prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: The arena where the Lewiston Maineiacs played their home games can seat how many people?

The following are given passages.
Context 1: Passage 1:
Lewiston Maineiacs
The Lewiston Maineiacs were a junior ice hockey team of the Quebec Major Junior Hockey League based in Lewiston, Maine, United States  The team played its home games at the Androscoggin Bank Colisée   They were the second QMJHL team in the United States, and the only one to play a full season  They won the President's Cup in 2007, becoming the only American based franchise to accomplish the feat 
On May 31, 2011, the QMJHL decided to fold the team following eight years of financial losses 

History
Their franchise was granted for the 1969–70 season  They played in Trois-Rivières, Quebec, from 1969 to 1992  They were known as the Ducs from 1969 to 1973, and as the Draveurs from 1973 to 1992  They moved to Sherbrooke, Quebec, in 1992 to become the Faucons (1992–1998) and the Castors (1998–2003)  The Castors moved to Lewiston, Maine, in 2003 
The MAINEiacs clinched the Jean Rougeau Trophy for first overall in the regular season for 2006–07  During the same season, Lewiston increased its annual attendance totals to 94,903 tickets sold  In the playoffs that year, Lewiston went 16–1 to cruise to their first President's Cup 

2007 Memorial Cup
After winning the 2007 President's Cup, the MAINEiacs won eligibility to play in the 2007 Memorial Cup in Vancouver, British Columbia  Following an opening win over the Medicine Hat Tigers, the MAINEiacs suffered a huge loss with the injury of their captain, Marc-André Cliche, and never really found their scoring touch  They crashed out of the tournament in fourth place after losing consecutive games to the Vancouver Giants, Plymouth Whalers, and the Whalers again in the tie-breaker, scoring only three goals in three games in the process 

ScoresSaturday, May 19: Lewiston 3, Medicine Hat Tigers 1
Sunday, May 20: Vancouver Giants 2, Lewiston 1
Tuesday, May 22: Plymouth Whalers 2, Lewiston 1 (OT)
Thursday, May 24: Plymouth Whalers 5, Lewiston 1

Sale and aborted relocation
On January 25, 2009, it was announced that the MAINEiacs were negotiating with the city of Boisbriand, Quebec (a suburb of Montreal), in hopes of relocating the franchise for the 2009–10 season  Under the plan, Mark Just would remain majority owner with 51% of the shares, with former NHL defenseman Joel Bouchard owning the rest  On January 31, the team announced that they had filed their intent to relocate, and had submitted papers to do so to the QMJHL 
In a January 31 media release announcing the move of the MAINEiacs franchise, owner Mark Just said that community support for the team was a major consideration  During the six seasons since the team moved from Sherbrooke, Quebec, to Lewiston, the MAINEiacs never managed to break even  However, on February 2, Farrel Miller, owner of the QMJHL's Montreal Junior Hockey Club, issued a statement that his team would fight the MAINEiacs move to Boisbriand on territorial grounds 

The Montreal Junior Hockey Club has communicated to the QMJHL that it will retain, without modification, its exclusive geographic territory that it acquired in connection with its 2008 Franchise Agreement with the QMJHL  On January 21, 2009, the Montreal Junior Hockey Club communicated to the Governors of the QMJHL that (i) it has chosen to retain its exclusive territory without modification and (ii) that it is not seeking any financial compensation in connection with this issue After several weeks of negotiations with a number of Canadian cities (most notably Fredericton, New Brunswick), MAINEiacs Head Coach Don Macadam announced on March 24, 2009, that the MAINEiacs would be remaining in Lewiston  In June 2010, Lewiston businessman Paul Spellman became minority owner of the team, and in early August 2010, former Moncton Wildcats General Manager Bill Schurman was named as the team's Sports Management Consultant   However, relocation rumors continued to follow the team, with Summerside, Prince Edward Island (where Schurman, a native of that town, had recently been the municipality's Director of Community Services), and St  John's, Newfoundland and Labrador, named as a potential destinations in January 2011 
Schurman's denials of the team looking into a Summerside relocation proved unconvincing, and the rumours had a negative effect on attendance  However, Schurman's dream of moving the MAINEiacs to his home city ultimately failed, as a preliminary exploration to gauge support for a move to Summerside found little traction  The team then began to look at other possibilities, but found that few other relocation options existed 
The Lewiston franchise was disbanded by the QMJHL in the summer of 2011  To replace the defunct MAINEiacs club, the Sherbrooke Phoenix were scheduled to begin play for the 2012–13 season, the 3rd franchise to call Sherbrooke home in 25 years 

Takeover by league and disbanding
On May 31, 2011, the Quebec Major Junior Hockey League held a conference call to prepare an offer to purchase the team from Mark Just for 3 5 million dollars  Under the league's plan, the MAINEiacs would then be disbanded, with players being selected by other clubs in a dispersal draft  Late on May 31, the league issued a press release confirming the sale of the MAINEiacs to the league, and the subsequent disbanding / dispersal draft occurred the following week  Colisee stated they would search for a replacement team from outside of the QMJHL to take the MAINEiacs place The City of Lewiston and the Androscoggin Bank Colisee would end up getting the American Hockey League's Portland Pirates to move to the Colisee for the 2013-14 season after disputing their lease with the Cumberland County Civic Center in Portland  Starting in 2019, the NAHL Maine Nordiques and their partner organization, the NA3HL Lewiston-Auburn Nordiques, began play at the Colisee 

Coaches
Mario Durocher: 2003–04
Clément Jodoin: 2004–2007
Ed Harding: 2007 – January 12, 2009
Don MacAdam: January 13, 2009 – December 10, 2009 [1]
Jeff Guay: interim: December 10, 2009 – December 27, 2009 (then moved to assistant coach) 
Jean-François Houle: December 27, 2009 – May 31, 2011

Players
QMJHL award winners
Mike Bossy Trophy — best pro prospect: Alexandre Picard, 2004
Paul Dumont Trophy — personality of the year: Clement Jodoin, 2006
Ron Lapointe Trophy — Coach of the Year: Clement Jodoin, 2007
Guy Carbonneau Trophy — Best Defensive forward: Marc-André Cliche, 2007 
Guy Lafleur Trophy — QMJHL playoff's Most Valuable Player: Jonathan Bernier, 2007

All-stars
Jonathan Paiement: 1st team (defense) 2003–04
Alexandre Picard: 1st team (right wing) 2003–04,
Alex Bourret: 2nd team (right wing) 2004–05
Jonathan Bernier: 2nd team (goaltender) 2006–07
Peter Delmas: all-rookie team (goaltender) 2006–07
Stefano Giliati: 2nd team (left wing) 2007–08
Kevin Marshall: 2nd team (defense) 2007–08

Captains
2003–04: Francis Trudel
2004–05: No captain
2005 – January 2006: Brandon Roach
January 2006 – May 2007: Marc-André Cliche
September 2007 – March 2008: Marc-André Daneau
September 2008 – June 2009: Danick Paquette
September 2009 – May 2010: Billy Lacasse
September 2010 – 2011: Cameron Critchlow

NHL alumni
Nine MAINEiacs to date have played in the NHL:

Jonathan Bernier
Antoine Bibeau
Michael Chaput
Marc-André Cliche
Éric Gélinas
Jaroslav Halák
Kevin Marshall
David Perron
Alexandre Picard

NHL draftees
In addition, the MAINEiacs have had several players drafted by National Hockey League teams  They are:

2004 NHL Draft
Alexandre Picard (2004 1st round, #8 overall by Columbus Blue Jackets)
Jonathan Paiement (2004 8th round, #247 overall by New York Rangers)2005 NHL Draft
Alex Bourret (2005 1st round, #16 overall by Atlanta Thrashers)
Chad Denny (2005 2nd round, #49 overall by Atlanta Thrashers)
Marc-André Cliche (2005 2nd round, #56 overall by New York Rangers)
Olivier Legault (2005 4th round, #93 overall by Florida Panthers)
Mathieu Aubin (2005 5th round, #130 overall by Montreal Canadiens)2006 NHL Draft
Jonathan Bernier (2006 1st round, #11 overall by Los Angeles Kings)
Stefan Chaput (2006 5th round, #153 overall, by Carolina Hurricanes)2007 NHL Draft
David Perron (2007 1st round, #26 overall by St  Louis Blues)
Kevin Marshall (2007 2nd round #41 overall by Philadelphia Flyers)
Michael Ward (2007 7th round #197 overall by Tampa Bay Lightning)2008 NHL Draft
Peter Delmas (2008 2nd round, #61 overall by Colorado Avalanche)
Danick Paquette (2008 3rd round #64 overall by Atlanta Thrashers)2009 NHL Draft
Éric Gélinas (2009 2nd round, #54 overall by New Jersey Devils)2010 NHL Draft
Michael Chaput (2010 3rd round, #89 overall by Philadelphia Flyers)
Samuel Carrier (2010 6th round, #176 overall by Washington Capitals)

Yearly results
Regular season
Legend: OTL = Overtime loss, SL = Shootout loss

Playoffs
2003–04 – Lost to Rouyn-Noranda Huskies 4–3 in first round 
2004–05 – Defeated Shawinigan Cataractes 4–0 in first round  – Lost to Rimouski Océanic 4–0 in quarterfinals 
2005–06 – Lost to Halifax Mooseheads 4–2 in conference quarterfinals 
2006–07 – Defeated Shawinigan Cataractes 4–0 in conference first roundfinals   – Defeated Halifax Mooseheads 4–1 in conference quarterfinals  – Defeated Rouyn-Noranda Huskies 4–0 in league semifinals  – Defeated Val-d'Or Foreurs 4–0 in QMJHL finals  QMJHL CHAMPIONS – Finished Memorial Cup round-robin tied for third   – Lost to Plymouth Whalers 5–1 in the tiebreaker game 
2007–08 – Lost to Cape Breton Screaming Eagles 4–2 in conference quarterfinals 
2008–09 – Lost to Drummondville Voltigeurs 4–0 in conference quarterfinals 
2009–10 – Lost to Drummondville Voltigeurs 4–0 in conference quarterfinals 
2010–11 – Defeated Moncton Wildcats 4–1 in the round of 16   – Defeated Montreal Junior 4–2 in league quarterfinals   – Lost to Saint John Sea Dogs 4–0 in league semifinals 
Passage 2:
Billings Bulls
The Billings Bulls were a junior ice hockey organization based in Billings, Montana  They most recently played home games at the 550-seat Centennial Ice Arena and due to the arena's small size, the Bulls frequently sold out games  They previously played their home games in the Metrapark which had a max capacity of 9,000 for hockey games  However, a negotiating dispute with arena officials and local county commissioners resulted in the team losing its lease 

History
The Bulls joined the American Frontier Hockey League in 1993 which became the America West Hockey League (AWHL) in 1998  The Bulls joined the Tier II Jr  A North American Hockey League in 2003 when the AWHL merged with the NAHL (keeping the NAHL name)  The team played in the NAHL from 2003 to 2006 until the team and their rivals, the Bozeman Icedogs and Helena Bighorns, left to join the Northern Pacific Hockey League (NorPac), a regional league in the Pacific Northwest of the United States  When they joined the NorPac, the league was Tier III Junior B but promoted to Tier III Junior A by USA Hockey in 2007  In 2011, the Montana teams in the NorPac left the league to form the new regional American West Hockey League, made up of teams in Montana and Wyoming, including the Bulls  In March 2014, the new AWHL joined the North American 3 Hockey League (NA3HL) as the Frontier Division On the opening weekend of the 2017–18 NA3HL season, the Bulls announced they would be going dormant due to lack of players  At the time, the Bulls were the second-oldest organization in the NA3HL, behind only the St  Louis Jr  Blues 

Previous leagues
1993–1998 American Frontier Hockey League
1998–2003 America West Hockey League
2003–2006 North American Hockey League
2006–2011 Northern Pacific Hockey League
2011–2014 American West Hockey League
2014–2017 North American 3 Hockey League

Season-by-season records
NHL alumni
The franchise developed a number of collegiate and professional players, but only two have played in the NHL
Chris Holt, G (University of Nebraska-Omaha, last with Braehead Clan of the EIHL), formerly of the New York Rangers and St  Louis Blues 
Brian Lee, D retired, formerly of the Tampa Bay Lightning and Ottawa Senators 

Other notable alumni with professional or major college/junior experience
Jon Booras, F (Lake Superior State University, last with MAC Budapest of the MOL Liga)
Jacob Doty, F (currently with Braehead Clan of the EIHL)
Brad Gorham, D (University of Alaska Anchorage, last with the Alaska Aces of the ECHL)
Trevor Hammer, D (University of North Dakota, last played for Florida Seals)
Jeff Hazelwood, F (last played for Las Vegas Wranglers)
Jordan Hines, F (University of Findlay, last played for Fort Worth Fire)
Dan Knapp, D (University of Nebraska-Omaha, last played for Ontario Reign)
Mathias Lange, G (last played for the Iserlohn Roosters of the Deutsche Eishockey Liga)
Tom Reimann, D (University of Maine, last played for Colorado Eagles)
Cam Strong, F (currently with Dartmouth, NCAA Division 1)
Zach Tarkir, D (Northern Michigan University, last played for IF Troja/Ljungby of the HockeyAllsvenskan)
Kevin Ulanski, C (University of Denver, last played for the Bentley Generals)Stormy Knight, LW last played for Seattle Totems of the NPHL (current commisioner of The Mad House fantasy football league)
Passage 3:
Case Gym
Case Gym is a 1,800-seat multi-purpose arena at Boston University in Boston, Massachusetts  It opened in 1972 as part of the Harold Case Physical Education Center, which is named after the university's fifth president, Harold C  Case 
The gym is referred to as "The Roof" because it is located on the top level of the building, above Walter Brown Arena  It is home to the Boston University Terriers men's and women's basketball teams, as well as the men's wrestling team    Basketball games are also played in Agganis Arena, and on occasion Walter Brown Arena  When Boston University left the America East Conference for the Patriot League in July 2013, they announced that all home men's basketball conference games would be played at Agganis Arena, with the non-conference games to be played at Case Case Gym hosted the championship games of the 1997 and 2002 America East Conference men's basketball tournament as well as the championship game of the 2011 America East Conference women's basketball tournament  It has also hosted Ring Of Honor Wrestling Shows through wrestling promoter and Boston University alumnus Mike "Mongoose" Coughlin The center, whose recreational use has declined since the opening of the Fitness and Recreation Center adjacent to Agganis Arena, is approximately located where the left field "pavilion" seats at Braves Field were before the Boston Braves, a Major League Baseball club, were relocated to Milwaukee in 1953 

See also
List of NCAA Division I basketball arenas
Passage 4:
Robins Center
The Robins Center is a 7,201-seat multi-purpose arena in Richmond, Virginia  Opened in 1972, the arena is home to the University of Richmond Spiders basketball  It hosted the ECAC South (now known as the Colonial Athletic Association) men's basketball tournament in 1983   It is named for E  Claiborne Robins Sr, class of 1931, who, along with his family, have been leading benefactors for the school   The opening of the Robins Center returning Spider basketball to an on-campus facility for the first time since the mid-1940s when it outgrew Millhiser Gymnasium   In the intervening decades, the Spiders played home games in numerous locations around the Richmond area, including the Richmond Coliseum (1971–1972), the Richmond Arena (1954–1971), the Benedictine High School gymnasium (1951–1954), Grays' Armory (1950–1951) and Blues' Armory (1947–1950)  The Robins Center arena serves as the location of the University of Richmond's commencement exercises and hosted a 1992 Presidential debate involving Bill Clinton, George H  W  Bush, and Ross Perot 
The Robins Center saw a number of upgrades in the 2000s, including a new maple floor in 2003 and renovated locker rooms and offices in 2004  A new scoreboard and sound system was installed for the 2006–2007 season   A $17 million renovation started in March 2013, which added four corner video boards, a repainted ceiling and new floor, and the seat capacity decreased from 9,071 to around 7,201 once renovations were completed in January 2014  
In 2015, the playing surface was renamed "Dick Tarrant Court" in honor of Dick Tarrant, the school's all-time winningest coach In addition to the basketball arena, the Robins Center also serves as the home of many of the other athletic programs at the University of Richmond  The Robins Center Natatorium serves as the home of the women's swimming and diving team, while most of the other programs have their coaches' offices in the building  An addition to the Robins Center, known as the Weinstein Center for Fitness and Recreation, opened in January 2007 and provides expanded facilities for recreational use 

See also
List of NCAA Division I basketball arenas
Passage 5:
2007 Memorial Cup
The 2007 MasterCard Memorial Cup was played in May 2007 in Vancouver, British Columbia, at the Pacific Coliseum  It was the 89th annual Memorial Cup competition and determined the major junior ice hockey champion of the Canadian Hockey League (CHL)   The tournament was competed between the WHL champion, the Medicine Hat Tigers; the OHL champion, the Plymouth Whalers; the QMJHL champion, the Lewiston Maineiacs; and the host team and tournament champion, Vancouver Giants, who were competing in their second consecutive national junior championship  The Memorial Cup tournament was a four team tournament with a round-robin format  The Giants won their first Memorial Cup, defeating Medicine Hat 3–1 in the second all-WHL final in tournament history (the first was in 1989)   The tournament set a new Memorial Cup attendance record with 121,561 fans attending the nine games   The previous record of 84,686 was set at the 2003 tournament in Quebec City 
The tournament was the first to feature two league champions based in the United States, from Lewiston, Maine and Plymouth, Michigan, respectively  The only previous Memorial Cup to feature two American teams was the 1998 Memorial Cup, featuring the WHL champion, the Portland Winter Hawks and the host, the Spokane Chiefs  The 2007 MasterCard Memorial Cup was also the first to feature the two-referee system 
The Memorial Cup trophy's ties to Canadian military were evident when Canadian Forces units delivered it to the championship by sea, aboard HMCS Vancouver; by air, hoisted aboard a CH-149 Cormorant helicopter; and by land, via the armoured 39th Canadian Brigade Group Convoy 

Round-robin standings
Rosters
Schedule
Round robin
Playoff round
Tie breaker
Semi-final
Championship game
Leading scorers
Leading goaltenders
Goalies Have To Play A Minimum Of 60 Minutes To Be Listed 

Award winners
Stafford Smythe Memorial Trophy (MVP): Milan Lucic, Vancouver
George Parsons Trophy (Sportsmanship): Brennan Bosch, Medicine Hat
Hap Emms Memorial Trophy (Goaltender): Matt Keetley, Medicine Hat
Ed Chynoweth Trophy (Leading Scorer): Michal Repik, VancouverAll-star team

Goal: Matt Keetley, Medicine Hat
Defence: Brendan Mikkelson, Vancouver; Cody Franson, Vancouver
Forwards: Darren Helm, Medicine Hat; Michal Repik, Vancouver; Milan Lucic, Vancouver

Road to the cup
OHL playoffs
QMJHL playoffs
†Shawinigan seeded 8th in Eastern division 

WHL playoffs
Passage 6:
Dwyer Arena
The Robert and Concetta Dwyer Arena houses two ice surfaces, both 200 x 85 ft , and pro shop on Niagara University's campus in Lewiston, New York, United States  The main rink can seat up to 1,400 people and is the home to the Niagara Purple Eagles men's ice hockey team, which plays in Atlantic Hockey  The arena was formerly home to the women's ice hockey team, which played in College Hockey America  
The building was built in 1996  Prior to the 1999–2000 season, major renovation took place as a result of a gift by Bob and Connie Dwyer, both 1965 graduates, who contributed $3 million for facilities upgrades  Locker and training rooms, players' lounge, and lobby were upgraded, while separate entrances for the main and auxiliary rinks, new pro shop, and new ticket office were arranged  In the summer of 2007 a premium seating section was added in the area formerly occupied by the Party Deck, and as a result, capacity was increased from 1,600 to 2,100  The current seating capacity is 1,400 
It hosted the College Hockey America 2002, 2008, and 2010 men's conference tournaments and the 2004 and 2008 women's conference tournaments   Dwyer was home of the Buffalo Sabres Summer Development Camp in 2008, 2009, 2010 and 2011 which featured young prospects and draft picks in the Sabres organization   The arena co-hosted the 2011 World Junior Ice Hockey Championships 

External links
Official website
Passage 7:
2006–07 QMJHL season
The 2006–07 QMJHL season was the 38th season in the history of the Quebec Major Junior Hockey League  The regular season ran from September 14, 2006 to March 18, 2007  Eighteen teams played 70 games each in the schedule  The Lewiston Maineiacs finished first overall in the regular season winning their first Jean Rougeau Trophy  Lewiston won 16 playoff games, losing only one, en route to their first President's Cup, defeating the Val-d'Or Foreurs in the finals 

Final standings
Note: GP = Games played; W = Wins; L = Losses; OTL = Overtime loss; SL = Shootout loss; PTS = Points; GF = Goals for; GA = Goals against

complete list of standings 

Scoring leaders
Note: GP = Games played; G = Goals; A = Assists; Pts = Points; PIM = Penalty minutes

complete scoring statistics

Goaltending leaders
Note: GP = Games played; Mins = Minutes Played; W = Wins; L = Losses: OTL = Overtime losses; SL = Shootout losses; GA = Goals allowed; SO = Shutouts; GAA = Goals against average

Canada-Russia Challenge
The 2006 ADT Canada-Russia Challenge was hosted by the Rouyn-Noranda Huskies and the Val-d'Or Foreurs  On November 20, 2006, the QMJHL All-stars defeated the Russian Selects 6–2 at the Aréna Dave Keon  On November 21, 2006, the QMJHL All-stars defeated the Russian Selects 4–3 at the Centre Air Creebec  Since the tournament began in 2003, the QMJHL All-stars have won five games, the Russian Selects have three wins 

Playoffs
The top nine teams from the Telus division, and top seven teams from the Eastern division qualified for the playoffs  The ninth place team in the Telus division qualified in the Eastern division, and ranked by regular season points  All series were best-of-seven  Divisions crossed over in the semifinals 
Brad Marchand was the leading scorer of the playoffs with 40 points (16 goals, 24 assists) 

†Shawinigan seeded 8th in Eastern division 

All-star teams
First teamGoaltender - Ondrej Pavelec, Cape Breton Screaming Eagles
Left defence - Andrew MacDonald, Moncton Wildcats
Right defence - Kris Letang, Val-d'Or Foreurs
Left winger - Vyacheslav Trukhno, Gatineau Olympiques
Centreman - Mathieu Perreault, Acadie-Bathurst Titan
Right winger - Thomas Beauregard, Acadie-Bathurst TitanSecond teamGoaltender - Jonathan Bernier, Lewiston Maineiacs
Left defence - Oskars Bartulis, Cape Breton Screaming Eagles
Right defence - Jean-Claude Sawyer, Cape Breton Screaming Eagles
Left winger - Benoît Doucet, Victoriaville Tigres
Centreman - James Sheppard, Cape Breton Screaming Eagles
Right winger - François Bouchard, Baie-Comeau DrakkarRookie teamGoaltender - Peter Delmas, Lewiston Maineiacs
Left defence - Mark Barberio, Cape Breton Screaming Eagles / Moncton Wildcats
Right defence - Simon Lacroix, Shawinigan Cataractes
Left winger - Michael Frolik, Rimouski Océanic
Centreman - Christopher DiDomenico, Saint John Sea Dogs
Right winger - Jakub Voracek, Halifax Mooseheads
List of First/Second/Rookie team all-stars 

Trophies and awards
TeamPresident's Cup - Playoff Champions, Lewiston Maineiacs
Jean Rougeau Trophy - Regular Season Champions, Lewiston Maineiacs
Luc Robitaille Trophy - Team that scored the most goals, Cape Breton Screaming Eagles
Robert Lebel Trophy - Team with best GAA, Lewiston MaineiacsPlayerMichel Brière Memorial Trophy - Most Valuable Player, Mathieu Perreault, Acadie-Bathurst Titan
Jean Béliveau Trophy - Top Scorer, François Bouchard, Baie-Comeau Drakkar
Guy Lafleur Trophy - Playoff MVP, Jonathan Bernier, Lewiston Maineiacs
Telus Cup – Offensive - Offensive Player of the Year
Telus Cup – Defensive - Defensive Player of the Year
Jacques Plante Memorial Trophy - Best GAA, Ondrej Pavelec, Cape Breton Screaming Eagles
Guy Carbonneau Trophy - Best Defensive Forward, Marc-André Cliche - Lewiston Maineiacs
Emile Bouchard Trophy - Defenceman of the Year, Kris Letang, Val-d'Or Foreurs
Kevin Lowe Trophy - Best Defensive Defenceman, Kris Letang, Val-d'Or Foreurs
Mike Bossy Trophy - Best Pro Prospect, Angelo Esposito, Quebec Remparts
RDS Cup - Rookie of the Year, Jakub Voracek, Halifax Mooseheads
Michel Bergeron Trophy - Offensive Rookie of the Year, Jakub Voracek, Halifax Mooseheads
Raymond Lagacé Trophy - Defensive Rookie of the Year, T  J  Brennan, St  John's Fog Devils
Frank J  Selke Memorial Trophy - Most sportsmanlike player, David Desharnais, Chicoutimi Saguenéens
QMJHL Humanitarian of the Year - Humanitarian of the Year, Roger Kennedy, Halifax Mooseheads
Marcel Robert Trophy - Best Scholastic Player, Alexandre Picard-Hooper, Baie-Comeau Drakkar
Paul Dumont Trophy - Personality of the Year, Kris Letang, Val-d'Or ForeursExecutiveRon Lapointe Trophy - Coach of the Year, Clément Jodoin, Lewiston Maineiacs
Maurice Filion Trophy - General Manager of the Year, Pascal Vincent, Cape Breton Screaming Eagles
John Horman Trophy - Executive of the Year, Pierre Dufour, Val D'Or Foreurs
Jean Sawyer Trophy - Marketing Director of the Year, Nadia Lacasse & Mélanie Allard, Rouyn-Noranda Huskies

See also
2007 Memorial Cup
2007 NHL Entry Draft
2006–07 OHL season
2006–07 WHL season
Passage 8:
Androscoggin Bank Colisée
The Colisée (formerly Androscoggin Bank Colisée, Central Maine Youth Center, Central Maine Civic Center and Lewiston Colisee) is a 4,000 capacity (3,677 seated) multi-purpose arena, in Lewiston, Maine, that opened in 1958  The Colisée was built to replace St  Dominics Regional High School Arena, and initially constructed and operated by the Catholic parish of SS  Peter and Paul  Currently, it is the home of the Maine Nordiques of the North American Hockey League  The Colisee is also used for concerts, conventions and trade shows  There is 17,000 square feet (1600 m2) of exhibit space  For conventions, the Colisee can accommodate up to 4,800 patrons 

History
The Maine Nordiques of the former professional North American Hockey League were the primary tenant at the Civic Center from 1973 to 1977  The Boston Celtics of the National Basketball Association played exhibition games at the Civic Center 
In 2003, the Lewiston Maineiacs came to the Central Maine Civic Center  The Central Maine Civic Center was renamed to the Lewiston Colisée (from the French word for colosseum, similar to the Colisée de Québec) to distinguish it from the Cumberland County Civic Center, the Augusta Civic Center, and the Bangor Civic Center  In 2007, the Maineiacs won the Presidents Cup, the QMJHL league championship  They remain the only U S -based QMJHL team to win the Presidents Cup  The Maineiacs folded at the end of the 2010–11 QMJHL season and the Sherbrooke Phoenix was created in its place The Federal Hockey League held five home games at the arena in 2011 and 2012  Due to renovations to the Cumberland County Civic Center, the Portland Pirates played at the Colisee during the 2012–13 AHL season for all but one of their home games On December 16, 2014, it was announced the New Hampshire Fighting Spirit from the North American 3 Eastern Hockey League, a Tier III junior league, would relocate to Lewiston and play home games at the Colisee as the L/A Fighting Spirit (with the L/A standing for Lewiston-Auburn) beginning with the 2015–16 season  In 2016, the Fighting Spirit joined the North American 3 Hockey League 
Firland Management, which had acquired the Colisee from the City of Lewiston in 2008, bought the Fighting Spirit in 2017 and rebranded the team as the Lewiston/Auburn Nordiques after the former professional team  In 2019, Cain, Darryl Antonacci, and Nolan Howe were granted an expansion team in the Tier II junior North American Hockey League and named the team the Maine Nordiques  In March 2020, Antonacci agreed to purchase the Colisée and the Tier III Nordiques from Cain  Antonacci folded the Tier III junior team and replaced it with Tier I youth teams The naming rights to the venue were sold to Androscoggin Bank in 2006  In 2020, the rights expired, and the bank's name was removed from the venue the following year 

Other uses
Ali vs  Liston fight
On May 25, 1965, the Youth Center was the venue for the WBC heavyweight boxing championship rematch between 34-year old former champ Sonny Liston and 23-year-old reigning champion Muhammad Ali  It was at this fight that Sports Illustrated photographer Neil Leifer took what Time magazine has called the "perhaps the greatest sports photo of the century "

Concerts
On March 19, 1977, Bruce Springsteen and the E Street Band played at the venue  Bob Dylan performed at the venue on November 13, 2000, May 17, 2008 and on April 10, 2013 

Mixed martial arts
Bellator MMA held their first event in Maine on March 21, 2013, Bellator 93 

Ring of Honor/New Japan Pro-Wrestling
On November 7, 2018, Ring of Honor made its Maine debut at the Coliseé  As a co-promoted Global Wars show with New Japan Pro-Wrestling, it also marked the Japanese promotion's first event in New England 
Passage 9:
2011–12 QMJHL season
The 2011–12 QMJHL season was the 43rd season of the Quebec Major Junior Hockey League (QMJHL)  The regular season, which consisted of 17 teams playing 68 games each, began in September 2011 and ended in March 2012  This season was Blainville-Boisbriand Armada's first season in the league, as the team relocated to Boisbriand from Verdun where they played as the Montreal Junior Hockey Club from 2008 to 2011  The league lost one of his charter teams when the Lewiston Maineiacs folded during after the previous season, the QMJHL later announce an expansion team to  Sherbrooke for the 2012–13 season  In the playoffs, the Saint John Sea Dogs became the seventh team in league history to capture consecutive President's Cup championships 

Regular season
Division standings
Note: GP = Games played; W = Wins; L = Losses; OTL = Overtime losses ; SL - Shootout losses ; GF = Goals for ; GA = Goals against; Pts = Points

x - team has clinched playoff spot
y - team is division leader
z - team has clinched division
e - team is eliminated from playoff contention

Scoring leaders
Note: GP = Games played; G = Goals; A = Assists; Pts = Points; PIM = Penalty minutes

Leading goaltenders
Note: GP = Games played; TOI = Total ice time; W = Wins; L = Losses ; GA = Goals against; SO = Total shutouts; SV% = Save percentage; GAA = Goals against average

2012 President's Cup playoffs
First round
(1) Saint John Sea Dogs vs  (16) Cape Breton Screaming Eagles
(2) Shawinigan Cataractes vs  (15) Rouyn-Noranda Huskies
(3) Blainville-Boisbriand Armada vs  (14) Gatineau Olympiques
(4) Victoriaville Tigres vs  (13) Baie-Comeau Drakkar
(5) Quebec Remparts vs  (12) Drummondville Voltigeurs
(6) Halifax Mooseheads vs  (11) Moncton Wildcats
(7) Rimouski Océanic vs  (10) Val-d'Or Foreurs
(8) Chicoutimi Saguenéens vs  (9) Acadie–Bathurst Titan
Quarter-finals
(1) Saint John Sea Dogs vs  (13) Baie-Comeau Drakkar
(2) Shawinigan Cataractes vs  (8) Chicoutimi Saguenéens
(3) Blainville-Boisbriand Armada vs  (7) Rimouski Océanic
(5) Quebec Remparts vs  (6) Halifax Mooseheads
Semi-finals
(1) Saint John Sea Dogs vs  (8) Chicoutimi Saguenéens
(6) Halifax Mooseheads vs  (7) Rimouski Océanic
QMJHL Championship
(1) Saint John Sea Dogs vs  (7) Rimouski Océanic
Playoff scoring leaders
Note: GP = Games played; G = Goals; A = Assists; Pts = Points; PIM = Penalty minutes

Playoff leading goaltenders
Note: GP = Games played; Mins = Minutes played; W = Wins; L = Losses; GA = Goals Allowed; SO = Shutouts; SV& = Save percentage; GAA = Goals against average

Memorial Cup
Trophies and awards
TeamPresident's Cup: Saint John Sea Dogs
Jean Rougeau Trophy - Regular Season Champions: Saint John Sea Dogs
Luc Robitaille Trophy - Team that scored the most goals: Victoriaville Tigres
Robert Lebel Trophy - Team with best GAA: Shawinigan CataractesPlayerMichel Brière Memorial Trophy - Most Valuable Player: Yanni Gourde, Victoriaville Tigres
Jean Béliveau Trophy - Top Scorer: Yanni Gourde, Victoriaville Tigres
Guy Lafleur Trophy - Playoff MVP: Charlie Coyle, Saint John Sea Dogs
Jacques Plante Memorial Trophy - Top Goaltender: Mathieu Corbeil-Thériault, Saint John Sea Dogs
Guy Carbonneau Trophy - Best Defensive Forward: Frederick Roy, Quebec Remparts
Emile Bouchard Trophy - Defenceman of the Year: Jérôme Gauthier-Leduc, Rimouski Océanic
Kevin Lowe Trophy - Best Defensive Defenceman: Morgan Ellis, Shawinigan Cataractes
Mike Bossy Trophy - Top Prospect: Mikhail Grigorenko, Quebec Remparts
RDS Cup - Rookie of the Year: Mikhail Grigorenko, Quebec Remparts
Michel Bergeron Trophy - Offensive Rookie of the Year: Mikhail Grigorenko, Quebec Remparts
Raymond Lagacé Trophy - Defensive Rookie of the Year: Zachary Fucale, Halifax Mooseheads
Frank J  Selke Memorial Trophy - Most sportsmanlike player: Zach O'Brien, Acadie–Bathurst Titan
QMJHL Humanitarian of the Year - Humanitarian of the Year:
Marcel Robert Trophy - Best Scholastic Player: Jonathan Brunelle, Cape Breton Screaming Eagles
Paul Dumont Trophy - Personality of the Year: Jonathan Huberdeau, Saint John Sea DogsExecutiveRon Lapointe Trophy - Coach of the Year: Jean-François Houle, Blainville-Boisbriand Armada
Maurice Filion Trophy - General Manager of the Year: Joël Bouchard, Blainville-Boisbriand Armada
John Horman Trophy - Executive of the Year:
Jean Sawyer Trophy - Marketing Director of the Year:All-Star TeamsFirst All-Star Team:

Roman Will, Goaltender, Moncton Wildcats
Jérôme Gauthier-Leduc, Defenceman, Rimouski Océanic
Xavier Ouellet, Defenceman, Blainville-Boisbriand Armada
Mikhail Grigorenko, Centre, Quebec Remparts
Yanni Gourde, Left Wing, Victoriaville Tigres
Frederick Roy, Right Wing, Quebec RempartsSecond All-Star Team:

Mathieu Corbeil-Thériault, Goaltender, Saint John Sea Dogs
Morgan Ellis, Defenceman, Cape Breton Screaming Eagles/Shawinigan Cataractes
Nathan Beaulieu, Defenceman, Saint John Sea Dogs
Zach O'Brien, Centre, Acadie–Bathurst Titan
Jonathan Huberdeau, Left Wing, Saint John Sea Dogs
Sébastien Trudeau, Right Wing, Acadie–Bathurst TitanAll-Rookie Team:

Zachary Fucale, Goaltender, Halifax Mooseheads
Nikolas Brouillard, Defenceman, Drummondville Voltigeurs
Samuel Morin, Defenceman, Rimouski Océanic
Mikhail Grigorenko, Centre, Quebec Remparts
Anthony Duclair, Left Wing, Quebec Remparts
Sven Andrighetto, Right Wing, Rouyn-Noranda Huskies

See also
2012 Memorial Cup
List of QMJHL seasons
2011–12 OHL season
2011–12 WHL season
2011 in ice hockey
2012 in ice hockey
Passage 10:
Loan modification in the United States
Loan modification is the systematic alteration of mortgage loan agreements that help those having problems making the payments by reducing interest rates, monthly payments or principal balances  Lending institutions could make one or more of these changes to relieve financial pressure on borrowers to prevent the condition of foreclosure  Loan modifications have been practiced in the United States since the 1930s  During the Great Depression, loan modification programs took place at the state level in an effort to reduce levels of loan foreclosures 
During the Subprime mortgage crisis, loan modification became a matter of national policy, with various actions taken to alter mortgage loan terms to prevent further economic destabilization 

United States 1930s
During the Great Depression in the United States a number of mortgage modification programs were enacted by the states to limit foreclosure sales and subsequent homelessness and its economic impact   Because of the shrinkage of the economy, many borrowers lost their jobs and income and were unable to maintain their mortgage payments  In 1933, the Minnesota Mortgage Moratorium Act was challenged by a bank which argued before the United States Supreme Court that it was a violation of the contract clause of the Constitution  In Home Building & Loan Association v  Blaisdell, the court upheld the law imposing a mandatory mortgage modification 

United States 2000s
According to the Federal Deposit Insurance Corporation (FDIC) chairman, Sheila C  Bair, looking back as far as the 1980s, "the FDIC applied workout procedures for troubled loans out of bank failures, modifying loans to make them affordable and to turn nonperforming into performing loans by offering refinances, loan assumptions, and family loan transfers "The U S  housing boom of the first few years of the 21st century ended abruptly in 2006  Housing starts, which peaked at more than 2 million units in 2005, plummeted to just over half that level  Home prices, which were increasing at double-digit rates nationally in 2004 and 2005, have fallen dramatically since (see Chart 1)  As home prices decline, the number of problem mortgages, particularly in sub-prime and Alt-A portfolios, is rising  As of third quarter 2007, the percentage of sub-prime adjustable-rate mortgages (ARMs) that were seriously delinquent or in foreclosure reached 15 6 percent, more than double the level of a year ago (see Chart 2)  The deterioration in credit performance began in the industrial Midwest, where economic conditions have been the weakest, but has now (2006–2007) spread to the former boom markets of Florida, California, and other coastal states 
Chart 1

Chart 2

During 2007, investors and ratings agencies have repeatedly downgraded assumptions about sub-prime credit performance  A Merrill Lynch study published in July estimated that if U S  home prices fell only 5 percent, subprime credit losses to investors would total just under $150 billion, and Alt-A credit losses would total $25 billion  On the heels of this report came news that the S&P/Case-Shiller Composite Home Price Index for 10 large U S  cities had fallen in August to a level that was already 5 percent lower than a year ago, with the likelihood of a similar decline over the coming year 
The complexity of many mortgage-backed securitization structures has heightened the overall risk aversion of investors, resulting in what has become a broader illiquidity in global credit markets  These disruptions have led to a precipitous decline in sub-prime lending, a significant reduction in the availability of Alt-A loans, and higher interest rates on jumbo loans (see Chart 3)  The tightening in mortgage credit has placed further downward pressure on home sales and home prices, a situation that now could derail the U S  economic expansion Chart 3

Residential mortgage credit quality continues to weaken, with both delinquencies and charge-offs on the rise at FDIC-insured institutions This trend, in tandem with upward pricing of hybrid adjustable-rate mortgage (ARM) loans, falling home prices, and fewer refinancing options, underscores the urgency of finding a workable solution to current problems in the sub-prime mortgage market  Legislators, regulators, bankers, mortgage servicers, and consumer groups have been debating the merits of strategies that may help preserve home ownership, minimize foreclosures, and restore some stability to local housing markets On December 6, 2007, an industry-led plan was announced to help avert foreclosure for certain sub-prime homeowners who face unaffordable payments when their interest rates reset  This plan provides for a streamlined process to extend the starter rates on sub-prime ARMs for at least five years in cases where borrowers remain current on their loans but cannot refinance or afford the higher payments after reset  An important component of the industry-led plan is detailed reporting of loan modification activity  Working with the United States Treasury Department and other bank regulators, the FDIC will monitor loan modification levels and seek adjustments to the protocols if warranted 

Loss Mitigation Mediation (LMM) Program
Mediation is usually a great way for a plaintiff and defendant to sit down with a neutral arbiter to hash out their differences and come to a resolution that is usually better than continued litigation  Mediation is successful in all types of disputes including personal injury cases, contract disputes and even divorces  However, in these cases, circuit court judges will readily punish a party who fails to attend mediation or who attends but fails to comply with the mediation order 
In 2009, the Florida Supreme Court forced every Florida Circuit Court (the courts in which Foreclosure Lawsuits are heard), to implement a mediation program for homeowners facing Foreclosure  This program was called the “Residential Mortgage Foreclosure Mediation” (RMFM) Program  The idea was for lenders to provide an in-person or telephonic meeting with the Homeowner/Defendant in the presence of an impartial mediator to discuss the Foreclosure Lawsuit and possible alternatives (including Loan Modification, Deed in Lieu of Foreclosure, and Short Sale) The RMFM Program was cancelled in 2011 following widespread criticism of the program  The RMFM failed because it had no teeth, because judges were reluctant to punish the mortgage companies for failing to mediate in good faith, and because borrowers were not receiving the cooperation they needed from the banks  In short, the RMFM was a complete waste of time, not because mediation is a bad idea but because of the limited loss mitigation options and because most state court judges could not or would not enforce the program In 2012, the Bankruptcy Court in the Middle District of Florida implemented its own version of the failed RMFM, but unlike the state court version, it has seen a much higher success rate  One Orlando bankruptcy attorney reported a 90% success rate, with 18% of his modifications involving principal reduction  Similar programs have also been instituted by Bankruptcy courts in New York and Rhode Island Following the lead of the Middle District, the Southern District of Florida Bankruptcy Court has initiated its own loss mitigation mediation (“LMM”) program  The LMM Program kicked off on April 1, 2013 and unlike the Middle District, the Southern District's program has more requirements for all parties and includes debtors in all chapters, not just Chapter 13  Chapter 7 debtors may use LMM to request a surrender of the property (a real surrender that provides for a transfer of title)  LMM may be used by Chapter 13 debtors to request and apply for modification through mediation or surrender of any property they no longer want to own 
The Southern District's program also includes the utilization of a document processing program called the DMM Portal  Participants in the LMM program will use this secure online portal for the exchange of documents and communication  This program will help ensure that documents sent between the lender and the borrower and not lost or misplaced  Instant uploads and verification of transmissions are a hallmark of the portal 
Election to participate in the LMM program will suspend any pending motions for relief from stay (“MFR”)  However, while an LMM is pending, debtors will be required to pay 31% of their gross monthly income through the Chapter 13 plan as an “adequate protection” payment  The fees a debtor will have to pay to participate in the program will typically include an $1,800 fee to their bankruptcy attorney for handling the modification through their Chapter 13 plan and an approximately $300 fee to the mediator While the bankruptcy mediation program does not guarantee a residential loan modification, it does make it much harder for a mortgage servicer to reject a modification because of the stringent requirement to act in good faith  For instance, if a servicer rejects a HAMP application, it will have to explain why  Often, a rejection is based upon a miscalculation, a misinterpretation, or an oversight  In this program, the debtor's attorney can demand that the servicer's representative explain his calculations  Often, the mistakes are found and corrected, resulting in the modification being accepted 
While mortgage modification and bankruptcy may not be the solution to all distressed mortgage problems, it will certainly provide an additional venue for homeowners in need  Applying for a modification through bankruptcy may provide relief from the dischargeable debts that are keeping the debtor from being able to make the mortgage payments and provide the lenders a guarantee that the borrower is no longer obligated by those burdens 

Streamlined modification process
The adoption of this streamlined modification framework is an additional tool that servicers will now have to help avoid preventable foreclosures  This framework will not only help homeowners who receive a streamlined modification, but will also further address servicer capacity concerns by freeing up resources, helping ensure that borrowers do not fall through the cracks because servicers aren't able to get to them This is the first time the industry has agreed on an industry standard  The benchmark ratio for calculating the affordable payment is 38 percent of monthly gross household income  Once the affordable payment is determined, there are several steps the servicer can take to create that payment – extending the term, reducing the interest rate, and forbearing interest  In the event that the affordable payment is still beyond the borrower's means, the borrower's situation will be reviewed on a case-by-case basis using a cash flow budget  This program resulted from a unified effort among the Enterprises, Hope Now and its 27 servicer partners, Treasury, the Federal Housing Administration (FHA) and Federal Housing Finance Agency (FHFA)  In addition, we’ve drawn on the FDIC's experience and assistance from developing the IndyMac streamlined approach and have greatly benefited from the FDIC's input and example  To accommodate the need for more flexibility among a larger number of servicers, the Streamlined Modification Program does differ from the IndyMac model in a few areas  However, it uses the same fundamental tools to achieve the same affordability target The Streamlined Modification Program (SMP) was developed in collaboration with the FHFA, the Department of Treasury, Freddie Mac, and members of the HOPE NOW Alliance 

SMP eligibility criteria
The SMP eligibility criteria include:

Conforming conventional or jumbo conforming mortgage loans originated on or before January 1, 2008;
At least three payments past due;
The loan is secured by a one-unit property that is the borrower's primary residence;
Current mark-to-market loan to value (LTV) of 90 percent or more; and
Property is not abandoned, vacant, condemned, or in a serious state of disrepair 
SMP is designed to reduce distressed borrowers' monthly mortgage payments to an amount equal to 38 percent of their monthly gross income  To do so, servicers may, in the following order:
Capitalize accrued interest, escrow advances and costs, if allowed by state law;
Extend the term of the mortgage loan by up to 480 months;
Reduce the mortgage loan interest rate in increments of  125% to a fixed rate that is not less than 3% (if this exercise results in a below market rate, it will, after 5 years, step up in annual increments to a market rate);
As a last resort, provide for principal forbearance, which will result in a balloon payment fully due and payable upon borrower's sale of the property or payoff or maturity of the loan Borrowers meeting the SMP eligibility requirements enter into a trial period in which they must make monthly loan payments equal to the proposed modified payment  Timely payments must be made for three consecutive months before a borrower's loan can be modified under the SMP The "Streamlined Modification Plan," or SMP, which is an expansion of what many lenders are already doing, was implemented starting December 15, 2008 

IndyMAC plan
With the George W  Bush administration refusing to enact FDIC Chairwoman Sheila Bair's controversial loan modification plan, lawmakers are taking matters into their own hands 
Offer proactive workout solutions designed to address borrowers who have the willingness but limited capacity to pay Return the loan to a current status 
Capitalize delinquent interest and escrow 
Modify the loan terms based on waterfalls, starting at a front-end 38 percent HTI ratio down to a 31 percent HTI ratio subject to a formal net present value (NPV) floor 
Reduce interest rate to as low as 3 percent 
Extend, if necessary, the amortization and/or term of the loan to 40 years 
Forbear principal if necessary Provide borrowers the opportunity to stay in their home while making an affordable payment for the life of the loan Require the borrower to make one payment at the time of the modification 
Cap the interest rate at the Freddie Mac Weekly Survey rate effective as required to meet the target HTI ratio, fixing the adjusted rate and monthly payment amount for 5 years 
Step up the initial interest rate gradually starting in year 6 by increasing it one percentage point each year until reaching the Freddie Mac Weekly Survey rate cap Use a financial model with supportable assumptions to ensure investor interests are protected Input borrower specific income information into the NPV Tool, which provides a real-time workout solution 
Perform automated loan level underwriting across large segments of the portfolio to support pre-approved bulk mailings 
Verify income information the borrower provided via check stubs, tax returns, and/or bank statements 
Compare the cost of foreclosure to mitigate losses 
Mandate that the cost of the modification must be less than the estimated foreclosure loss Borrower eligibilityThe loan is at least 60 days delinquent where the loan is considered one day delinquent on the day following the next payment due date  Many servicing contracts often contain a standard clause allowing the servicer to modify seriously delinquent or defaulted mortgages, or mortgages where default is “reasonably foreseeable” 
Foreclosure sale is not imminent and the borrower is currently not in bankruptcy, or has not been discharged from Chapter 7 bankruptcy since the loan was originated 
The loan was not originated as a second home or an investment property "We (IndyMac Bank) commend FDIC Chairman Sheila Bair for her leadership in developing a systematic loan modification protocol  FHFA, the GSEs and HOPE NOW relied heavily on the IndyMac model in developing this new protocol"   
As history unfolds on the U S  Housing and Finance crisis that caused the persistent recession, the (IndyMac Bank) bankruptcy and ensuing scandal are important to understand   A dynamic interplay between social good, capital ownership and the rule of law is ongoing in the U S  experiment with the democratic process   Much of the business models of IndyMac and also the government backed FrannieMae and FreddieMac quasi-banks were based on concentrated debt   This model became very high risk as it was based on the faulty assumption that housing values would increase   In fact, the prevalence of their mortgages greatly fed the housing bubble with significant crossfunding and possible corruption to the government regulatory function through dramatic campaign funding contributions from these organizations   In the less regulated business climate of the late 1800s, speculative bubbles were corrected by painful financial panics   True understanding is yet to be documented for the speculative housing bubble of 2008, but federal government management has seemingly replaced the severity of a financial panic with a persistent yet less severe correction   This correction is becoming known at the Great Recession 

Fannie Mae/Freddie Mac Plan
In the task at hand to make headway against foreclosures and the depressed housing market  Fannie Mae and Freddie Mac entered a new phase on December 9, 2008 for a fast-track program meant to make "hundreds of thousands of mortgages affordable to people who can't currently meet their monthly payments "Through the SMP, servicers may change the terms of a loan to reduce a borrower's first lien monthly mortgage payment, including taxes, insurance and homeowners association payments, to an amount equal to 38 percent of gross monthly income  The changes in terms may include one or more of the following:
Adding the accrued interest, escrow advances and costs to the principal balance of the loan, if allowed by state law;
Extending the length of the mortgage loan as appropriate;
Reducing the mortgage loan interest rate in increments of 0 125 percent to an interest rate that is not less than 3 percent  If the new rate is set below the market interest rate, after five years it  will step up in annual increments to either the original loan interest rate or the market interest rate at the time of the modification, whichever is lower;
Forbearing on a portion of the principal, which will require the borrower to make a balloon payment when the loan matures, is paid off, or is refinanced 

Eligibility requirements
Conforming conventional and jumbo conforming mortgage loans originated on or before January 1, 2009;
Borrowers who are at least three or more payments past due and are not currently in bankruptcy;
Only one-unit, owner-occupied, primary residences; and
Current mark-to-market loan-to-value ratio of 90 percent or more 

New servicer guidance
Fannie Mae's foreclosure prevention efforts have generally been made available to a borrower only after a delinquency occurs  Under Fannie Mae's new guidance, loan servicers can use foreclosure prevention tools to assist distressed borrowers when a borrower demonstrates the need  As noted above, these guidelines apply to borrowers who are still current in their payments, but whose default is reasonably foreseeable  This new guideline is effective immediately, and borrowers may obtain information on eligibility at MakingHomeAffordable gov 

Hope for Homeowners Plan (HUD)/FHA
The HOPE for Homeowners Act (H4H) Program is effective for endorsements on or after October 1, 2008, through September 30, 2011 
Affordability versus value:  lenders will take a loss on the difference between the existing obligations and the new loan, which is set at 96 5 percent of current appraised value   The lender may choose to provide homeowners with an affordable monthly mortgage payment through a loan modification rather than accepting the losses associated with declining property values 
Borrower eligibility:  Lenders that determine the H4H program is a feasible and effective option for mitigating losses will assess the homeowner's eligibility for the program:The existing mortgage was originated on or before January 1, 2008;
Existing mortgage payment(s) as of March 1, 2008 exceeds 31 percent of the borrowers gross monthly income for fixed-rate mortgages; For ARMs, the existing mortgage payment(s) exceeds 31 percent of the borrowers gross monthly income as of March 1, 2008 OR the date of the new loan application 
The homeowner did not intentionally default, does not have an ownership interest in other residential real estate and has not been convicted of fraud in the last 10 years under Federal and state law; and
The homeowner did not provide materially false information (e g , lied about income) to obtain the mortgage that is being refinanced into the H4H mortgage 

Original cost
3 percent upfront mortgage insurance premium and a 1 5 percent annual premium,
Equity and appreciation sharing with the Federal government, and
Prohibition against new junior liens against the property unless they are directly related to property maintenance The HUDS fact sheet gives full details 

Updated Hope for Homeowners improvements
Eliminates 3% upfront premium
Reduces 1 5% annual premium to a range between  55% and  75%, based on risk-based pricing (also makes technical fix to permit discontinuation of fees when loan balance drops below certain levels, consistent with normal FHA policy)
Raises maximum loan to value (LTV) from 90% to 93% for borrowers above a 31% mortgage debt to income (DTI) ratio or above a 43% ratio
Eliminates government profit sharing of appreciation over market value of home at time of refi  Retains government declining share (from 100% to 50% after five years) of equity created by the refi, to be paid at time of sale or refi as an exit fee
Authorizes payments to servicers participating in successful refis
Administrative simplification:
eliminates borrower certifications regarding not intentionally defaulting on any debt,
eliminates special requirement to collect two years of tax returns,
eliminates originator liability for first payment default,
eliminates March 1, 2008 31% debt-to-income ratio (DTI) test,
eliminates prohibition against taking out future second loans,
requires Board to make documents, forms, and procedures conform to those under normal FHA loans to the maximum extent possible consistent with statutory requirements 

Troubled Assets Relief Program
The Troubled Assets Relief Program is a systematic foreclosure prevention and mortgage modification program established by the Secretary, in consultation with the Chairperson of the Board of Directors of the FDIC and the Secretary of Housing and Urban Development, that—

Provides lenders and loan servicers with certain compensation to cover administrative costs for each loan modified according to the required standards; and
Provides loss sharing or guarantees for certain losses incurred if a modified loan should subsequently re-default 

Commitment of resources
The comprehensive plan established pursuant to subsection (a) shall require the commitment of funds made available to the Secretary under title I of the Emergency Economic Stabilization Act of 2008 in an amount up to $100,000,000,000 but in no case less than $40,000,000,000 In a press conference Tuesday, Federal Housing Finance Agency director James Lockhart said the program would target high-risk borrowers — those 90 or more days delinquent on their mortgages — and employ various modification strategies to get borrowers down to an “affordable” mortgage payment, defined as 38 percent of a household's monthly gross income on a first mortgage payment 

Analysis of the results of the government-sponsored programs
The Office of the Comptroller of the Currency and the Office of Thrift Supervision reported on 2009-04-03

"Nearly one in four loan modifications in the fourth quarter actually resulted in increased monthly payments"   This can occur when late fees or past-due interest are added to the monthly payment 
The redefault rate was about 50 percent where the monthly payment was unchanged or increased, and 26 percent where the payment was decreased 

Home Affordable Modification Program
Program Formed
Purpose
The Home Affordable Modification Program (HAMP) was established on February 18, 2009 to help up from 7 to 8 million struggling homeowners at risk of foreclosure by working with their lenders to lower monthly mortgage payments  The Program is part of the Making Home Affordable Program which was created by the Financial Stability Act of 2009  The program was built as collaboration with banks, services, credit unions, the FHA, the VA, the USDA and the Federal Housing Finance Agency, to create standard loan modification guidelines for lenders to take into consideration when evaluating a borrower for a potential loan modification   Over 110 major lenders have already signed onto the program   The Program is now looked upon as the industry standard practice for lenders to analyze potential modification applicants Early 2012 the Treasury redesigned the HAMP as Tier 1 for the original first-lien modification process and on June 1, 2012 Tier 2 became available  Tier 2 is for either owner-occupied properties or rental properties  For mortgages secured by rental properties, only those that are two or more payments delinquent are eligible 

Eligibility requirements
The program abides by the following eligibility and verification criteria: 

Loans originated on or before January 1, 2009
First-lien loans on owner-occupied properties with unpaid principal balance up to $729,750
Higher limits allowed for owner-occupied properties with 2-4 units
All borrowers must fully document income, including signed IRS 4506-T, proof of income (i e  paystubs or tax returns), and must sign an affidavit of financial hardship
Property owner occupancy status will be verified through borrower credit report and other documentation; no investor-owned, vacant, or condemned properties
Incentives to lenders and servicers to modify at risk borrowers who have not yet missed payments when the servicer determines that the borrower is at imminent risk of default
Modifications can start from now until December 31, 2016; loans can be modified only once under the program

Loan modification terms and procedures
Participating servicers are required to service all eligible loans under the rules of the program unless explicitly prohibited by contract; servicers are required to use reasonable efforts to obtain waivers of limits on participation 
Participating loan servicers will be required to use a net present value (NPV) test on each loan that is at risk of imminent default or at least 60 days delinquent  The NPV test will compare the net present value of cash flows with modification and without modification  If the test is positive: meaning that the net present value of expected cash flow is greater in the modification scenario: the servicer must modify absent fraud or a contract prohibition 
Parameters of the NPV test are spelled out in the guidelines, including acceptable discount rates, property valuation methodologies, home price appreciation assumptions, foreclosure costs and timelines, and borrower cure and redefault rate assumptions 
Servicers will follow a specified sequence of steps in order to reduce the monthly payment to no more than 31% of gross monthly income (DTI) 
The modification sequence requires first reducing the interest rate for trial period of 3–9 months(subject to a rate floor of 2%), then if necessary extending the term or amortization of the loan up to a maximum of 40 years, and then if necessary forbearing principal  Principal forgiveness or a Hope for Homeowners refinancing are acceptable alternatives 
It is noteworthy that this interest rate is not fixed, and will generally increase 1%/year until it reaches what ever the current rate is 5 years after the modification  Often it includes a balloon payment at the end of the first 5 years   This practice has been found controversial by many in the financial world as it is expected to bring about a slurry of new foreclosures in 5 years when homeowners will once again not be able to pay their mortgage due to the interest rate hike, or the balloon payment 
The monthly payment includes principal, interest, taxes, insurance, flood insurance, homeowner's association and/or condominium fees  Monthly income includes wages, salary, overtime, fees, commissions, tips, social security, pensions, and all other income 
Servicers must enter into the program agreements with Treasury's financial agent on or before December 31, 2009 

Payments to servicers, lenders, and responsible borrowers
The Program will share with the lender/investor the cost of reductions in monthly payments from 38% DTI to 31% DTI 
Servicers that modify loans according to the guidelines will receive an up-front fee of $1,000 for each modification, plus “pay for success” fees on still-performing loans of $1,000 per year 
Homeowners who make their payments on time are eligible for up to $1,000 of principal reduction payments each year for up to five years 
The program will provide one-time bonus incentive payments of $1,500 to lender/investors and $500 to servicers for modifications made while a borrower is still current on mortgage payments 
The program will include incentives for extinguishing second liens on loans modified under this program 
No payments will be made under the program to the lender/investor, servicer, or borrower unless and until the servicer has first entered into the program agreements with Treasury's financial agent 
Similar incentives will be paid for Hope for Homeowner refinances 

Transparency and accountability
Measures to prevent and detect fraud, such as documentation and audit requirements, will be central to the program 
Servicers will be required to collect, maintain and transmit records for verification and compliance review, including borrower eligibility, underwriting, incentive payments, property verification, and other documentation 
Freddie Mac is appointed the compliance officer of the program 

Warnings to people looking to apply for program
Foreclosure rescue and mortgage modification scams are a growing problem  Homeowners must protect themselves so they do not lose money or their home   Scammers make promises that they cannot keep, such as guarantees to “save” your home or lower your mortgage, often for a fee  Scammers may pretend that they have direct contact with your mortgage servicer when they do not Even amongst reputable refinance organizations, the fundamental education of the house owner is not stressed   Some may even request struggling homeowners to pledge their time to become politically active   The controversy exists between personal integrity and the concept of a 'right to homeownership'   Many euphemisms are used to implicitly stress the concept that homeownership is not the result of a lifetime of effort but a government-given right   These euphemisms like "HOPE, relief and Save-the-Dream" as used above in naming or implementing the loan modification programs   The origins of the word 'mortgage' is a death pledge—a concept that perhaps even exceeds the common view of personal integrity   At the foundation of homeownership should be a personal long-term commitment to pay the terms of the mortgage   On the bankers side of the contract, their business model is regulated by the 'social good' which are implemented by government by chartering banks   If the banks implement policies that lead to financial bubbles and panics, a democratic government is equipped with the tools to uncharter and redistribute a banks assets Bank crisis in the united states

Free resources for potential applicants
There are free resources available for potential applicants   

Homeowners can call the Homeowner's HOPE Hotline at 1-888-995-HOPE (4673) for information about the Making Home Affordable Program and to speak with a HUD approved housing counselor  Assistance is available in English and Spanish, and other languages by appointment 
HUD org helps applicants find a local counselor  HUD gov
MakingHomeAffordable gov computes estimated payments and has other resources  Making Home Affordable
Fannie Mae and Freddie Mac allow applicants see if their loan is owned by one of them and thus potentially eligible for the program Fannie Mae Loan Look Up Freddie Mac Loan Look Up

Lender participants
A list of lenders signed on is on the Making Home Affordable website  List of HAMP Lenders

See also
Escrow
Neighborhood Assistance Corporation of America (NACA)
Mortgage assumption
Predatory lending
Context 2: Passage 1:
Michael Tippett School
Heron Academy (formerly The Michael Tippett School) is a special needs secondary school for students with severe learning difficulties located in south London  It was previously named after the composer Michael Tippett   The building was designed by Marks Barfield Architect and completed in 2008  It can accommodate 80 students between the age of 11 and 19 It was built as part of the Building Schools for the Future programme and was the first school in London and the first special needs school in the country to be completed under the programme Previously a community school administered by Lambeth London Borough Council, In February 2023 The Michael Tippett School converted to academy status and was renamed Heron Academy  The school is now sponsored by the London South East Academies Trust 
Passage 2:
François-Benoît Hoffman
François-Benoît Hoffman (11 July 1760 – 25 April 1828) was a French playwright and critic, best known today for his operatic librettos, including those set to music by Étienne Méhul and Luigi Cherubini (most notably Cherubini's Médée, 1797) 

Career
Hoffman was born in Nancy, and studied law at the University of Strasbourg   Believing that his stammer hindered his legal career, he entered military service in Corsica  He served there for only a very short time, and, returning to Nancy, wrote some poems which brought him into notice at the little court of Lunéville over which the Marquise de Boufflers then presided  In 1784 he went to Paris where he wrote his first opera libretto, Phèdre, for the composer Jean-Baptiste Lemoyne  It was performed at Fontainebleau in October 1786  After quarrelling with Lemoyne, Hoffman offered his libretto Adrien, empereur de Rome to Cherubini, who turned it down in favour of another Hoffman drama, Médée  Adrien was accepted instead by Méhul, with whom Hoffman collaborated on several operas, including Euphrosine (1790), Stratonice (1792) and Ariodant (1799) 
Hoffman was a strong advocate of authors' rights regarding artistic control, copyright and freedom of speech  This stance often brought him into conflict with the authorities  A quarrel with the management of the Paris Opéra over Nephté led to them rejecting Médée in 1790  In 1792, the French Revolutionary government objected to Adrien on political grounds, and Hoffman ran considerable risk by refusing to make the changes proposed to him  It was seven years before Adrien finally received its premiere at the Opéra 
Hoffman's later operas were in a lighter style than his works of the 1790s  A notable example is Les rendez-vous bourgeois, with music by Isouard  In 1807 he was invited by Charles Guillaume Étienne to contribute to the Journal de l'Empire (afterwards the Journal des Débats)  Hoffman's wide reading qualified him to write on all sorts of subjects, and he turned, apparently with no difficulty, from reviewing books on medicine to violent attacks on the Jesuits  His severe criticism of Chateaubriand's Les Martyrs led the author to make some changes in a later edition  He had the reputation of being an absolutely conscientious and incorruptible critic and thus exercised wide influence Hoffman's poem Je te perds, fugitive espérance was set by Ludwig van Beethoven in 1806 in his song Als die Geliebte sich trennen wollten (WoO 132) in a translation by Stephan von Breuning 

Works
ThéâtrePhèdre, tragédie lyrique en 3 actes, music by Lemoyne, premiere 26 October 1786 au château de Fontainebleau ;
Nephté, tragédie lyrique en 3 actes, music by Lemoyne, premiere 15 December 1789 at the Opéra de Paris ;
Euphrosine, ou le Tyran corrigé, comédie en 5 actes mise en musique by Étienne Nicolas Méhul, premiere 4 October 1790 at the Comédie-Italienne (réduite à 4, puis à 3 actes) ;
Adrien, opéra en 3 actes, music by Étienne Nicolas Méhul, premiere January 1792, puis sous une forme révisée en 1802 ;
Stratonice, comédie héroïque en un acte et en vers, music by Étienne Nicolas Méhul, premiere 3 May 1792 at the Comédie-Italienne ;
Le jeune sage et le vieux fou, comédie en un acte mêlée de musique by Étienne Nicolas Méhul premiere 28 March 1793 at the Opéra-Comique ;
Adélaïde, drame en 3 actes et en vers premiere 1793 ;
Callias, drame en un acte et en vers premiere 1795 ;
Le Brigand, opéra-comique en 3 actes premiere 1795 ;
Azeline, comédie en 3 actes premiere 1797 ;
Médée, opéra en 3 actes, music by Luigi Cherubini, premiere 1797 at the Théâtre Feydeau ;
Ariodant, drame en 3 actes mêlé de musique by Étienne Nicolas Méhul, premiere 11 October 1799 at the Opéra-Comique ;
Bion, comédie en un acte mêlée de musique by Étienne Nicolas Méhul, premiere 27 December 1800 at the Opéra-Comique ;
Lisistrata, ou Les Athéniennes, Comédie en un acte et en prose, mêlée de vaudevilles imitée d'Aristophane, premiere 15 January 1802 at the Théâtre Feydeau ;
Le Trésor supposé ou le Danger d’écouter aux portes, comédie en un acte mêlée de musique by Étienne Nicolas Méhul, premiere 29 July 1802 à l'Opéra-Comique ;
Le Roman d’une heure, comédie en un acte premiere Gymnase 1803 ;
La Ruse inutile, opéra-comique en 2 actes premiere 1805 ;
Grimaldi, comédie en 3 actes, music by Rodolphe Kreutzer, premiere 1810 
La mort d'Abel, opera with music by Rodolphe Kreutzer, premiere 1810 (revised 1825)Romans, essaisMes souvenirs ou Recueil de pensées fugitives (1802) ;

Sources
L  Castel: Notice Biographique et Littéraire sur F -B  Hoffman, dans: Œuvres de F  B  Hoffman précédées d’une Notice sur sa vie  Théatre  Tome 2  S  V-LV 
P [aul?] Jacquinet: François Benoît Hoffman: sa vie, ses œuvres, Nancy 1878 
Stratonice: introduction to the edition of Hoffman and Méhul's opera by M  Elizabeth C  Bartlet (Pendragon Press, 1997)
T  G  Waidelich:    imitée d’Aristophane"  Die Lisistrata von Hoffman und Solié (1802) als Bindeglied zu den Verschwornen von Castelli und Schubert mit einem Ausblick auf die Rezeption des Sujets im Musiktheater (Teil 1)  In: Schubert:Perspektiven  9, 2010, p  216–228 

External links
François-Benoît Hoffman on Data bnf fr
Passage 3:
Luigi Cherubini
Luigi Cherubini ( KERR-uu-BEE-nee; Italian: [luˈiːdʒi keruˈbiːni]; 8 or 14 September 1760 – 15 March 1842) was an Italian Classical and Romantic composer  His most significant compositions are operas and sacred music  Beethoven regarded Cherubini as the greatest of his contemporaries  His operas were heavily praised and interpreted by Rossini 

Early years
Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence in 1760  There is uncertainty about his exact date of birth  Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct  Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, the feast-day of the Nativity of the Virgin  His instruction in music began at the age of six with his father, Bartolomeo,  maestro al cembalo ("Master of the harpsichord", in other words, ensemble leader from the harpsichord)  Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age  By the time he was thirteen, he had composed several religious works 

Adulthood and first operas
In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan  Cherubini's early opere serie used libretti by Apostolo Zeno, Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions  His music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading Italian composers of the day  The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783 Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the King's Theatre  In the same year, he made an excursion to Paris with his friend the violinist Giovanni Battista Viotti, who presented him to Marie Antoinette and Parisian society  Cherubini received an important commission to write Démophoon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique  Except for a brief return trip to London and to Turin for an opera seria commissioned by King Victor Amadeus III, Cherubini spent the rest of his life in France where he was initiated into Grand Orient de France "Saint-Jean de Palestine" Masonic Lodge in 1784 

French assimilation
Cherubini adopted the French version of his name, Marie-Louis-Charles-Zénobi-Salvador Cherubini; this appears in all extant documents that show his full name after 1790, though his Italian name is favored nowadays  Performances of Démophoon were favorably received at the Académie Royale de Musique in 1788  With Viotti's help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789  Three years later, after a move to the rue Feydeau and the fall of the monarchy, the company became known as the Théâtre Feydeau  This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament 
Cherubini's music began to show more originality and daring  His first major success was Lodoïska (1791), which was admired for its realistic heroism  This was followed by Elisa (1794), set in the Swiss Alps, and Médée (1797), Cherubini's best-known work  Les deux journées (1800), in which Cherubini simplified his style, was a popular success  These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique  Feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children 
The fallout from the French Revolution affected Cherubini until the end of his life  Politics forced him to hide his connections with the former aristocracy and seek governmental appointments  Although Napoleon found him too complex, Cherubini wrote at least one patriotic work per year for more than a decade  He was appointed Napoleon's director of music in Vienna for part of 1805 and 1806, whereupon he conducted several of his works in that city 
In 1808 Cherubini was elected an associated member of the Royal Institute of the Netherlands 

From opera to church music
After Les deux journées, Parisian audiences began to favor younger composers such as Boieldieu  Cherubini's opera-ballet Anacréon was an outright failure and most stage works after it did not achieve success  Faniska, produced in 1806, was an exception, receiving an enthusiastic response, in particular by Haydn and Beethoven  Les Abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La vestale; it received critical praise but few performances 
Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems, and many shorter pieces  During this period (under the restored monarchy) he was appointed Surintendant de la Musique du Roi, a position he would hold until the fall of Charles X (1830)  In 1815 London's Royal Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performances of which he went especially to London to conduct, increasing his fame 
Cherubini's Requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success  The work was greatly admired by Beethoven, Schumann and Brahms  In 1836, Cherubini wrote a Requiem in D minor to be performed at his own funeral  It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work 

Old age and legacy
In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue, in 1835  His role at the Conservatoire brought him into conflict with the young Hector Berlioz, who portrayed the old composer in his memoirs as a crotchety pedant  Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity  There are many allusions to Cherubini's personal irritability among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry " Nevertheless, Cherubini had many friends, including Szymanowska, Rossini, Chopin and, above all, the artist Ingres  The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin  In 1841, Ingres produced the most celebrated portrait of the old composer 
Although chamber music does not make up a large portion of his output, what he did write was important  Wilhelm Altmann, writing in his Handbuch für Streichquartettspieler (Handbook for String Quartet Players) about Cherubini's six string quartets, stated that they are first rate and regarded Nos  1 and 3 as masterworks  His String Quintet for two violins, viola and two cellos is also considered a first-rate work 
During his lifetime, Cherubini received France's highest and most prestigious honors  These included the Chevalier de la Légion d'honneur (1814) and Membre de l'Académie des Beaux-Arts (1815)  In 1841, he was made Commandeur de la Légion d'honneur, the first musician to receive that title Cherubini died in Paris in 1842 at age 81 and is buried at Père Lachaise Cemetery, just four metres from his friend Chopin  His tomb was designed by the architect Achille Leclère and includes a figure by the sculptor Augustin-Alexandre Dumont representing "Music" crowning a bust of the composer with a wreath 

Works
Orchestral music
Chamber music
Masses and sections of the Mass
Motets and other choral works
Operas
See List of operas by Luigi Cherubini

Teaching manuals
A treatise on counterpoint and fugue (1841)
Passage 4:
Michael Tippett
Sir Michael Kemp Tippett  (2 January 1905 – 8 January 1998) was an English composer who rose to prominence during and immediately after the Second World War  In his lifetime he was sometimes ranked with his contemporary Benjamin Britten as one of the leading British composers of the 20th century  Among his best-known works are the oratorio A Child of Our Time, the orchestral Fantasia Concertante on a Theme of Corelli, and the opera The Midsummer Marriage 
Tippett's talent developed slowly  He withdrew or destroyed his earliest compositions, and was 30 before any of his works were published  Until the mid-to-late 1950s his music was broadly lyrical in character, before changing to a more astringent and experimental style  New influences—including those of jazz and blues after his first visit to America in 1965—became increasingly evident in his compositions  While Tippett's stature with the public continued to grow, not all critics approved of these changes in style, some believing that the quality of his work suffered as a consequence  From around 1976 Tippett's late works began to reflect the works of his youth through a return to lyricism  Although he was much honoured in his lifetime, critical judgement on Tippett's legacy has been uneven, the greatest praise generally reserved for his earlier works  His centenary in 2005 was a muted affair; apart from the few best-known works, his music has not been performed frequently in the 21st century 
Having briefly embraced communism in the 1930s, Tippett avoided identifying with any political party  A pacifist after 1940, he was imprisoned in 1943 for refusing to carry out war-related duties required by his military exemption  His initial difficulties in accepting his homosexuality led him in 1939 to Jungian psychoanalysis; the Jungian dichotomy of "shadow" and "light" remained a recurring factor in his music  He was a strong advocate of music education, and was active for much of his life as a radio broadcaster and writer on music 

Life
Family background
The Tippett family originated in Cornwall  Michael Tippett's grandfather, George Tippett, left the county in 1854 to make his fortune in London through property speculation and other business schemes  A flamboyant character, he had a strong tenor voice that was a popular feature at Christian revivalist meetings  In later life his business enterprises faltered, leading to debts, prosecution for fraud, and a term of imprisonment  His son Henry, born in 1858, was Michael's father  A lawyer by training, he was successful in business and was independently wealthy by the time of his marriage in April 1903  Unusually for his background and upbringing, Henry Tippett was a progressive liberal and a religious sceptic Henry Tippett's bride was Isabel Kemp, from a large upper-middle-class family based in Kent  Among her mother's cousins was Charlotte Despard, a well-known campaigner for women's rights, suffragism, and Irish home rule  Despard was a powerful influence on the young Isabel, who was herself briefly imprisoned after participating in an illegal suffragette protest in Trafalgar Square  Though neither she nor Henry was musical, she had inherited an artistic talent from her mother, who had exhibited at the Royal Academy  After their marriage the couple settled outside London in Eastcote, where two sons were born—the second, Michael, on 2 January 1905 

Childhood and schooling
Shortly after Michael's birth, the family moved to Wetherden in Suffolk  Michael's education began in 1909 with a nursery governess and various private tutors who followed a curriculum that included piano lessons—his first formal contact with music  There was a piano in the house, on which he "took to improvising crazily      which I called 'composing', though I had only the vaguest notion of what that meant"  In September 1914 Michael became a boarder at Brookfield Preparatory School in Swanage, Dorset  He spent four years there, at one point earning notoriety by writing an essay that challenged the existence of God  In 1918 he won a scholarship to Fettes College, a boarding school in Edinburgh, where he studied the piano, sang in the choir, and began to learn to play the pipe organ  The school was not a happy place; sadistic bullying of the younger pupils was commonplace  When Michael revealed to his parents in March 1920 that he had formed a homosexual relationship with another boy, they removed him to Stamford School in Lincolnshire, where a decade previously Malcolm Sargent had been a pupil Around this time Henry Tippett decided to live in France, and the house in Wetherden was sold  The 15-year-old Michael and his brother Peter remained at school in England, travelling to France for their holidays  Michael found Stamford much more congenial than Fettes, and developed both academically and musically  He found an inspiring piano teacher in Frances Tinkler, who introduced him to the music of Bach, Beethoven, Schubert, and Chopin  Sargent had maintained his connection with the school, and was present when Tippett and another boy played Bach's C minor Concerto for Two Harpsichords on pianos with a local string orchestra  Tippett sang in the chorus when Sargent directed a local performance of Robert Planquette's operetta Les Cloches de Corneville  Despite his parents' wish that he follow an orthodox path by proceeding to Cambridge University, Tippett had firmly decided on a career as a composer, a prospect that alarmed them and was discouraged by his headmaster and by Sargent By mid-1922 Tippett had developed a rebellious streak  His overt atheism particularly troubled the school, and he was required to leave  He remained in Stamford in private lodgings, while continuing lessons with Tinkler and with the organist of St Mary's Church  He also began studying Charles Villiers Stanford's book Musical Composition which, he later wrote, "became the basis of all my compositional efforts for decades to come"  In 1923 Henry Tippett was persuaded that some form of musical career, perhaps as a concert pianist, was possible, and agreed to support his son in a course of study at the Royal College of Music (RCM)  After an interview with the college principal, Sir Hugh Allen, Tippett was accepted despite his lack of formal entry qualifications 

Royal College of Music
Tippett began at the RCM in the summer term of 1923, when he was 18 years old  At the time, his biographer Meirion Bowen records, "his aspirations were Olympian, though his knowledge rudimentary"  Life in London widened his musical awareness, especially the Proms at the Queen's Hall, opera at Covent Garden (where he saw Dame Nellie Melba's farewell performance in La bohème) and the Diaghilev Ballet  He heard Chaliapin sing, and attended concerts conducted by, among others, Stravinsky and Ravel—the last-named "a tiny man who stood bolt upright and conducted with what to me looked like a pencil"  Tippett overcame his initial ignorance of early music by attending Palestrina masses at Westminster Cathedral, following the music with the help of a borrowed score At the RCM, Tippett's first composition tutor was Charles Wood, who used the models of Bach, Mozart and Beethoven to instil a solid understanding of musical forms and syntax  When Wood died in 1926, Tippett chose to study with C H  Kitson, whose pedantic approach and lack of sympathy with Tippett's compositional aims strained the relationship between teacher and pupil  Tippett studied conducting with Sargent and Adrian Boult, finding the latter a particularly empathetic mentor—he let Tippett stand with him on the rostrum during rehearsals and follow the music from the conductor's score  By this means Tippett became familiar with the music of composers then new to him, such as Delius and Debussy, and learned much about the sounds of orchestral instruments In 1924 Tippett became the conductor of an amateur choir in the Surrey village of Oxted  Although he saw this initially as a means of advancing his knowledge of English madrigals, his association with the choir lasted many years  Under his direction it combined with a local theatrical group, the Oxted and Limpsfield Players, to give performances of Vaughan Williams's opera The Shepherds of the Delectable Mountains and of Tippett's own adaptation of an 18th-century ballad opera, The Village Opera  He passed his Bachelor of Music (BMus) exams, at his second attempt, in December 1928  Rather than continuing to study for a doctorate, Tippett decided to leave the academic environment  The RCM years had brought him intense and lasting friendships with members of both sexes, in particular with Francesca Allinson and David Ayerst 

Early career
False start
On leaving the RCM, Tippett settled in Oxted to continue his work with the choir and theatrical group and to compose  To support himself he taught French at Hazelwood, a small preparatory school in Limpsfield, which provided him with a salary of £80 a year and a cottage  Also teaching at the school was Christopher Fry, the future poet and playwright who later collaborated with Tippett on several of the composer's early works In February 1930 Tippett provided the incidental music for a performance by his theatrical group of James Elroy Flecker's Don Juan, and in October he directed them in his own adaptation of Stanford's opera The Travelling Companion  His compositional output was such that on 5 April 1930 he gave a concert in Oxted consisting entirely of his own works—a Concerto in D for flutes, oboe, horns and strings; settings for tenor of poems by Charlotte Mew; Psalm in C for chorus and orchestra, with a text by Christopher Fry; piano variations on the song "Jockey to the Fair"; and a string quartet  Professional soloists and orchestral players were engaged, and the concert was conducted by David Moule-Evans, a friend from the RCM  Despite encouraging comments from The Times and the Daily Telegraph, Tippett was deeply dissatisfied with the works, and decided that he needed further tuition  He withdrew the music, and in September 1930 re-enrolled at the RCM for a special course of study in counterpoint with R  O  Morris, an expert on 16th-century music  This second RCM period, during which he learned to write fugues in the style of Bach and received additional tuition in orchestration from Gordon Jacob, was central to Tippett's eventual discovery of what he termed his "individual voice" On 15 November 1931 Tippett conducted his Oxted choir in a performance of Handel's Messiah, using choral and orchestral forces close to Handel's original intentions  Such an approach was rare at that time, and the event attracted considerable interest 

Friendships, politics and music
In mid-1932 Tippett moved to a cottage in neighbouring Limpsfield, provided by friends as a haven in which he could concentrate on composition  His friendships with Ayerst and Allinson had opened up new cultural and political vistas  Through Ayerst he met W  H  Auden, who in due course introduced him to T  S  Eliot  Although no deep friendship developed with either poet, Tippett came to consider Eliot as his "spiritual father"  Ayerst also introduced him to a young artist, Wilfred Franks  By this time Tippett was coming to terms with his homosexuality, while not always at ease with it  Franks provided him with what he described as "the deepest, most shattering experience of falling in love"  This intense relationship ran alongside a political awakening  Tippett's natural sympathies had always been leftish, and became more consciously so from his inclusion in Allinson's circle of left-wing activists  As a result, he gave up his teaching position at Hazelwood to become the conductor of the South London Orchestra, a project financed by the London County Council and made up of unemployed musicians  Its first public concert was held on 5 March 1933 at Morley College, later to become Tippett's professional base 

In the summers of 1932 and 1934 Tippett took charge of musical activities at miners' work camps near Boosbeck in the north of England  Known as the Cleveland Work Camps, they were run by a munificent local landowner, Major Pennyman, to give unemployed miners a sense of purpose and independence  In 1932 Tippett arranged the staging of a shortened version of John Gay's The Beggar's Opera, with locals playing the main parts, and the following year he provided the music for a new folk opera, Robin Hood, with words by Ayerst, himself and Ruth Pennyman  Both works proved hugely popular with their audiences, and although most of the music has disappeared, some of Robin Hood was revived by Tippett for use in his Birthday Suite for Prince Charles of 1948  In October 1934 Tippett and the South London Orchestra performed at a centenary celebration of the Tolpuddle Martyrs, as part of a grand Pageant of Labour at the Crystal Palace Tippett was not formally a member of any political party or group until 1935, when he joined the British Communist Party at the urging of his cousin, Phyllis Kemp  This membership was brief; the influence of Trotsky's History of the Russian Revolution had led him to embrace Trotskyism, while the party maintained a strict Stalinist line  Tippett resigned after a few months when he saw no chance of converting his local party to his Trotskyist views  According to his obituarist J J  Plant, Tippett then joined the Bolshevik-Leninist Group within the Labour Party, where he continued to advocate Trotskyism until at least 1938  Although Tippett's radical instincts always remained strong, he was aware that excessive political activism would distract him from his overriding objective of becoming recognised as a composer  A significant step towards professional recognition came in December 1935, when his String Quartet No  1 was performed by the Brosa Quartet at the Mercury Theatre in Notting Hill, London  This work, which he dedicated to Franks, is the first in the recognised canon of Tippett's music  Throughout much of the 1930s Wilf Franks continued to be an important influence on Tippett both creatively and politically  Franks had a passion for the poetry of both William Blake and Wilfred Owen; Tippett claimed that Franks knew Owen's poetry 'almost word for word and draws it out for me, its meanings, its divine pity and so on   ' 

Towards maturity
Personal crisis
Before the outbreak of the Second World War in September 1939, Tippett released two further works: the Piano Sonata No  1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and the Concerto for Double String Orchestra, which was not performed until 1940  In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis  When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist  He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard  Through an extended course of therapy, Layard gave Tippett the means to analyse and interpret his dreams  Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically  His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche     the need for the individual to accept his divided nature and profit from its conflicting demands"  This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships  While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together  After his psychotherapy he enjoyed several committed—and sometimes overlapping—same-sex relationships  Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941 

A Child of Our Time
While his therapy proceeded, Tippett was searching for a theme for a major work—an opera or an oratorio—that could reflect both the contemporary turmoil in the world and his own recent catharsis  Having briefly considered the theme of the Dublin Easter Rising of 1916, he based his work on a more immediate event: the murder in Paris of a German diplomat by a 17-year-old Jewish refugee, Herschel Grynszpan  This murder triggered Kristallnacht (Crystal Night), a coordinated attack on Jews and their property throughout Nazi Germany on 9–10 November 1938  Tippett hoped that Eliot would provide a libretto for the oratorio, and the poet showed interest  However, when Tippett presented him with a more detailed scenario, Eliot advised him to write his own text, suggesting that the poetic quality of the words might otherwise dominate the music  Tippett called the oratorio A Child of Our Time, taking the title from Ein Kind unserer Zeit, a contemporary protest novel by the Austro-Hungarian writer Ödön von Horváth  Within a three-part structure based on Handel's Messiah, Tippett took the novel step of using North American spirituals in place of the traditional chorales that punctuate oratorio texts  According to Kenneth Gloag's commentary, the spirituals provide "moments of focus and repose     giving shape to both the musical and literary dimensions of the work"  Tippett began composing the oratorio in September 1939, on the conclusion of his dream therapy and immediately after the outbreak of war 

Morley, war, imprisonment
With the South London Orchestra temporarily disbanded because of the war, Tippett returned to teaching at Hazelwood  In October 1940 he accepted the post of Director of Music at Morley College, just after its buildings were almost completely destroyed by a bomb  Tippett's challenge was to rebuild the musical life of the college, using temporary premises and whatever resources he could muster  He revived the Morley College Choir and orchestra, and arranged innovative concert programmes that typically mixed early music (Orlando Gibbons, Monteverdi, Dowland), with contemporary works by Stravinsky, Hindemith and Bartók 

He continued the college's established association with the music of Purcell; a performance in November 1941 of Purcell's Ode to St Cecilia, with improvised instruments and rearrangements of voice parts, attracted considerable attention  The music staff at Morley was augmented by the recruitment of refugee musicians from Europe, including Walter Bergmann, Mátyás Seiber, and Walter Goehr who took charge of the college orchestra A Child of Our Time was finished in 1941 and put aside with no immediate prospects of performance  Tippett's Fantasia on a Theme of Handel for piano and orchestra was performed at the Wigmore Hall in March 1942, with Sellick again the soloist, and the same venue saw the première of the composer's String Quartet No  2 a year later  The first recording of Tippett's music, the Piano Sonata No  1 played by Sellick, was issued in August 1941  The recording was well received by the critics, Wilfrid Mellers predicting a leading role for the composer in the future of English music  In 1942, Schott Music began to publish Tippett's works, establishing an association that continued until the end of the composer's life The question of Tippett's liability for war service remained unresolved until mid-1943  In November 1940 he had formalised his pacifism by joining the Peace Pledge Union and applying for registration as a conscientious objector  His case was heard by a tribunal in February 1942, when he was assigned to non-combatant duties  Tippett rejected such work as an unacceptable compromise with his principles and in June 1943, after several further hearings and statements on his behalf from distinguished musical figures, he was sentenced to three months' imprisonment in HM Prison Wormwood Scrubs



ground_truth: 3,677 seated

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which composer was wrote his music most recently, Michael Tippett or Luigi Cherubini?

The following are given passages.
Context 2:  He served two months, and although thereafter he was technically liable to further charges for failing to comply with the terms set by his tribunal, the authorities left him alone 

Recognition and controversy
On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a concert on 21 October 1944—the first modern use of a countertenor in Purcell's music  Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano  Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944  Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir  Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera  The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas  Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944  He also began to give regular radio talks on music In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion  Tippett's compositions in the immediate postwar years included his First Symphony, performed under Sargent in November 1945, and the String Quartet No  3, premiered in October 1946 by the Zorian Quartet  His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage  During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948) 

The musical and philosophical ideas behind the opera had begun in Tippett's mind several years earlier  The story, which he wrote himself, charts the fortunes of two contrasting couples in a manner which has brought comparisons with Mozart's The Magic Flute  The strain of composition, combined with his continuing responsibilities at Morley and his BBC work, affected Tippett's health and slowed progress  Following the death in 1949 of Morley's principal, Eva Hubback, Tippett's personal commitment to the college waned  His now-regular BBC fees had made him less dependent on his Morley salary, and he resigned his college post in 1951  His farewell took the form of three concerts which he conducted at the new Royal Festival Hall, in which the programmes included A Child of Our Time, the British première of Carl Orff's Carmina Burana, and Thomas Tallis's rarely performed 40-part motet Spem in alium In 1951 Tippett moved from Limpsfield to a large, dilapidated house, Tidebrook Manor in Wadhurst, Sussex  As The Midsummer Marriage neared completion he wrote a song cycle for tenor and piano, The Heart's Assurance  This work, a long-delayed tribute to Francesca Allinson (who had committed suicide in 1945), was performed by Britten and Pears at the Wigmore Hall on 7 May 1951  The Midsummer Marriage was finished in 1952, after which Tippett arranged some of the music as a concert suite, the Ritual Dances, performed in Basel, Switzerland, in April 1953  The opera itself was staged at Covent Garden on 27 January 1955  The lavish production, with costumes and stage designs by Barbara Hepworth and choreography by John Cranko, perplexed the opera-going public and divided critical opinion  According to Bowen, most "were simply unprepared for a work that departed so far from the methods of Puccini and Verdi"  Tippett's libretto was variously described as "one of the worst in the 350-year history of opera" and "a complex network of verbal symbolism", and the music as "intoxicating beauty" with "passages of superbly conceived orchestral writing"  A year after the première, the critic A E F  Dickinson concluded that "in spite of notable gaps in continuity and distracting infelicities of language, [there is] strong evidence that the composer has found the right music for his ends" Much of the music Tippett composed following the opera's completion reflected its lyrical style  Among these works was the Fantasia Concertante on a Theme of Corelli (1953) for string orchestra, written to commemorate the 300th anniversary of the composer Arcangelo Corelli's birth  The Fantasia would eventually become one of Tippett's most popular works, though The Times's critic lamented the "excessive complexity of the contrapuntal writing     there was so much going on that the perplexed ear knew not where to turn or fasten itself"  Such comments helped to foster a view that Tippett was a "difficult" composer, or even that his music was amateurish and poorly prepared  These perceptions were strengthened by controversies around several of his works in the late 1950s  The Piano Concerto (1955) was declared unplayable by its scheduled soloist, Julius Katchen, who had to be replaced before the première by Louis Kentner  The Dennis Brain Wind Ensemble, for whom Tippett had written the Sonata for Four Horns (1955), complained that the work was in too high a key and required it to be transposed down  When the Second Symphony was premièred by the BBC Symphony Orchestra under Boult, in a live broadcast from the Royal Festival Hall on 5 February 1958, the work broke down after a few minutes and had to be restarted by the apologetic conductor: "Entirely my mistake, ladies and gentlemen"  The BBC's Controller of Music defended the orchestra in The Times, writing that it "is equal to all reasonable demands", a wording that implied the fault was the composer's 

International acclaim
King Priam and after
In 1960 Tippett moved to a house in the Wiltshire village of Corsham, where he lived with his long-term partner Karl Hawker  By then Tippett had begun work on his second major opera, King Priam  He chose for his theme the tragedy of Priam, mythological king of the Trojans, as recorded in Homer's Iliad, and again he prepared his own libretto  As with The Midsummer Marriage, Tippett's preoccupation with the opera meant that his compositional output was limited for several years to a few minor works, including a Magnificat and Nunc Dimittis written in 1961 for the 450th anniversary of the foundation of St John's College, Cambridge  King Priam was premièred in Coventry by the Covent Garden Opera on 29 May 1962 as part of a festival celebrating the consecration of the new Coventry Cathedral  The production was by Sam Wanamaker and the lighting by Sean Kenny  John Pritchard was the conductor  The music for the new work displayed a marked stylistic departure from what Tippett had written hitherto, heralding what a later commentator, Iain Stannard, refers to as a "great divide" between the works before and after King Priam  Although some commentators questioned the wisdom of so radical a departure from his established voice, the opera was a considerable success with critics and the public  Lewis later called it "one of the most powerful operatic experiences in the modern theatre"  This reception, combined with the fresh acclaim for The Midsummer Marriage following a well-received BBC broadcast in 1963, did much to rescue Tippett's reputation and establish him as a leading figure among British composers As earlier with The Midsummer Marriage, the compositions that followed King Priam retained the musical idiom of the opera, notably the Piano Sonata No  2 (1962) and the Concerto for Orchestra (1963), the latter written for the Edinburgh Festival and dedicated to Britten for his 50th birthday  Tippett's main work in the mid-1960s was the cantata The Vision of Saint Augustine, commissioned by the BBC, which Bowen marks as a peak of Tippett's compositional career: "Not since The Midsummer Marriage had he unleashed such a torrent of musical invention"  His status as a national figure was now being increasingly recognised  He had been appointed a Commander of the Order of the British Empire (CBE) in 1959; in 1961 he was made an honorary Fellow of the Royal College of Music (HonFRCM), and in 1964 he received from Cambridge University the first of many honorary doctorates  In 1966 he was awarded a knighthood 

Wider horizons
In 1965 Tippett made the first of several visits to the United States, to serve as composer in residence at the Aspen Music Festival in Colorado  Tippett's American experiences had a significant effect on the music he composed in the late 1960s and early 1970s, with jazz and blues elements particularly evident in his third opera, The Knot Garden (1966–69), and in the Symphony No  3 (1970–72)  At home in 1969, Tippett worked with the conductor Colin Davis to rescue the Bath International Music Festival from a financial crisis, and became the festival's artistic director for the following five seasons  In 1970, following the collapse of his relationship with Hawker, he left Corsham and moved to a secluded house on the Marlborough Downs  Among the works he wrote in this period were In Memoriam Magistri (1971), a chamber piece commissioned by Tempo magazine as a memorial to Stravinsky, who had died on 6 April 1971, and the Piano Sonata No  3 (1973) 

In February 1974 Tippett attended a "Michael Tippett Festival", arranged in his honour by Tufts University, near Boston, Massachusetts  He was also present at a performance of The Knot Garden at Northwestern University at Evanston, Illinois—the first Tippett opera to be performed in the US  Two years later he was again in the country, engaged on a lecture tour that included the Doty Lectures in Fine Art at the University of Texas  Between these American journeys, Tippett travelled to Lusaka for the first African performance of A Child of Our Time, at which the Zambian president, Kenneth Kaunda, was present In 1976 Tippett was awarded the Gold Medal of the Royal Philharmonic Society  The following few years saw journeys to Java and Bali—where he was much attracted by the sounds of gamelan ensembles—and to Australia, where he conducted a performance of his Fourth Symphony in Adelaide  In 1979, with funds available from the sale of some of his original manuscripts to the British Library, Tippett inaugurated the Michael Tippett Musical Foundation, which provided financial support to young musicians and music education initiatives Tippett maintained his pacifist beliefs, while becoming generally less public in expressing them, and from 1959 served as president of the Peace Pledge Union  In 1977 he made a rare political statement when, opening a PPU exhibition at St Martin-in-the-Fields, he attacked President Carter's plans to develop a neutron bomb 

Later life
In his seventies, Tippett continued to compose and travel, although now handicapped by health problems  His eyesight was deteriorating as a result of macular dystrophy, and he relied increasingly on his musical amanuensis and near namesake Michael Tillett, and on Meirion Bowen, who became Tippett's assistant and closest companion in the remaining years of the composer's life  The main works of the late 1970s were a new opera, The Ice Break, the Symphony No  4, the String Quartet No  4 and the Triple Concerto for violin, viola and cello  The Ice Break was a reflection of Tippett's American experiences, with a contemporary storyline incorporating race riots and drug-taking  His libretto has been criticised for its awkward attempts at American street vernacular, and the opera has not found a place in the general repertory  Mellers finds that its fusion of "art music, rock ritual and performance art fail to gel"  The Triple Concerto includes a finale inspired by the gamelan music that Tippett absorbed during his visit to Java In 1979 Tippett was made a Companion of Honour (CH)  The main composition that occupied him in the early 1980s was his oratorio The Mask of Time, loosely based on Jacob Bronowski's 1973 TV series The Ascent of Man  In Tippett's words, this is an attempt to deal "with those fundamental matters that bear upon man, his relationship with Time, his place in the world as we know it and in the mysterious universe at large"  The oratorio was commissioned by the Boston Symphony Orchestra for its centenary, and was one of several of Tippett's late compositions that were premièred in America 

In 1983 Tippett became president of the London College of Music and was appointed a Member of the Order of Merit (OM)  By the time of his 80th birthday in 1985 he was blind in his right eye, and his output had slowed  Nevertheless, in his final active years he wrote his last opera, New Year  This futuristic fable involving flying saucers, time travel and urban violence was indifferently received on its première in Houston, Texas, on 17 October 1989  Donal Henahan in The New York Times wrote that "Unlike Wagner, [Tippett] does not provide music of enough quality to allow one to overlook textual absurdities and commonplaces " The opera was introduced to Britain in the Glyndebourne Festival of 1990 In spite of his deteriorating health, Tippett toured Australia in 1989–90, and also visited Senegal  His last major works, written between 1988 and 1993, were: Byzantium, for soprano and orchestra; the String Quartet No  5; and The Rose Lake, a "song without words for orchestra" inspired by a visit to Lake Retba in Senegal during his 1990 trip  He intended The Rose Lake to be his farewell, but in 1996 he broke his retirement to write "Caliban's Song" as a contribution to the Purcell tercentenary 

Death
In 1997 he moved from Wiltshire to London to be closer to his friends and caregivers; in November of that year he made his last overseas trip, to Stockholm for a festival of his music  After suffering a stroke he was taken home, where he died on 8 January 1998, six days after his 93rd birthday  He was cremated on 15 January, at Hanworth crematorium, after a secular service 

Music
General character
Bowen has described Tippett as "a composer of our time", one who engaged with the social, political and cultural issues of his day  Arnold Whittall sees the music as embodying Tippett's philosophy of "ultimately optimistic humanism"  Rather than ignoring the barbarism of the 20th century, says Kemp, Tippett chose through his works to seek "to preserve or remake those values that have been perverted, while at the same time never losing sight of the contemporary reality"  The key early work in this respect is A Child of Our Time, of which Clarke writes: "[t]he words of the oratorio's closing ensemble, 'I would know my shadow and my light, So shall I at last be whole', have become canonical in commentary on Tippett     this [Jungian] statement crystallizes an ethic, and aesthetic, central to his world-view, and one which underlies all his text-based works" Sceptical critics such as the musicologist Derrick Puffett have argued that Tippett's craft as a composer was insufficient for him to deal adequately with the task that he had set himself of "transmut[ing] his personal and private agonies into     something universal and impersonal"  Michael Kennedy has referred to Tippett's "open‐eyed, even naive outlook on the world", while accepting the technical sophistication of his music  Others have acknowledged his creative ingenuity and his willingness to adopt whatever means or techniques were necessary to fit his intentions Tippett's music is marked by the expansive nature of his melodic line—the Daily Telegraph's Ivan Hewett refers to his "astonishingly long-breathed melodies"  According to Jones, a further element of the "individual voice" that emerged in 1935 was Tippett's handling of rhythm and counterpoint, demonstrated in the First String Quartet—Tippett's first use of the additive rhythm and cross-rhythm polyphony which became part of his musical signature  This approach to metre and rhythm is derived in part from Bartók and Stravinsky but also from the English madrigalists  Sympathy with the past, observed by Colin Mason in an early appraisal of the composer's work, was at the root of the neoclassicism that is a feature of Tippett's music, at least until the Second Symphony (1957) In terms of tonality, Tippett shifted his ground in the course of his career  His earlier works, up to The Midsummer Marriage, are key-centred, but thereafter he moved through bitonality into what the composer Charles Fussell has summarised as "the freely-organized harmonic worlds" of the Third Symphony and The Ice Break  Although Tippett flirted with the "twelve-tone" technique—he introduced a twelve-tone theme into the "storm" prelude that begins The Knot Garden—Bowen records that he generally rejected serialism as incompatible with his musical aims 

Compositional process
Tippett described himself as the receiver of inspiration rather than its originator, the creative spark coming from a particular personal experience, which might take one of many forms but was most often associated with listening to music  The process of composing was lengthy and laborious, the actual writing down of the music being preceded by several stages of gestation; as Tippett put it, "the concepts come first, and then a lot of work and imaginative processes until eventually, when you're ready, finally ready, you look for the actual notes"  Tippett elaborated: "I compose by first developing an overall sense of the length of the work, then of how it will divide itself into sections or movements, then of the kind of texture or instruments or voices that will be performing it  I prefer not to consider the actual notes of the composition until this process     has gone as far as possible"  Sometimes the time required to see a project through from conception to completion was very lengthy—seven years, Tippett says, in the case of the Third Symphony  In the earlier, contemplative stages he might be simultaneously engaged on other works, but once these stages were complete he would dedicate himself entirely to the completion of the work in hand Tippett preferred to compose in full score; once the writing began, progress was often not fluent, as evidenced by Tippett's first pencil draft manuscripts which show multiple rubbings-out and reworkings  In this, the musicologist Thomas Schuttenhelm says, his methods resembled those of Beethoven, with the difference that "whereas Beethoven's struggle is considered a virtue of his work, and almost universally admired, Tippett's was the source and subject of a debate about his competency as a composer" 

Influences
The style that emerged from Tippett's long compositional apprenticeship was the product of many diverse influences  Beethoven and Handel were initial models (Handel above Bach, who in Tippett's view lacked drama), supplemented by 16th- and 17th-century masters of counterpoint and madrigal—Thomas Weelkes, Monteverdi and Dowland  Purcell became significant later, and Tippett came to lament his ignorance of Purcell during his RCM years: "It seems to me incomprehensible now that his work was not even recommended in composition lessons as a basic study for the setting of English" Tippett recognised the importance to his compositional development of several 19th- and 20th-century composers: Berlioz for his clear melodic lines, Debussy for his inventive sound, Bartók for his colourful dissonance, Hindemith for his skills at counterpoint, and Sibelius for his originality in musical forms  He revered Stravinsky, sharing the Russian composer's deep interest in older music  Tippett had heard early ragtime as a small child before the First World War; he noted in his later writings that, in the early years of the 20th century, ragtime and jazz "attracted many serious composers thinking to find     a means to refresh serious music by the primitive"  His interest in these forms led to his fascination with blues, articulated in several of his later works  Among his contemporary composers, Tippett admired Britten and shared his desire to end the perception of English music as provincial  He also had a high regard for Alan Bush, with whom he joined forces to produce the 1934 Pageant of Labour  "I can remember the excitement I felt when he outlined to me his plan for a major string quartet" Although influences of folk music from all parts of the British Isles are evident in Tippett's early works, he was wary of the English folksong revival of the early 20th century, believing that much of the music presented as "English" by Cecil Sharp and his followers originated elsewhere  Notwithstanding his doubts, Tippett took some inspiration from these sources  The composer David Matthews writes of passages in Tippett's music which "evoke the 'sweet especial rural scene' as vividly as Elgar or Vaughan Williams     perhaps redolent of the Suffolk landscape with its gently undulating horizons, wide skies and soft lights" 

Works
After the withdrawn works written in the 1920s and early 1930s, analysts generally divide Tippett's mature compositional career into three main phases, with fairly fluid boundaries and some internal subdivision in each main period  The first phase extends from the completion of the String Quartet No  1 in 1935 to the end of the 1950s, a period in which Tippett drew on the past for his main inspiration   The 1960s marked the beginning of a new phase in which Tippett's style became more experimental, reflecting both the social and cultural changes of that era and the broadening of his own experiences  The mid-1970s produced a further stylistic change, less marked and sudden than that of the early 1960s, after which what Clarke calls the "extremes" of the experimental phase were gradually replaced by a return to the lyricism characteristic of the first period, a trend that was particularly manifested in the final works 

Withdrawn compositions
Tippett's earliest compositions cover several genres  Kemp writes that the works indicate Tippett's deep commitment to the learning of his craft, his early ability to manipulate traditional forms, and a general willingness to experiment  Clarke observes that in these youthful efforts, characteristics which would mark his mature work were already discernible  Some of the early work is of high quality—the Symphony in B flat of 1933 was, in Kemp's view, comparable to William Walton's contemporaneous First Symphony  Tippett pondered for years whether to include this work in his formal canon before deciding that its debt to Sibelius was too great  Nevertheless, it foreshadows techniques that feature in the String Quartet No  1 and in the Corelli Fantasia Other accomplished early works include the two string quartets, composed between 1928 and 1930, in which Tippett sought to combine the styles of Beethoven and Haydn respectively with folk-song, as Beethoven had in his Rasoumovsky quartets of 1806  Tippett explains the withdrawal of these and the other early works: "I realised very clearly that they were not totally consonant with myself  I didn't think they had the stamp of artistic durability  So I took the whole lot along to R O  Morris who agreed that they didn't show enough technical mastery "

First period: 1935 to late 1950s
Kemp identifies the String Quartet No  1 (1935) as marking Tippett's discovery of his individual voice  According to the composer Alan Ridout, the work stamped its character on Tippett's first period, and together with the second and third quartets of 1942 and 1946 it typifies his style up to The Midsummer Marriage  In the two works that immediately followed the first quartet, Bowen finds the Piano Sonata No  1 (1938) full of the young composer's inventiveness, while Matthews writes of the Concerto for Double String Orchestra (1939): "[I]t is the rhythmic freedom of the music, its joyful liberation from orthodox notions of stress and phrase length, that contributes so much to its vitality"  Both of these works show influence of folk music, and the finale of the Piano Sonata is marked by innovative jazz syncopations  According to Schuttenhelm, the Double Concerto marks the proper beginning of Tippett's  maturity as an orchestral composer 

In A Child of Our Time Tippett was, in Kemp's view, wholly successful in integrating the language of the spirituals with his own musical style  Tippett had obtained recordings of American singing groups, especially the Hall Johnson Choir, which provided him with a  model for determining the relationships between solo voices and chorus in the spirituals  Thus, Kemp believes, the fourth spiritual "O by and by" sounds almost as if it had been composed by Tippett   The composer's instructions in the score specify that "the spirituals should not be thought of as congregational hymns, but as integral parts of the Oratorio; nor should they be sentimentalised but sung with a strong underlying beat and slightly 'swung'" In Tippett's Symphony No  1 (1945), his only large-scale work between A Child of Our Time and The Midsummer Marriage, his "gift for launching a confident flow of sharply characterized, contrapuntally combined ideas" is acknowledged by Whittall  The same critic found the symphony's quality uneven, and the orchestral writing weaker than in the Double Concerto  Whittall offers nearly unqualified praise for The Midsummer Marriage, a view largely echoed by Mellers, who saw the perceived "difficulty" of the music as "an aspect of its truth"  He considered the opera one of the best musical-theatrical works of its era Three major works of the 1950s round off Tippett's first period: the Corelli Fantasia (1953), in which Clarke sees, in the alla pastorale section, the composer's instrumental writing at its best; the mildly controversial Piano Concerto (1955) which Whittall regards as one of the composer's most intriguing works—an attempt to "make the piano sing"; and the Symphony No  2 (1957) which Tippett acknowledges as a turning-point in his music  Until this point, says Matthews, Tippett's style had remained broadly tonal  The Second Symphony was his first essay in polytonality, paving the way to the dissonance and chromaticism of subsequent works  Milner, too, recognises the pivotal position of this symphony in Tippett's development which, he says, both sums up the style of the late 1950s and presages the changes to come 

Second period: King Priam to 1976
In his analysis of King Priam, Bowen argues that the change in Tippett's musical style arose initially from the nature of the opera, a tragedy radically different in tone from the warm optimism of The Midsummer Marriage  Clarke sees the change as something more fundamental, the increases in dissonance and atonality in Priam being representative of a trend that continued and reached a climax of astringency a few years later in Tippett's third opera, The Knot Garden  Tippett's new modernistic language, writes Clarke, was rooted in his desire to represent a wider range of human experiences, characteristic of a changing world: "War, violence, sex, homoeroticism, and social and interpersonal alienation [would now feature] much more overtly in [his] dramatic works or works with text"  Critics acknowledged Priam as a considerable achievement, but received the new musical style cautiously  While Gloag thought the change was not an absolute departure from Tippett's earlier style, Milner viewed King Priam as a complete break with Tippett's previous work, pointing out the lack of counterpoint, the considerably increased dissonances, and the move towards atonality: "very little of the music is in a definite key" 

Many of the minor works that Tippett wrote in the wake of King Priam reflect the musical style of the opera, in some cases quoting directly from it  In the first purely instrumental post-Priam work, the Piano Sonata No  2 (1962), Milner thought the new style worked better in the theatre than in the concert or recital hall, although he found the music in the Concerto for Orchestra (1963) had matured into a form that fully justified the earlier experiments  The critic Tim Souster refers to Tippett's "new, hard, sparse instrumental style" evident in The Vision of Saint Augustine (1965), written for baritone soloist, chorus and orchestra, a work which Bowen considers one of the peaks of Tippett's career During the late 1960s Tippett worked on a series of compositions that reflected the influence of his American experiences after 1965: The Shires Suite (1970), The Knot Garden (1970) and the Symphony No  3 (1972)  In The Knot Garden Mellers discerns Tippett's "wonderfully acute" ear only intermittently, otherwise: "thirty years on, the piece still sounds and looks knotty indeed, exhausting alike to participants and audience"  The Third Symphony is overtly linked by Tippett to Beethoven's Ninth Symphony through a vocal finale of four blues songs, introduced by a direct quotation from Beethoven's finale  Tippett's intention, explained by the music critic Calum MacDonald, was to explore the contemporary relevance of the grand, universal sentiments in Schiller's Ode to Joy, as set by Beethoven  Tippett's conclusion is that while the need to rejoice remains, the twentieth century has put paid to the Romantic ideals of universality and certainty After completing his Piano Sonata No  3 (1973), "a formidable piece of abstract composition" according to Bowen, Tippett returned to the modern vernacular in his fourth opera The Ice Break (1976)  Describing the music in an introduction to the published libretto, Tippett identifies "two archetypal sounds: one relating to the frightening but exhilarating sound of the ice breaking on the great northern rivers in the spring; the other related to the exciting or terrifying sound of the slogan-shouting crowds, which can lift you on your shoulders in triumph, or stamp you to death"   Although the work was generally regarded as a critical and public failure, aspects of its music have been recognised as among Tippett's best  The critic John Warrack writes that, after the violence of the opening acts, the third act's music has a lyrical warmth comparable to that of The Midsummer Marriage"  William Mann in The Times was equally enthusiastic, finding the music compelling and worthy of many a rehearing 

Third period: 1977 to 1995
In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No  4 (1977), the String Quartet No  4 (1978), and the Triple Concerto for violin, viola and cello (1979)  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing  This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello"   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt  In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments perform individually rather than as a formal grouping  The work acknowledges Tippett's past with quotations from The Midsummer Marriage 
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts with an ultimately lofty message"  Mellers called the work "a mind-boggling cosmic history of the universe"   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life  Donal Henahan was dismissive of the music: "    the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works " In Byzantium (1990), Tippett set the five stanzas of W  B  Yeats's poem, with added orchestral interludes  By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him  In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it"  After the String Quartet No  5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty     a worthy ending to a remarkable career" 

Reputation and legacy
In a joint study of Tippett and Britten published in 1982, Whittall designated the pair as "the two best British composers of that     generation born between 1900 and the outbreak of the First World War, and among the best of all composers born in the first two decades of the twentieth century"  After Britten's death in 1976, Tippett became widely regarded as the doyen of British music, but critical opinion of his later works was not always positive  After the first performance of the Triple Concerto in 1980, Driver wrote that "not since The Knot Garden has [he] produced anything worthy of his early masterpieces" In 1982, in his comparative study of Britten and Tippett, Whittall asserted that "it would be difficult to claim that any of the works [Tippett] has begun in his seventies are the equal of earlier compositions"  Although both Driver and Whittall later modified their opinions, such comments represented a general view among critics that Tippett's creative powers had begun to decline after the triumph of King Priam  This perception was strongly expressed by Derek Puffett, who argued that the decline followed Tippett's abandonment of myth—seen as the key to the success of The Midsummer Marriage and King Priam—and stemmed from his increasingly futile efforts to universalise his private agonies and express them musically  Despite his admiration for the early works, Puffett consigned Tippett "to the ranks of those noble but tragic composers who have lived beyond their time"  The  critic Norman Lebrecht, writing in 2005, dismissed almost all Tippett's output, labelling him "a composer to forget"  With the forthcoming centenary celebrations in mind, Lebrecht wrote: "I cannot begin to assess the damage to British music that will ensue from the coming year's purblind promotion of a composer who failed so insistently to observe the rules of his craft" Against these criticisms Kemp maintained that while the style had become less immediately accessible, Tippett's later works showed no loss of creative power   The critic Peter Wright, writing in 1999, challenged the "decline" theory with the view that the later compositions are "harder to come to terms with     because of the more challenging nature of their musical language", a theme he developed in a detailed study of the Fifth String Quartet After Tippett's death the more popular pieces from his first period continued to be played, but there was little public enthusiasm for the later works  After the relatively muted 2005 centenary celebrations, performances and recordings tailed off  In October 2012 Hewett wrote in the Daily Telegraph of a "calamitous fall" in Tippett's reputation since his death  Geraint Lewis acknowledges that "no consensus yet exists in respect of the works composed from the 1960s onwards", while forecasting that Tippett will in due course be recognised as one of the most original and powerful musical voices of twentieth-century Britain" Many of Tippett's articles and broadcast talks were issued in collections between 1959 and 1995  In 1991 he published an episodic autobiography, Those Twentieth Century Blues, notable for its frank discussions of personal issues and relationships  Collectively, Tippett's writings define his aesthetic standpoint, which Clarke summarises thus: "Tippett holds that art's role in post-Enlightenment culture is to offer a corrective to society's spiritually injurious domination by mass technology  Art, he suggests, can articulate areas of human experience, unapproachable through scientific rationality, by presenting 'images' of the inner world of the psyche "Although Tippett did not found a compositional school, composers who have acknowledged his influence include David Matthews and William Mathias  More generally, his musical and educational influence continues through the Michael Tippett Foundation  He is also commemorated in the Michael Tippett Centre, a concert venue within the Newton Park campus of Bath Spa University  In Lambeth, home of Morley College, is Heron Academy (previously named The Michael Tippett School), an educational facility for young people aged 11–19 with complex learning disabilities  Within the school's campus is the Tippett Music Centre, which offers music education for children of all ages and levels of ability 

Writings
Three collections of Tippett's articles and broadcast talks have been published:

Moving into Aquarius (1959)  London, Routledge and Kegan Paul  OCLC 3351563
Music of the Angels: essays and sketchbooks of Michael Tippett (1980)  London, Eulenburg Books  ISBN 0-903873-60-5
Tippett on Music (1995)  Oxford, Clarendon Press  ISBN 0-19-816541-2
Context 3: Passage 1:
London Eye Pier
The London Eye Pier is directly in front of the London Eye Ferris wheel on the South Bank of the River Thames in Central London, England  It was opened as the Waterloo Millennium Pier in 2000 
It is served by various river transport and cruise operators 
It should not be confused with the former Waterloo Police Pier, on the opposite side of the river on Victoria Embankment next to Waterloo Bridge, which has since been renamed the Tower Lifeboat Station and has been the base for the RNLI's Thames lifeboat service since 2006 

Construction
The pier was designed by Beckett Rankine and Marks Barfield Architects and built by Tilbury Douglas, principally to act as a collision protection system for the London Eye 
It was one of five new piers opened in 2000 on the Thames funded by the Millennium Commission as part of the Thames 2000 project (the others being Blackfriars Millennium Pier, Millbank Millennium Pier, Tower Millennium Pier, and Westminster Millennium Pier), as part of an integrated transport and regeneration strategy for the Thames led by London's Cross River Partnership 

Services
The pier is served by various services including:

Commuter boat services between Embankment and Woolwich (Thames Clippers)
Summer leisure cruises between Westminster and Greenwich (City Cruises)
Speedboat tour cruises to Canary Wharf and Thames Barrier (Thames Rockets)Waterloo is a turnaround point for the commuter boat; upriver services call at Embankment, then Waterloo, where they begin the downriver service back towards Bankside 

Connections
Waterloo Underground station and London Waterloo station  
London Buses route RV1

Local attractions
London Eye
London Aquarium
Dali Universe
Florence Nightingale Museum
Big Ben
South Bank arts precinct

Lines
Passage 2:
Garden Bridge
The Garden Bridge project was an unsuccessful private proposal for a pedestrian bridge over the River Thames in London, England  Originally an idea of Joanna Lumley, and strongly supported by then-Mayor of London Boris Johnson, the designer Thomas Heatherwick worked with Arup Group on a proposal by Transport for London (TfL) for a new bridge across the Thames between Waterloo Bridge and Blackfriars Bridge  The proposed concrete, steel, cupronickel clad structure was intended to carry pedestrians, with no cycles or other vehicles  It was to have been located some 200 metres (660 ft) from Waterloo Bridge and 300 m (980 ft) from Blackfriars Bridge, and have included some areas of planting  The project was to include a commercial building, built on former green space at the southern end of the bridge  The bridge was intended to be funded by raising over £140 million of private money (including taxpayer funding through charitable gift aid) and £60 million of promised public money, of which £30m was from Transport for London (£20m of this to be repaid over 55 years) and £30m from the Department for Transport, adding up to projected funding of over £200m  In January 2017, the trustees of the prospective owner of the bridge, the Garden Bridge Trust, stated that costs would "substantially exceed" an earlier revised total of £185m and, in April 2017, a report by Margaret Hodge MP concluded, on the basis of the Garden Bridge Trust's own evidence, that the cost would be over £200m If built, it was proposed that the bridge would have been open from 6am to midnight, with closures for the preparation for and holding of up to 12 private commercial events per year to raise funds for its maintenance  A planning condition required annual maintenance costs to be guaranteed by a third party and it was expected that this would be the Greater London Authority  The annual maintenance costs were variously estimated at between £2m and £3 5m, before allowing for the repayment of loan capital and interest In July 2016, preparatory work for the bridge was halted and the Garden Bridge Trust put contractors on standby to allow for a financial review and because they had not cleared outstanding issues such as securing legal rights to the land on either side of the river, despite signing a contract for construction of the bridge in January 2016  In September 2016, Sadiq Khan, Mayor of London, announced a formal review by Margaret Hodge of the procurement processes in relation to the bridge project and its value for money  In October 2016, the National Audit Office reported on procurement issues and perceived value for money for that part of the cost of the project which was being met by funds (£30m) from the Department for Transport  In January 2017, the trustees of the Garden Bridge Trust (the limited company behind the project) said they were unable to conclude that the trust was a going concern  In February 2017, the Charity Commission for England and Wales found the financial management of the trust to be satisfactory, albeit with criticisms as to the trustees' approach  The subsequent report by Margaret Hodge MP was highly critical of the plan, its procurement, its cost, the risk to public funds, and lack of value for money The Garden Bridge Trust formally announced on 14 August 2017 that it would be ending the project and that the Garden Bridge Trust itself would be wound up in accordance with the Companies Acts  The failed project cost £53m, including £43m of public money 

Ownership
The Garden Bridge Trust, a registered charity (charity registration number 1155246) and a company limited by guarantee registered in England and Wales, and with an exemption from use of the term "Limited",  was to own the bridge, as private space in the public realm  The company was incorporated on 30 October 2013 under reference 08755461  Lord Davies of Abersoch is chairman of the trust and a director of the limited company 

Design
The bridge would have been 366 metres (1,201 ft) long and 30 metres (98 ft) across at its widest point  It would have run from the roof of Temple tube station at the foot of Arundel Street on the north bank to Queen's Walk on the South Bank, next to ITV's London Studios, where a public green open space would have been sacrificed and built upon to provide a commercial building associated with the bridge, with removal of some 28 mature trees  The new building would have housed a combination of public toilets, maintenance facilities, and operational areas, together with an events space which was intended to be occupied by Coin Street Community Builders who have a long lease of the area on which the building would have been constructed  The bridge would have featured trees and shrubs, hedging plants and climbers, perennials, ferns and grasses, and bulbs  Its construction would have required the felling of mature trees on both sides of the river, including 28 plane trees in the avenue on Queen's Walk which were planted in the 1960s as a living memorial to London's war dead  The bridge was to have been planted with some 270 immature trees  In order to limit the wind loading on the bridge structure the trees would have been maintained by pruning so that they never exceeded a height of 15 m (49 ft) at the bridge piers and 2 m (6 ft 7 in) near the bridge landings  Dan Pearson was appointed as landscape designer Before granting planning permission, Westminster City Council raised concerns that the bridge would cause "significant harm" to a number of protected views from Waterloo Bridge, Blackfriars Bridge, and the South Bank, but concluded that new views from the garden bridge would outweigh the damage caused  The bridge's proposed private owners claimed however that English Heritage stated in an assessment that "the Bridge would be as a picturesque incident in the riverscape… its low slung and restrained architecture and engineering will change the character of views but not cause harm to the setting of, and views to and from historic assets "

Operation
In November 2014, it was claimed that the bridge would be off limits to groups of eight or more people and to cyclists  The Garden Bridge Trust later said that groups of eight or more would not be banned and cyclists would be allowed to use the bridge, if they were to dismount and push their cycles The bridge would have been open to the public for 18 hours each day, closing between midnight and 6am  The draft business plan allowed the Garden Bridge Trust to close the bridge for up to 12 days a year for commercial events  Further, the charity proposed to rent the rooftop of the bridge's South Bank landing podium for commercial purposes on every weekend between May and October Nine bridges already span the two miles (3 2 km) between Westminster Bridge and London Bridge, seven of which can be crossed on foot  Projections of visitor numbers suggested that the bridge would have added another 3 5 million visitors a year, an 18% increase on 2014 numbers  In 2014, critics of the project began campaigning to have it brought under judicial review or another appeal process through the secretary of state In November 2015, planning documents for the bridge revealed that public access to the bridge was to be controlled, including the use of the tracking of visitors' mobile phone signals to guard against overcrowding, a video surveillance system and security staff known as "visitor hosts" who would have limited policing powers under a Community Safety Accreditation Scheme, including the right to issue fines  The rules of the bridge were to prohibit "any exercise other than jogging, playing a musical instrument, taking part in a 'gathering of any kind', giving a speech or address, scattering ashes, releasing a balloon and flying a kite " The bridge's private owners claimed that conditions would be "similar" to those of the Royal Parks At a meeting at City Hall on 17 December 2015, Boris Johnson, then Mayor of London said, in defence of the project, "It's important that we don't rest on our laurels, but continue to adorn the city with things that will attract visitors … and to get it done within a four-year mayoralty is a very challenging thing " During the 2016–2017 review conducted by Dame Margaret Hodge for the Mayor of London, the only parties to express support for the bridge were Boris Johnson, the Garden Bridge Trust (the prospective owner of the bridge) itself and the Evening Standard while, on the other hand, "hostility" to the bridge was "substantial" 

Funding
By August 2016, the proposed cost of the bridge had risen to £185 million, from the original estimate of £60m  When first promoted, it was claimed that the project would be financed entirely from private sources, but a total of £60m towards the capital cost was then committed from public funds, with £30m pledged from Transport for London (TfL) funds by Mayor of London Boris Johnson and £30m pledged by HM Treasury  It was then agreed in November 2015 that £20m of TfL funds would be repaid over a period of 50 years as a loan Further, the City of Westminster granted planning permission conditionally upon provision of a guarantee of maintenance costs  The Greater London Authority initially indicated willingness to underwrite those maintenance costs, estimated at a minimum of £2m a year, in perpetuity  In June 2013, the Commissioner of Transport for London, Sir Peter Hendy had stated that the public would meet no more than the "enabling costs" of the project of £4m  Nevertheless, the financial chief for Transport for London considered the proposed bridge extremely expensive when compared with other crossings on the Thames  For example, the Millennium Bridge had cost only £22m Writing in The Guardian in February 2016, Ian Jack contrasted the £60m taxpayer support for the project with the closure of five Lancashire museums – two of which are nationally important – and 40 libraries   Jack described the bridge as unwanted and unnecessary and the closures as "cultural disembowelment"  He asked whether a meeting between Joanna Lumley, a friend of designer Thomas Heatherwick and Boris Johnson had played a part  Jane Duncan, president of the Royal Institute of British Architects requested the project be put on hold pending an investigation of the tendering process for the appointments of Heatherwick Studio and Arup  Ian Jack followed up in May with another article calling the bridge an oddity born of the "chumocracy", and correspondents from outside London were equally scathing On 16 February 2016, Walter Menteth of Project Compass CIC, a procurement intelligence service, published a detailed report on the irregularities in the procurement leading to the appointment of Arup Group and Thomas Heatherwick by Transport for London; the report concluded that an independent investigation would be appropriate before the public made any further financial commitment to the project On 8 March 2016, the Evening Standard editor Sarah Sands wrote in defence of the bridge:
a whopping £85 million had been privately donated; the Treasury and Transport for London had come up with £60 million and fundraising continues for the final £30 million  Construction will soon begin  Yet there is a small but determined opposition to the project, mostly from Labour, which continues to undermine it 
In the 17 months to 31 March 2016, the Garden Bridge Trust spent over £26 million, 80% of which was funded by Transport for London  In the same period, the group raised £13 million in new private donations However, the project's financing status deteriorated  During the same period in which the project's cost estimate was revised upward from £60 million to over £200 million (as of April 2017), the Garden Bridge Trust lost two major donors, causing a reduction in private funding pledges to £69 million  No new pledges had been obtained since August 2016 Sadiq Khan, who had been elected Mayor of London in May 2016, undertook an investigation of Johnson's decisions in relation to the procurement process for the bridge  In May 2016, he published a draft version of the Garden Bridge Trust business case for the bridge which showed that donations to the Trust from unnamed private companies, organisations and individuals totalled £83 1 million, representing the privately pledged money; this included £43 75m from donors who chose to remain anonymous  London Assembly Member Tom Copley called for transparency on private donations to the project, asking if donations had been received from companies which may benefit or have benefited from Transport for London contracts  The Charity Commission case report published on 28 February 2017 subsequently found that the processes for awarding of contracts were robust, and that benefactors were not party to contracts made by the charity In July 2016, Dan Anderson of Fourth Street published a review of the Garden Bridge's Draft Operations and Maintenance Business Plan  Anderson's report concluded that "After detailed analysis of the Operations and Maintenance Business Plan it is this author's considered opinion that the basic business model is flawed and the Business Plan targets are optimistic at best, but more likely unachievable" On 11 July 2016, the BBC reported that preparatory work for the bridge had been halted to allow City Hall to review the finances  Sadiq Khan said that no more public money would be spent on the bridge   The halted work would have cost £3m for infrastructure preparation in the Tube station at Temple on the north bank of the Thames so that the bridge structure could be built on its roof  A Garden Bridge Trust spokesman said that the Garden Bridge Trust had signed a costs agreement with TfL which included a repayment schedule 
On 26 July 2016, the BBC reported that the project had run into financial trouble and that the Garden Bridge Trust was seeking an extension of a £15m underwriting of the project: "tough questions are being asked in Whitehall about the footbridge and its public value"  The additional assurance of the underwriting extension was needed in order for the Garden Bridge Trust to complete and file its statutory accounts, due on 31 July 2016  However, on Friday 29 July 2016, the last day on which it could validly do so, the Garden Bridge Trust changed its accounting reference date so as to extend its accounting period from 31 October 2015 to 31 March 2016, a further five months, postponing its obligation to file any accounts On 8 August 2016, the National Audit Office formally announced that during Autumn 2016 it was to investigate the Department for Transport's handling of its £30 million grant to the Garden Bridge project  The audit would not seek to determine the value for money of the project as a whole   The Director of the audit team was to be Rebecca Sheeran  The National Audit Office invited submission of evidence for its investigation  The National Audit Office duly reported in October 2016 
In an interview with Evan Davis on BBC Newsnight on 17 August 2016, Lord Davies of Abersoch said that the Garden Bridge Trust had raised some £69 5 million ("call it £70 million") of private funds in addition to £60 million of public funds  Some who had offered funding had never entered into legally binding commitments to pay and "one or two" had withdrawn from the project  Further, delays in the project now meant that the costs had risen to £185 million and that the bridge would not be completed before 2019   The figures of increased cost and the reduction in funds raised, together with the longer timescale, were then confirmed by the Garden Bridge Trust In September 2016, the Mayor of London announced a formal review into project's finances and value for money   Dame Margaret Hodge conducted an inquiry into the planned structure  The mayor's office said she would investigate whether value for money had been achieved from the taxpayers' contribution and investigate the work of bodies such as Transport for London and the Greater London Authority  The Hodge Report was published in April 2017 In January 2017, the trustees of the Garden Bridge Trust stated that they expected the bridge's costs to "substantially exceed" the existing estimate of £185 million, and the Hodge Report in April 2017 stated that costs were estimated to be over £200 million 

National Audit Office report
On 11 October 2016, the National Audit Office reported the results of its inquiries into the £30 million funding provided for the Garden Bridge by the Department for Transport   The report recorded that in the Department's assessment of the original business case for the Bridge there was seen to be a significant risk that the project could represent poor value for money but the Department agreed to make the £30 million contribution anyway  The manner in which the funding was provided, by block grant to Transport for London left the Department with limited oversight of its own support to the Garden Bridge Trust  This arrangement simplified the Trust's access to public funding through a single source but it also made TfL responsible for assuring and overseeing all of the £60 million public funding and for ensuring value for money for taxpayers' investment  There was initially a cap on the amount of the Department's funding that could be used by the Garden Bridge Trust for pre-construction activity, but this cap was relaxed on three separate occasions, on two of those occasions against the advice of civil servants and on one of them by way of formal Ministerial Direction from the Secretary of State   The report summarised that:

If the project continues, it is possible that the government will be approached for extra funding should the Trust face a funding shortfall  The project has faced cost increases and delays to the schedule  The pattern of behaviour outlined in this report is one in which the Trust has repeatedly approached the government to release more of its funding for pre-construction activities when it encounters challenges  The Department, in turn, has agreed to the Trust's requests 

Charity Commission report
On 28 February 2017, the Charity Commission published a Case Report which commented on the financial management of the Trust  The Charity Commission concluded that trustees had been meeting their duties and were acting in compliance with charity law; there was no concern about the management of conflicts of interest; the charity's financial management met required standards; trustees provided strategic leadership and direction to the charity and its staff to help it deliver its purpose; trustees understood their roles and duties and responsibilities as trustees; the Commission saw evidence of robust and informed decision-making 
Arrangements to award contracts since the charity had been formed appear to have been robust  There was evidence of significant trustee engagement and some benchmarking of hourly rates and materials  However, trustees did not fully explore the opportunities to compare the critical paths of other comparable infrastructure projects and thus better enable themselves to assess project risk 
The Commission went on to comment that the charity's accounts had been  filed and had identified ongoing uncertainty over whether the charity was a going concern  The Commission considered that, given the public interest, the trustees could have provided more detail in their annual report about the progress made, given the expenditure incurred and the challenges addressed  The charity held no reserves but expected to meet any obligations from the use of its restricted funds  Given the reliance on using restricted funds the Commission would have expected a fuller description of how these funds, including the guarantee, could be used with greater detail on how the charity would meet its liabilities in the event of closure 

Planning process
Initial planning approval
The full planning applications for the project were submitted to Westminster and Lambeth Councils on 30 May 2014, and it was originally intended, subject to receiving planning permission and raising the necessary funds, that construction of the bridge would start in 2015 and be completed by 2018  The planning application was approved by Lambeth Council (local authority on the south side of the bridge), subject to conditions, in November 2014  Westminster City Council passed a plan for the bridge on 2 December 2014 by a vote of three to one  In December 2014, Boris Johnson approved the scheme to build the bridge, with construction then expected to start in 2015 

Judicial review
In January 2015, a legal challenge of Lambeth's planning permission was brought by Michael Ball, former director of the Waterloo Community Development Group, with the support of local opposition group Thames Central Open Spaces  On 21 April 2015, permission was granted by The Hon  Mr Justice Ouseley for a full judicial review of Lambeth's decision to grant planning permission on the grounds that the impact of views on heritage assets (particularly Somerset House) had not been properly considered, and Lambeth had not adequately ensured the ongoing maintenance of the bridge  However, it was agreed the case should be dismissed after Lambeth and the trust agreed to enter into a planning obligation requiring the trust to submit a plan for the maintenance of the bridge for approval by the Council, and to provide a surety or guarantor for the trust's ongoing maintenance obligations  The Greater London Authority has guaranteed the maintenance costs 
A second judicial review, of Lambeth's decision to allow a variation of the lease on the South Bank, was dismissed in September 2016 

Lease and permission
On 25 September 2015, Lambeth Council suspended negotiations with the Garden Bridge Trust over the terms of the lease, which would be required at the South Bank end of the bridge  Lambeth's position was that funds for the bridge should not be provided by Transport for London, that the £30m of funding from Transport for London was not justified, and that Lambeth would permit the bridge only if it was assured that the project's funds would not be taken from Transport for London  Negotiations were resolved in November 2015 However, in March 2016 it was reported that Lambeth Council had put the necessary lease modifications in place  Permission from the Coin Street Community Builders, a housing trust which holds a long-term lease over part of the land needed to construct the southern approaches, was also required for the bridge's construction  In March 2016, in "a last ditch" attempt to stop the bridge, local politicians wrote to the housing trust urging it to refuse permission, although the housing trust indicated that it was not in a position to oppose the decisions of elected governments The planning permission for the bridge had been due to expire in December 2017 

Project collapse
Hodge report
Margaret Hodge's report for the Mayor of London was published in April 2017  It found that: there had been multiple failings from the start; the business case for construction of the bridge was weak; the purpose of the bridge was confused and unclear; the Garden Bridge Trust had raised only £69m in private pledges of funding; the final cost if built would now exceed £200m of capital expenditure, excluding the amount of any possible endowment for maintenance; the project was controversial and unpopular and the Garden Bridge Trust was unlikely to be able to raise the money, and that taxpayers should accept the loss of public money already spent that would result from cancelling the project and avoid further waste of public funds  She also concluded that the appointments in 2013 of Heatherwick Studio (for design and consulting services) and Arup (for engineering and project management services) "were not open, fair or competitive procurements … and [her review had] revealed systematic failures and ineffective control systems at many levels"  Architecture critic Rowan Moore described the project as "a landmark of the post-truth era" and a vanity project by Boris Johnson 

Refusal of mayoral guarantee
In response to the Hodge report, Mayor of London Sadiq Khan, Johnson's successor, announced on 28 April 2017 that he would not provide a guarantee for the future running costs of the bridge, due to concerns about the project's financial viability  Since the guarantee was a condition of planning permission, the mayor's refusal had the effect of ending the project 

Formal abandonment
On 14 August 2017 after months of uncertainty the Garden Bridge Trust entirely abandoned the project  The BBC London transport correspondent Tom Edwards described the situation as a shambles which was "an embarrassing mess for the capital     already descend[ing] into finger pointing and a blame game over who is culpable for wasting £46 4m of public money"  In February 2019 it was revealed that the total public cost had been £43m 
Passage 3:
York Road, Lambeth
York Road is a road in Lambeth, London, running between Westminster Bridge Road (south) and Waterloo Road (north)  To the west is the old County Hall, Shell Centre, Jubilee Gardens and, beyond, the London Eye and the River Thames  Waterloo station is located on the road's eastern edge, as well as the former Waterloo International Eurostar terminal and General Lying-In Hospital  The London IMAX cinema is located within the Bullring roundabout at the northern end of the road, on a site previously occupied by Cardboard City for the homeless 
The road forms part of the A3200 
Passage 4:
Waterloo Bridge (1940 film)
Waterloo Bridge is a 1940 American drama film and the remake of the 1931 film also called Waterloo Bridge, adapted from the 1930 play Waterloo Bridge  In an extended flashback narration, it recounts the story of a dancer and an army captain who meet by chance on Waterloo Bridge  The film was made by Metro-Goldwyn-Mayer, directed by Mervyn LeRoy and produced by Sidney Franklin and Mervyn LeRoy  The screenplay is by S  N  Behrman, Hans Rameau and George Froeschel, based on the Broadway drama by Robert E  Sherwood  The music is by Herbert Stothart and cinematography by Joseph Ruttenberg 
The film stars Robert Taylor and Vivien Leigh  It was a success at the box office and nominated for two Academy Awards: Best Music for Herbert Stothart and Best Cinematography  It was also considered a personal favorite by both Leigh and Taylor 
In 1956, it was remade again as Gaby, which starred Leslie Caron and John Kerr 

Plot
After Britain's declaration of war in World War II, army colonel Roy Cronin is driven to London's Waterloo station on his way to France, and briefly alights on Waterloo Bridge to reminisce about events that occurred during World War I when he met Myra Lester, whom he had planned to marry  While Roy gazes at a good-luck charm, a billiken that she had given him, the story unfolds 
Roy, a captain in the Rendleshire Fusiliers on his way to the front, and Myra, a ballerina, serendipitously meet crossing Waterloo Bridge during an air raid, striking up an immediate rapport while taking shelter  Myra invites Roy to attend that evening's ballet performance and an enamored Roy ignores an obligatory dinner with his colonel  Roy sends a note to Myra to join him after the performance, but the note is intercepted by the mistress of the ballet troupe, the tyrannical Madame Olga, who forbids Myra from having any relationship with Roy  Despite the admonition, they meet at a romantic night spot  Roy has to travel to the front immediately and proposes marriage, but wartime circumstances prevent them from marrying immediately  Roy assures Myra that his family will look after her while he is away  Madame Olga learns of Myra's disobedience and dismisses her from the troupe along with fellow dancer Kitty when she scolds Olga for spoiling Myra's happiness 
The young women share a small flat  Unable to find work, they soon become penniless  Roy's mother Lady Margaret Cronin and Myra arrange to meet for an introduction  Awaiting Lady Margaret's belated arrival at a tearoom, Myra scans a newspaper and faints after finding Roy listed among the war dead  Shocked and bewildered, Myra is offered a tall brandy by the receptionist to help bring her around  Sitting alone, Myra swallows a large amount of brandy just as Lady Margaret appears  Unable to disclose the dreadful news, Myra's banal and incoherent conversation is unsettling to her prospective mother-in-law, who withdraws without seeking further explanation  Myra faints again and falls ill with grief  The two young ladies’ economic situation becomes dire  To cover their expenses, her flatmate Kitty becomes a streetwalker  Myra believed that Kitty was working as a stage performer but then learns what her friend has done  Feeling that she has alienated Lady Margaret and having no desire to live, the heartbroken Myra joins her friend Kitty and resorts to prostitution as well  A year passes 
While offering herself to soldiers on leave arriving at Waterloo Station, Myra sees Roy, who is alive and well  He had been wounded and held as a prisoner of war  A reconciliation occurs that is joyous for Roy but bittersweet for Myra  The couple travel to the family estate in Scotland to visit Lady Margaret, who deduces the misunderstanding that occurred at the tearoom  Myra is also accepted by Roy's uncle, the Duke, but he inadvertently feeds her guilt by saying that she could never do anything to bring shame or dishonour to the family  Confronted with the possibility of a scandal and the seeming impossibility of a happy marriage, Myra decides that breaking off the engagement is her only choice  Myra discloses the truth to a compassionate Lady Margaret but is unable to believe herself worthy of marrying Roy  Myra leaves behind a goodbye note and returns to London  Roy follows, with the aid of Kitty, hoping to find her despite discovering the truth in the process  Myra is depressed and returns to Waterloo Bridge, where she commits suicide by walking into the path of an oncoming truck 
In the present day, the older Roy reminisces about Myra's sincere final profession of love that was only for him and no other  He tucks her charm into his coat pocket and gets driven away in his car 

Cast
Vivien Leigh as Myra Lester
Robert Taylor as Roy Cronin
Virginia Field as Kitty
Maria Ouspenskaya as Madame Olga Kirowa
C  Aubrey Smith as The Duke
Lucile Watson as Lady Margaret Cronin
Janet Shaw as Maureen
Janet Waldo as Elsa
Steffi Duna as Lydia
Virginia Carroll as Sylvia
Leda Nicova as Marie
Florence Baker as Beatrice
Margery Manning as Mary
Frances MacInerney as Violet
Eleanor Stewart as Grace
Gilbert Emery as Colonel (uncredited)
Halliwell Hobbes as Vicar (uncredited)
Harry Stubbs as Proprietor (uncredited)

Production
MGM bought the 1931 version of Waterloo Bridge from Universal Studios in order to produce the remake  From its initial release, the 1931 film had been censored in major American cities because of objections to the portrayal of prostitution  The censorship was imposed first by local authorities, such as a Chicago police censorship board, before enforcement by the Hays Office in 1934 made it impossible to exhibit the film anywhere in the United States 

Prostitution is a subject that neither our Ordinance nor Commissioner Alcock permits us to leave in pictures whether for an adult or a general permit  It is a clear violation of all our standards and also, we had understood, a violation of the underlying purpose of the [Motion Picture Production] Code 
Because of the Motion Picture Production Code, which had not been in effect when the 1931 film version was made, plot details of the 1940 version were significantly changed and somewhat sanitized  In the original play and film, based on Sherwood's personal experiences, both characters are Americans; Myra is an unemployed chorus girl who has turned to prostitution and Roy is a callow 19-year-old expatriate who does not realize how she makes money  However, in the 1940 version, both are British, Myra a promising ballerina in a prestigious dance company who becomes a prostitute only after believing that her sweetheart has been killed and Roy a mature officer of Scottish nobility  In the original film, Myra is accidentally killed after her situation with Roy has apparently been happily resolved; in the 1940 version, she commits suicide when her inner conflict becomes insurmountable  The flashback format of the 1940 version was a device added in acknowledgment of the recent onset of war when the script was written in 1939 
Waterloo Bridge capitalized on Leigh's success the previous year in Gone with the Wind  Taylor was eager to show audiences that he was more than the suave and youthful lover whom he had played in such films as Camille and Three Comrades  Leigh wanted Laurence Olivier for the role of Roy Cronin and was unhappy that Taylor had been cast in the part, although she had enjoyed him on the set of A Yank at Oxford  She wrote to her husband Leigh Holman: "Robert Taylor is the man in the picture, and as it was written for Larry, it's a typical piece of miscasting  I am afraid it will be a dreary job     " Taylor later said of his performance: "It was the first time I really gave a performance that met the often unattainable standards I was always setting for myself " Of Leigh, Taylor said, "Miss Leigh was simply great in her role, and she made me look better " Of all her films, Leigh stated Waterloo Bridge was her favorite  Taylor also named the film as his personal favorite 
Ethel Griffies and Rita Carlisle (then Carlyle), cast respectively in the 1931 film as Myra's landlady and a woman on the bridge when they meet, appear in the 1940 version in similar roles 

Reception
Waterloo Bridge opened in New York and shortly after in London to positive reviews In a contemporary review for The New York Times, critic Bosley Crowther was effusive in his praise for Vivien Leigh: "Let there be no doubt about it  Vivien Leigh is as fine an actress as we have on the screen today  Maybe even the finest, and that's a lot to say  Plenty of skeptics are still mumbling that her Scarlett O'Hara was a freak, that any one could have played it with such a wide-open field  We know all about them—and we know, too, about the unreconstructed dissidents  So this is an urgent hint that they     see this remarkable Miss Leigh in her first picture since 'Gone With the Wind ' If they are not then convinced, we will cover ourself with a sack "When the film was released in China in November 1940, it was enormously popular  As a result, the story became a standard of Shanghai opera and the song "Auld Lang Syne" became widely known in China The film was nominated by the American Film Institute for inclusion in its 2002 list AFI's 100 Years   100 Passions 

Box office
According to MGM records, the film earned $1,250,000 in the U S  and Canada and $1,217,000 elsewhere, resulting in a profit of $491,000 

Radio adaptations
Waterloo Bridge was dramatized as a half-hour radio play on two broadcasts of The Screen Guild Theater, the first on January 12, 1941 with Brian Aherne and Joan Fontaine and the second on September 9, 1946 with Barbara Stanwyck and Robert Taylor  It was also presented as a half-hour broadcast of Screen Directors Playhouse on September 28, 1951 with Norma Shearer 
Passage 5:
Waterloo Bridge
Waterloo Bridge () is a road and foot traffic bridge crossing the River Thames in London, between Blackfriars Bridge and Hungerford Bridge and Golden Jubilee Bridges  Its name commemorates the victory of the British, Dutch and Prussians at the Battle of Waterloo in 1815  Thanks to its location at a strategic bend in the river, the bridge offers good views of Westminster, the South Bank and the London Eye to the west, and of the City of London and Canary Wharf to the east 

History
First bridge
The first bridge on the site was designed in 1807–10 by John Rennie for the Strand Bridge of Life and opened in 1817 as a toll bridge  The granite bridge had nine arches, each of 120 feet (36 6 m) span, separated by double Doric stone columns, and was 2,456 feet (748 6 m) long, including approaches–1,240 feet (378 0 m) between abutments–and 42 feet (12 8 m) wide between the parapets  Before its opening it was known as the Strand Bridge 
During the 1840s the bridge gained a reputation as a popular place for suicide attempts  In 1841, the American daredevil Samuel Gilbert Scott was killed while performing an act in which he hung by a rope from a scaffold on the bridge  In 1844 Thomas Hood wrote the poem "The Bridge of Sighs", which concerns the suicide of a prostitute there The bridge was depicted by the French Impressionist Claude Monet in his series of 41 works from 1900 to 1904, and by the English Romantic John Constable, whose painting depicting its opening is displayed at Anglesey Abbey in Cambridgeshire The bridge was nationalised in 1878 and placed under the control of the Metropolitan Board of Works, which removed the toll from it 
Michael Faraday tried in 1832 to measure the potential difference between each side of the bridge caused by the ebbing salt water flowing through the Earth's magnetic field using magnetohydrodynamics 
Serious problems were found in Rennie's bridge piers from 1884 onward, after scour from the river flow (which had increased following the demolition of Old London Bridge) damaged their foundations  By the 1920s the problems had increased, and settlement at pier five necessitated the closure of the whole bridge while some heavy superstructure was removed and temporary reinforcements were put in place In 1925, a temporary steel framework was built on top of the existing bridge and then placed next to it for the use of southbound vehicles (the postcard image shows this, and the settlement especially to the left of the fifth pier) 

Second bridge
In the 1930s London County Council decided to demolish the bridge and replace it with a new structure designed by Sir Giles Gilbert Scott  The engineers were Ernest Buckton and John Cuerel of Rendel Palmer & Tritton  The project was placed on hold due to the Second World War 
Scott, by his own admission, was no engineer, and his design, with reinforced concrete beams (illustrated) under the footways, leaving the road to be supported by transverse slabs, was difficult to implement  The pairs of spans on each side of the river were supported by beams continuous over their piers, and these were cantilevered out at their ends to support the centre span and the short approach slabs at the banks  The beams were shaped "to look as much like arches as     beams can"  They are clad in Portland stone, which is cleaned by rain  To guard against the possibility of further subsidence from scour, each pier was given a number of jacks that can be used to level the structure Construction of the new bridge began in 1937 and it was partially opened on Tuesday 11 March 1942 and "officially opened" in September 1942  However, it was not fully completed until 1945  It is the only Thames bridge to have been damaged by German bombers during the Second World War 
The building contractor was Peter Lind & Company  At the outbreak of war, despite an immediate order being issued by the Ministry of Transport, that the bridge construction was of national importance, the supply of male labour to execute the heavy works became acute  From the start of the war through to the bridge completion, women became the preponderant members of the construction workforce  This resulted in the project being referred to for many years as "The Ladies' Bridge"  Lind used elm wood from the old bridge for the dining room floor of Hamstone House, his house that he commissioned and built in 1938 at St George's Hill in Surrey Georgi Markov, a Bulgarian dissident, was assassinated on Waterloo Bridge on 7 September 1978 by agents of the Bulgarian secret police, the Committee for State Security, possibly assisted by the Soviet security agency, the KGB  He was killed with a poisoned pellet possibly fired from an umbrella 

Reuse of original parts
Granite stones from the original bridge were subsequently "presented to various parts of the British world to further historic links in the British Commonwealth of Nations"  Two of these stones are in Canberra, the capital city of Australia, sited between the parallel spans of the Commonwealth Avenue Bridge, one of two major crossings of Lake Burley Griffin in the heart of the city  Stones from the bridge were also used to build a monument in Wellington, New Zealand, to Paddy the Wanderer, a dog that roamed the wharves from 1928 to 1939 and was befriended by seamen, watersiders, Harbour Board workers and taxi drivers  The monument, built in 1945, is on Queens Wharf, opposite the Wellington Museum  It includes a bronze likeness of Paddy, a drinking fountain, and drinking bowls below for dogs Another piece of the stone is situated under the sundial in the Wellington Boat Harbour Park, next to Clyde Quay Marina, an area of historical significance in Wellington Harbour  Several stone balusters from the demolished bridge were sent in the late 1930s by the author Dornford Yates to be used in his French home 'Cockade', but the Fall of France in 1940 interrupted this project  They were shipped after the war to his new house in Umtali, Rhodesia (now Mutare, Zimbabwe) 
Recovered timbers from the bridge were used for shelves and wall panels in the library at Anglesey Abbey 

Geography
The south end of the bridge is in the area known as the South Bank, which includes the Royal Festival Hall, London Waterloo, Queen Elizabeth Hall and the Royal National Theatre, as well as the BFI Southbank, which is directly beneath the bridge 
The north end of the bridge passes above the Victoria Embankment where the road joins the Strand and Aldwych alongside Somerset House  This end housed the southern portal of the Kingsway Tramway Subway until the late 1950s 
The entire bridge was given Grade II* listed structure protection in 1981 The nearest London Underground station is Temple, the nearest National Rail station is London Waterloo 

In popular culture
Robert E  Sherwood's play Waterloo Bridge (1930), the story of a soldier who falls in love and marries a woman he meets on the bridge in an air raid during the First World War, was made into films released in 1931, 1940 and 1956  The second of these film versions starred Vivien Leigh and Robert Taylor 
"After the Lunch", a poem by Wendy Cope about two lovers parting on Waterloo Bridge, now forms the lyric of the song "Waterloo Bridge" by Jools Holland and Louise Marshall 
The bridge features in the film A Window in London (1940)  The hero, played by Michael Redgrave, is a crane driver who is working on the construction of the bridge  Images can be seen of the incomplete rebuilding work in progress 
The bridge features in scenes at the beginning and end of the film Alfie (1966), starring Michael Caine  In the final scene of the film the title character is seen crossing the bridge followed by a stray dog 
The song "Waterloo Sunset" by the British band The Kinks tells of living in London and watching life from Waterloo Bridge 
A scene in "The Great Game", an episode of the BBC television series Sherlock, takes place beneath the bridge's northern side, where members of Sherlock's network of homeless informants congregate 
The bridge features in the closing scene of the 1996 film Trainspotting 
The bridge, when still a toll-bridge, and its toll-keeper feature in Dickens’s essay ‘Down with the Tide (1853) 
It is featured in the Mario Kart games Mario Kart Tour and Mario Kart 8 Deluxe as part of the London Loop racecourse 

See also
List of crossings of the River Thames
List of bridges in London
Passage 6:
London Eye
The London Eye, or the Millennium Wheel, is a cantilevered observation wheel on the South Bank of the River Thames in London  It is Europe's tallest cantilevered observation wheel, and the most popular paid tourist attraction in the United Kingdom with over three million visitors annually  It has made many appearances in popular culture 
The structure is 135 metres (443 ft) tall and the wheel has a diameter of 120 metres (394 ft)  When it opened to the public in 2000 it was the world's tallest Ferris wheel  Its height was surpassed by the 140 metres (459 ft) Sun of Moscow in 2022, the 160 metres (525 ft) Star of Nanchang in 2006, the 165 metres (541 ft) Singapore Flyer in 2008, the 167 metres (548 ft) High Roller (Las Vegas) in 2014, and the 250 metres (820 ft) Ain Dubai in 2021  Supported by an A-frame on one side only, unlike these taller examples, the Eye is described by its operators as "the world's tallest cantilevered observation wheel"  The Eye offered the highest public viewing point in London until it was superseded by the 245-metre-high (804 ft) observation deck on the 72nd floor of The Shard in early 2013 The London Eye adjoins the western end of Jubilee Gardens (previously the site of the former Dome of Discovery), on the South Bank of the River Thames between Westminster Bridge and Hungerford Bridge beside County Hall, in the London Borough of Lambeth  The nearest tube station is Waterloo 

History
Design and construction
The London Eye was designed by the husband-and-wife team of Julia Barfield and David Marks of Marks Barfield Architects Mace was responsible for construction management, with Hollandia as the main steelwork contractor and Tilbury Douglas as the civil contractor  Consulting engineers Tony Gee & Partners designed the foundation works while Beckett Rankine designed the marine works Nathaniel Lichfield and Partners assisted The Tussauds Group in obtaining planning and listed building consent to alter the wall on the South Bank of the Thames  They also examined and reported on the implications of a Section 106 agreement attached to the original contract, and also prepared planning and listed building consent applications for the permanent retention of the attraction, which involved the co-ordination of an Environmental Statement and the production of a planning supporting statement detailing the reasons for its retention 
The rim of the Eye is supported by tensioned steel cables and resembles a huge spoked bicycle wheel  The lighting was re-done with LED lighting from Color Kinetics in December 2006 to allow digital control of the lights as opposed to the manual replacement of gels over fluorescent tubes The wheel was constructed in sections which were floated up the Thames on barges and assembled lying flat on piled platforms in the river  Once the wheel was complete it was lifted into an upright position by a strand jack system made by Enerpac  It was first raised at 2 degrees per hour until it reached 65 degrees, then left in that position for a week while engineers prepared for the second phase of the lift  The project was European with major components coming from six countries: the steel was supplied from the UK and fabricated in The Netherlands by the Dutch company Hollandia, the cables came from Italy, the bearings came from Germany (FAG/Schaeffler Group), the spindle and hub were cast in the Czech Republic, the capsules were made by Poma in France (and the glass for these came from Italy), and the electrical components from the UK 

Opening
The London Eye was formally opened by the Prime Minister Tony Blair on 31 December 1999, but did not open to the paying public until 9 March 2000 because of a capsule clutch problem The London Eye was originally intended as a temporary attraction, with a five-year lease  In December 2001, operators submitted an application to Lambeth Council to give the London Eye permanent status, and the application was granted in July 2002 On 5 June 2008 it was announced that 30 million people had ridden the London Eye since it opened 

Passenger capsules
The wheel's 32 sealed and air-conditioned ovoidal passenger capsules, designed and supplied by Poma, are attached to the external circumference of the wheel and rotated by electric motors  The capsules are numbered from 1 to 33, excluding number 13 for superstitious reasons  Each of the 10-tonne (11-short-ton) capsules represents one of the London Boroughs, and holds up to 25 people, who are free to walk around inside the capsule, though seating is provided  The wheel rotates at 26 cm (10 in) per second (about 0 9 km/h or 0 6 mph) so that one revolution takes about 30 minutes, giving a theoretical capacity of 1,600 passengers per hour  It does not usually stop to take on passengers; the rotation rate is slow enough to allow passengers to walk on and off the moving capsules at ground level  It is stopped to allow disabled or elderly passengers time to embark and disembark safely In 2009 the first stage of a £12 5 million capsule upgrade began  Each capsule was taken down and floated down the river to Tilbury Docks in Essex On 2 June 2013 a passenger capsule was named the Coronation Capsule to mark the 60th anniversary of the coronation of Queen Elizabeth II In March 2020, the London Eye celebrated its 20th birthday by turning several of its pods into experiences themed around London  The experiences included a pub in a capsule, a west end theatre pod and a garden party with flower arrangements to represent the eight London Royal parks 

Ownership and branding
Marks Barfield (the lead architects), The Tussauds Group, and British Airways were the original owners of the London Eye  Tussauds bought out British Airways' stake in 2005 and then Marks Barfield's stake in 2006 to become sole owner 
In May 2007, the Blackstone Group purchased The Tussauds Group which was then the owner of the Eye; Tussauds was merged with Blackstone's Merlin Entertainments and disappeared as an entity  British Airways continued its brand association, but from the beginning of 2008 the name British Airways was dropped from the logo On 12 August 2009, the London Eye saw another rebrand, this time being called "The Merlin Entertainments London Eye"  A refurbished ticket hall and 4D cinema experience were designed by architect Kay Elliott working with project designer Craig Sciba, and Simex-Iwerks as the 4D theatre hardware specialists  The film was written and directed by Julian Napier and produced by Phil Streather In January 2011, a lighting-up ceremony marked the start of a three-year deal between EDF Energy and Merlin Entertainments Coca-Cola began to sponsor the London Eye from January 2015  On the day the sponsorship was announced the London Eye was lit in red In February 2020, lastminute com replaced Coca-Cola as the sponsor  Grammy Award-winning singer Meghan Trainor performed at the launch party on a boat overlooking the London Eye In March 2020, the wheel was illuminated blue every Thursday at 8pm in support of the National Health Service as part of the ‘Clap for our Carers’ campaign created during the COVID-19 pandemic 

Financial difficulties
On 20 May 2005, there were reports of a leaked letter showing that the South Bank Centre (SBC)—owners of part of the land on which the struts of the Eye are located—had served a notice to quit on the attraction along with a demand for an increase in rent from £64,000 per year to £2 5 million, which the operators rejected as unaffordable On 25 May 2005, London mayor Ken Livingstone vowed that the landmark would remain in London  He also pledged that if the dispute was not resolved he would use his powers to ask the London Development Agency to issue a compulsory purchase order  The land in question is a small part of the Jubilee Gardens, which was given to the SBC for £1 when the Greater London Council was broken up 
The South Bank Centre and the British Airways London Eye agreed on a 25-year lease on 8 February 2006 after a judicial review over the rent dispute  The lease agreement meant that the South Bank Centre, a publicly funded charity, would receive at least £500,000 a year from the attraction, the status of which is secured for the foreseeable future  Tussauds also announced the acquisition of the entire one-third interests of British Airways and Marks Barfield in the Eye as well as the outstanding debt to BA  These agreements gave Tussauds 100% ownership and resolved the debt from the Eye's construction loan from British Airways, which stood at more than £150 million by mid-2005 and had been charging an interest rate of 25% per annum 

Critical reception
Sir Richard Rogers, winner of the 2007 Pritzker Architecture Prize, wrote of the London Eye in a book about the project:The Eye has done for London what the Eiffel Tower did for Paris, which is to give it a symbol and to let people climb above the city and look back down on it  Not just specialists or rich people, but everybody  That's the beauty of it: it is public and accessible, and it is in a great position at the heart of London Big City Review wrote that: If you're an amateur or professional photographer, the London Eye delivers the chance to get breathtaking photos of the city of London  The ride moves so slow which enables one to have ample opportunity to shoot photos and video from all angles  When your [sic] done shooting your photos, the ride's slow speed lets you just sit back and take in the incredible views of London  From the time your carriage reaches the highest point your breath will have been take away  That is why the London Eye is worth visiting 

Transport links
The nearest London Underground station is Waterloo, although Charing Cross, Embankment, and Westminster are also within easy walking distance Connection with National Rail services is made at London Waterloo station and London Waterloo East station 
London River Services operated by Thames Clippers and City Cruises stop at the London Eye Pier 
Passage 7:
Waterloo Bridge (play)
Waterloo Bridge: A play in two acts is a 1930 play by Robert E  Sherwood   It premiered on Broadway January 6, 1930 and ran until March 1930  It was the basis for three separate films: Waterloo Bridge (1931), Waterloo Bridge (1940), and Gaby (1956)  It is based on the author's experiences during World War I 

Plot
American chorus girl Myra Deauville is stuck in 1917 London at the height of World War I, unable to find work and book passage home  She resorts to prostitution to support herself  She meets her clients on Waterloo Bridge, the primary entry point into the city for soldiers on leave  There she meets fellow American Roy Cronin, a young soldier in the Canadian Army on convalescent leave after being wounded in France, and impressed by his innocence, invites him to her apartment for tea instead of soliciting his business  Afterwards she sends him away  The next day Myra's friend and neighbor Kitty finds Roy waiting for Myra in her room  Unaware that Kitty is also a prostitute and that their landlady, Mrs  Hobley, has been forced to run her house as a brothel because her husband is a prisoner-of-war, Roy is persuaded that Myra needs his protection 
Kitty hints that Roy should ask Myra to marry him and tries to convince Myra to accept a proposal, justifying the idea as an expedient of survival  Rationalizing that Myra will make a soldier happy for a few days, Kitty tells her that she owes it to herself as an honest resolution to a predicament she did not create  Mrs  Hobley learns that Roy is flush with back pay and encourages Myra so Roy will pay her delinquent rent  The gullible Roy is worried that he will be sent to Camp Bramshott at any moment to prepare for return to the front and proposes  Myra accepts, but then sneaks away when she feels guilty  Restored to duty, Roy assigns part of his pay to her and names her as the beneficiary of his life insurance  Mrs  Hobley, in need of self-justification, tells Roy that her "Christian duty" compels her to warn him that Myra is a "harlot"  Roy accepts the truth as a reality of the times and rejects her warning  Crossing the bridge on his way to the railway station, he meets Myra again and makes her promise to accept the allotment and sign for the life insurance benefit  After he leaves for Bramshott, Myra remains on the bridge, lighting a cigarette, just as a German air raid begins, and she is killed 

Production
Sherwood based his play on his own wartime experience of a chance meeting with an American chorus girl in London in November 1918  Recovering from wounds in battle, Sherwood had gone to Trafalgar Square to join the celebration of the armistice ending the war and found himself next to "a very short and very pretty girl" wearing a small silk American flag pinned to her blouse  The girl described her circumstances as similar to those later attributed to Myra and invited Sherwood to her flat, but he forgot her address and never met her again  Sherwood, through Roy, expressed his realization that Myra and others like her were civilian victims of war The Broadway production was a two-act two-set play (the bridge and Myra's flat) that opened on January 6, 1930 at the Fulton Theatre, where it ran for only 64 performances  Despite the fact it was neither a critical nor commercial success, film producer Carl Laemmle, Jr  considered it a prestige project and purchased the film rights for Universal Pictures 
Passage 8:
Savoy Place
Savoy Place is a large red brick building on the north bank of the River Thames in the City of Westminster  It is on a street called Savoy Place; Savoy Hill and Savoy Street run along the sides of the building up to the Strand  In front is the Victoria Embankment, part of the Thames Embankment  Close by are Savoy Hill House (best known for accommodating the BBC Savoy Hill recording studios), the Savoy Hotel and Waterloo Bridge  There are commanding views over to the South Bank and the London Eye 

History
The Savoy Place is located at a site originally called Savoy Manor, taking its name from Peter II, Count of Savoy  He was given the land by Henry III on 12 February 1246 and built a palace on the site  After his death in 1268, the property was left to a French hospice  The Savoy Palace was extended by successive Earls of Lancaster and John of Gaunt, but was burnt down during the Peasants' Revolt of 1381  The palace was modified to become a prison in the 15th century In 1509, Henry VII left money in his will for a hospital  This was completed on the site in 1517 but it fell into decline and eventually became a military barracks and prison 
Various religious institutions were based on the site, including a Jesuit school  The area was also a retreat for Huguenots families  In 1723, a German Lutheran church was built on part of the site, but demolished in 1877 for the construction of the Thames Embankment 

Current building
The current building, completed in 1889, was built to serve as an examination hall for the Royal College of Physicians and the Royal College of Surgeons  The foundation stone at the front of the building was laid by Queen Victoria on 24 March 1886 
On 1 June 1909, the Institution of Electrical Engineers bought the lease and various alterations were carried out by H  Percy Adams and Charles Holden  The building is currently the headquarters for the Institution of Engineering and Technology (IET), formed from the Institution of Electrical Engineers (IEE) and the Institution of Incorporated Engineers (IIE) in 2006 Outside the building, there is a statue of the leading Victorian scientist Michael Faraday by the Irish sculptor John Henry Foley (1818–1874) 

Savoy Hill House
Behind Savoy Place is a building originally known as Lancaster House and later as Savoy Mansions  It was built in 1880 by the Savoy Building Company  Occupants included beer merchants, architects, solicitors, and even Turkish baths in the basement In 1923, the newly created British Broadcasting Company (BBC) leased spare space for its Savoy Hill broadcasting studios with the transmissions taking place from Marconi House in the Strand  The original two studios were increased to nine until in 1932 the BBC left the premises when it moved to the larger purpose-built Broadcasting House  Savoy Hill was bought by the IEE in 1984 and is now known as Savoy Hill House 

See also
List of eponymous roads in London
Savoy Chapel
Savoy Theatre
Passage 9:
Waterloo Helmet
The Waterloo Helmet (also known as the Waterloo Bridge Helmet) is a pre-Roman Celtic bronze ceremonial horned helmet with repoussé decoration in the La Tène style, dating to circa 150–50 BC, that was found in 1868 in the River Thames by Waterloo Bridge in London, England  It is now on display at the British Museum in London 

Discovery
The helmet was dredged from the bed of the River Thames close to Waterloo Bridge in 1868, and in March of the same year it was given on loan to the British Museum by Thames Conservancy  In 1988 its successor body, the Port of London Authority, donated the helmet to the British Museum 

Description
The main part of the helmet is constructed from two sheets of bronze, one forming the front and one the back of the helmet, that are riveted together at the sides and top  A separate crescent-shaped bronze piece is riveted to the bottom of the front sheet, and two conical bronze horns with terminal knobs are riveted to the top of the helmet   A decorative strip with a row of rivets overlays the join between the front and back sheets, and goes around the base of the horns  At the end of the strip, on both sides of the helmet, is a ring fitting for a chin-strap or cheekpiece  There are a number of small holes around the bottom edge, which may have been used to attach a lining The helmet was decorated with six bronze studs, one of which is now missing, three on the front and three on the back  These have cross scores on them that suggest they were designed to hold red glass enamel studs, but these are no longer present There is also a repoussé decoration in the La Tène style on the front and back of the helmet  The design is similar to that on the Snettisham Great Torc 

Purpose
Being made from thin bronze sheets, the helmet would have been too fragile for use in battle, and so it was probably intended to be used for ceremonial or parade purposes  In this respect it is similar to Iron Age bronze shields that have been found, which would not have been effective against contemporary weapons and could only have been used for display purposes   Alternatively, it has been suggested that the helmet is in any case too small for most adult males, and may have been worn by a wooden statue of a Celtic deity It is thought that the reason why the Waterloo Helmet and ceremonial bronze shields such as the Battersea Shield and Witham Shield were all found in rivers is that they were thrown into the river as votive offerings to the gods 

Importance
The Waterloo Helmet is one of only three Iron Age helmets found in England and also the only horned helmet dating to the Iron Age to have been found anywhere in Europe  However, there are several Iron Age depictions of people wearing horned helmets from elsewhere in Europe  There are some carvings of Gauls wearing horned helmets on the triumphal arch at Orange, France, dating to c 55 BC, but these are very different from the Waterloo Helmet  Whereas the Waterloo Helmet has straight, conical horns with a broad base that are stylised representations of animal horns, the helmets depicted on the carvings at Orange show realistic, curved bull's horns between which is placed an upright wheel  Similar to the depictions on the triumphal arch of Orange is the image of a leaping figure wearing a horned helmet and holding a wheel on the Gundestrup cauldron from Denmark, dating to the 1st century BC  This helmet is of a different shape from the Waterloo Helmet, and the horns are curved like those at Orange, but like the Waterloo Helmet the horns of the helmet are not sharply pointed, but are fitted with terminal knobs  An Iron Age bas-relief at Brague, near Antibes in France, also shows representations of people wearing horned helmets Despite the depictions of horned helmets on the triumphal arch of Orange and elsewhere, the Waterloo Helmet remains the only known example of an actual horned helmet from this period, and other Iron Age helmets that have been found, such as the Canterbury helmet and the Meyrick Helmet from northern Britain, are hornless  Nevertheless, influenced by the iconic features of the Waterloo Helmet, modern artistic interpretations of Iron Age people tend to show them wearing horned helmets, which has led Miranda Aldhouse-Green, professor of archaeology at Cardiff University, to comment that it is "unfortunate that it has found such a firm place in many popular reconstructions of British warriors" 

Gallery of reconstructions
See also
Canterbury helmet
Battersea shield
Wandsworth Shield
Witham Shield
Passage 10:
Waterloo Road, London
Waterloo Road is the main road in the Waterloo district of London, England straddling the boroughs of Lambeth and Southwark  It runs between Westminster Bridge Road close to St George's Circus at the south-east end and Waterloo Bridge across the River Thames towards London's West End district at the north-west end 
At the northern end near the river are the Queen Elizabeth Hall and the Hayward Gallery to the west, the National Film Theatre below the road, and the Royal National Theatre to the east  In earlier times, this was the location of Cuper's Gardens 

Just to the south in the middle of a large roundabout with underground walkways is the British Film Institute (BFI) London IMAX Cinema  Nearby to the east is the James Clerk Maxwell Building of King's College London, named in honour of the physicist James Clerk Maxwell (1831–1879), who was a professor at the college from 1860 
A little further to the south is St John's Waterloo church, designed by Francis Octavius Bedford and built in 1824 to celebrate the victory of the Napoleonic Wars  The church was firebombed in 1940 and much of the interior was destroyed  It was restored and reopened in 1951, serving as the parish church for the Festival of Britain on the South Bank nearby 

Continuing south, to the west is Waterloo station  To the east is the Union Jack Club in Sandell Street and, further on, the well-known and historic Old Vic Theatre to the south of the corner with The Cut  Also located even further south in Waterloo Road on the west side is the headquarters of the London Ambulance Service   On the opposite side is 157 Partnership House, former headquarters of USPG, CMS and other church mission/community-based organisations  Now boarded up and ready for redevelopment 
The road is designated as the A301, which continues across Waterloo Bridge 

Adjoining roads
Baylis Road
The Cut
Stamford Street
Westminster Bridge Road
York Road
St George's Circus



ground_truth: Michael Kemp Tippett

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What river does Waterloo Bridge and London Eye have in common?

The following are given passages.
Context 4:  Seriously ill, Ran suspended his strike on 23 April, National Sovereignty and Children's Day  His doctor's request to treat him in hospital for three months was refused by officials  As his imprisonment status had not changed, he resumed his hunger strike on the morning of 2 May Nâzım's hunger strike caused a stir throughout the country  Petitions were signed and a magazine named after him was published  His mother, Celile, began a hunger strike on 9 May, followed by the renowned Turkish poets Orhan Veli, Melih Cevdet and Oktay Rıfat the next day  In light of the new political situation after the 1950 Turkish general election, held on 14 May, the strike ended five days later, on 19 May, Turkey's Commemoration of Atatürk, Youth and Sports Day, when he was finally released by a general amnesty law enacted by the new government On 22 November 1950, the World Council of Peace announced that Nâzım was among the recipients of the International Peace Prize, along with Pablo Picasso, Paul Robeson, Wanda Jakubowska and Pablo Neruda Later on, Nâzım escaped from Turkey to Romania on a ship via the Black Sea and from there moved to the Soviet Union  Because the Soviet bloc recognized the Turkish minority only in communist Bulgaria, the poet's books were immediately brought out in this country, both in Turkish originals and in Bulgarian translations  The communist authorities in Bulgaria celebrated him in Turkish and Bulgarian publications as 'a poet of liberty and peace ' The goal was to discredit Turkey presented as a "lackey of the imperialist" United States in the eyes of Bulgaria's Turkish minority, many of whom desired to leave for or were expelled to Turkey in 1950–1953 When the EOKA struggle broke out in Cyprus, Ran believed that its population could live together peacefully, and he called on the Cypriot Turks to support the Greek Cypriots' demand for an end to British rule and union with Greece (enosis)  Hikmet drew negative reaction from Turkish Cypriots for his opinions Persecuted for decades by the Turkey during the Cold War for his communist views, Nâzım died of a heart attack in Moscow on 3 June 1963 at 6 30 a m  while he was picking up a morning newspaper at the door of his summer house in Peredelkino, far away from his beloved homeland  He is buried in Moscow's Novodevichy Cemetery, where his tomb is still a place of pilgrimage for Turks and others from around the world  His final wish, which was never carried out, was to be buried under a plane tree (platanus) in any village cemetery in Anatolia His poems depicting the people of the countryside, villages, towns and cities of his homeland (Memleketimden İnsan Manzaraları, "Human Landscapes from my Country"), as well as the Turkish War of Independence (Kurtuluş Savaşı Destanı, i e  The Epic of the War of Independence"), and the Turkish revolutionaries (Kuvâyi Milliye, "Force of the Nation) are considered among the greatest literary works of Turkey After his death, the Kremlin ordered the publication of the poet's first-ever Turkish-language collected works in communist Bulgaria, where a large and recognized Turkish national minority still existed  The eight volumes of these collected works, Bütün eserleri, appeared at Sofia between 1967 and 1972, in the very last years of the existence of the Turkish minority educational and publishing system in Bulgaria 
Nâzım had Polish and Turkish citizenship  The latter was revoked in 1959 and restored in 2009  His family has been asked if it wanted his remains repatriated from Russia 

Patronage
During the 1940s, as he was serving his sentence at Bursa Prison, painted  There, he met a young inmate, İbrahim Balaban  Ran discovered Balaban's talent in drawing, gave all his paint and brushes to him, and encouraged him to continue with painting  Ran influenced the peasant and educated him, who had finished only a three-grade village school, in forming his own ideas in the fields of philosophy, sociology, economics, and politics  Ran greatly admired Balaban and referred to him in a letter to the novelist Kemal Tahir as "his peasant painter" (Turkish: Köylü ressam)  Their contact remained after they were released from the prison 

Selected works
"I Come and Stand at Every Door"
Nâzım's poem "Kız Çocuğu" ("The Girl Child") conveys a plea for peace from a seven-year-old girl, ten years after she perished in the atomic bomb attack at Hiroshima  It has achieved popularity as an anti-war message and has been performed as a song by a number of singers and musicians both in Turkey and elsewhere  It is also known in English by various other titles, including "I Come and Stand at Every Door", "I Unseen" and "Hiroshima Girl" 

Turkish
Zülfü Livaneli has performed a version of the original Turkish poem on his album Nazım Türküsü, which was later sung in Turkish by Joan Baez 
Fazıl Say included the poem in his Nazım oratorio in Turkish 

Bengali
Subhash Mukhopadhyay (poet) translated Hikmet's poems into Bengali  The poems are collected in two anthologies, Nirbachita Nazim Hikmet (1952)(Selected Poems of Nazem Hikmet) ISBN 81-7079-501-X and Nazem Hikmet er Aro Kobita (1974) (More Poems of Nazem Himet)  Some of the translations are available in open source 

Greek
Thanos Mikroutsikos, in the album Politika tragoudia (Political Songs, 1975) composed a series of Hikmet's poems, adapted in Greek by the poet Yiannis Ritsos 
Manos Loizos composed settings of some of Ran's poems, adapted in Greek by Yiannis Ritsos  They are included in the 1983 disc Grammata stin agapimeni (Letters to the Beloved One) 

English
The usual tune is a nontraditional melody composed by Jim Waters in 1954 to fit the lyrics of Child 113 ballad "The Great Silkie of Sule Skerry", which was recorded by American folksinger Joan Baez as "Silkie" on her second album Joan Baez, Vol  2 in 1961 
According to American activist folk musician Pete Seeger, Jeanette Turner did a loose English "singable translation" of the poem under a different title, "I Come And Stand At Every Door", and sent a note to Seeger asking "Do you think you could make a tune for it?" in the late 1950s  After a week of trial and failure, the English translation was used by Seeger in 1962 with an adaptation of "an extraordinary melody put together by a Massachusetts Institute of Technology student, James Waters, who had put a new tune to a mystical ballad 'The Great Silkie' which he could not get out of his head, without permission " Seeger wrote in Where Have All the Flowers Gone: "It was wrong of me  I should have gotten his permission  But it worked  The Byrds made a good recording of it, electric guitars and all " Seeger also used the track in his 1999 compilation album Headlines & Footnotes: A Collection Of Topical Songs  Seeger sang the song on 9 August 2013, the 68th anniversary of the Nagasaki atomic bombing, on a Democracy Now! interview 
British folk singer Harvey Andrews recorded a version under the title "Child of Hiroshima" (sometimes re-released as "Children of Hiroshima"), released on his eponymous debut EP in 1965 
The Byrds; the American rock band used the translation on their third album Fifth Dimension in 1966 
Roger McGuinn of the Byrds later recorded the song with its original lyrics as part of his Folk Den project 
The Misunderstood used the translation, changing the title to "I Unseen", on a 1969 UK Fontana single, later included in the 1997 anthology album Before The Dream Faded with their own tune 
Paul Robeson recorded the song as "The Little Dead Girl" with another translation The song was later covered by

Ivo Watts-Russell's supergroup, This Mortal Coil on their 1991 album Blood with vocals of Louise Rutkowski, Deirdre Rutkowski with Tim Freeman and 1983–1991 
The Fall on their 1997 album Levitate, albeit omitting the last verse and wrongly attributing writing credits to anon/J Nagle  "I Come and Stand at Your Door" listed as "Anon/Nagle", which is an interpretation of the song "I Come and Stand at Every Door"  "Jap Kid" is an instrumental version of this track 
Silent Stream Of Godless Elegy, a Moravian folk metal band, on their album Behind the Shadows in 1998 
Faith & Disease on their 1998 album Insularia 
Anne Hills on 1998 album Where Have All The Flowers Gone: The Songs of Peter Seeger 
Ibon Errazkin has an instrumental song with the same title on Esculea de arte 
Styrofoam aka Arne Van Petegem's EP and first US release, RR20, included an instrumental version of the traditional tune of "Great Silkie" with the same title 

Japanese
In 2005, famous Amami Ōshima singer Chitose Hajime collaborated with Ryuichi Sakamoto by translating "Kız Çocuğu" into Japanese, retitling it  Shinda Onna no Ko [死んだ女の子] "A dead girl")  It was performed live at the Atomic Bomb Dome in Hiroshima on the eve of the 60th Anniversary (5 August 2005) of Atomic bombings of Hiroshima and Nagasaki  The song later appeared as a bonus track on Chitose's album Hanadairo in 2006 

Nepali
Some of Nâzım's poems are translated into Nepali by Suman Pokhrel and are published in print and online literary journals 

On the soldier worth 23 cents
How do you propose to get it? Do you want to get it through the cooperation of Turkey where the men in the ranks get 23 cents a month the first year and 32 cents the second year, or do you want to get an American division and equip it and send it over to Turkey which would cost you 10 times as much?
He also opposed the Korean War, in which Turkey participated  After the Senate address of John Foster Dulles, who served as U S  Secretary of State under President Dwight D  Eisenhower, where he valued Turkish soldiers at 23 cents a month compared with the lowest echelon U S  soldiers at $70, Nazım Hikmet Ran wrote a protest poem criticising the policies of the United States  This poem is titled "23 Sentlik Askere Dair" (On the soldier worth 23 cents) 

In popular culture
Nâzım's poem "We'll Give the Globe to the Children" was set to music in 1979 by Russian composer David Tukhmanov 
Tale of Tales is a Russian animated film (1979) partially inspired by Hikmet's poem of the same name 
Finnish band Ultra Bra recorded a song "Lähettäkää minulle kirjoja" ("Send me books")) based on a translated excerpt of Hikmet's poem "Rubai" 
The Ignorant Fairies is a 2001 Italian film, in which a book by Hikmet plays a central plot role 
Mavi Gözlü Dev (Blue Eyed Giant) is a 2007 Turkish biographical film about Nazım Hikmet  The title is a reference to the poem Minnacık Kadın ve Hanımelleri  The film chronicles Nazim Hikmet's imprisonment at Bursa Prison and his relationships with his wife Piraye and his translator and lover Münevver Andaç  He is played by Yetkin Dikinciler 
Hikmet's poem was quoted in the 2012 Korean drama Cheongdam-dong Alice 
The video game Suzerain opens with a quote from Hikmet, and the character Bernard Circas is based on him  The game has elements inspired by modern Turkish history 

Bibliography
Plays
Kafatası (1932, The Skull)
Unutulan Adam (1935, The Forgotten Man)
Ferhad ile Şirin 1965 (Ferhad and Şirin)
Lüküs Hayat (Luxurious Living) (as ghostwriter)

Ballet libretto
Legend of Love (by Arif Malikov) 1961

Novels
Yaşamak Güzel Şey Be Kardeşim (1967, Life's Good, Brother)
Kan Konuşmaz (1965, Blood Doesn't Tell)

Poems
"Taranta-Babu'ya Mektuplar" (1935, "Letters to Taranta-Babu")
"Simavne Kadısı Oğlu Şeyh Bedreddin Destanı" (1936, "The Epic of Sheikh Bedreddin")
"Memleketimden İnsan Manzaraları" (1966–67, "Human Landscapes from My Country")
"Kurtuluş Savaşı Destanı" (1965, "The Epic of the War of Independence")

Poetry
İlk şiirler / Nâzım Hikmet, İstanbul : Yapı Kredi, 2002  ISBN 975-08-0380-9
835 satır / Nâzım Hikmet, İstanbul : YKY, 2002  ISBN 975-08-0373-6
Benerci kendini niçin öldürdü? / Nâzım Hikmet, İstanbul : YKY, 2002  ISBN 975-08-0374-4
Kuvâyi Milliye / Nâzım Hikmet, İstanbul : YKY, 2002  ISBN 975-08-0375-2
Yatar Bursa Kalesinde / Nâzım Hikmet, İstanbul : YKY, 2002  ISBN 975-08-0376-0
Memleketimden insan manzaraları : (insan manzaraları) / Nâzım Hikmet, İstanbul : YKY, 2002  ISBN 975-08-0377-9
Yeni şiirler : (1951–1959) / Nâzım Hikmet, İstanbul : Yapı Kredi Yayınları, 2002  ISBN 975-08-0378-7
on şiirleri : (1959–1963) / Nâzım Hikmet, İstanbul : Yapı Kredi Yayınları, 2002  ISBN 975-08-0379-5

Partial list of translated works in English
Selected Poems / Nâzim Hikmet; done into English by Taner Baybars  London, Cape Editions, 1967 
The Moscow Symphony and Other Poems / translated into English by Taner Baybars  Chicago: Swallow Press, 1971 
The day before tomorrow : poems / translated into English by Taner Baybars  South Hinksey, England : Carcanet Press, 1972  ISBN 0-902145-43-6
That Wall / Nâzım Hikmet; illustrations [by] Maureen Scott, London: League of Socialist Artists, 1973  ISBN 0-9502976-2-3
Things I didn't know I loved: selected poems / Nâzim Hikmet; translated by Randy Blasing & Mutlu Konuk  New York : Persea Books, 1975  ISBN 0-89255-000-7
Human Landscapes / by Nazim Hikmet; translated by Randy Blasing and Mutlu Konuk ; foreword by Denise Levertov, New York : Persea Books, c1982  ISBN 0-89255-068-6
Selected poetry / Nazim Hikmet; translated by Randy Blasing and Mutlu Konuk, New York : Persea Books, c1986  ISBN 0-89255-101-1
Poems of Nazim Hikmet, trans  Randy Blasing & Mutlu Konuk  New York: Persea Books, 1994 (revised 2nd ed , 2002) 
Beyond the walls: selected poems / Nâzim Hikmet; translated by Ruth Christie, Richard McKane, Talât Sait Halman; introduction by Talât Sait Halman, London: Anvil Press Poetry, 2002  ISBN 0-85646-329-9
Life's Good, Brother / Nâzım Hikmet; translated by Mutlu Konuk Blasing, New York: W  W  Norton & Company, 2013  ISBN 978-0892554188

Partial list of translated works in other languages
Poesie / Nâzım Hikmet, Joyce Lussu (Trans ), Newton Compton, 2010  ISBN 978-88-541-2027-3
La conga con Fidel / Nâzım Hikmet, Joyce Lussu (Trans ), Fahrenheit 451, 2005  ISBN 978-88-86095-89-1
Il nuvolo innamorato e altre fiabe / Nâzım Hikmet, Giampiero Bellingeri (Trans ),  F  Negrin (Illustrator), Mondadori, 2003  ISBN 978-8804524892
De mooiste van Hikmet / Nâzım Hikmet, Koen Stassijns & Ivo van Strijtem (ed ), Perihan Eydemir & Joris Iven (Trans ), Lannoo | Atlas, 2003  ISBN 90-209-5266-8
Poesie d'amore / Nâzım Hikmet, Joyce Lussu (Trans ), Mondadori, 2002  ISBN 978-88-04-50091-9
Il neige dans la nuit et autres poèmes / Nâzım Hikmet, Münevver Andaç (Trans ), Güzin Dino (Trans ), Gallimard, 1999  ISBN 978-20-70329-63-2
Preso na Fortaleza de Bursa/Yatar Bursa Kalesinde, Leonardo da Fonseca (Trans ), In  (n t ) Revista Literária em Tradução nº 1 (set/2010), Fpolis/Brasil, ISSN 2177-5141
Vita del poeta / Nâzım Hikmet, Joyce Lussu (Trans ), Cattedrale, 2008  ISBN 978-88-95449-15-9
Paesaggi umani / Nâzım Hikmet, Joyce Lussu (Trans ), Fahrenheit 451, 1992  ISBN 978-88-86095-00-6
Gran bella cosa è vivere, miei cari / Nâzım Hikmet, F  Beltrami (Trans ), Mondadori, 2010  ISBN 978-88-04603-22-1
Poesie d'amore e di lotta / Nâzım Hikmet, G  Bellingeri (Editor), F  Beltrami (Trans ), F  Boraldo (Trans ), Mondadori, 2013  ISBN 978-88-04-62713-5
Les Romantiques (La vie est belle, mon vieux) / Nâzım Hikmet, Münevver Andaç (Trans ), Temps Actuels, 1982  ISBN 978-22-01015-75-5
La Joconde et Si-Ya-Ou / Nâzım Hikmet, Abidine Dino (Trans ), Parangon, 2004  ISBN 978-28-41901-14-2
Pourquoi Benerdji s'est-il suicidé? / Nâzım Hikmet, Münevver Andaç (Trans ), Aden Editions, 2005  ISBN 978-29-30402-12-3
Le nuage amoureux / Nâzım Hikmet, Münevver Andaç (Trans ), Gallimard Jeunesse Giboulées, 2013  ISBN 978-20-70648-89-4
Últimos poemas I (1959–1960–1961) / Nâzım Hikmet, Fernando García Burillo (Trans ), Ediciones Del Oriente Y Del Mediterráneo S L , 2000  ISBN 978-84-87198-60-1
Últimos poemas II (1962–1963): Poemas finales / Nâzım Hikmet, Fernando García Burillo (Trans ), Ediciones Del Oriente Y Del Mediterráneo S L , 2005  ISBN 978-84-87198-75-5
Poezje wybrane / Nâzım Hikmet, Małgorzata Łabęcka-Koecherowa (Trans ), Ludowa Spółdzielnia Wydawnicza, 1981  ISBN 978-83-20533-75-0
Romantyczność / Nâzım Hikmet, Aleksander Olecki (Trans ), Książka i Wiedza, 1965 
Allem-kallem: baśnie tureckie / Nâzım Hikmet, Małgorzata Łabęcka-Koecherowa (Trans ), Elżbieta Gaudasińska (Trans ), Nasza Księgarnia, 1985  ISBN 831008515X
Zakochany obłok: baśń turecka / Nâzım Hikmet, Małgorzata Łabęcka-Koecherowa (Trans ), Krajowa Agencja Wydawnicza, 1987  ISBN 978-83-03016-35-5
 나쥠 히크메트 시선집 [Selected Poems of Nâzım Hikmet / Nâzım Hikmet] (in Korean (North Korea))  Translated by Paik, Sok; Chon, Chang-shik; Kim, Byong-wook  Pyongyang: National Press  Pyongyang  1956 
Legenda o miłości  Opowieść o Turcji / Nâzım Hikmet, Ewa Fiszer (Trans ), Państwowy Instytut Wydawniczy, 1954
Many of Hikmet's poems are translated into Nepali by Suman Pokhrel, and some are collected in an anthology tilled Manpareka Kehi Kavita 

See also
Abidin Dino
Orhan Kemal
Zülfü Livaneli
Fazıl Say
Behçet Necatigil
Passage 7:
Mehmed Ali Pasha (marshal)
Mehmed Ali Pasha (November 18, 1827 – September 7, 1878) was a Prussian-born Ottoman career officer and marshal  He was the grandfather of the Turkish statesman Ali Fuat Cebesoy, and the great-grandfather of famous poets Nâzım Hikmet and Oktay Rıfat Horozcu and the socialist activist, lawyer, and athlete Mehmet Ali Aybar 

Biography
Mehmed Ali was born as Ludwig Karl Friedrich Detroit (also known as Carl Detroy) in Magdeburg, Prussia  His parents were Carl Friedrich Detroit and Henriette Jeanette Severin  The French family name points to Huguenot ancestry, as a descendant of Protestant refugees from France in the 16th or 17th century  During his teenage years in 1843 he ran away to sea, and traveled to the Ottoman Empire, where he converted to Islam and was circumcised  There, in 1846, Âli Pasha, later Grand Vizier, sent him to a military school  He received a commission in the Ottoman Army in 1853 and fought against Russia in the Crimean War  He was made a brigadier general and Pasha in 1865 

In the 1877–1878 war against Russia, Mehmed Ali led the Turkish army in Bulgaria  He was successful in his operations on the Lom river (August–September 1877), but was afterward forced back by his opponents  He failed to effect a junction with Süleyman Hüsnü Pasha, and was superseded by the latter  Later in 1878 he was a participant at the Congress of Berlin 

Death
In August 1878, the Ottoman government selected him to overview the process of the cession of the Plav-Gucia region to Montenegro in compliance to the decisions of the Congress of Berlin  Mehmed Ali Pasha's first task was the pacification of the Albanian League of Prizren, which opposed the border change as part of the areas (Plav-Gucia/Plav-Gusinje) were inhabited by ethnic Albanians  He arrived in Kosovo in late August, attempting to make local Albanians comply with the Berlin Treaty but was blocked from any further movement towards the Ottoman-Montenegrin border by the local committees of the Albanian League  Stationed in Abdullah Pasha Dreni's estate in Gjakova with several Ottoman battalions he was killed on September 6 after a seven-day battle with several thousand Albanians opposing cession of Albanian inhabited lands to European powers 

Sources


== Family tree ==



ground_truth: Thames