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

Question: Were the board games, Clans and Drunter und Drüber, both created by Leo Colovini?

The following are given passages.
Context 1: Passage 1:
List of word board games
This is a list of board games  See the article on game classification for other alternatives, or see Category:Board games for a list of board game articles 

Single-player board games
Some board games have solo variants, such as Arkham Horror and Agricola  Others are specifically designed for one player 

Two-player abstract strategy games
In abstract strategy games, players know the entire game state at all times, and random generators such as dice are not used 

Two-player board games
Multi-player elimination board games
Participants are typically eliminated before game end 

European race games
Multiplayer games without elimination
Everyone can play along to the end  These games are especially suited for mixed play with adults and children 

Economics strategy games
Games involving scarce resources and strategy 

Games of physical skill
Coordination, finesse, or other physical skills are necessary  Also known as dexterity games 

Children's games
The rules are easy to learn and the outcome is mostly or entirely due to chance 

Cooperative games
Cooperative games in which all players need to work together to win 

Word games
These games are based on construction of words to score points 

Gaming systems
These are sets that can be used to play multiple games 

See also
Spiel des Jahres (Game of the Year)
Games 100
List of board wargames
List of Japanese board games
List of mancala games
List of board game publishers
List of game manufacturers
List of cross and circle games

External links
Board Game Geek
Boardgames org
A Zen Guide to Board Games
Gamerate Game database
Board Games Land
Board Game Theories
Passage 2:
Clans (board game)
Clans is a German-style board game designed by Leo Colovini  The game centers on the creation of villages 

Gameplay
At the start of the game, each player is secretly dealt a card that has one of five colors on it - red, yellow, blue, green, or black  Although each player knows his own color, but not color of any of the other players  The game begins with one hut on each space, the colors being randomly distributed across the huts  On his turn, a player moves all of the huts from one space to another space  When a group of huts is completely isolated (all the surrounding spaces are empty) that space is scored  Scoring is different based on the terrain that those huts are on  The person with the most huts on that space, and anyone tied for the most, gets points  The game ends when the moves have been exhausted 

Awards
Nominee for the Spiel des Jahres, 2003
3rd in the Deutscher Spiele Preis, 2002
Games magazine Best Abstract Strategy Game of 2003
Winner, game of the year "stoner award 2018 Leeuwarden" 

External links
Clans   at BoardGameGeek
Passage 3:
Drunter und Drüber
Drunter und Drüber (German: [ˈdʁʊntɐ ʊn ˈdʁyːbɐ], lit  "under and over", fig  "haywire") is a multiplayer board game invented by Klaus Teuber, first published in 1991 in Germany by Hans im Glück  A second edition was released in 1994 by Hans im Glück and featured art by Franz Vohwinkel   The game was repackaged and rethemed as the western game Wacky Wacky West in 2010 

Gameplay
Players take on the role of the people of Schilda and work to build a new town after they burned down their old one  Buildings are already completed and each player is secretly assigned one of six types of buildings, that each appear five times on the board  Buildings closer to the center of the board have a higher point value  Each player is given an identical set of vote cards that are worth varying degrees of yes or no  Every turn, players lay down tiles of streets, rivers, and town walls which add on to existing pieces  Buildings can be covered by tiles, but when someone attempts to build over an outhouse everyone votes on whether to allow it or not  If there are more negative votes, the tile does not get played  Each player tries to keep his or her buildings uncovered  The game ends when all the pieces have been placed or all players pass consecutively; then everyone tallies their score from their remaining buildings on the map and the player with the highest score wins 

Awards
Spiel des Jahres Game of the Year 1991
Deutscher Spiele Preis 1991 3rd place

Reviews
Review by Doug Adams
Review by Debbie Pickett
Review from Sumo, Issue 5, June 1991
Passage 4:
Alex Randolph
Alexander Randolph (4 May 1922 – 27 April 2004) was a Bohemian-American designer of board games and writer  Randolph's game creations include TwixT, Breakthru, Hol's der Geier, Inkognito (with Leo Colovini), Raj, Ricochet Robot, and Enchanted Forest (with Michael Matschoss) 

Biography
Randolph was a son of self-described "rich parents" who attended private school in Switzerland 
He spent his early years in various occupations, including military intelligence and as an advertising copy editor in Boston In 1961, Randolph moved to Japan and became a professional game developer, performing initial work on TwixT  During this time, he became a dan player in shogi 
In 1962, Randolph (along with Sid Sackson) was commissioned to start a new game division for Minnesota Mining and Manufacturing (also known as 3M)  Through 3M, Randolph created and published such games as Breakthru, Evade, Oh-Wah-Ree, and TwixT Randolph moved to Venice, Italy in 1968, continuing his career as a game developer with the company Venice Connection established with Dario De Toffoli and Leo Colovini Randolph died aged 82 in Venice on 27 April 2004 

Recognition
In 2016, as a testimony to his career, Fabulous Games published ADDX – the first ever digital game from Alex Randolph Following Randolph's death, the Nuremberg Museum set up a special permanent collection of Randolph's games titled the Alexander Randolph Viewing Collection 

Awards
Spiel des Jahres
Game of the Year

1982 for Enchanted ForestChildren's Game of the Year

1989 for Gute Freunde
1997 for Leinen Los!Special Awards

1996 Most Beautiful Game for Venice Connection
1988 Most Beautiful game for Inkognito

Origins Awards Hall of Fame
Hall of Fame

2011 induction as a designer
2011 induction of TwixT
Passage 5:
Familienbande
Familienbande (German for Family Ties) is a card game designed by Leo Colovini   
Familienbande is a game of family inheritance, not of money, but of genetic traits   The card deck in Familienbande features an equal number of men and women   Each person on a card has three characteristics, chosen from a set of five, namely big ears, orange hair, thick lips, a big nose and glasses (to represent nearsightedness)   A card's characteristics need not be different, so, for example, a man could have two symbols for big ears and one for orange hair, or three "glasses" symbols 

Gameplay
Each player represents a "family" in which one of the genetic traits is dominant, and therefore wishes to pass along this trait to as many children as possible (and as many times as possible in each child)   On each player's turn he or she can do one of three things: 

(1) Draw a card 
(2) Play a card that forms a marriage, i e  is paired with a card of the opposite sex, after which the player then draws a card 
(3) Play a card as a child of a marriage that is already on the board   Most importantly, the three genetic characteristics of a child must be included in the six characteristics of its parents (e g  so a child's one "ear" and two "lips" traits must be appear in its parents' six genetic traits)   Every trait symbol on the child's card scores one point for that genetic trait times the generation number of that child   After scoring, the player may then discard a card from his or her hand, and then draw a replacement The game ends when the seventh child is played in the fifth "generation" 

Bluffing
The genetic trait of the each player's "family" is chosen randomly at the start of the game, being kept hidden from all other players and only revealed at the end of the game   The scores of all five genetic characteristics are tracked throughout the course of the game (even if there are only two players), allowing players to bluff and misdirect their opponents   
At the end of the game, players reveal their own genetic trait and are penalized for cards left in hand, the winner being
the one with the highest score 

External links
Familienbande   at BoardGameGeek
Independent review of Familienbande at juegos games
Independent review of Familienbande
Passage 6:
Inkognito
Inkognito is a board game for 3 to 5  players designed by Alex Randolph and Leo Colovini first published in 1988 by Milton Bradley Company  It has since been republished several times including by the company Venice Connection established by the designers and Dario De Toffoli The game was inspired by the Italian card game Briscola Chiamata 

Play Overview
Inkognito is a spy game set in Venice  It is unique in that the players play in pairs, but no player knows who their partner is   Each player has half of a secret message detailing their party's mission; their partner is the player with the other half  In order to win, a player must:

figure out who their partner really is
get the other half of the secret message from their partner
discover their party's mission
complete the missionWith 5 players, one player plays as the ambassador, who wins if he can perfectly identify all the other players 

Awards
In 1988 this game won the Spiel des Jahres special award for most beautiful game 

Reviews
Jeux & Stratégie #57 (as "Intrigues à Venise")
Passage 7:
Leo Colovini
Leo Colovini is an Italian designer of German-style board games born in Venice 1964  His most popular game is Cartagena  He is one of the few top board game designers who has owned a game store 
His life in games was strongly influenced by meeting Alex Randolph at the age of 12 with whom he worked on several of his games  He has also been part of studiogiochi, an Italian games company, and has also collaborated with Dario De Toffoli and has written books on games 

List of Games
Complete list of games that Colovini has created:

His games are known for their simplicity and drama as this quote from Board Game Geek illustrates:  "Carcasonne: The Discovery is also the simplest and most vanilla of the Carcassonnes  (Of course, if you know anything about Leo Colovini, you'd expect that ) But, it also the most tense Carcassonne  (And if you know Mr  Colovini, you also knew THAT!)"
Passage 8:
Francis Tresham (game designer)
Francis Tresham (1936 – 23 October 2019) was a British board game designer who produced board games since the early 1970s  Tresham founded and ran games company Hartland Trefoil (founded 1971), a company well-known for its Civilization board game, until its sale to MicroProse in 1997  His 1829 game was the first of the 18xx board game series and some of his board games inspired Sid Meier computer games such as Railroad Tycoon 
Francis Tresham was the first to introduce a technology tree into his boardgames  This idea had a large influence on later board and computer games 
He was managing director of Tresham Games, which produced 18xx-style board games  In 2013, he was one of the first inductees in the UK Games Expo Hall of Fame  He died on 23 October 2019 

Published board games
1825
1829
1829 Mainline
1830
1853
Civilization
Revolution: The Dutch Revolt 1568–1648
Shocks & Scares
Spanish Main
The Game of Ancient Kingdoms
Passage 9:
David Parlett
David Parlett (born 18 May 1939 in London) is a games scholar, historian, and translator from South London, who has studied both card games and board games  He is the president of the British Skat Association 

Life
David Sidney Parlett was born in London on 18 May 1939 to Sidney Thomas Parlett and Eleanor May Parlett, née Nunan  He is one of three brothers  During the Second World War, Parlett lived in Barry, Glamorgan  Parlett was educated at Battersea Grammar School and the University College of Wales in Aberystwyth  He has a BA in Modern Languages  Parlett was a technical writer with PR companies and later a freelance write for Games & Puzzles magazine  He is married to Barbara and they have a son and a daughter 

Works
His published works include many popular books on games such as Penguin Book of Card Games, as well as the more academic volumes The Oxford Guide to Card Games and The Oxford History of Board Games, both now out of print  Parlett has also invented many card games and board games   The most successful of these is Hare and Tortoise (1974)  Its German edition was awarded Spiel des Jahres (Game of the Year) in 1979 
Parlett is a Quaker 

Books
Games and gaming
All the Best Card Games
Anarquía y Otros Juegos Sociales de Cartas
Botticelli and Beyond
Card Games for Everyone
Family Card Games
Know the Game: Patience
Original Card Games
Solitaire: Aces Up and 399 other Card Games
Teach Yourself Card Games
Teach Yourself Card Games for Four
Teach Yourself Card Games for One
Teach Yourself Card Games for Three
Teach Yourself Card Games for Two
Teach Yourself Poker and Brag
The Guinness Book of Word Games
The Oxford Dictionary of Card Games
The Oxford Guide to Card Games / A History of Card Games
The Oxford History of Board Games reprinted as History of Board Games
The Penguin Book of Card Games
The Penguin Book of Patience
The Penguin Book of Word Games
The Penguin Encyclopedia of Card Games
The Popular Dictionary of Card Games

Other subjects
A Short Dictionary of Languages
Dalcroze Today (translation of Marie-Laure Bachmann's work)
Learning a Language Alone
Selections from the Carmina Burana (translations)

Games invented
Board games
Since 1974, David Parlett has published numerous games, including the following:
Around the World in 80 Days (2016)
Asterix: Das Kartenspiel (1990)
Chicken Out! (2017)
Die Wilden Kerle (The Wild Kids) (2017)
Hare and Tortoise (1973)
Katarenga (Colorado) (2017)
LifeCards
Metal Mickey's All Around the House Game (1982)
Ninety-Nine (1974) / Four Seasons (2016)
Pot Black: Snooker Dice (1980)
Rainbow Junior Scrabble (1989)
Roman Poker (2015)
Shoulder to Shoulder (1975)
Star Wars: Duell der Mächte (2015)
Sushi Spiel (Chinese Take-Away)
The Gnümies Party Game (2001)
The Puzzle of Oz (2012)
Zoo Party / 7Safari (2000) / Alles für die Katz

Card games
Parlett has invented more than 70 original card games that can be played with a standard deck of playing cards 

Solitaire games
Archway
Black Hole
Gay Gordons
Penguin
Passage 10:
Glossary of board games
This glossary of board games explains commonly used terms in board games, in alphabetical order  For a list of board games, see List of board games; for terms specific to chess, see Glossary of chess; for terms specific to chess problems, see Glossary of chess problems 

A
active  
See in play 

B
bear off  
To remove game piece(s) from the board and out of play  Past tense: borne off 

bit  
See piece 

Black  
Used often to refer to one of the players in two-player games  Black's pieces are typically a dark color but not necessarily black (e g  in English draughts official play they are red)  Cf  White  See also White and Black in chess 

board  
Short for gameboard 

C
capture  
A method that removes another player's piece(s) from the board  For example: in checkers, if a player jumps an opponent's piece, that piece is captured  Captured pieces are typically removed from the game  In some games, captured pieces remain in hand and can be reentered into active play (e g  shogi, Bughouse chess)  See also Game mechanics § Capture/eliminate 

card  
A piece of cardboard often bearing instructions, and usually chosen randomly from a deck by shuffling 

cell  
See hex and space 

checker  
See piece 

checkerboard 
A square gameboard with alternating dark and light-colored squares 

chessboard 
The square gameboard used in chess, having 64 squares of alternating dark and light-colors 

column  
See file 

component  
A physical item included in the game  E g  the box itself, the board, the cards, the tokens, zipper-lock bags, inserts, rule books, etc  See also equipment 

counter  
See piece 

currency  
A scoring mechanic used by some games to determine the winner, e g  money (Monopoly) or counters (Zohn Ahl) 

custodian capture 
A capture method whereby an enemy piece is captured by being blocked on adjacent sides by opponent pieces  (Typically laterally on two sides as in Tablut and Hasami shogi, or laterally on four sides as in Go  Capture by blocking on two sides diagonally is done in Stone Warriors, and surrounding on three sides is required in Bizingo ) Also called escort capture and interception capture 

custodian method 
See custodian capture 

D
deck  
A stack of cards 

die  
sing  of dice 

dice  
Modern cubic dice are used to generate random numbers in many games – e g  a single die in Trivial Pursuit, or two dice per player in backgammon  Role-playing games typically use one or more polyhedral dice  Games such as Pachisi and chaupur traditionally use cowrie shells  The games Zohn Ahl and Hyena chase use dice sticks  The game yut uses yut sticks 

direction of play  
The order of turns in a multiplayer game, e g  clockwise around the board means the player to the left has the next turn  
  
disc  
See piece    
 
displacement capture  
A capture method whereby a capturing piece replaces the captured piece on its square, cell, or point on the gameboard 

doublet  
1   The same number displayed by two dice 
2   The number displayed by one or more die is doubled 
3   The union of two game pieces to move as one 

E
empty board  
Many games start with all pieces out of play; for example, Nine men's morris, Conspirateurs, Entropy, and Go (if a handicap is not employed)  Some gameboards feature staging areas for the pieces before any are put into play; for example, Ludo and Malefiz 

enemy  
An enemy piece is a piece in the same army or set of pieces controlled by the opponent; or, in a multiplayer game, a piece controlled by the partner of an opponent 

Engine-building  
A board game genre and gameplay mechanic that involves adding and modifying combinations of abilities or resources to assemble a virtuous circle of increasingly powerful and productive outcomes  A successfully built engine can create a snowball or domino effect 

equipment  
Refers to physical components required to play a game, e g  pieces, gameboard, dice 

escort capture  
See custodian capture 

exchange  
For games featuring captures, the capture of a piece followed immediately by the opponent's recapture 

F
file 
A straight line of spaces running from top to bottom of a gameboard at right angle to a rank  Also called column 

friendly  
A piece in the same army or set of pieces controlled by a player; or, in a multiplayer game, a piece controlled by a player's partner 

G
gameboard  
Or game board  The (usually quadrilateral) marked surface on which one plays a board game  The namesake of the board game, gameboards would seem to be a necessary and sufficient condition of the genre, though card games that do not use a standard deck of cards (as well as games that use neither cards nor a gameboard) are often colloquially included  Most games use a standardized and unchanging board (chess, Go, and backgammon each have such a board), but some games use a modular board whose component tiles or cards can assume varying layouts from one session to another, or even during gameplay 

game component  
See component 

game equipment  
See equipment 

game piece  
See piece 

gameplay  
The execution of a game; or specifically its strategy, tactics, conventions, or mechanics 

gamer  
A person who plays board game(s)  See also player 
 
gamespace  
A gameboard for a three-dimensional game (e g , the 5×5×5 cubic board for Raumschach) 

grace  
An extra turn 

H
handicap  
An advantage given to a weaker side at the start of a game to level the winning chances against a stronger opponent  Go has formal handicap systems (see Go handicaps); chess has traditional handicap methods not used in rated competitions (see Chess handicap) 

hex  
In hexagon-based board games, this is the common term for a standard space on the board  This is most often used in wargaming, though many abstract strategy games such as Abalone, Agon, hexagonal chess, GIPF project games, and connection games use hexagonal layouts 

huff  
The forfeiture of a piece as a penalty for infringing a rule 

I
in hand  
A piece in hand is one currently not in play on the gameboard, but may be entered into play on a turn  Examples are captured pieces in shogi or Bughouse chess, able to be dropped into play as a move; or pieces that begin the game in a staging area off the main board, as in Ludo or Chessence 

in play  
A piece active on the main board, not in hand or in a staging area  Antonym: out of play 

interception capture  
See custodian capture 

intervention capture  
A capture method the reverse of the custodian method: a player captures two opponent pieces by moving to occupy the empty space between them 

J
jump  
To move a piece over one or more pieces or spaces on the gameboard  Depending on the context, jumping may include  capturing an opponent's piece  See also Game mechanics § Capture/eliminate 

L
leap  
See jump 

M
man  
In chess, a piece or a pawn  In draughts, an uncrowned (i e  not a king) piece 

meeple  
A game piece that represents a person in concept, shaped like an approximation of a person 

mill  
Three or more pieces in a line of adjacent spaces 

move  
See turn 

O
odds  
See handicap 

open board  
A gameboard with no pieces, or one piece, in play  Typically for demonstration or instruction 

order of play  
See direction of play 

orthogonal  
A horizontal (straight left or right) or vertical (straight forward or backward) direction a piece moves on a gameboard 

out of play  
A piece not active on the main board, it might be in hand or in a staging area  Antonym: in play 

over the board 
A game played face to face with the opponent, as opposed to playing remotely (online or other means, for e g  correspondence chess) 

P
pass  
The voluntary or involuntary forfeiture of a turn by a player 

pie rule  
Used in some two-player games to eliminate any advantage of moving first  After the first player's opening move, the second player may optionally swap sides 

piece  
Or bit, checker, chip, counter, disc, draughtsman, game piece, man, meeple, mover, pawn, player piece, playing piece, singleton, stone, token, unit  A player's representative on the gameboard made of a piece of material made to look like a known object (such as a scale model of a person, animal, or inanimate object) or otherwise general symbol  Each player may control one or more pieces  Some games involve commanding multiple pieces, such as chess pieces or Monopoly houses and hotels, that have unique designations and capabilities within the parameters of the game; in other games, such as Go, all pieces controlled by a player have the same capabilities  In some modern board games, such as Clue, there are other pieces that are not a player's representative (i e  weapons)  In some games, such as mancala games, pieces may not represent or belong to any particular player  Mancala pieces are undifferentiated and  typically seeds but sometimes beans, coins, cowry shells, ivory balls, or pebbles  Note that in chess usage the term piece in some contexts only refers to some of the pieces, which are also known as chessmen  See also Counter (board wargames) 
playboard  
See gameboard 

player  
The participant(s) in the game  See also gamer 

playing area 
The spaces on a gameboard for use by pieces in play 

playspace 
See playing area 

point  
See space 

polyhedral dice  
Dice that are not cubes, usually some kind of Platonic solid  Polyhedral dice are generally referred to through the construction "d + number of sides" (ex  d4, d8, d12, d20)  See also dice 

R
rank 
A straight line of spaces running from one side to the other across a gameboard at right angle to a file  Also called row 

replacement capture  
See displacement capture 

row  
See rank 

rule  
A condition or stipulation by which a game is played 

ruleset  
The comprehensive set of rules which define and govern a game 

S
singleton  
A game piece that is isolated and often prone to attack 

space  
A physical unit of progress on a gameboard delimited by a distinct border, and not further divisible according to the game's rules  Alternatively, a unique position on the board on which a piece in play may be located  For example, in Go, the pieces are placed on grid line intersections called points, and not in the areas bounded by the borders, as in chess  The bounded area geometries can be square (e g  chess), rectangular (e g  shogi), hexagonal (e g  Chinese Checkers), triangular (e g  Bizingo), quadrilateral (e g  three-player chess), cubic (e g  Raumschach), or other shapes (e g  Circular chess)  Cf  gamespace  See also Game mechanics § Movement 

square  
See space 

staging area  
A space set aside from the main gameboard to contain pieces in hand  In Ludo, the staging areas are called yards  In shogi, pieces in hand are placed on komadai 

starting area  
See staging area   
  
stone  
See piece 

swap  
See exchange 

T
take  
See capture 

token  
See piece 

trade  
See exchange 

triplet  
The same number displayed by three dice 

turn  
A player's opportunity to move a piece or make a decision that influences gameplay  Turns to move usually alternate equally between competing players or teams  See also Turn-based game 

W
White  
Used often to refer to one of the players in two-player games  White's pieces are typically a light color but not necessarily white (e g  backgammon sets use various colors for White; shogi sets have no color distinction between sides)  White often moves first but not always (e g  Black moves first in English draughts, shogi, and Go)  Cf  Black  See also White and Black in chess 

Worker Placement 
A genre of board games in which players take turns selecting an action while optimizing their resources and making meaningful decisions 

Notes
Context 2: Passage 1:
Cheval de frise
The cheval de frise (plural: chevaux de frise [ʃə vo də fʁiz], "Frisian horses") was a defensive obstacle, existing in a number of forms, principally as a static anti-cavalry obstacle but also quickly movable to close breaches   The term was also applied to underwater constructions used to prevent the passage of ships or other vessels on rivers   In the anti-cavalry role the cheval de frise typically comprised a portable frame (sometimes just a simple log) with many projecting spikes   Wire obstacles ultimately made this type of device obsolete  
The invention of the cheval de frise is attributed to ancient China  The concept of using a defensive obstacle made of wooden or metal stakes predates its use in Europe  Historical records suggest that similar types of defensive barriers, known as "teng pai" or "mó pai", were used in China as early as the 4th century BC  These early versions of the cheval de frise were employed to protect cities, forts, and other strategic locations from enemy attacks 
The use of chevaux de frise spread to Europe during the Middle Ages and became a common feature of medieval fortifications  They were used extensively in castle defenses and military campaigns, particularly during the Renaissance and early modern periods  However, the original concept and early usage of the cheval de frise can be traced back to ancient China 
During the American Civil War the Confederates used them more than the Union forces  During World War I, armies used chevaux de frise to temporarily plug gaps in barbed wire  Barbed wire chevaux de frise were used in jungle fighting on the South Pacific islands during World War II 
The term is also applied to defensive works on buildings  This includes a series of closely set upright stones found outside the ramparts of Iron Age hillforts in northern Europe, or iron spikes outside homes in Charleston, South Carolina 

Etymology
In French, cheval de frise means "Frisian horse"  The Frisians fought predominantly using cavalry; they were known for being formidable horsemen, and Frisian horses were renowned for their strength and agility  Therefore, for defense they relied heavily on anti-cavalry obstacles  The Dutch also adopted the use of these defensive devices when at war with Spain  The term cheval de frise came to be used for any spiked obstacle, such as broken glass embedded in mortar at the top of a wall 
The cheval de frise was adopted in New York and Pennsylvania during the American Revolutionary War as a defensive measure installed on rivers to prevent upriver movement by enemy ships  During the Peninsular War, at the siege of Badajoz in 1812, a cheval de frise was successfully deployed to fill a breach in the town wall, allowing the French to inflict heavy casualties on the British storm troops 

American Revolutionary War
During the American Revolutionary War both Thaddeus Kosciuszko and Robert Erskine designed an anti-ship version of the cheval-de-frise to prevent British warships from proceeding up the Delaware River and Hudson River, respectively  A cheval de frise by Erskine's design was placed between Fort Washington at northern Manhattan and Fort Lee in New Jersey in 1776  The following year construction began on one to the north of West Point at Pollepel Island, but it was overshadowed by the completion of the Great Chain across the Hudson in 1778, which was used through 1782 

Similar devices planned by Ben Franklin and designed by Robert Smith were used in the Delaware River near Philadelphia, between Fort Mifflin and Fort Mercer  Two other lines of chevaux-de-frise were also placed across the Delaware River at Marcus Hook, Pennsylvania and Fort Billingsport, New Jersey as a first line of defense for Philadelphia against the British naval forces A cheval de frise was retrieved from the Delaware River in Philadelphia on November 13, 2007, in excellent condition, after more than two centuries in the river  In November 2012, a 29-foot (9 m) spike from a cheval-de-frise was recovered from Delaware off Bristol Township; it was also believed to be from the Revolutionary era installation at Philadelphia and freed up by Hurricane Sandy earlier that fall 

Legacy
A small promontory on the north-east Essex coast in the United Kingdom (UK), between Holland Haven and Frinton-on-Sea, was named Chevaux de Frise Point 

See also
Czech hedgehog
Passage 2:
Jacob Haish
Jacob Haish (March 9, 1826 – February 19, 1926) was one of the first inventors of barbed wire  His type of barbed wire was in direct competition with the other barbed wire manufacturers in DeKalb, Illinois  He was a known carpenter and architect in DeKalb County and designed several prominent DeKalb homes 

Early life
Haish was born in Baden, Germany on March 9, 1826, and immigrated with his family to the United States in 1835  He came to Illinois in 1845, married Sophie Ann Brown in 1847, and moved to DeKalb in 1853, where he was a carpenter  He cultivated osage orange hedges whose thorns made them effective as cattle fencing 

The birth of barbed wire
In late 1872, Henry Rose developed a wire fence with an attached wooden strip containing projecting wire points to dissuade encroaching livestock  He patented his fence in May 1873 and exhibited it at the DeKalb County Fair that summer  This prompted Haish and other DeKalb residents Isaac Ellwood and Joseph Glidden to work on improving the concept   Haish had patented three styles of barbed fencing by June 1874  When Haish's patent for an "S-barb" design was granted in August 1875, he launched a drawn out legal battle to stymie his rivals  It failed at the US Supreme Court in 1895 

Haish gifts a library
In 1893, the city council of DeKalb, Illinois, decreed the establishment of a public library   The impetus for this ordinance was requests from the Ladies of the Library Association, a group that had conducted a reading room for several years  The library moved twice before the Haish gift came along; it was first located on the second floor of the city hall and then, in 1923, moved to the second floor of the DeKalb Daily Chronicle building on Lincoln Highway 
Jacob Haish died at his home in DeKalb on February 19, 1926  He had bequested a $150,000 gift for a library building in his will  The result was the Haish Memorial Library in downtown DeKalb 

See also
George H  Gurler House
Joseph F  Glidden House
Passage 3:
Concertina wire
Concertina wire or Dannert wire is a type of barbed wire or razor wire that is formed in large coils which can be expanded like a concertina  In conjunction with plain barbed wire (and/or razor wire/tape) and steel pickets, it is most often used to form military-style wire obstacles  It is also used in non-military settings, such as when used in prison barriers, detention camps, riot control, or at international borders 
During World War I, soldiers manufactured concertina wire themselves, using ordinary barbed wire  Today, it is factory made 

Origins
In World War I, barbed wire obstacles were made by stretching lengths of barbed wire between stakes of wood or iron  At its simplest, such a barrier would resemble a fence as might be used for agricultural purposes  The double apron fence comprised a line of pickets with wires running diagonally down to points on the ground either side of the fence  Horizontal wires were attached to these diagonals More elaborate and formidable obstructions could be formed with multiple lines of stakes connected with wire running from side-to-side, back-to-front, and diagonally in many directions  Effective as these obstacles were, their construction took considerable time 
Barbed wire obstacles were vulnerable to being pushed about by artillery shells; in World War I, this frequently resulted in a mass of randomly entangled wires that could be even more daunting than a carefully constructed obstacle  Learning this lesson, World War I soldiers would deploy barbed wire in so-called concertinas that were relatively loose  Barbed wire concertinas could be prepared in the trenches and then deployed in no-man's-land relatively quickly under cover of darkness 

There was what might be called a concertina craze on: innumerable coils of barbed wire were converted into concertinas by the simple process of winding them round and round seven upright stakes in the ground; every new lap of wire was fastened to the one below it at every other stake by a twist of plain wire; the result, when you came to the end of a coil and lifted the whole up off the stakes was heavy ring of barbed wire that concertina'd out into ten-yard lengths  
Concertina wire packs flat for ease of transport and can then be deployed as an obstacle much more quickly than ordinary barbed wire, since the flattened coil of wire can easily be stretched out, forming an instant obstacle that will at least slow enemy passage  Several such coils with a few stakes to secure them in place are just as effective as an ordinary barbed wire fence, which must be built by driving stakes and running multiple wires between them 
A platoon of soldiers can deploy a single concertina fence at a rate of about a kilometer (5⁄8 mile) per hour  Such an obstacle is not very effective by itself (although it will still hinder an enemy advance under the guns of the defenders), and concertinas are normally built up into more elaborate patterns as time permits 
Today, concertina wire is factory made and is available in forms that can be deployed very rapidly from the back of a vehicle or trailer 

Dannert wire
Oil-tempered barbed wire was developed during World War I; it was much harder to cut than ordinary barbed wire  During the 1930s, German Horst Dannert developed concertina wire of this high-grade steel wire  The result was entirely self-supporting; it did not require any vertical posts  An individual Dannert wire concertina could be compressed into a compact coil that could be carried by one man and then stretched out along its axis to make a barrier 50 feet (15 m) long and each coil could be held in place with just three staples hammered into the ground Dannert wire was imported into Britain from Germany before World War II  During the invasion crisis of 1940–1941, the demand for Dannert wire was so great that some was produced with low manganese steel wire which was easier to cut  This material was known as "Yellow Dannert" after the identifying yellow paint on the concertina handles  To compensate for the reduced effectiveness of Yellow Dannert, an extra supply of pickets were issued in lieu of screw pickets 

Triple concertina wire
A barrier known as a triple concertina wire fence consists of two parallel concertinas joined by twists of wire and topped by a third concertina similarly attached  The result is an extremely effective barrier with many of the desirable properties of a random entanglement  A triple concertina fence could be deployed very quickly: it is possible for a party of five men to deploy 50 yards (46 m) of triple concertina fence in just 15 minutes  Optionally, triple concertina fence could be strengthened with uprights, but this increases the construction time significantly 

"Constantine" wire
Concertina wire is sometimes mistakenly called "constantine" wire   Constantine probably came from a corruption/misunderstanding of concertina and led to confusion with the Roman Emperor Constantine  This, in turn, has led to some people trying to differentiate between concertina wire and constantine wire by assigning the term constantine wire to what is commonly known as razor wire  In contrast to the helical construction of concertina wire, razor wire, or less commonly, constantine wire, consists of a single wire with teeth that project periodically along its length 

See also
Barbed tape
Slinky
Passage 4:
Wire obstacle
In the military science of fortification, wire obstacles are defensive obstacles made from barbed wire, barbed tape or concertina wire  They are designed to disrupt, delay and generally slow down an attacking enemy  During the time that the attackers are slowed by the wire obstacle (or possibly deliberately channelled into killing zones, or both) they are easy to target with machine gun and artillery fire  Depending on the requirements and available resources, wire obstacles may range from a simple barbed wire fence in front of a defensive position, to elaborate patterns of fences, concertinas, "dragon's teeth" (which serve a similar purpose as wire obstacles, but for combat vehicles instead) and minefields (both anti-personnel and anti-armor) hundreds of metres thick 
One example is "low wire entanglement", which consists of irregularly placed stakes that have been driven into the ground with only some 15 cm (six inches) showing  The barbed wire is then wrapped and tightened on to these  An enemy combatant running through the barrier, which is difficult to see, is apt to trip and get caught 

History
Wire obstacles were used by Union Army general Ambrose Burnside during the Battle of Fort Sanders in the Knoxville campaign of the American Civil War, when telegraph wire was strung between tree stumps 30 to 80 yards in front of one part of the Union line  The Royal Danish Army also used wire fences in front of its Danevirke fortifications during the Second Schleswig War  They first saw significant military use by British forces during the Second Boer War, and reached the pinnacle of visibility during World War I where they indirectly, together with machine guns, were responsible for many (although not the majority of) casualties in the trench warfare that dominated that conflict  Wire obstacles served to magnify the substantial advantage that the repeating rifle and rapid-firing artillery, along with machine guns, had given to the defending side in the new era of warfare 
World War I entanglements could in some places be tens of metres thick and several metres deep, with the entire space filled with a random, tangled mass of barbed wire  Entanglements were often not created deliberately, but by pushing together the mess of wire formed when conventional barbed wire fences had been damaged by artillery shells  Whenever there was time and opportunity to plan and emplace wire obstacles during World War I, it was standard practice to deploy designs that would channel and concentrate attacking troops, through avenues of approach, herding them like cattle into designated killing zones i e  fixing multiple screw pickets of wire running diagonally, away from the protected zone  This meant that a belt-fed machine-gun such as the Maschinengewehr 08 sited along that diagonal line had easy targets to enfilade when attacking troops were blocked from advancing by the wire and then massed together in a line 
Another method was to deliberately leave attractive-looking gaps in wire obstacles to give the appearance of a weak link in the defences  Such gaps were designed to act like a funnel, luring attacking troops through the opening and straight into the concentrated direct and enfilade fire of different machine gun emplacements  Because multiple water-cooled machine-guns such as the Vickers gun were used, continuous fire could be sustained for hours at a time if required  Methods for soldiers to face this threat were a small wheeled steel plate that was slowly pushed forward in front of the soldier to shield them from bullet fire as they crawled, shielded machine gun carts, the MacAdam Shield Shovel or systems like the mobile personnel shield among others  When the obstacle was reached, access holes in the shield allowed the attacking soldier to cut away at the wire obstacle with pliers from behind the protection of the armored shield Stormtrooper platoons included ballistic shields in their equipment list, as infiltration was one of their specialities  Relatively elaborate obstacles were also used in some phases of the Korean War, and continue to be used on the Korean Demilitarized Zone, and a few other borders  However the more fluid nature of modern war means that most obstacles used today are relatively simple, temporary barriers  Tanks and light armored vehicles can generally flatten unmined wire obstacles, although the wire can become entangled in the tracks and immobilize the vehicle  This can also occur to wheeled vehicles once the wire becomes wrapped around the axle   Wire obstacles can also be breached by intense artillery shelling or Bangalore torpedoes 

Enhanced effectiveness
The effectiveness of any wire obstacle is greatly increased by planting anti-tank and blast antipersonnel mines in and around it  Additionally, connecting bounding anti-personnel mines (e g  the PROM-1) to the obstacle with tripwires has the effect of booby-trapping the obstacle itself, hindering attempts to clear it  Dummy tripwires can be added to cause further confusion  If anti-personnel mines are unavailable, it is very easy to connect hand-grenades to the wire using trip-wires  If the use of lethal explosive devices is deemed to be unsuitable, it is easy to emplace tripflares in and around the wire obstacle in order to make night-time infiltration harder 

Gallery
Passage 5:
The Barbed Wire Patent
The Barbed Wire Patent Case, 143 U S  275 was a significant patent dispute in 1892 between plaintiff Joseph Glidden and the USPTO regarding the right of barbed wire   Lucian Smith was the original inventor in 1867 and held patent rights for it, while Glidden made changes to the production of barbed wire, holding the barbs in place, in 1874 that he believed were novel enough to merit a new invention and thus new patent 

Background
Lucien B  Smith had first invented a basic form of barbed wire in 1867 and received the patent for it   Therefore, at the time he had exclusive rights to produce and sell his product   In 1874, after Glidden made his changes, he was issued a statement denying him a new patent on the grounds that his invention simply was not a novelty   His patent claim was for:

"a twisted fence wire having the transverse spur wire, D, bent at its middle portion about one of the wire strands, a, of said fence wire, and clamped in position and place by the other wire strand, z, twisted upon its fellow, substantially as specified "The Patenting and Trademark office denied his application believing that the process was already widely known common knowledge and not novel enough to be distinguished from earlier patents After Glidden's patent application had been denied, he appealed to the decision and eventually the case went before the Supreme Court 

Case
In the eyes of the court, the question of most importance was whether the invention of Glidden was sufficient in novelty   To answer this they considered for some length the process for producing barbed wire prior to this invention and compared it to Glidden's design  Glidden claimed that his process of adding an extra wire to stabilize the barbs without any other means made them sufficiently stronger and more efficient  However, he apparently did not make this clear until his initial patent application was denied and he had applied for reissue  Therefore, the court ignored this feature at first  Glidden stated:

"I do not claim to have originated the devices known as 'spurs' or 'prongs' on the wires, they having been used before, but confine myself to the means for holding the spurs at proper intervals on the wires and to the means for attaining a uniform tension of the wires, as claimed "The court remarked that a new device phasing out an older version does not necessarily merit the awarding of a new patent, but it may merit consideration  The court took into account that Glidden's invention had widely replaced older versions and was now commonly in use The defense attempted to show that others had made the same design independently before Glidden, but the plaintiff was able to assert that indeed the other productions, which were of virtually similar design, were not made until after he issued his patent  The court agreed that there had been plenty of other attempts to create a similar design and product as Glidden, but none had been successful nor had they been successfully patented 

Decision
The circuit court finally decided to reverse the decision of the lower court and ruled in favor of the plaintiff, Joseph Glidden   The majority of the court was convinced that Glidden's invention proved to have enough novelty and technological change to merit the patent and thus exclusive rights to produce and sell the improved barbed wire without the need for licensing   Much of this decision came from the court's inclination to grant a patent to the final step in turning an invention into a useful or more useful product 

Dissent
Justice Field was the sole dissenting opinion  He disagreed with the decision on the grounds that he believed there was no true novelty to Glidden's decision and thus lacked sufficient reasoning to receive a patent 

Significance
This case largely established precedent for future patent law, specifically in questions of first-to-file, or scope of novelty   The first-to-file aspect was largely supported in that whichever party can prove they filed an invention first will have a greater claim over other manufacturers and better their chances of receiving a patent   Secondly, the scope of novelty was determined to not be some significant change, but simply enough to make a noticeable positive difference   Also success of a minor innovation is for grounds for patenting in light of the numerous failed or discontinued minor innovations pursued Glidden held sole rights to sell the product and thus established the Barb Fence Company, in Dekalb, Illinois   The invention made him extremely wealthy and by the time of his death he was one of the richest men in the United States 
Passage 6:
Joseph F  Glidden House
The Joseph F  Glidden House is located in the United States in the DeKalb County, Illinois city of DeKalb  It was the home to the famed inventor of barbed wire Joseph Glidden  The barn, still located on the property near several commercial buildings, is said to be where Glidden perfected his improved version of barbed wire which would eventually transform him into a successful entrepreneur  The Glidden House was added to the National Register of Historic Places in 1973  The home was designed by another barbed wire patent holder in DeKalb, Jacob Haish 
The property contains the house and two outbuildings; the barn and the remains of an old windmill foundation  Constructed in 1861, the Glidden House adheres mostly to a French Colonial style of architecture  The raised basement and full-length porch are two of the architectural elements found on the Glidden House that are consistently found in French Colonial homes  The barn, a building of high historical significance, was not included as part of the National Register listing for the property until 2002, nearly 30 years after the original nomination was approved 

House
The land that the Glidden House stands on is what remains of Joseph Glidden's once large DeKalb County farm  His holdings stretched along Lincoln Highway, both the north and south sides, from the Kishwaukee River in the east to present-day Annie Glidden Road on the west  The Glidden Farm went as far north as today's Lucinda Avenue  The farm's south border, near where Glidden would grant the Galena and Chicago Union Railroad right-of-way through DeKalb in the early 1890s was near present-day Taylor Street The two-story Joseph F  Glidden House is constructed from locally fired brick, which is relatively soft  The softness of the brick has caused it to weather in a non-uniform fashion  The brick is said to have been fired at a small brickyard which once existed on the Kishwaukee River in DeKalb, near the present-day Lincoln Highway bridge  The home stands on a stone foundation and was designed by local carpenter and eventual barbed wire competitor to Glidden, Jacob Haish  Construction was completed in 1861 and the home is a prominent example of Illinois French Colonial architecture 

History
The land where the Glidden House stands once held a log structure, which Glidden lived in when he first came to DeKalb at the beckoning of his cousin Russell Huntley  The house was built in 1861 for barbed wire entrepreneur Joseph Farwell Glidden  As his personal residence, the house, and its accompanying barn, were closely associated with his invention, really just an improvement, of barbed wire  Glidden's improvement upon a wire board fence developed by Henry Rose was of vast importance in the settlement of the United States west of the Mississippi  It was after Glidden saw Rose exhibit his wire at a fair in 1873 that he was struck with the idea of attaching barbs to wire strand fencing  Glidden is said to have experimented with some of his ideas in the basement kitchen of the Glidden House  He noticed that whenever he tried to attach barbs directly to strands of wire they slid along the length of the wire; Glidden realized he needed a way to crimp the barbs  He began tinkering around the home's kitchen  Glidden fit two hair pins to the shaft of a coffee mill, one centered and the other off-center  He found that by placing the wire between the pins and turning the crank a uniform barb resulted  How to crimp the barbs to the wire was solved, in the barn, by tying one end of the wire and another length of wire to a poplar tree on the grounds of the Glidden House and the other ends of the wires to a grindstone  The grindstone was used to twist the wires together and prevent the barbs from slipping Day-to-day life at the Glidden House was mostly carried out in the home's basement which contained a full kitchen, dining room, and living room  The upper floors were used for guests and for sleeping quarters  In 1877 Glidden's daughter, Elva, married William H  Bush in the homestead As of 2006 extensive restoration work had been completed on the home
Context 3: Passage 1:
Nobody for Everybody
Nobody for Everybody is the Japanese debut EP by South Korean girl group Wonder Girls  Its title song is "Nobody" ～あなたしか見えない～ (ノーバディ, Nōbadi), first released on their third Korean mini-album, The Wonder Years: Trilogy in 2008  This is the fourth language that "Nobody" has been released in; the song was first released in Korean and was followed by English and Chinese versions 
The EP consists of the Japanese version of "Nobody" as well as 2012 re-recordings of "Nobody" (in both Korean and English), "Saying I Love You", and "You're Out"  These 2012 recordings include vocals of member Hyerim who entered the group in 2010, replacing the group's original member Sunmi 

Background
After announcing the Wonder Girls as spokesmodels for the brand "Marshpuff" in Japan, JYPE requested that their Japanese record label, DefStar Records, listen to the Wonder Girls' released albums and singles before deciding on what song would be their debut in the country  The label had strong mutual interest in "Nobody", so it was chosen as the title song for their first Japanese album In May 2012, the Wonder Girls officially announced their debut into the Japanese market with a Japanese version of "Nobody", "Nobody ～あなたしか見えない～"  JYP JYPE stated: "Wonder Girls have received numerous inquiries from Japan and [are] observing their advertisement and music business flourishing even without their official introduction "
The EP was released on July 25, 2012 in three different physical variants 

Track listing
Charts
Passage 2:
Alina Margolis-Edelman
Alina Margolis-Edelman (18 April 1922 – 23 March 2008) was a Polish physician, Holocaust survivor, and resistance fighter during the Warsaw Ghetto Uprising, who was forced to flee Poland during a revival of anti-Semitism in Poland in 1968  Joining Doctors Without Borders, she later helped found Doctors of the World, participating in medical missions in Africa and the Middle East, Latin America, and Eastern Europe  Simultaneously, she worked as a physician, practicing at Necker-Enfants Malades Hospital and the Maternal-Infant Protection Service in Seine-Saint-Denis  In 1990, she returned to Poland, and began an association, "Nobody's Children", to fight against child abuse in Poland  She was the recipient of numerous awards and honors 

Early life
Alina Margolis was born on 18 April 1922 in Łódź, Poland, to the Jewish 
physician Anna (née Markson) and her husband, Aleksander Margolis, who was also a physician  Anna was the director of the radiology department and chief of the tubercular service division of Anna Maria Hospital  Aleksander, also known by the pseudonym Paweł Gart, was an internist and head of the Municipal General Hospital of Radogoszcz, and a member of the Łódź City Council, until he was executed by the Gestapo in 1939  After his death, the family was relocated to the Warsaw Ghetto, to await transport to Treblinka  Anna managed to enroll Alina in the Jewish School of Nursing founded by Lama Blum-Bielica, and she worked in one of the hospitals in the ghetto  When transport became imminent, Anna left the ghetto with the children, all of them posing as "Aryan"  Anna placed her son in a Christian orphanage, and she went into hiding Margolis hid with a Polish family who were anti-Semitic and who believed that she was the daughter of a Polish officer who was a prisoner of war  She worked as a courier for the Resistance and continued nursing in ghetto, becoming an integral part of the rescue efforts following the Warsaw Ghetto Uprising  The insurgency lasted three weeks, and consisted mostly of Jewish youth, led by a five-person command  One of the commanders, Marek Edelman, was the sole survivor of the leadership  When German troops burned the ghetto, Edelman attempted escape by way of the sewer system  Underground members, disguising themselves as Polish Red Cross workers, carried him out of the ghetto on a stretcher  One of the stretcher-bearers was Margolis  To ensure that no one would investigate too closely, the underground posted a sign on Edelman's body declaring him to have typhus, easily passing armed checkpoints Before the war ended, Margolis and Edelman returned to Łódź, and were joined, when the war ended, by her mother and brother, John  In mid-1945, Margolis and Edelman married, moved to the house which her family had occupied before the war, and she began her medical studies 

Career
Completing her education, Margolis-Edelman became a pediatrician, working in the Łódź Pediatric Clinic  She specialized in diseases of the kidney and juvenile diabetes, establishing a clinic in Rąbka  She conducted research into these diseases and published her findings  In 1951, Margolis-Edelman had her son Alexander and five years later, gave birth to the couples' daughter, Anna  In the midst of preparing for her habilitation, the 1968 Polish political crisis unleashed a new wave of antisemitism and Margolis-Edelman was not allowed to defend her thesis  She and her children fled to France, but her husband remained in Łódź, providing humanitarian services to anyone in need  Unable to convince the French university to accept her Polish degree, she began her studies all over again and worked in a laboratory analyzing the blood of rats to earn a living After five years of study, Margolis-Edelman re-earned her ability to practice medicine and became head of the chemistry department where she worked and practicing pediatrics at the Necker-Enfants Malades Hospital  She also worked in the Maternal-Infant Protection Service in Seine-Saint-Denis, as well as serving the communes of Aubervilliers and La Courneuve  In 1978, she began working with Doctors Without Borders, on hospital ships with Vietnamese boat people, work that was later officially recognized by the Vietnamese government  When Bernard Kouchner left the organization, he and Margolis-Edelman co-founded Doctors of the World  She participated in medical missions to such places as Afghanistan, Chad, El Salvador, Guatemala, Lebanon, and Nicaragua During the 1981-1983 period of martial law in Poland, Margolis-Edelman supported the pro-democracy opposition  She organized internships abroad for Polish doctors, helped those who could not obtain treatment in Poland, and sent drugs and supplies to Polish hospitals, which were unable to obtain them at the time  She helped found the Franco-Polish association "SOS Aide aux Malades Polonais", to assist Poles in obtaining treatment in France  Around the same time, she served as president of the Literary Notebook Association (French: Les Cahiers Littéraires) and established the quarterly magazine Zeszyty Literackie in Paris  In 1990, she returned to Poland and established an organization called Nobody's Children to care for victims of child abuse and lobby for their protection  During the Bosnian War, she co-founded a rape victim support center and a center in Saint Petersburg to care for street children In 1994, Margolis-Edelman wrote a memoir about her pre-war and World War II experiences, Ala z Elementarza (later translated to English in 1998, as Ala from the Primer)  The title was a reference of an earlier work by Marian Falski  As children, Margolis and her brother inspired Falski to write a widely-read early reading primer about two children, Ala and Olek  The title of Margolis-Edelman's memoir, referred to the earlier work's characters  In 1997, Margolis-Edelman published another memoir, entitled Je ne le répéterai pas, je ne veux pas le répéter (I will not repeat it, I do not want to repeat it)  She was awarded the Cross of Valor for her humanitarian work and a knighthood by the Order of the Smile 

Death and legacy
Margolis-Edelman died on 23 March 2008 in Paris, and was buried in the Cimetière parisien de Bagneux  A symbolic gravesite was placed as a memorial to her at the Jewish Cemetery in Warsaw  In 2010, a documentary, The Girl From A Reading Primer, directed by Edyta Wróblewska and produced by Studio Filmowe Kalejdoskop, detailing Margolis-Edelman's life was released  In 2011, an award named in her honor was established to recognize those who work to protect children 
Passage 3:
Sarah Polley
Sarah Ellen Polley  (born January 8, 1979) is a Canadian filmmaker, political activist and retired actress  She first garnered attention as a child actress for her role as Ramona Quimby in the television series Ramona, based on Beverly Cleary's books  This subsequently led to her role as Sara Stanley in the Canadian television series Road to Avonlea (1990–1996)  She has starred in many feature films, including The Adventures of Baron Munchausen (1988), Exotica (1994), The Sweet Hereafter (1997), Guinevere (1999), Go (1999), The Weight of Water (2000), No Such Thing (2001), My Life Without Me (2003), Dawn of the Dead (2004), Splice (2009), and Mr  Nobody (2009) 
Polley made her feature film directorial debut with Away from Her (2006), for which she won the Canadian Screen Award for Best Director and was nominated for the Academy Award for Best Adapted Screenplay  Polley's second film, Take This Waltz (2011), premiered at the 2011 Toronto International Film Festival, followed by her first documentary film, Stories We Tell (2012)  She also wrote the miniseries Alias Grace, based on the 1996 novel of the same name by Margaret Atwood  In 2022, Polley wrote and directed the film Women Talking, based on the 2018 novel of the same name by Miriam Toews, for which she won the Academy Award for Best Adapted Screenplay 

Early life
Polley was born and raised in Toronto, Ontario, Canada, the youngest of five children born to Diane Elizabeth Polley (née MacMillan)  Her siblings are Susy and John Buchan from Diane's first marriage to George Deans-Buchan, and Mark and Joanna Polley from her second marriage to Michael Polley (1933–2018), a British-born actor who became an insurance agent after starting a family with Diane  Her uncle was the Buffalo Sabres play by play caller Ted Darling 
Her mother was an actress (best known for playing Gloria Beechham in 44 episodes of the Canadian TV series Street Legal) and a casting director  She died of cancer the week of Polley's 11th birthday Polley suffered from severe scoliosis as a child and underwent a spinal operation at 15 that required her to spend the next year in bed recovering Polley was raised by Diane and Michael  During her childhood, Polley's siblings teased her because she bore no physical resemblance to Michael  Polley discovered as an adult that her biological father was actually Harry Gulkin, with whom her mother had an affair (as chronicled in Polley's film Stories We Tell)  Gulkin, the son of Russian Jewish immigrants, was a Quebec-born film producer who produced the 1975 Canadian film Lies My Father Told Me, and had met Diane after attending a play in which she acted in Montreal in 1978  When Polley turned 18, she decided to follow up on suggestions from her mother's friends that her biological father might be Geoff Bowes—one of three castmates from her mother's play in Montreal  Meeting with Gulkin as just someone who could provide information about Diane in Montreal, he informed Polley of his affair with Diane  Gulkin's paternity was later confirmed by a DNA test Polley attended Subway Academy II, then Earl Haig Secondary School, but dropped out at age 15  By the age of 15 she was living on her own and credits the Ontario Coalition Against Poverty for housing her and developing her work with activism 

Career
Early career
Her first appearance on screen was at the age of four, as Molly in the film One Magic Christmas  She was in the pilot episode for Friday the 13th – The Series and appeared in a small role in William Fruet's sci-fi horror film Blue Monkey, both in 1987   At age of eight, she was cast as Ramona Quimby in the television series Ramona, based on Beverly Cleary's books 
That same year, she played one of the lead characters in Terry Gilliam's The Adventures of Baron Munchausen  Polley burst into the public eye in 1990 as Sara Stanley on the popular CBC television series Road to Avonlea  The series made her famous and financially independent, and she was hailed as "Canada's Sweetheart" by the popular press  The show was picked up by the Disney Channel for distribution in the United States  At the age of 12 (around 1991), Polley attended an awards ceremony while wearing a peace sign to protest the first Gulf War  Disney executives asked her to remove it, and she refused  This soured her relationship with Disney, but she continued on Road to Avonlea until 1994  The show ran until 1996; Polley did return as Sara Stanley for an episode in 1995 and for the series finale 
In 1994 Polley made her theatre debut at the Stratford Festival playing Alice in Alice Through the Looking Glass, an adaptation of Lewis Carroll's book of the same name  Polley ended her run early, claiming complications from scoliosis  In 2022 she revealed she had in fact been suffering from intense stage fright, something that continued to plague her into adulthood 

Transition into more adult roles
Polley appeared as Lily on the CBC television series Straight Up, which ran from 1996 to 1998, winning the Gemini Award for Best Performance in a Children's or Youth Program or Series for her role  Polley's subsequent role as Nicole Burnell in the 1997 film The Sweet Hereafter brought her considerable attention in the United States; she was a favourite at the Sundance Film Festival  Her character in the film was an aspiring singer, and on the film's soundtrack, she performed covers of The Tragically Hip's "Courage" and Jane Siberry's "One More Colour" and sang the film's title track, which she co-wrote with Mychael Danna In 1998, Polley appeared in the critically acclaimed film Last Night  The following year, she starred as part of the ensemble cast in the film Go  She was cast in the role of Penny Lane in the big-budget 2000 film Almost Famous, but dropped out of the project to return to Canada for the low-budget The Law of Enclosures  Her role in the 2003 film My Life Without Me garnered the Genie Award for Best Performance by an Actress in a Leading Role in 2004  In the same year, she starred in a lead role in the remake of Dawn of the Dead, which was a departure from her other indie roles 
In 2005, she starred in The Secret Life of Words, opposite Tim Robbins and Julie Christie  She was nominated as Best European Actress by the European Film Academy for her role as Hanna In 2006, Polley took a role on the acclaimed series Slings and Arrows during its third and final season  Polley's father, Michael Polley, was a regular on the show during its entire three-season run  She served as a member of the 2007 Cannes Film Festival jury 
In 2008, Polley appeared as Nabby Adams in the HBO miniseries based on the life of John Adams  Polley played Elise in Jaco Van Dormael's Mr  Nobody, which was released in 2010  Critical response has praised the film's artistry and Polley's acting   Later that year, she also appeared in a cameo role in Bruce MacDonald's film Trigger Though Polley never officially announced her retirement from acting, she has not taken an acting role since 2010, transitioning into a writing and directing career 

Directing career
In 1999, Polley made her first short film, The Best Day of My Life, for the On the Fly 4 Film Festival  She also made a second short film that year, Don't Think Twice  Polley attended the Canadian Film Centre's directing program in 2001, and won the Genie Award for Best Live Action Short Drama in 2003 for her short film I Shout Love  She made her feature-length film directing debut with Away from Her, which Polley adapted from the Alice Munro short story The Bear Came Over the Mountain  The movie, starring Julie Christie (with whom she had played in No Such Thing, 2001, and The Secret Life of Words, 2005), debuted at the Toronto International Film Festival on September 11, 2006, as part of the TIFF's Gala showcase 
Away from Her was acquired by Lionsgate for release in the US for the sum of $750,000  It drew rave reviews from Variety, The Hollywood Reporter, and the three Toronto dailies, both for the performances of Christie and her co-star, Canadian actor Gordon Pinsent, and for Polley's direction  It also earned Polley a 2007 Academy Award nomination for Best Adapted Screenplay, and won the Genie Award for Best Achievement in Direction  At the 2008 Genies, she was also awarded the Claude Jutra Award, which recognizes outstanding achievement by a first-time feature film director Polley wrote and directed her second feature, Take This Waltz starring Michelle Williams, Luke Kirby, Seth Rogen, and Sarah Silverman, which premiered at the Toronto International Film Festival in 2011 
Her documentary film Stories We Tell premiered at the 69th Venice International Film Festival in competition in the Venice Days category, and its North American premiere followed at the 2012 Toronto International Film Festival  The critically acclaimed documentary examined family secrets in Polley's own childhood  She was awarded the CAN$100,000 prize for best Canadian film of the year by the Toronto Film Critics Association  In 2017, Polley executive produced the film A Better Man (2017),In late 2012, Polley announced that she would be adapting Margaret Atwood's novel Alias Grace  Polley first wrote to Atwood asking to adapt the novel when she was 17  They held off for 20 years until she was ready to make the show  In August 2014, during a profile of her work as a director, Polley announced that Alias Grace was being adapted into a six-part miniseries  In June 2016, the series was confirmed with Polley writing and producing  The series premiered in 2017 on CBC Television in Canada; it streams on Netflix globally, outside of Canada  It received positive reviews from critics In June 2014, it was announced that she would be writing and directing an adaptation of John Green's Looking for Alaska  In March 2015, Polley was hired to write the script for a new adaptation of Little Women, as well as potentially direct; however, Polley's involvement in the project never went beyond initial discussions, despite reports  In her 2022 essay collection Run Towards the Danger, Polley revealed she had been working on a second draft of the Little Women screenplay when she had a traumatic head injury resulting in post-concussion syndrome that left her with symptoms for four years so she was temporarily unable to work  It was subsequently announced in June that, due to scheduling conflicts, Polley would no longer be directing Looking for Alaska 
In an interview, Polley stated that she takes pride in her work and enjoys both acting and directing, but is not keen on combining the two:I like the feeling of keeping them separate  I find that really gratifying  I can't imagine combining those  For me, I love the feeling of using different parts of my brain separately  In a 2015 retrospective of the movie Go, Mike D'Angelo of The A V  Club commented that Polley's decision to go into directing had "deprived the world of many potentially great performances", calling her a "superb actor"  In December 2020, it was announced Polley would direct Women Talking based upon the novel of the same name by Miriam Toews for Orion Pictures  It premiered at the 49th Telluride Film Festival on September 2, 2022, and went into wide release on December 23, 2022  It was released to widespread acclaim, with 90% of critics giving it a positive review on Rotten Tomatoes  Shirley Li of The Atlantic called it "vibrant cinema," while Anna Bogutskaya of Time Out said that it "imagines female emancipation as an honest, raging, caring experience " Polley won the Academy Award for Best Adapted Screenplay at the 95th Academy Awards, and the film was also nominated for the Academy Award for Best Picture 
In 2023, Polley was revealed to be in talks to direct Disney's live action adaptation of Bambi 

Writing career
Polley has written numerous essays over the years about her experiences as a child star  In 2022, she released her first book of essays, the autobiographical, Run Towards the Danger which contains six essays that examine aspects of Polley's career on stage, screen, and on film, detailing her roles in a Stratford Festival production of Alice Through the Looking Glass, as well as her breakout roles in The Adventures of Baron Munchausen and the TV series Road to Avonlea  The book also revealed for the first time that Polley had been a victim of Jian Ghomeshi who sexually and physically assaulted her when she was 16 and he was 28 

Political and social activism
Following the row with Disney as a twelve-year-old for wearing a peace sign to protest against the Gulf War, Polley dedicated more of her efforts to politics, becoming a prominent member of the Ontario New Democratic Party (ONDP), where Ontario legislator Peter Kormos was her political mentor  In 1996, she gave a nomination speech for Kormos at the ONDP leadership convention which she later referred to as the "proudest moment in [her] life" In 1995, she lost two back teeth after being struck by a riot police officer during a protest against the provincial Progressive Conservative government of Mike Harris in Queen's Park  She was subsequently involved with the Ontario Coalition Against Poverty  She subsequently scaled back her political activism 
She was part of a group in 2001 which opposed the proposed Free Trade Area of the Americas  The 3rd Summit of the Americas was held in Quebec City in April 2001  In 2003, she was part of former Toronto mayor David Miller's transition advisory team 
In 2009, Polley directed a two-minute short film in support of the Heart and Stroke Foundation of Canada  In advance of the film's airing in Canada during the 82nd Academy Awards, and following news reports that characterized the film as a marketing exercise for the margarine company Becel, Polley withdrew her association with the film  "In December 2009, I made a film to be aired during the Academy Awards that I believed was to promote the Heart and Stroke Foundation  When I agreed to make this film ["The Heart"], I was thrilled, as I was proud to be associated with the work of this incredible organization  However, I have since learned that my film is also being used to promote a product  Regretfully, I am forced to remove my name from the film and disassociate myself from it  I have never actively promoted any corporate brand, and cannot do so now " In response, Becel said it was a "founding sponsor" of the Heart Truth campaign and had commissioned the film "to put heart health on the radar of Canadian women" In January 2012, Polley endorsed Toronto MP Peggy Nash in the 2012 New Democratic Party leadership race to succeed Jack Layton On October 15, 2017, Polley wrote an op-ed piece in The New York Times detailing her experience with Harvey Weinstein and with Hollywood's treatment of women generally, and making a connection between Hollywood's gendered power relations and Polley's not having acted in years 

Personal life
Paternity revelations
In 2007, Polley discovered that her father, Michael Polley, who had raised her, was not her biological father  The story of her mother's affair and her biological father Harry Gulkin, producer of the film Lies My Father Told Me (1975), was chronicled in Polley's film Stories We Tell (2012) 

Marriages and children
On September 10, 2003, Polley married Canadian film editor David Wharnsby, her boyfriend of seven years  They divorced five years later, in 2008 On August 23, 2011, Polley married David Sandomierski, who at the time was working on his SJD degree (equivalent to a PhD in law) at the University of Toronto, which he would complete six years later, in 2017  They have three children together 

Sexual assault by Jian Ghomeshi
In 2022, Polley said that she had been sexually assaulted by then Moxy Früvous singer Jian Ghomeshi while on a date when she was 16 and he was 28  She was dissuaded by family and friends from coming forward with her experiences, but ultimately chose to do so in her autobiographical essay collection Run Towards the Danger 

Religious views
Polley is an atheist 

Filmography
Short film

Feature film
Acting roles

Television
Executive producer

Secret Path (2016) (TV movie)
A Better Man (2017) (Documentary)Acting roles

Awards and nominations
On October 16, 2010, it was announced that she would receive a star on Canada's Walk of Fame  In June 2013, she received the National Arts Centre Award recognizing achievement over the past performance year at the Governor General's Performing Arts Awards, where she was the subject of a short vignette by Ann Marie Fleming entitled Stories Sarah Tells  Polley was appointed an Officer of the Order of Canada on December 30, 2013 
Passage 4:
Graham Nash
Graham William Nash  (born 2 February 1942) is an English-American musician, singer and songwriter  He is known for his light tenor voice and for his contributions as a member of the Hollies and Crosby, Stills & Nash 
Nash is a photography collector and a published photographer  He was inducted into the Rock and Roll Hall of Fame as a member of Crosby, Stills & Nash in 1997 and as a member of the Hollies in 2010  He was appointed an Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours List for services to music and to charity Nash holds four honorary doctorates, including one from New York Institute of Technology, one in Music from the University of Salford in 2011 and one in Fine Arts from Lesley University in Cambridge, Massachusetts 

Early life
Graham William Nash was born on 2 February 1942 in Blackpool, to where his mother had been evacuated from her hometown of Salford when World War II began  The family subsequently returned to Salford, where Nash grew up 

Career
Songwriting
In the early 1960s, Nash co-founded the Hollies, one of the UK's most successful pop groups, with school friend Allan Clarke, and was credited as the group's leader on their first album  He was featured vocally on "Just One Look" (1964) and sang his first lead vocal on the original Hollies song "To You My Love" on the band's second album In The Hollies Style of the same year  He often sang featured bridge vocals on later Hollies recordings ("So Lonely", "I've Been Wrong", "Pay You Back With Interest") and provided lead vocals on several later singles, notably "On a Carousel" and "Carrie Anne" (both 1967) Nash encouraged the Hollies to write their own songs, initially with Clarke, then with Clarke and guitarist Tony Hicks  From 1964 to mid-1966 they wrote under the alias L  Ransford  Their own names were credited on songs from "Stop Stop Stop" from October 1966 onward  In 1965, Nash, with Allan Clarke and guitarist Tony Hicks, formed Gralto Music Ltd, a publishing company which handled their own songs and later signed the young Reg Dwight (a k a  Elton John) who played piano and organ on Hollies 1969 and 1970 recordings 
Nash was pivotal in the forging of a sound and lyrics, often writing the verses on Clarke, Hicks & Nash songs  However, Nash also composed songs by himself under the 'team banner' (like Lennon & McCartney), including "Fifi the Flea" (1966), "Clown" (1966), "Stop Right There", and "Everything Is Sunshine" (1967)  The Butterfly album included several of his songs that had less group participation and exhibited more of a singer-songwriter approach  He was disappointed when this new style did not register with their audience, especially "King Midas in Reverse" (Nash and producer Ron Richards clashed over this song because Richards believed it was 'too complex' to work as a hit single) 
Nash initially met both David Crosby and Stephen Stills in 1966 during a Hollies US tour  On a subsequent visit to the US in 1968, he was more formally introduced to Crosby by mutual friend Cass Elliott in Laurel Canyon, Los Angeles  Nash left the Hollies to form a new group with Crosby and Stills  A trio at first, Crosby, Stills & Nash later became a quartet in 1969 with Neil Young: Crosby, Stills, Nash & Young (CSNY) 
With both configurations, Nash went on to even greater worldwide success, penning many of CSN's most-commercial hit singles such as "Our House" (about the house in Laurel Canyon shared with his then-lover Joni Mitchell); "Teach Your Children" and "Marrakesh Express" (both of which had been rejected by the Hollies); "Just a Song Before I Go"; and "Wasted on the Way"  Nash, nicknamed "Willy" by his bandmates, has been described as the glue that keeps their often fragile alliances together 
Nash became politically active after moving to California, as reflected in his anti-Vietnam War songs "Military Madness" and "Chicago / We Can Change the World" (about the trial of the Chicago Eight) 
In 1972, during CSNY's first hiatus, Nash teamed with Crosby, forming a successful duo  They worked in this configuration on and off for many years, producing four studio albums and a few live and compilation albums  His song "Immigration Man", Crosby & Nash's biggest hit as a duo, arose from a tiff he had with a US Customs official while trying to enter the country 
In 1979, Nash co-founded Musicians United for Safe Energy which is against the expansion of nuclear power  MUSE put on the educational fundraising No Nukes events  In 2007 the group recorded a music video of a new version of the Buffalo Springfield song "For What It's Worth" Nash briefly rejoined the Hollies in 1983 (to mark their 20th anniversary) to record two albums, What Goes Around    and Reunion  In 1993, Nash again reunited with the Hollies to record a new version of "Peggy Sue Got Married" that featured lead vocal by Buddy Holly (taken from an alternative version of the song given to Nash by Holly's widow Maria Eleana Holly)—this Buddy Holly & the Hollies recording opened the Not Fade Away tribute album to Holly by various artists 

In 2005, Nash collaborated with Norwegian musicians A-ha on the songs "Over the Treetops" (penned by Paul Waaktaar-Savoy) and "Cosy Prisons" (penned by Magne Furuholmen) for the Analogue recording  In 2006, Nash worked with David Gilmour and David Crosby on the title track of David Gilmour's third solo album, On an Island  In March 2006, the album was released and quickly reached No  1 on the UK charts  Nash and Crosby subsequently toured the UK with Gilmour, singing backup on "On an Island", "The Blue", "Shine On You Crazy Diamond", and "Find the Cost of Freedom" 

In addition to his political songs Nash has written many songs on other themes he cares about such as of nature and ecology—beginning with the Hollies' "Signs That Will Never Change" (first recorded by the Everly Brothers in 1966)—later CSNY's "Clear Blue Skies", plus anti-nuclear-waste-dumping ("Barrel of Pain"), anti-war ("Soldiers of Peace") and social issues ("Prison Song") 
Nash appeared on the season 7 finale of American Idol singing "Teach Your Children" with Brooke White 
In 2010, Nash was inducted a second time to the Rock and Roll Hall of Fame, this time as a member of the Hollies  He received an OBE "for services to music and charitable activities", becoming an Officer of the Order of the British Empire in the Diplomatic and Overseas Division of the Queen's Birthday Honours List on 12 June 2010  Nash received the title of George Eastman Honorary Scholar at the George Eastman House on 22 January 2011, in Rochester, New York Nash contributed a cover of "Raining in My Heart" to the 2011 tribute album Rave on Buddy Holly 
On 22 January 2016, Nash announced the forthcoming release on 15 April 2016 of his new studio album entitled This Path Tonight (his first collection of new songs in fourteen years) and shared the title track from it through MOJO magazine's website  On 4 February 2016, Rolling Stone magazine unveiled a new song from the new album, the reflective "Encore," the tender tune that wraps up Nash's new album  Upon the upcoming release of his new studio album in April 2016, Nash planned a solo tour from 25 March 2016 at the Byron Bay Bluesfest in Australia, continuing United States on 22 April 2016 at Saban Theatre, Beverly Hills, California, to visit Europe starting from the UK on 21 May 2016 at the Albert Hall, Manchester and ending 14 June 2016 at the Alte Oper Hall, Frankfurt, Germany 
He was still touring in the fall of 2017, performing in New Jersey and New York in September On 29 June 2018, Rhino Records released the two-disk box set Over The Years, a 30-track collection of Nash's demos made from 1968 to 1980, featuring highlights from the CSN debut album Crosby, Stills & Nash ("Marrakesh Express"), CSNY follow-up Déjà Vu ("Our House", "Teach Your Children"), song selections from subsequent CSN albums, four tracks from Nash's 1971 solo album Songs For Beginners, with "Better Days" and "I Used To Be King" presented as unreleased mixes  The most recent recording on the compilation is "Myself at Last" from Nash's 2016 solo album This Path Tonight  The second disc in this set features 15 demo recordings, 12 of which have never been released 

Photography career
Interested in photography as a child, Nash began to collect photographs in the early 1970s  Having acquired more than a thousand prints by 1976, Nash hired Graham Howe as his photography curator  In 1978 through 1984 a touring exhibition of selections from the Graham Nash Collection toured to more than a dozen museums worldwide  Nash decided to sell his 2,000 print collection through Sotheby's auction house in 1990 where it set an auction record for the highest grossing sale of a single private collection of photography  Nash said that some of the auction profit would be given to the Los Angeles County Museum of Art for the acquisition of contemporary photographs In 2010 21st Editions published a monograph titled "Love, Graham Nash" which includes facsimiles of his lyrics paired with signed photographs by Graham Nash and printed by Nash Editions 

Early digital fine art printing
Experimenting
In the late 1980s Nash began to experiment with digital images of his photography on Macintosh computers with the assistance of R  Mac Holbert who at that time was the tour manager for Crosby, Stills and Nash as well as handling computer/technical matters for the band  Nash ran into the problem common with all personal computers running graphics software during that period: he could create very sophisticated detailed images on the computer, but there was no output device (computer printer) capable of reproducing what he saw on the computer screen



ground_truth: Drunter und Drüber is a multiplayer board game invented by Klaus Teuber

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

Question: When was the plaintiff in the 1892 Barbed Wire Patent Case born?

The following are given passages.
Context 2:  The front porch was repaired and restored and inside, the hardwood floors have been replaced and refinished  In addition, the front parlors have been repainted and restored 

Architecture
The home was mostly designed in a French Colonial style, though it contains some elements of Greek Revival architecture  French Colonial architecture was more popular in the American South than it ever was in the northern tier of states 

Exterior
The two-story brick structure is supported by a fieldstone foundation and still features its original front porch  The porch spans the length of the building's front (south) facade, at a height of about 6 ft (2 m)  The porch is supported by four wooden pillars, which rest on stone bases  The stairs leading to the front porch are supported by two similar wooden posts, which, like the house, are set into fieldstone bases  The first step on the stairs was originally a limestone block embedded in the ground  The porch roof is supported by six wooden, bracketed pillars  The pillars are simple, with the brackets coming from the boxed capitals  At the rear of the porch wooden pilasters set at each end help to support the roof  Differentiating the home from the traditional French Colonial design is the porch roof, which is separate from the main roof The house stands mostly as it did in 1861 save a few alterations  The front porch was screened in at the time the building was added to the National Register of Historic Places, the screens have since been removed  At the rear of the house a small porch was enclosed  In 1909 or 1910 there were major subtractions and replacements  Removed were a cast-iron widow's walk along the roof ridge and a large gable dormer, decorated in the same manner as the cornice decorating the roof trim  The present dormer replaced the larger one and is more of a low-shed type 
The roof itself is a low gable and dominated by single stack, straddle ridge chimneys at its east and west ends  The boxed roof trim is a decorated cornice  The low-shed dormer is covered with green asphalt  The old widow's walk, which a neighbor dubbed Glidden's "obscuratory", was balustraded and set just above the dormer 

Interior
The interior of the building is also similar to how it appeared when the house was constructed  However, a few changes have been made  In 1910 the two marble fireplaces were replaced by brick  The flooring has been replaced as needed  The home's basement, once the main living area, has since been converted several times for other uses On the first floor of the home the rooms remain much the same as they were when Glidden lived in the house  An original multi-paneled wooden door remains at the entry from the porch to the central hall  The door, however, was altered, having glass panels installed to admit more light  The staircase is also original and its newel posts resemble those found in the Isaac and Harriet Ellwood House, another Haish designed home, and the Gurler House, whose architect is unknown though it was quite possibly Haish, both in DeKalb On the house's east side are three rooms, whose original presence is open to debate  The three rooms are interconnected, another common French colonial element  The room adjacent the porch was used as the Glidden's dining room and is where the large brick fireplace, which replaced the marble one in 1909, is located  The 1909 fireplace is of the American Craftsman style  At the end of the hall, near the kitchen, there is a full bathroom 
The western part of the first floor is dominated by a large formal living room  The room has two entrances, one at the front of the hall, near the front door and the other at the back end of the hall  This was the room in which Elva Glidden married in the late 19th century  After 1941 the rear part of the living room, or "west" room, was walled off and a second kitchen added  When Jessie Glidden, the last Glidden to occupy the old homestead, moved in 1998, the west room was restored to its original size and the second kitchen removed The basement, and for part of the home's history, the main living area, is accessed via a staircase at the back of the first-floor hall  The steep stairs still show years of wear  One of the rooms off the main basement is the kitchen where Glidden is said to have experimented with the coffee grinder and his wife's hair pins, eventually leading to his brand of barbed wire The second-floor served as the main sleeping quarters  It consists of a few simple bedrooms, all historically without closets  The upstairs hall contains a door which once accessed a staircase to the widow's walk, what remains of the space has been used as a closet for over a century 

Outbuildings
The property has two remaining outbuildings  The barn is where Glidden invented his famous improvement on barbed wire  Dubbed "The Winner," his barbed wire became the most popular version of the invention  Barbed wire is considered to be one of the most important factors in American progress and settlement The other outbuilding on the property along historic Lincoln Highway are the remnants of a once dominating windmill  Though only the foundation remains, it gives a glimpse of how impressive the structure must have once been 

Barn
The Glidden Barn, located to the rear and east of the home, was thought to have been added to the National Register of Historic Places when the original nomination for the house was approved in 1973  However, in the late 1990s, the Illinois Historic Preservation Agency revealed that the nomination included only the house  The Glidden Historical Center initiated the process of adding the barn to the Register  Those moves were approved by the Illinois Historic Sites Advisory Council in 2002 and the barn officially became part of the National Register 
The barn was built sometime around 1871, possibly even before, and is constructed of the same soft brick that makes up the exterior of the home  Tradition in the Glidden family holds that the barn, like the house itself, was designed and built by prominent local carpenter Jacob Haish  The famous barn, one of DeKalb County's oldest remaining, stands a full two-stories high, measuring around 50 feet (15 m) tall, with a width of 30 feet (9 m) 
In February 2007 the Glidden Homestead and Historical Center kicked off a fundraising drive  The drive is aimed at raising US$2 million to expand the Joseph F  Glidden House site to include museum space and a media center  Some of the funds will be used to help restore the barn and expand historical center museum space into the building 

Architecture
The Glidden barn is of pole and beam construction  The second-floor interior is dominated by two large transverse wooden beams  It is of the three-bay, English tradition, the west bay containing a space for a stairwell leading to a hayloft and seven stalls  It is constructed of red brick and stands on a foundation of limestone  Glidden's barn took full advantage of the term vernacular; the brick was locally manufactured and the limestone locally quarried 
The east bay of the barn contains an animal stall in its northeast corner and a fully enclosed office in its opposite corner  The second-floor hayloft is supported by the two massive transverse beams  The full-sized loft is accessible via an enclosed staircase against the south wall  The building's exterior roof is fully supported by the brick walls  The result is a loft which is an entirely open space save for some pole and beam construction supporting the laminated beams, which act as tie rods at the base of the roof  The barn roof is a common gable roof pitched at a 45 degree angle, it was originally covered with wooden shingles, those have been replaced over the years with asphalt The barn features extensive windows, somewhat unusual outside of dairy barns, with a total of 14 eight-paned, double-hung windows dispersed over three sides of the rectangular structure, north, south and east  On the west side, facing the house, are seven smaller single-pane windows  The double-hung windows are topped with segmented arches constructed from a double row of bricks; the north and south main entrances are also topped with segmented brick arches, each of three rows of bricks 

Windmill building
Only the foundation remains of the property's windmill  What is left, ten rows of stone above the ground, is completely invisible when the home is viewed by passers-by on Lincoln Highway  The windmill started to fall into disrepair around the 1930s or 40s  The original, specific use of the windmill is unknown 

See also
Isaac Ellwood
List of Registered Historic Places in Illinois
Passage 7:
Devils Rope Barbed Wire Museum
The Devils Rope Barbed Wire Museum is a museum located in McLean, Texas, United States  The museum was officially opened in 1991 and  focuses on barbed wire and its history  The museum is thought to have the largest collection of published material concerning barbed wire The Devil's Rope Museum is housed in a converted brassiere factory and is dedicated to the history of barbed wire, fencing tools, and ranching heritage  Features exhibits and collections from private wire collectors from across the U S, a reference library with extensive patent information for researchers and educators, a Dust Bowl exhibit, salesman samples, warfare wire, and a collection of road lore with artifacts dedicated to the Texas portion of Historic Route 66 
Passage 8:
Kansas Barbed Wire Museum
The Kansas Barbed Wire Museum is a barbed wire museum located in La Crosse, Kansas, United States, known as the “Barbed Wire Capital of the World ” The museum focuses on barbed wire and its history, displaying over 2,000 different forms of the wire and its history  Barbed wire played a significant role in the history of the settlement of the United States and forever changed the face of the prairie 
The museum was established in 1970 in a small storefront on Main Street in downtown La Crosse, Kansas  By 1990, the collections had grown so much that a new building was constructed adjacent to the Post Rock Museum and Rush County Historical Museum in Grass Park at the south edge of the community  In 2004, an addition was constructed on the building to house the headquarters of the Antique Barbed Wire Society and the Larry Greer Research Center  The Antique Barbed Wire Society is an international organization “committed to collecting, preserving, exhibiting, and interpreting the historical heritage of barb wire and barbed wire related items ” The Larry Greer Research Center houses collections of publications related to the history of barbed wire and a complete collection of patents related to barbed wire and related items  The Kansas Barbed Wire Museum is located at 120 W  1st Street, La Crosse, KS 67548 
Passage 9:
Joseph Glidden
Joseph Farwell Glidden (January 18, 1813 – October 9, 1906) was an American businessman and farmer  He was the inventor of the modern barbed wire  In 1898, he donated land for the Northern Illinois State Normal School in DeKalb, Illinois, which was renamed as Northern Illinois University in 1957 

Early life
Glidden was born in Charlestown, New Hampshire, of English descent  His family later moved to Clarendon, New York  Glidden was a teacher there for about 8 years, during which years he married Clarissa Foster in 1837  In 1843, he moved to Illinois with his wife and children, first to Ogle County and then to DeKalb where they had purchased a farm  His wife died in 1846, in childbirth of their daughter in Ogle County, Illinois  Their three children, including the infant daughter Clara (Clarissa) died in an epidemic in 1847  Their two sons died after the move  Glidden married Lucinda Warne in 1851, with whom he had one daughter, Elva Frances 

Invention and patent for barbed wire
Glidden began work on ways to make a useful barbed wire to fence cattle in 1873  He made his best design of barbed wire by using a coffee mill to create the barbs  Glidden placed the barbs along a wire and then twisted another wire around it to keep the barbs in place, in a design that he called “The Winner”, being his best design  He received the patent for that barbed wire design on November 24, 1874, when he was 61 years old  He and local hardware dealer Isaac L  Ellwood began manufacturing and selling the barbed wire with his patent, as the Barb Fence Company in DeKalb, Illinois  In 1876, Glidden exited the manufacturing aspect, though retaining royalties, by selling his half of the manufacturing business to Washburn and Moen, who had a wire manufacturing plant in Worcester, Massachusetts and from whom Glidden and Ellwood had been purchasing steel wire   Ellwood stayed in DeKalb and renamed the company I  L  Ellwood & Company of DeKalb  That company evolved into American Steel and Wire, and eventually was bought by U  S  Steel Manufacturing Company 
Glidden was embroiled in a legal battle initiated by fellow DeKalb resident Jacob Haish over whether the design for holding the barbs in place with an extra strand of wire was novel, an improved design  An earlier patent for barbed wire had been issued to a man in Ohio, among other patents related to barbed wire  Glidden eventually won at the US Supreme Court in an 1892 case, his patent protection expired the same year  The legal fees were estimated to have cost Glidden $100,000 
This invention made him extremely rich  It was estimated that Glidden earned $1,000,000 in royalties until his patent expired in 1892  Companies manufacturing the barbed wire under his license ranged from New York state to Kansas by 1884  By the time of his death in 1906, he was one of the richest men in America  The Dun & Bradstreet Collection, 1840–1895, MSS 791, LXIII, 130, Baker Library, Harvard, recorded his assets at one million dollars  This included the Glidden House Hotel; the DeKalb Chronicle; 3,000 acres (12 km2) of farmland in Illinois; 35,000 acres (1,360 km2) in Texas; and the Glidden Felt Pad Industry 

Local political activity and other businesses
From 1852 to 1854, he served as sheriff of DeKalb County  In 1851, 1861, 1862, 1869, 1870, 1871, 1872, and 1876 he served on the county's board of supervisors  In 1867, he served on the executive committee of DeKalb County Agriculture and Mechanical Society's Seventh Annual Fall Fair, held September 25–28  In 1876, he was the Democratic nominee for Illinois State Senator  From 1861 to 1874, he served as a member of the board of school directors, and for 20 years paid the largest school tax of any citizen of the county  He was also one of the largest contributors to the erection of one of the churches  He was also vice-president of the DeKalb National Bank, director of the North Western Railroad, and owner of the DeKalb Rolling Mill 

Demonstration of use in Texas changes ranching
To demonstrate the effectiveness of barbed wire, Glidden and his sales agent for the State of Texas, Marques Fortner, in 1881 developed the "Frying Pan Ranch" in Bushland in Potter County near Amarillo, Texas  The wire was brought in by wagon from the railhead at Dodge City, Kansas, and the timbers were cut from Palo Duro Canyon and along the Canadian River Valley  A herd of 12,000 head of cattle was branded with the "Panhandle Brand", which the cowboys called " frying pan"  The ranch proved the success of the wire and changed ranching Henry B  Sanborn, a sales representative for Glidden's company, owned a ranch in Grayson County north of Dallas and wished to advertise barbed wire there  In 1881, Sanborn purchased ninety-five sections of land in southwestern Potter County from near the Canadian River extending into Randall County south of Amarillo  Included in the purchase was Tecovas Spring, once a watering site and a trading post for Indians and Comancheros  John Summerfield, a surveyor from Sherman, Texas, reported a constant flow of freshwater from the spring  Sanborn chose this site for his ranch headquarters and enclosed 120 miles of land in barbed wire for $39,000 ($1 18 million in 2022 dollars)  Warren W  Wetzel, also of Sherman, used cedar posts brought from both the Palo Duro Canyon and the breaks of the Sierrita de la Cruz in the northwestern portion of the ranch to hold up the wire Besides ranchers, railroads were large purchasers of barbed wire, so that cattle did not stray onto their tracks  The Frying Pan Ranch soon had 15,000 head of cattle, and 125,000 more acres were added  Later the ranch was divided  In 1898, Glidden deeded Frying Pan Ranch to his son-in-law William Henry Bush  Between 1908 and 1920, William Henry Bush and his second wife Ruth Bush built a larger ranch house near Tecovas Spring, which later became the residence of Stanley Marsh 3 and his wife, Wendy  Gwendolyn “Wendy” Bush O’Brien was the daughter of Emeline Bush and her husband Frank O’Brien; Emeline was a daughter of William Henry and Ruth Bush  Stanley Marsh called the estate “Toad Hall ”

Land for the Northern Illinois State Normal School
Glidden, a former teacher, gave 63 acres (255,000 m2) of his homestead as a site for the Northern Illinois State Normal School  The school opened on September 12, 1898, with 139 students and 16 members of the faculty  The school's name was changed to Northern Illinois University in 1957 
The town of Glidden, Iowa, is named in his honor 

Personal life
He and his wife Lucinda had one daughter, Elva Frances, in 1851  She married William Henry Bush in DeKalb on February 1, 1877  His wife Lucinda died on October 28, 1895 Elva died in 1906 not long before her father died, and is buried in the Glidden family plot in a cemetery in DeKalb 
In 1898, Glidden deeded his Frying Pan ranch in Texas to his son-in-law, W  H  Bush  Bush married again in 1908, after being widowed, to Ruth Russell Gentry  He is buried in Graceland Cemetery in Chicago 

In popular culture
The "barbed wire salesman" in Back to the Future Part III is either based on Joseph F  Glidden or John Warne Gates who was a pioneer promoter of barbed wire  He is played by Richard Dysart 

See also
Joseph F  Glidden House
The Barbed Wire Patent

Patents
U S  Patent 157,124 – Wire fences
Passage 10:
Hanging on the Old Barbed Wire
"Hanging on the Old Barbed Wire" (Roud 9618) is a British war song of World War I   The song sarcastically recounts the location of various army members, not to be found in the combat zone, and concludes by describing the location of the old battalion: "hanging on the old barbed wire"  A barbed wire fence separated the front-line trench from no man's land, and men brave or unfortunate enough to go over the top of the dug-out were often quickly shot and their bodies caught in the barbed wire  This troop song was not popular with officers, who thought it bad for morale, though attempts to suppress it were unsuccessful 

Lyrics
There are several different versions of this song, though all share the final two lines  One version:

A variant last line is "if you want to find the privates" Another variation fourth verse sees C O replaced with colonel, put at the start and, "He's On another 7 days leave" 

Covers
The song was included on the 1988 album English Rebel Songs 1381–1914 by the English anarchist punk band Chumbawamba, as well as on their 2003 re-recording of the same album (English Rebel Songs 1381–1984) 
A shortened version of the song was also included on the 2018 album The Blind Leading the Blind by the Ukrainian metal band 1914 as an interlude  The band's songs are all related to WWI events 
The song was covered by death industrial band Maruta Kommand on their 2000 album "Holocaust Rites" 
The song is part of the "Great War Trilogy" (The Valley of the Shadow / The Old Barbed Wire / Long, Long Trail) sung by John Roberts and Tony Barrand in their album,   A Present from the Gentlemen: A Pandora's Box of English Folk Songs (Golden Hind Music, GHM-101, 1992) 



ground_truth: January 18, 1813

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

Question: Name a member of a British-American supergroup who recored a version of Nobody's child in 1990

The following are given passages.
Context 3:  Nash and Holbert initially experimented with early commercial printers that were then becoming available and printed many images on the large format Fujix inkjet printers at UCLA's JetGraphix digital output centre  When Fuji decided to stop supporting the printers, John Bilotta, who was running JetGraphix, recommended that Nash and Holbert look into the Iris printer, a new large format continuous-tone inkjet printer built for prepress proofing by IRIS Graphics, Inc  Through IRIS Graphics national sales rep Steve Boulter, Nash also met programmer David Coons, a colour engineer for Disney, who was already using the IRIS printer there to print images from Disney's new digital animation system 
Coons worked off hours at Disney to produce large images of 16 of Nash's photographic portraits on arches watercolour paper using Disney's in-house model 3024 IRIS printer for a 24 April 1990 show at Simon Lowinsky gallery  Since most of the original negatives and prints had been lost in shipment to a book publisher, Coons had to scan contact sheets and enhance the images so they could be printed in large format  He used software he had written to output the photographic images to the IRIS printer, a machine designed to work with proprietary prepress computer systems In July 1990, Nash purchased an IRIS Graphics 3047 inkjet printer for $126,000 and set it up in a small carriage house in Manhattan Beach, California near Los Angeles  David Coons and Steve Boulter used it to print an even larger November 1990 show of Nash's work for Parco Stores in Tokyo  The show entitled Sunlight on Silver was a series of 35 celebrity portraits by Nash which were 3 feet by 4 feet in an edition of 50 prints per image, a total of 1,750 images  Subsequently, Nash exhibited his photographs at the Museum of Photographic Arts in San Diego and elsewhere 

Nash Editions
In 1991, Nash agreed to fund Mac Holbert to start a fine art digital-based printing company using the IRIS Graphics 3047 printer sitting in Nash's Manhattan Beach, California carriage house  Holbert retired as road manager for Crosby, Stills and Nash so that he could run the company  It opened its doors on 1 July 1991 with the name of Nash Editions Ltd  Early employees included David Coons, John Bilotta and a serigraphic print maker named Jack Duganne  They worked to further adapt the IRIS printer to fine art printing, experimenting with ink sets to try to overcome the fast-fading nature of IRIS prints, and even going as far as sawing off part of the print heads so they could be moved back to clear thicker printing paper stocks (voiding the $126,000 machine's warranty)  Nash and Holbert decided to call their fine art prints "digigraphs" although Jack Duganne coined the name "Giclée" for these type of prints  The company is still in operation and currently uses Epson-based large format printers 
In 2005, Nash donated the original IRIS Graphics 3047 printer and Nash Editions ephemera to the National Museum of American History, a Smithsonian Institution 

Personal life
Nash was married to his first wife, Rose Eccles, from 1964 until 1966  As part of an inside joke, her surname inspired the 1968 song "Jennifer Eccles", and a jocular verse about Jennifer Eccles was also included in the 1968 song "Lily the Pink"  Nash was married to his second wife, actress Susan Sennett, from 1978 until he left her for artist Amy Grantham in 2016  Sennett, the mother of his three now-adult children, divorced Nash in 2016 and died of cancer in September 2020  After moving to New York City, Nash married Grantham in April 2019 Nash released an autobiography in September 2013 called Wild Tales: A Rock & Roll Life, published by Crown Publishing  Photographs that he took during his career are on display as an art collection at the San Francisco Art Exchange  In interviews pertaining to both the memoir and art exhibit, he mentioned the impact of Canadian-American musician Joni Mitchell, with whom he had a relationship between 1968 and 1970 in California  He also had a brief relationship with American musician Rita Coolidge, as had his bandmate Stephen Stills Nash endorsed American politician Bernie Sanders in the 2016 Democratic Party presidential primaries  In October 2020, he revealed that he had recently started practising Transcendental Meditation after American filmmaker David Lynch paid for him and his wife to study it as a gift  He said of the practice, "Quite frankly, I'm 78 years old and I wish I'd been doing it for 50 years "

Discography
See also discographies for Crosby Stills Nash & Young, The Hollies and Crosby & Nash 

With The Hollies
Albums
Singles
EPs
Solo
Studio albums
Live
Compilations
Singles
Other appearances
Studio
Live
Passage 5:
Nobody's Child: Romanian Angel Appeal
Nobody's Child: Romanian Angel Appeal is a charity album released in July 1990 to benefit Romanian orphans, under the auspices of the Romanian Angel Appeal Foundation  It was compiled by English rock musician George Harrison in response to concerns raised by his wife Olivia Harrison, who had visited Romania and witnessed the suffering in the country's abandoned state orphanages following the fall of Communism  The release was preceded by a single, "Nobody's Child", recorded by Harrison's band the Traveling Wilburys  Other artists who donated songs to the album include Stevie Wonder, Paul Simon, Eric Clapton, Duane Eddy, Van Morrison, Guns N' Roses, Ringo Starr, Ric Ocasek and Elton John  Many of the recordings were previously unreleased The Romanian Angel Appeal marked a rare foray into the media spotlight by Olivia Harrison, who created the foundation with support from the other wives of the former Beatles – Barbara Bach, Yoko Ono and Linda McCartney  She and her husband promoted the project in the UK with appearances on the television talk show Wogan and in the one-hour Radio 1 documentary Nobody's Child  The album was released by Harrison's record company, Warner Bros  Records, on 23 July 1990  It was preceded by a launch at London's Hyde Park Hotel on 22 July, attended by the Harrisons, and Bach and Starr  The video for the "Nobody's Child" single included animated scenes and footage of the Romanian orphanages 

Song selection
George Harrison's involvement in the project reprised his role in assisting refugees of the 1971 Bangladesh Liberation War, when he staged an all-star benefit concert and oversaw the release of an associated album and documentary film  Aside from the title track, his presence on Nobody's Child was reflected in the recordings submitted by Simon, Clapton and Eddy Harrison said in compiling Nobody's Child he was conscious of not making it his album by dominating the content  He said that his request for a live track from Bruce Springsteen went unanswered, and his approach to Michael Jackson became confused in the acrimony taking place between Jackson and Paul McCartney over the ownership of the Beatles' Northern Songs catalogue  Selections by Stevie Winwood and Queen arrived too late for inclusion on the album 

Track listing
Vinyl and cassette releases
Side one

"Nobody's Child"
"Wonderful Remark"
"Medicine Man"
"This Week"
"Homeward Bound"
"How Can You Mend a Broken Heart?"
"Lovechild"
"Big Day Little Boat"Side two

"Feeding Off the Love of the Land"
"That Kind of Woman"
"Goodnight Little One"
"The Trembler"
"Ain't That Peculiar"
"Civil War"

Notes
On the included performance of "With a Little Help from My Friends", the All-Starr Band consisted of Ringo Starr, Joe Walsh, Nils Lofgren, Billy Preston, Dr  John, Levon Helm, Rick Danko, Garth Hudson, Jim Keltner, Clarence Clemons and Zak Starkey  The song is only on the CD version of the album 
Aside from his contributions with the Traveling Wilburys and Paul Simon, George Harrison plays guitar on the tracks by Eric Clapton and Duane Eddy 
Passage 6:
Shoppin' from A to Z
"Shoppin' from A to Z" is a song by US singer-songwriter Toni Basil, released in 1983 as the fourth and final single from her debut album Word of Mouth  It was released in the US only  After the poor performance of "Nobody" in the UK, "Shoppin' from A to Z" also failed to match the success of chart topper "Mickey", peaking at No  77  A music video was made for the song  The song features a shopping list consisting of various grocery items, each beginning with a different letter of the alphabet  On the album version, it is shouted out by a chorus  The single version features comical voices saying the name of each item 

Track listing
7" single"Shoppin' from A to Z" — 3:41
"Time After Time" — 4:18Promo 12" "Special Remix" single"Shoppin' from A to Z" (Special Remix) — 6:04
"Shoppin' from A to Z" — 3:41

Music video
The music video starts with Basil and her two friends at a house looking through a shopping list and a newspaper  Then, the scene quickly changes to a supermarket where Basil and everyone in the market (including the employees) start dancing while they shop  Finally, after all that shopping, Basil and her friends arrive home exhausted  The clip ends with two dollar signs coming out of the shopping bags and plastered on a CGI heart on a green background 
Passage 7:
Nobody's Child (song)
Nobody's Child may refer to:

Film and television
Nobody's Child (1919 film), a British silent film directed by George Edwardes Hall
Nobody's Child (1970 film), a Philippine film featuring Vilma Santos
Nobody's Child (1986 film), an American television film directed by Lee Grant
Nobody's Child (2004 film), a Singaporean film directed by Lin Wenhui

Literature
Nobody's Child, a 1996 romantic novel by Pat Warren
Nobody's Child, a 1997 romantic novel by Ann Major
Nobody's Child, a 2003 children's novel by Marsha Skrypuch
Nobody's Child, a 2007 autobiography by Michael Seed
Nobody's Child, a 2014 crime novel by Libby Fischer Hellmann

Music
Nobody's Child: Romanian Angel Appeal, a 1990 charity album
"Nobody's Child" (Hank Snow song), 1949; covered by Tony Sheridan and the Beatles (1964), the Traveling Wilburys (1990), and others
"Nobody's Child" (Penny McLean song), 1976
"Nobody's Child", a song  by Electric Light Orchestra from Eldorado, 1974
"Nobody's Child", a song by Mark Knopfler from Down the Road Wherever, 2018

See also
No One's Child, a 2014 Serbian film
Nobody's Children (disambiguation)
Passage 8:
Traveling Wilburys
The Traveling Wilburys were a British-American supergroup consisting of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison and Tom Petty  Originating from an idea discussed by Harrison and Lynne during the sessions for Harrison's 1987 album Cloud Nine, the band formed in April 1988 after the five members united to record a bonus track for Harrison's next European single  When this collaboration, "Handle with Care", was deemed too good for such a limited release, the group agreed to record a full album, titled Traveling Wilburys Vol  1  Following Orbison's death in December 1988, the Wilburys continued as a quartet and released a second album, titled Traveling Wilburys Vol  3, in 1990 
The project's work received much anticipation given the diverse nature of the singer-songwriters  The band members adopted tongue-in-cheek pseudonyms as half-brothers from the fictional Wilbury family of travelling musicians  Vol  1 was a critical and commercial success, helping to revitalise Dylan's and Petty's careers  In 1990, the album won the Grammy for Best Rock Performance by a Duo or Group 
Although Harrison envisioned a series of Wilburys albums and a film about the band, produced through his company HandMade, the group became dormant after 1991 and never officially reunited, though the individual members continued to collaborate on each other's solo projects at various times  After being unavailable for several years, the two Wilburys albums were reissued by the Harrison estate in the 2007 box set The Traveling Wilburys Collection  The box set included a DVD containing their music videos and a documentary on the band's formation 

History
Background
George Harrison first mentioned the Traveling Wilburys publicly during a radio interview with Bob Coburn on the show Rockline in February 1988  When asked how he planned to follow up the success of his Cloud Nine album, Harrison replied: "What I'd really like to do next is     to do an album with me and some of my mates     It's this new group I got [in mind]: it's called the Traveling Wilburys, I'd like to do an album with them and then later we can all do our own albums again " According to Jeff Lynne, who co-produced Cloud Nine, Harrison introduced the idea of the two of them starting a band together around two months into the sessions for his album, which began in early January 1987  When discussing who the other members might be, Harrison chose Bob Dylan and Lynne opted for Roy Orbison  The term "Wilbury" also originated during the Cloud Nine sessions  Referring to recording errors created by faulty equipment, Harrison jokingly remarked to Lynne, "We'll bury 'em in the mix " Thereafter, they used the term for any small error in performance  Harrison first suggested "the Trembling Wilburys" as the group's name; at Lynne's suggestion, they amended it to "Traveling Wilburys" 
During his Rockline interview, Harrison voiced his support for Dylan, at a time when the Dylan was experiencing an artistic and commercial low point in his career  Harrison and Lynne became friends with Tom Petty in October 1987, when Petty and his band, the Heartbreakers, toured Europe as Dylan's backing group  The friendship continued in Los Angeles later that year  There, Harrison struck up a musical rapport with Petty based on their shared love of 1950s rock 'n' roll, and Lynne began collaborating with Petty on what became Petty's debut solo album, Full Moon Fever, and writing songs with Orbison, Lynne's longtime musical hero, for Orbison's comeback album, Mystery Girl  According to Petty, Harrison's dream for the Wilburys was to handpick the participants and create "the perfect little band", but the criteria for inclusion were governed most by "who you could hang out with"  The five musicians also bonded over a shared appreciation of the English comedy troupe Monty Python  Harrison, who had worked with the members of Monty Python on various productions by his company HandMade Films since the late 1970s, particularly appreciated Orbison's gift for impersonation and his ability to recite entire sketches by the troupe 

1988–1991
"Handle with Care" and band formation
The band came together in April 1988, when Harrison was in Los Angeles to oversee the filming of his HandMade production Checking Out  At that time, Warner Bros  Records asked Harrison for a new song to serve as the B-side for the European release of his third single from Cloud Nine, "This Is Love"  During a meal with Lynne and Orbison, Harrison asked Lynne to help him record the track and invited Orbison to attend the session, which he then arranged to take place at Dylan's garage studio in Malibu since no professional studios were available at such short notice  Petty's involvement came about when Harrison went to retrieve his guitar from Petty's house and invited him to attend also Working on a song that Harrison had recently started writing, the ensemble completed the track, which they titled "Handle with Care" after a label on a box in Dylan's garage  When Harrison presented the recording to Mo Ostin and Lenny Waronker of Warner Bros , the executives insisted that the song was too good to be used as a B-side  In Petty's recollection, Harrison and Lynne then decided to realise their idea of forming a Wilburys band, and first invited him to join before phoning Dylan, who also agreed to join  That night, Harrison, Lynne and Petty drove to Anaheim to see Orbison perform at the Celebrity Theatre and recruited him for the group shortly before he went on stage  In Petty's description, Orbison performed an "unbelievable show", during which "we'd punch each other and go, 'He's in our band, too '     We were all so excited "

Debut album
The band members decided to create a full album together, Traveling Wilburys Vol  1  Video footage of the creative process was later edited by Harrison into a promotional film for Warner Bros  staff, titled Whatever Wilbury Wilbury  The album was recorded primarily over a ten-day period in May 1988, to allow for Dylan's limited availability as he prepared for the start of what became known as his Never Ending Tour and for Orbison's tour schedule  These sessions were held in the house of Eurythmics member Dave Stewart, in Los Angeles The five band members sat in a circle playing acoustic guitars in Stewart's kitchen; once each song's basic track had been written and recorded there (with accompaniment from a drum machine), the group recorded their vocals in another room, usually after dinner each night  Petty recalled that, as a friend but also an avowed fan of Dylan's, Harrison felt the need to clear the air on the first day by saying to him: "We know that you're Bob Dylan and everything, but we're going to just treat you and talk to you like we would anybody else " Dylan replied: "Well, great  Believe it or not, I'm in awe of you guys, and it's the same for me " While most of the songs had a primary composer, all of the band members were creative equals  Petty later described Harrison as the Wilburys' "leader and manager", and credited him with being a bandleader and producer that had a natural instinct for bringing out the best in people and keeping a recording session productive  As the group's producers, Harrison and Lynne directed the sessions, with Harrison often auditioning each member to decide who should sing a particular lead vocal part  The two producers then flew back to England; Lynne recalls that, throughout the flight, he and Harrison enthused about how to turn the sparse, acoustic-based tracks into completed recordings  Overdubs and further recording took place at Harrison's studio, FPSHOT, with "Sideburys" Jim Keltner (drums), Jim Horn (saxophones) and Ray Cooper (percussion)  Harrison described the band's sound as "skiffle for the 1990s" The album was released on 18 October 1988  Distributed by Warner Bros , it appeared on the new Wilbury record label rather than on Harrison's Dark Horse label, in the interests of maintaining the group identity  Over the months following the end of recording in the summer, contractual issues had been successfully negotiated between Warner and the record companies representing Dylan, Petty, Lynne and Orbison  As was the case in 1971 when EMI prepared Harrison's multi-artist live album from the Concert for Bangladesh for release, Dylan's label, Columbia, presented the main stumbling block  In the album credits, the "Wilburys" joke was extended further, with the band members listed under various pseudonyms and pretending to be half-brothers – sons of a fictional Charles Truscott Wilbury, Sr  During promotion for the album, Orbison played along with the mock history, saying: "Some people say Daddy was a cad and a bounder, but I remember him as a Baptist minister "Vol  1 was a critical and commercial success, and revitalised the careers of Dylan, Orbison and Petty  As Harrison had intended, the album defied contemporary musical trends such as hip hop, acid house and synthesised pop; author Alan Clayson likens its release to "a Viking longship docking in a hovercraft terminal"  The album produced two successful singles and went on to achieve triple-platinum certification for sales in the United States  It was nominated for several awards and won the 1990 Grammy Award for Best Rock Performance by a Duo or Group  Liner notes on the album cover were written by Monty Python's Michael Palin under a pseudonym  Palin's essay was based on an idea by Derek Taylor, who wrote an extensive fictional history of the Wilburys family that otherwise went unused  Harrison planned a feature film about the band, to be produced by HandMade and directed by David Leland, but contractual problems ended the project 

Orbison's death, "Nobody's Child" and Vol  3
Roy Orbison died of a heart attack on 6 December 1988  In tribute to him, the music video for the band's second single, "End of the Line", shows a black and white framed photo of Orbison and his guitar is shown, rocking in a chair, whenever his vocals are heard  Lynne recalled that Orbison's death in the wake of Vol  1's success was "the most sickening thing to me"  He added: "I was devastated for ages     Me and Roy had had plans to do much more together, and his voice was in really good shape  It was just so sad for that to happen " Although there was speculation in the press that Del Shannon or Roger McGuinn might join the Wilburys, the remaining members never considered replacing Orbison  Lynne later said: "We'd become this unit, we were all good pals … We always knew we were going to do another one, and now it's just the four of us "Harrison was the most active in promoting the Wilburys, carrying out interviews well into 1989  He said he was "wait[ing] for all the other Wilburys to finish being solo artists" so that they could renew the collaboration  By contrast, according to author Clinton Heylin, Dylan appeared to give the band little attention as he focused on re-establishing himself as a live performer before recording his 1989 album Oh Mercy In March 1990, Harrison, Lynne, Petty and Dylan reunited to work on a second Wilburys album, which they intentionally misnumbered Traveling Wilburys Vol  3  It was preceded by a non-album single, a cover of "Nobody's Child", which the band recorded for Olivia Harrison's Romanian Angel Appeal charity project  The duration of the main album sessions was again dictated by Dylan's touring schedule and limited availability  Having asked Dylan to record a lead vocal for all the songs before his departure, Harrison was then loath to replace many of the parts, resulting in a greater prominence for Dylan as a lead singer  Although he ceded his own role as a lead vocalist to Dylan and to Petty, Harrison took over more of the production and contributed more prominently as a lead guitarist than before  Petty described the album as "a little more rough and ready, a bit more raucous" than Vol  1, while Dylan said the new songs were more developed as compositions relative to the "scraped up from jam tapes" approach to the band's debut Vol  3 was released on 29 October 1990  It was dedicated to Orbison, as "Lefty Wilbury", the pseudonym that Orbison had used in 1988 in honour of his hero Lefty Frizzell  The album met with less success than the previous one  According to Mo Ostin, the choice of album title came about through "George being George"; apparently Harrison was making a wry reference to the appearance of a bootleg that served as a sort of Volume 2  The album's liner notes were written by Eric Idle, another Python member, who again adopted a pseudonym  For the band's final single, "Wilbury Twist", they filmed a video in which Idle, John Candy and other comedic actors attempt to master the song's eponymous dance style  The clip was filmed in Los Angeles and completed on 28 February 1991 

After the Wilburys
According to Jim Keltner, the decision on the group's future after Vol  3 lay with Harrison  Keltner said that from his conversations with Lynne, Petty and Dylan, they were all keen to reunite, whereas Harrison wavered in his enthusiasm  While Harrison was against the idea of touring, Petty recalled: "I kept getting down on my knees in front of George, saying, 'Please, it's so much money!'"After his 1991 tour of Japan – his first series of concerts since 1974 – Harrison spoke of a possible Traveling Wilburys tour:

That would be something I'd like to experience  I've always played around in my own mind what a Wilburys tour could be  Would each person do a solo set and then do Wilburys at the end, or would we all go right on from beginning to end and make everything Wilburys? It's an intriguing thought  We could have a great band up there and the four of us could play acoustic if we wanted to  We could all sing "Blowin' in the Wind" and Bob could sing "Something"  Or we could just sing our individual songs and make them Wilbury tunes, as if we'd recorded them that way  Whatever it was, we could do it 
The Wilburys tour never came about  Petty said about the Wilburys touring:

I think it would work, if we wanted to do it  I don't think we ever considered it, really  There were a lot of nights when the conversation would roll around to that  But I don't think anybody ever took it seriously  I think it would ruin it in a way  Then you're obligated to be responsible and it's not in the character of that group  It would make it very formal and that would be the wrong spirit 

Legacy and influence
In the Rolling Stone Press book The New Rolling Stone Encyclopedia of Rock & Roll, the Traveling Wilburys are described as "the ultimate supergroup", with a line-up that represented four eras of rock music history and included "three indisputable gods" in Dylan, Harrison and Orbison  The editors also recognise the band as "the antithesis of a supergroup", due to the musicians' adoption of fraternal alter egos and the humour inherent in the project  AllMusic managing editor Stephen Thomas Erlewine has similarly written: "It's impossible to picture a supergroup with a stronger pedigree than that (all that's missing is a Rolling Stone), but in another sense it's hard to call the Wilburys a true supergroup, since they arrived nearly two decades after the all-star craze of the '70s peaked, and they never had the self-important air of nearly all the other supergroups  That, of course, was the key to their charm …" Speaking to music journalist Paul Zollo in 2004, Petty agreed that humour and self-effacement had been key factors in the Wilburys' success, adding: "We wanted to make something good in a world that seemed to get uglier and uglier and meaner and meaner … And I'm really proud that I was part of it  Because I do think that it brought a little sunshine into the world "Harrison said the project was an opportunity to "put a finger up to the rules" by challenging the norms associated with the music industry  Discussing the Wilburys in Peter Bogdanovich's 2007 documentary Runnin' Down a Dream, Petty said that one of the strengths behind the concept was that it was free of any intervention from record company, management or marketing concerns, and instead developed naturally from a spirit of co-operation and mutual admiration among five established artists  Author Simon Leng recognises the venture as primarily a channel through which Harrison and Dylan could escape the restrictions of their serious media images, but also, in its guise as a "phantom band", a development by Harrison of the Rutles' satirical approach to the Beatles' legacy, in this case by "de-mythologizing" rock history Inspired by the Traveling Wilburys' success and particularly its benefit to Petty and Orbison as artists, Lenny Waronker encouraged American guitarist Ry Cooder to form the band Little Village and record for Warner Bros  The group – comprising Cooder, Keltner, John Hiatt and Nick Lowe – released a self-titled album in 1992  Greg Kot of the Chicago Tribune described the Notting Hillbillies' Missing     Presumed Having a Good Time as a Traveling Wilburys-type side project for Mark Knopfler of Dire Straits  Writing in New York magazine in late 1990, Elizabeth Wurtzel cited the Notting Hillbillies' album and the self-titled debut by Hindu Love Gods – a band consisting of Warren Zevon and members of R E M  – as examples of a trend whereby, following the Wilburys' Vol  1, "more and more albums seem to be the rock-and-roll equivalents of bowling night "Writing in The Encyclopedia of Popular Music, Colin Larkin cites the Wilburys' contemporary skiffle as evidence of Lonnie Donegan's continued influence on popular music long after the early 1960s  In his book Lonnie Donegan and the Birth of British Rock & Roll, Patrick Humphries describes the Wilburys as "a makeshift quintet whose roots were firmly and joyously planted in low-key, low-tech skiffle music"  He credits the band with inspiring a brief revival of Donegan's "DIY skiffle", which included Knopfler's Notting Hillbillies  Each member of the Traveling Wilburys has been inducted into the Rock and Roll Hall of Fame, although the band itself has not been inducted  Orbison and Dylan were inducted as solo artists, Harrison was inducted as a member of the Beatles and, posthumously, as a solo artist, Petty as the leader of Tom Petty and the Heartbreakers, and Lynne as a member of the Electric Light Orchestra 

Catalogue reissue and Genesis Publications book
In the late 1990s and early 2000s, the two Traveling Wilburys albums had limited availability and were out of print in most areas  Harrison, as primary holder of the rights, did not reissue them before his death  In June 2007, the two albums were reissued as The Traveling Wilburys Collection, a box set including both albums on CD (with bonus tracks) and a DVD featuring a 25-minute documentary entitled The True History of the Traveling Wilburys and a collection of music videos  The box set was released in three editions; the standard edition, with both CDs and DVD in a double Digipak package and a 16-page booklet; a "deluxe" boxed edition with the CDs and DVD and an extensive 40-page booklet, artist postcards, and photographs; or a "deluxe" boxed edition on vinyl  This version omits the DVD, but adds a 12-inch vinyl disc with rare versions of the songs 
The release debuted at number 1 in the UK and topped the albums chart in Australia, Ireland and other countries  On the US Billboard 200 it reached number 9  The collection sold 500,000 copies worldwide during the first three weeks and remained in the UK top 5 for seven weeks after its release 
In November 2009, Genesis Publications, a company with which Harrison had been associated since the late 1970s, announced the release of a limited edition fine-bound book titled The Traveling Wilburys  Compiled by Olivia Harrison, the book includes rare photographs, recording notes, handwritten lyrics, sketches, and first-hand commentary on the band's history, together with a foreword by Lynne  Petty, Lynne, Olivia Harrison, Barbara Orbison, Keltner and Idle were among those who attended the US launch at a Beverly Hills bookshop in March 2010  In an interview to publicise the book, Lynne expressed his sadness at the deaths of Harrison and Orbison, and reflected: "The Wilburys was such a wonderful band, such a marvellous thing to be part of  They were the best people I could ever wish to work with  Every day was like, 'Wow!'     it was fun from day one "

Line-ups
Musicians
Volume 1"Nelson Wilbury" – George Harrison
"Otis Wilbury" – Jeff Lynne
"Lefty Wilbury" – Roy Orbison
"Charlie T  Wilbury, Jr " – Tom Petty
"Lucky Wilbury" – Bob DylanVolume 3"Spike Wilbury" – George Harrison
"Clayton Wilbury" – Jeff Lynne
"Muddy Wilbury" – Tom Petty
"Boo Wilbury" – Bob DylanJim Keltner, the session drummer and percussionist, was not officially listed as a Wilbury on either album, but was given the nickname "Buster Sidebury"  Overdubs on the 2007 bonus tracks "Maxine" and "Like a Ship" were credited to "Ayrton Wilbury", a pseudonym for Dhani Harrison  The name Ayrton was used in honour of F1 driver Ayrton Senna  Jim Horn and Ray Cooper played saxophones and percussion, respectively, on both albums  The lead guitar part on the Vol  3 track "She's My Baby" was played by rock guitarist Gary Moore, who received the credit "Ken Wilbury" 

Further Wilbury appellation
Harrison appeared as Nelson Wilbury on Warner Bros  Records' Christmas 1988 promotional album Winter Warnerland (which also included Paul Reubens as "Pee Wee Wilbury")  In 1992, in his capacity as producer, Harrison credited himself as "Spike and Nelson Wilbury" on his live album Live in Japan  During that Japanese tour, in December 1991, Harrison credited himself as Nakihama Wilbury  The Tom Petty and the Heartbreakers 1992 single "Christmas All Over Again" contained a greeting that read "Merry Christmas from Nelson and Pee Wee Wilbury"  Additionally, at Tom Petty Celebration in 2019, Roy Orbison Jr  was dubbed "Lefty Wilbury Jr " and Alex Orbison as "Ginger Wilbury"  The Harrison-made film promoting the Traveling Wilburys, Whatever Wilbury Wilbury, lists the following credits: "Cecil Bidet Wilbury" (directed by), "Lenny W  Wilbury" (sound), "Chopper Wilbury" (editor), "Edison Wilbury" (lighting), "Evelyn Wilbury" (wardrobe), "Clyde B  Wilbury" (special effects), "Big Mac Wilbury" (catering), "Zsa Zsa Wilbury" (make-up) and "Tell M  Wilbury" (production manager)  A squirrel is named "Eddie Wilbury" in that film as well 

Discography
Studio albums
Box sets
Singles
Other charted songs
Other collaborations between members
Notes



ground_truth: Bob Dylan