court building were added. In 2003, an expanded and redesigned Southfield Public Library opened to the public on the Civic Center grounds, featuring state-of-the-art facilities. Outside the Civic Center complex, Southfield has municipal parks and recreation facilities, largely developed in the 1970s, including Beech Woods Recreation Center and John Grace Community Center.


title: Southfield, Michigan

text: Southfield is a commercial and business center for the metropolitan Detroit area, with of office space, second in the Detroit metro area to Detroit's central business district of 33,251,000 square feet (3,089,000 square meters). Several internationally recognized corporations have major offices and headquarters in Southfield, including Veoneer, Huf Hülsbeck and Fürst, Denso, Peterson Spring, Federal-Mogul, Lear, R.L. Polk & Co., International Automotive Components, Stefanini, Inc., and Guardian Alarm. More than 100 Fortune 500 companies have offices in Southfield.


title: Southfield, Michigan

text: Sumitomo Corporation operates the Detroit Office in Suite 1450 at 27777 Franklin Road. Industries supported by the office include automotive, rolled steel, and tubular products.


title: Southfield, Michigan

text: On October 28, 2014, Fifth Third Bank announced plans to move its Michigan regional headquarters from Southfield to downtown Detroit in what will be named the Fifth Third Bank Building at One Woodward. The office had 150 employees.


title: Southfield, Michigan

text: Northland Center, one of the nation's first shopping malls, opened in Southfield in 1954 and closed in 2015. As of 2022, the property is being redeveloped as a mixed-use residential and commercial complex. Southfield is home to over of parkland and a nationally recognized public school district.


title: Southfield, Michigan

text: Prominent in Southfield is Southfield City Centre, a mixed-use area consisting of a major business center, private university, and residential neighborhoods, near the intersection of Interstate 696 (I-696, Walter P. Reuther Freeway) and the M-10 (Lodge Freeway).


title: Southfield, Michigan

text: Southfield City Centre was created in 1992 as a special assessment district, and was originally planned to improve pedestrian amenities and facilitate economic development.


title: Southfield, Michigan

text: The Consulate of Macedonia in Detroit is in the Southfield Town Center, and the Consulate of Iraq in Detroit is in Southfield.


title: Southfield, Michigan

text: According to the United States Census Bureau, the city has an area of , of which is land and (0.04%) is water.


title: Southfield, Michigan

text: The main branch of the River Rouge runs through Southfield. The city is bounded to the south by Eight Mile Road, its western border is Inkster Road, and to the east it is bounded by Greenfield Road. Southfield's northern border does not follow a single road, but lies approximately along Thirteen Mile Road. The city is bordered by Detroit and Redford Township to the south, Farmington Hills to the west, Franklin, Bingham Farms, and Beverly Hills to the north and Royal Oak, Berkley and Oak Park to the east. The separate city of Lathrup Village sits as an enclave in the eastern part of the city, completely surrounded by Southfield.


title: Southfield, Michigan

text: "Note: the US Census treats Hispanic/Latino as an ethnic category. This table excludes Latinos from the racial categories and assigns them to a separate category. Hispanics/Latinos can be of any race."


title: Southfield, Michigan

text: As of the census of 2010, there were 71,739 people, 31,778 households, and 18,178 families residing in the city. The population density was . There were 35,986 housing units at an average density of . The racial makeup of the city was 70.3% African American, 24.9% White, 0.2% Native American, 1.7% Asian, 0.4% from other races, and 2.4% from two or more races. Hispanic or Latino of any race were 1.3% of the population.


title: Southfield, Michigan

text: There were 31,778 households, of which 26.7% had children under the age of 18 living with them, 33.5% were married couples living together, 19.4% had a female householder with no husband present, 4.4% had a male householder with no wife present, and 42.8% were non-families. 37.9% of all households were made up of individuals, and 13.7% had someone living alone who was 65 years of age or older. The average household size was 2.22 and the average family size was 2.96.


title: Southfield, Michigan

text: The median age in the city was 42. 20.5% of residents were under the age of 18; 8.5% were between the ages of 18 and 24; 24.7% were from 25 to 44; 29.2% were from 45 to 64; and 16.9% were 65 years of age or older. The gender makeup of the city was 44.7% male and 55.3% female.


title: Southfield, Michigan

text: As of the census of 2000, there were 78,296 people, 33,987 households, and 19,780 families residing in the city. The population density was 2,984.6 per square mile (1,152.5/km). There were 35,698 housing units at an average density of 1,360.8 per square mile (525.5/km). The racial makeup of the city was 54.22% African American, 38.83% White, 3.09% Asian, 0.20% Native American, 0.03% Pacific Islander, 0.64% from other races, and 2.99% from two or more races. 1.19% of the population were Hispanic or Latino of any race.


title: Southfield, Michigan

text: Of the city's 33,987 households, 25.3% had children under the age of 18 living with them, 40.2% were married couples living together, 14.3% had a female householder with no husband present, and 41.8% were non-families. 36.2% of all households were made up of individuals, and 11.9% had someone living alone who was 65 years of age or older. The average household size was 2.27 and the average family size was 3.01.


title: Southfield, Michigan

text: The age distribution in the city's population was spread out, with 21.6% under the age of 18, 7.9% from 18 to 24, 30.6% from 25 to 44, 24.8% from 45 to 64, and 15.2% who were 65 years of age or older. The median age was 38. For every 100 females there were 84.9 males. For every 100 females age 18 and over, there were 80.9 males.


title: Southfield, Michigan

text: The median income for a household in the city was $51,802, and the median income for a family was $64,543. Males had a median income of $48,341 versus $37,949 for females. The per capita income for the city was $28,096. About 5.8% of families and 7.4% of the population were below the poverty line, including 8.2% of those under age 18 and 10.2% of those age 65 or over.


title: Southfield, Michigan

text: The most common occupations for people in Southfield are a mix of both white- and blue-collar jobs. Overall, Southfield is a city of sales and office workers, professionals and managers. A relatively large number of people living in Southfield work in office and administrative support (16.00%), sales jobs (10.93%), and management occupations (9.72%). Southfield's populace is very well-educated relative to most cities and towns in the nation. Whereas 21.84% of the average community's adult population holds a 4-year degree or higher, 38.73% of Southfield's adults have a bachelor's degree or advanced degree. Southfield's per capita income in 2010 was $28,995.


title: Southfield, Michigan

text: In 2002 Southfield had 42,259 black people, the second-largest black population in Metro Detroit and third-largest in Michigan.


title: Southfield, Michigan

text: As of 2011, many African Americans from Detroit were moving into Southfield and other suburbs of Oakland and Macomb counties. Tensions have occurred between existing middle-class blacks in Southfield and newcomers from Wayne County.


title: Southfield, Michigan

text: As of 2001 many Chaldeans live in Southfield; they are mostly Assyrian Christians. The Chaldean Federation of America, an umbrella organization for most regional Chaldean groups, is in Southfield. As of that year, the largest Chaldean church, by number of congregants, was based here. The city also had the area's sole Chaldean retirement home.


title: Southfield, Michigan

text: Southfield uses the council-manager form of government, and thus is governed by a City Council consisting of seven council members. The city council appoints a City Administrator, who manages the day-to-day operations of the city. The popularly elected mayor, who does not vote on council actions, has the right to veto council actions and appoints the city's planner, assessor, attorney, and members of various commissions. The city's clerk and treasurer are also popularly elected officials. All these officials hold nonpartisan positions.


title: Southfield, Michigan

text: Southfield Public Schools operates area public schools. Southfield Senior High School for the Arts and Technology (commonly known as Southfield A&T) is the district's sole high school. There were originally two high schools in the district, Southfield and Southfield-Lathrup, but they were consolidated after the 2015–16 school year. Students living in parts of Northern Southfield attend schools in the Birmingham City School District, while students living in the southeast corner of Southfield attend schools in the Oak Park School District. Southfield A&T also competes in the Oakland Activities Association in the Red Division for high school sports, and has membership in the MHSAA.


title: Southfield, Michigan

text: Southfield Public Library operates public libraries in the city.Providence Medical Center offers residency training in various fields of medicine.


title: Southfield, Michigan

text: Southfield is home to eight colleges, including Lawrence Technological University, Abcott Institute, Everest Institute and Oakland Community College. The Specs Howard School of Media Arts is in Southfield.


title: Southfield, Michigan

text: Southfield is the broadcast media center for the Detroit area, with studios and broadcast facilities for several television stations, including WXYZ-TV, WJBK, WKBD-TV, WMYD-TV, WWJ-TV, and City Cable 15. Metro Detroit's regional sports network Bally Sports Detroit is in Southfield on 11 Mile and Evergreen roads. A transmitter for WDIV-TV is in the city; it is the only television station based in downtown Detroit.


title: Southfield, Michigan

text: The city is home to Audacy’s Detroit studios. Southfield is also served by WSHJ 88.3 FM, a student-run radio station sponsored by Southfield Public Schools.


title: Southfield, Michigan

text: In 1970, radio pioneer and entertainer Specs Howard founded the Specs Howard School of Media Arts in Southfield.


title: Southfield, Michigan

text: In addition to "The Detroit News" and "Free Press", Detroit's two metropolitan daily newspapers, Southfield is served by the "Southfield Eccentric", a suburban paper that reports on local and community events, which is published twice a week, on Sunday and Thursday. The headquarters of "The Detroit Jewish News" is in Southfield. The "Chaldean News" is also headquartered in Southfield.


title: Southfield, Michigan

text: Suburban Mobility Authority for Regional Transportation (SMART) operates local and regional bus transit.


title: Southfield, Michigan

text: The major thoroughfares in the city include the John C. Lodge Freeway (M-10), which is among the first urban to suburban highways constructed in the United States. The city also contains I-696, Southfield Freeway (M-39), and US 24 (Telegraph Road). The city has several freeway interchanges connecting local roads to the freeways. Most prominently, "The Lodge" freeway connects downtown Detroit to "The Mixing Bowl," the sprawling interchange of I-696, US 24, M-10, Lahser Road, and Franklin Road, all of which are in Southfield.


title: Southfield, Michigan

text: Most major streets adhere to a north–south/east–west orientation, forming a grid of major streets spaced one mile (1.6 km) apart from each other. The major east–west streets are 8 Mile Road (which forms the southern boundary of the city), 9 Mile Road (which is split by the Southfield Freeway), 10 Mile Road, 11 Mile Road (which is split by the Lodge), and 12 Mile Road. Major north–south streets are Telegraph Road, Lahser Road, Evergreen Road, Southfield Road (the northern extension of the Southfield Freeway) and Greenfield Road (which forms the eastern boundary of the city).


title: Southfield, Michigan

text: The Roman Catholic Archdiocese of Detroit formerly operated the Church of St. Bede. By 2013 there was a debate on how the property should be rezoned, and therefore reused.


title: Southfield, Michigan

text: The Southfield Parks and Recreation Department is responsible for 775 acres of parks, nature preserves and open space and historic properties at 33 sites within the city. There are numerous ball fields, tennis and handball courts, picnic areas and shelters. There are soccer fields, play lots and sand volleyball courts throughout the city.


title: Meghan King

text: Meghan King is an American reality television personality. She was a cast member on the Bravo series "The Real Housewives of Orange County" from 2015 to 2017.


title: Meghan King

text: King was born in St. Louis, Missouri. She is the sister of model RJ King, professional soccer player Julie King, and model and former "Amazing Race" contestant Caitlin King. She holds a bachelor of business administration degree from the University of Mississippi, specializing in marketing.


title: Meghan King

text: She made her first appearance in reality television on the TV show "Resale Royalty". She appeared again when her engagement to Jim Edmonds and search for a wedding gown were documented in season 12 of the TLC series, "Say Yes to the Dress", which aired in 2014.


title: Meghan King

text: In 2015, Bravo announced that King would join the season-10 cast of "The Real Housewives of Orange County", as a housewife. She reprised the role in season 11, which aired in summer 2016.


title: Meghan King

text: King married former baseball player Jim Edmonds in October 2014. She was the stepmother of Jim's four children and lived half the year in St. Louis and half the year in Newport Beach. The couple had their first child via "in vitro" fertilization in November 2016. They separated in October 2019 after five years of marriage. They have three children. They finalized their divorce in May 2021.


title: Meghan King

text: In October 2021, King married lawyer Cuffe Biden Owens, son of Valerie Biden Owens. They separated in December 2021. In March 2022, King stated that she planned to annul the marriage. The marriage was annulled by July 2022.


title: Treasure Island Hotel and Casino

text: Treasure Island Hotel and Casino (also known as Treasure Island Las Vegas and "TI") is a pirate-themed hotel and casino located on the Las Vegas Strip in Paradise, Nevada, USA. It includes 2,885 rooms and a casino. The resort is owned and operated by businessman Phil Ruffin.


title: Treasure Island Hotel and Casino

text: Treasure Island was developed by casino owner Steve Wynn through his company, Mirage Resorts. Project designers included Joel Bergman and Jon Jerde. Wynn announced Treasure Island in October 1991, and construction began four months later. The resort opened on October 26, 1993. Treasure Island was among several family-oriented resorts to open in Las Vegas during the 1990s, taking advantage of the growing tourist demographic. Treasure Island's facade was built with a lagoon containing two pirate ships. Free pirate battles were performed daily for spectators over the next two decades. The resort has also hosted "Mystère" since 1993, making it the longest-running show by Cirque du Soleil.


title: Treasure Island Hotel and Casino

text: In 2000, MGM Grand Inc. acquired Mirage Resorts and was renamed MGM Mirage. Treasure Island's pirate theme was scaled back during a 2003 project aimed at attracting a more mature audience, in contrast to the family trend of the 1990s. MGM's revamp included new signage abbreviating the resort's name as "TI", while the original pirate show, "Battle of Buccaneer Bay", was replaced by "Sirens of TI".


title: Treasure Island Hotel and Casino

text: MGM struggled financially during the Great Recession. In 2009, it sold Treasure Island to Ruffin for $755 million. Ruffin targeted a middle-class clientele, making various changes to appeal to the demographic. He added two signature restaurants: Gilley's Saloon in 2010, and Señor Frog's in 2012. The pirate shows ended the following year, although the ships remain on display.


title: Treasure Island Hotel and Casino

text: In 1986, casino owner Steve Wynn purchased property on the Las Vegas Strip extending north to Spring Mountain Road. He opened a resort, The Mirage, on the southern portion of the land in 1989. Wynn had always wanted to build a second casino on the remaining acreage, which was being used as a parking lot for the Mirage.


title: Treasure Island Hotel and Casino

text: Wynn's company, Mirage Resorts, announced the Treasure Island project on October 30, 1991. Like other new resorts in Las Vegas, Treasure Island was planned as a family-oriented property, taking advantage of the growing tourist demographic. It would also cater to a middle-class clientele, unlike the Mirage. Groundbreaking took place on March 2, 1992, earlier than anticipated. Construction was originally expected to cost $300 million, but the final cost rose to $430 million.