document_title: Golden Bear (nightclub)

question_text: when did the golden bear in huntington beach close

text: Golden Bear (nightclub)

text: Early history[edit]

text: The Golden Bear started as The Golden Lion Cafe at 226 Main Street in Huntington Beach and was founded by Harry Bakre in 1923. The name was changed to The Golden Bear Cafe in 1926 to avoid any legal issues with Bakre's former employer with the same name. It moved to its location at 306 Pacific Coast Highway (then called Ocean Avenue) on June 29, 1929, shortly before the Great Depression. It continued as a restaurant until Bakre retired in 1951. After that the building was the home to various restaurants. After Bakre's death in 1957, the building was vacant except for an art supply store in its front section.

text: Delbert Kauffman (1963–1966)[edit]

text: In 1963, Delbert Kauffman took over and established the Golden Bear as a folk music club. The first act they hosted was Les Baxter's Balladeers, featuring a young David Crosby.[1] Other artists that were booked at the Golden Bear under Kauffman were Hoyt Axton, Lovin' Spoonful, and Buffalo Springfield. Bob Dylan appeared at a Golden Bear Presents concert at Long Beach Wilson High School in December 1964.[2] During this time Peter Tork, later of The Monkees, worked as a dishwasher at the club before becoming famous as a musician.[3][4] However, by 1966 Kauffman was bankrupt and closed the club. Kauffman has lived in Takilma, Oregon for decades.

text: George Nikas (1966–1974)[edit]

text: George Nikas reopened the club in 1966, and began booking rock bands as music evolved. Musicians performing during this time period included Janis Joplin,[5] Neil Young, The Flying Burrito Brothers,[6] Jimmy Reed,[7] Seals and Crofts, Richie Havens, and others. The Doors and Jimi Hendrix are also reported to have played at the Golden Bear,[8][9] although other sources indicate that Kauffman and Nikas both stated otherwise.[10] By the early 1970s, Nikas felt he was ready to sell the business.

text: Babiracki trio (1974–1986)[edit]

text: In 1974, brothers Rick and Chuck Babiracki, and Rick's wife, Carole, purchased the Golden Bear. They continued to book a diverse list of musicians such as Muddy Waters, Jerry Garcia,[11] Patti Smith, The Ramones, Agent Orange, Arlo Guthrie,[12] Maria Muldaur[13] and Peter Gabriel.

text: In 1979 the artist Wyland, who lived next door, painted the outside wall of the building. It showed musical notes and some of the artists that performed at the venue. Wyland later became famous for his Whaling Walls.[14]

text: Closure[edit]

text: The Golden Bear closed because of the costs involved in retrofitting the brick building for seismic compliance and the redevelopment of downtown Huntington Beach. The last performance was on January 29, 1986 by Robin Trower.

text: Postclosure[edit]

text: In 1990, an attempt was made to resurrect the Golden Bear as "Pepper's Golden Bear" in the new building on the original site. An unknown Will Ferrell made his stand up comedy debut at the club during this period. However, it closed after six months. In 2010, Joe Daichendt, co-owner of Pierside Pavilion, proposed a new, $2 million, 7,500-square-foot (700 m2) Golden Bear. The venue would be built at the site of movie theaters that closed in 2006.[8]

text: Huntington Beach celebrated memories of the club for the city's centennial celebration in September 2009, with a two-day Golden Bear reunion at the Hilton Waterfront Beach Resort, a few blocks from the original location. Honk, David Lindley, Ray Manzarek of The Doors, the Nitty Gritty Dirt Band, Chris Hillman and Herb Pederson were among the performers for the city's 100-year anniversary.[15] In 2014, the city unveiled a commemorative plaque honoring the venue on the wall of the Pierside Pavilion.[16]

text: Notes[edit]

text:
Jump up ^ Carvounas 2009, p. 58.
Jump up ^ "December 5, 1964". www.bobdylan.com. Sony Music Entertainment. Retrieved 20 June 2013.
Jump up ^ Lefcowitz, Eric (1985). The Monkees Tale. Last Gasp. p. 84. ISBN 0-86719-338-7.
Jump up ^ Carvounas 2009, pp. 65, 68.
Jump up ^ Joplin, Laura (2005). Love, Janis. HarperCollins. p. 253. ISBN 0-06-075522-9.
Jump up ^ Hillman, Chris; Einarson, John (2008). Hot Burritos: the true story of the Flying brothers. Jawbone. p. 144. ISBN 1-906002-16-9.
Jump up ^ Romano, Will (2006). Big boss man: the life and music of Jimmy Reed. Hal Leonard Corporation. p. 208. ISBN 0-87930-878-8.
^ Jump up to: a b Fletcher, Jaimee Lynn (March 10, 2010). "Plans for new Golden Bear club in works". The Orange County Register. Archived from the original on 2011-03-14.
Jump up ^ Roby, Steven; Schreiber, Brad (2010). Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius. Da Capo Press. p. 107. ISBN 0-306-81910-4.
Jump up ^ Carvounas 2009, p. 106-109.
Jump up ^ Fletcher, Jaimee Lynn (December 20, 2012). "Musical 'bearings'". Huntington Beach Wave.
Jump up ^ Carvounas 2009, p. 98.
Jump up ^ "Maria Muldaur in Golden Bear Mark". Billboard: 38. December 25, 1976.
Jump up ^ Carvounas 2009, pp. 127-128.
Jump up ^ Lewis, Randy (September 25, 2009). "Legendary Golden Bear to roar again". Los Angeles Times.
Jump up ^ Carpio, Anthony Clark (December 5, 2014). "Memories of Huntington Beach nightclub echo in new marker". Los Angeles Times.

tag: ol


document_title: Demeter

question_text: where in greece was this major shrine to demeter

root

text: Demeter

text: Etymology[edit]

text: It is possible that Demeter appears in Linear A as da-ma-te on three documents (AR Zf 1 and 2, and KY Za 2), all three apparently dedicated in religious situations and all three bearing just the name (i-da-ma-te on AR Zf 1 and 2).[7] It is unlikely that Demeter appears as da-ma-te in a Linear B (Mycenean Greek) inscription (PY En 609); the word 𐀅𐀔𐀳, da-ma-te, probably refers to "households".[8][9] On the other hand, 𐀯𐀵𐀡𐀴𐀛𐀊, si-to-po-ti-ni-ja, "Potnia of the Grain", is regarded as referring to her Bronze Age predecessor or to one of her epithets.[10]

tag: p

text: Demeter's character as mother-goddess is identified in the second element of her name meter (μήτηρ) derived from Proto-Indo-European *méh₂tēr (mother).[11] In antiquity, different explanations were already proffered for the first element of her name. It is possible that Da (Δᾶ),[12] a word which corresponds to Ge (Γῆ) in Attic, is the Doric form of De (Δῆ), "earth", the old name of the chthonic earth-goddess, and that Demeter is "Mother-Earth".[13] This root also appears in the Linear B inscription E-ne-si-da-o-ne, "earth-shaker", as an aspect of the god Poseidon.[14][15] However, the dā element in the name of Demeter is not so simply equated with "earth" according to John Chadwick.[16][17]

text: The element De- may be connected with Deo, an epithet of Demeter[18] probably derived from the Cretan word dea (δηά), Ionic zeia (ζειά)—variously identified with emmer, spelt, rye, or other grains by modern scholars—so that she is the Mother and the giver of food generally.[19][20] Wanax (wa-na-ka) was her male companion (Greek: Πάρεδρος, Paredros) in Mycenaean cult.[21] The Arcadian cult  links her to the god Poseidon, who probably substituted  the male companion of the Great Goddess ; Demeter may therefore be related to a Minoan Great Goddess (Cybele).[22]

text: An alternative Proto-Indo-European etymology comes through Potnia and Despoina, where Des- represents a derivative of PIE *dem (house, dome), and Demeter is "mother of the house" (from PIE *dems-méh₂tēr).[23]

text: Agricultural deity[edit]

text: According to the Athenian rhetorician Isocrates, Demeter's greatest gifts to humankind were agriculture, particularly of cereals, and the Mysteries which give the initiate higher hopes in this life and the afterlife.[24] These two gifts were intimately connected in Demeter's myths and mystery cults. In Hesiod, prayers to Zeus-Chthonios (chthonic Zeus) and Demeter help the crops grow full and strong.[25] Demeter's emblem is the poppy, a bright red flower that grows among the barley.[26]

text: In Hesiod's Theogony, Demeter is the daughter of Cronus and Rhea. At the marriage of Cadmus and Harmonia, Demeter lured Iasion away from the other revelers. They had intercourse in a ploughed furrow in Crete, and she gave birth to two sons, Philomelus and Ploutos.[27] Her daughter by Zeus was Persephone, Queen of the Underworld.[28]

text: Festivals and cults[edit]

text: Demeter's two major festivals were sacred mysteries. Her Thesmophoria festival (11–13 October) was women-only.[29] Her Eleusinian mysteries were open to initiates of any gender or social class. At the heart of both festivals were myths concerning Demeter as Mother and Persephone as her daughter.

text: Mythology[edit]

text: Demeter and Persephone[edit]

text: Demeter's virgin daughter Persephone was abducted to the underworld by Hades. Demeter searched for her ceaselessly, preoccupied with her loss and her grief. The seasons halted; living things ceased their growth, then began to die.[30] Faced with the extinction of all life on earth, Zeus sent his messenger Hermes to the underworld to bring Persephone back. Hades agreed to release her if she had eaten nothing while in his realm; but Persephone had eaten a small number of pomegranate seeds. This bound her to Hades and the underworld for certain months of every year, either the dry Mediterranean summer, when plant life is threatened by drought,[31] or the autumn and winter.[32] There are several variations on the basic myth. In the Homeric hymn to Demeter, Hecate assists in the search and later becomes Persephone's underworld attendant.[33] In another, Persephone willingly and secretly eats the pomegranate seeds, thinking to deceive Hades, but is discovered and made to stay. Contrary to popular perception, Persephone's time in the underworld does not correspond with the unfruitful seasons of the ancient Greek calendar, nor her return to the upper world with springtime.[34] Demeter's descent to retrieve Persephone from the underworld is connected to the Eleusinian Mysteries.

text: Demeter and her daughter Persephone were usually called:[35]

text:
The goddesses, often distinguished as "the older" and "the younger" in Eleusis.
Demeters, in Rhodes and Sparta
The thesmophoroi, "the legislators" in the Thesmophoria.
The Great Goddesses, in Arcadia.
The mistresses in Arcadia.[36]

tag: ul

text: In Mycenaean Pylos, Demeter and Persephone were probably called "queens" (wa-na-ssoi).[5]

text: The myth of the capture of Persephone seems to be pre-Greek. In the Greek version, Ploutos (πλούτος, wealth) represents the wealth of the corn that was stored in underground silos or ceramic jars (pithoi). Similar subterranean pithoi were used in ancient times for funerary practices. At the beginning of the autumn, when the corn of the old crop is laid on the fields, she ascends and is reunited with her mother Demeter, for at this time the old crop and the new meet each other.[37]

text: According to the personal mythology of Robert Graves,[38] Persephone is not only the younger self of Demeter,[39] she is in turn also one of three guises of the Triple Goddess – Kore (the youngest, the maiden, signifying green young grain), Persephone (in the middle, the nymph, signifying the ripe grain waiting to be harvested), and Hecate (the eldest of the three, the crone, the harvested grain), which to a certain extent reduces the name and role of Demeter to that of group name. Before her abduction, she is called Kore; and once taken she becomes Persephone ('she who brings destruction').[40]

text: Demeter at Eleusis[edit]

text: Demeter's search for her daughter Persephone took her to the palace of Celeus, the King of Eleusis in Attica. She assumed the form of an old woman, and asked him for shelter. He took her in, to nurse Demophon and Triptolemus, his sons by Metanira. To reward his kindness, she planned to make Demophon immortal; she secretly anointed the boy with ambrosia and laid him in the flames of the hearth, to gradually burn away his mortal self. But Metanira walked in, saw her son in the fire and screamed in fright. Demeter abandoned the attempt. Instead, she taught Triptolemus the secrets of agriculture, and he in turn taught them to any who wished to learn them. Thus, humanity learned how to plant, grow and harvest grain. The myth has several versions; some are linked to figures such as Eleusis, Rarus and Trochilus. The Demophon element may be based on an earlier folk tale.[41]

text: Demeter and Poseidon[edit]

text: Demeter and Poseidon's names appear in the earliest scratched notes in Linear B found at Mycenae and Mycenaean Pylos; e-ne-si-da-o-ne (earth-shaker) for Poseidon, and si-to-po-ti-ni-ja, who is probably related with Demeter.[42] Poseidon carries frequently the title wa-na-ka (wanax) in Linear B inscriptions, as king of the underworld, and his title  E-ne-si-da-o-ne indicates his chthonic nature. In the cave of Amnisos (Crete) Enesidaon is related with the cult of Eileithyia, the goddess of childbirth.[43] She was related with the annual birth of the divine child.[44] During the Bronze Age, a goddess of nature, dominated both in Minoan and Mycenean cult, and Wanax (wa-na-ka) was her male companion (paredros) in Mycenean cult.[43] She and her paredros survived in the Eleusinian cult, where the following words were uttered : " Mighty Potnia bore a strong son"[45] However, there is no evidence that originally the name of Potnia was Demeter.

text: Tablets from Pylos record sacrificial goods destined for "the Two Queens and Poseidon" ("to the Two Queens and the King" :wa-na-ssoi, wa-na-ka-te). The "Two Queens" may be related with Demeter and Persephone, or their precursors, goddesses who were not associated with Poseidon in later periods.[5] An exception is the myth of isolated Arcadia in southern Greece. Despoina, is daughter of Demeter and Poseidon Hippios, Horse-Poseidon. These myths seem to be connected with the first Greek-speaking people who came from the north during the Bronze age. Poseidon represents the river spirit of the underworld and he appears as a horse as it often happens in northern-European folklore. He pursues the mare-Demeter and she bears one daughter who obviously originally had the form or the shape of a mare too. Demeter and Despoina were closely connected with springs and animals, related to Poseidon as a God of waters and especially with Artemis, the mistress of the animals and the goddess of, among others, the Hunt.

text: Demeter as mare-goddess was pursued by Poseidon, and hid from him among the horses of King Onkios, but could not conceal her divinity. In the form of a stallion, Poseidon caught and covered her. Demeter was furious (erinys) at Poseidon's assault; in this furious form, she is known as Demeter Erinys. But she washed away her anger in the River Ladon, becoming Demeter Lousia, the "bathed Demeter".[46] "In her alliance with Poseidon," Karl Kerenyi noted,[47] "she was Earth, who bears plants and beasts, and could therefore assume the shape of an ear of grain or a mare." She bore a daughter Despoina (Δέσποινα: the "Mistress"), whose name should not be uttered outside the Arcadian Mysteries,[48] and a horse named Arion, with a black mane and tail.

text: In Arcadia, Demeter's mare-form was worshiped into historical times. Her xoanon of Phigaleia shows how the local cult interpreted her: a Medusa type with a horse's head with snaky hair, holding a dove and a dolphin, probably representing her power over air and water.[49]

text: The second mountain, Mt. Elaios, is about 30 stades from Phigaleia, and has a cave sacred to Demeter Melaine ["Black"]... the Phigalians say, they accounted the cave sacred to Demeter, and set up a wooden image in it. The image was made in the following fashion: it was seated on a rock, and was like a woman in all respects save the head. She had the head and hair of a horse, and serpents and other beasts grew out of her head. Her chiton reached right to her feet, and she held a dolphin in one hand, a dove in the other. Why they made the xoanon like this should be clear to any intelligent man who is versed in tradition. They say they named her Black because the goddess wore black clothing. However, they cannot remember who made this xoanon or how it caught fire; but when it was destroyed the Phigalians gave no new image to the goddess and largely neglected her festivals and sacrifices, until finally barrenness fell upon the land.

text: Titles and functions[edit]

text: Demeter's epithets show her many religious functions. She was the "Corn-Mother" who blesses the harvesters. Some cults interpreted her as "Mother-Earth". Demeter may be linked to goddess-cults of Minoan Crete, and embody aspects of a pre-Hellenic Mother Goddess.[50]  It is possible that the title "Mistress of the labyrinth", which appears in a Linear B inscription, belonged originally to Sito ("[she] of the grain"), the Great Mother Demeter and that in the Eleusinian mysteries this title was kept by her daughter Persephone (Kore or Despoina).[51] However, there is no evidence that the name of Potnia in Eleusis was originally Demeter. Her other epithets include:

text:
Aganippe ("the Mare who destroys mercifully", "Night-Mare")
Potnia ("mistress") in the Homeric Hymn to Demeter. Hera especially, but also Artemis and Athena, are addressed as "potnia" as well.
Despoina ("mistress of the house"), a Greek word similar to the Mycenean potnia. This title was also applied to Persephone, Aphrodite and Hecate.
Thesmophoros ("giver of customs" or even "legislator"), a role that links her to the even more ancient goddess Themis,[3] derived from thesmos, the unwritten law.[52] This title was connected with the Thesmophoria, a festival of secret women-only rituals in Athens connected with marriage customs.
Erinys ("implacable"),[53] with a function similar with the function of the avenging Dike (Justice), goddess of moral justice based on custom rules who represents the divine retribution,[54] and the Erinyes, female ancient chthonic deities of vengeance and implacable agents of retribution.
Chloe ("the green shoot"),[55] that invokes her powers of ever-returning fertility, as does Chthonia.
Chthonia ("in the ground"), chthonic Demeter in Sparta.[56]
Anesidora ("sending up gifts from the earth") applied to Demeter in Pausanias 1.31.4, also appears inscribed on an Attic ceramic a name for Pandora on her jar. There was a temple of Demeter under this name in Phlius in Attica.[57][58][59]
Europa ("broad face or eyes") at Livadeia of Boeotia. She was the nurse of Trophonios to whom a chthonic cult and oracle was dedicated.[60]
Kidaria in the mysteries of Pheneos in Arcadia[61]  where the priest put on the mask of Demeter kept in a secret place. It seems that the cult was connected with the underworld and with an agrarian magic.[62]

text: Demeter might also be invoked in the guises of:

text:
Malophoros ("apple-bearer" or "sheep-bearer", Pausanias 1.44.3)
Lusia ("bathing", Pausanias 8.25.8)
Thermasia ("warmth", Pausanias 2.34.6)
Achaea, the name by which she was worshipped at Athens by the Gephyraeans who had emigrated from Boeotia.[63][64]

text: Poppy goddess:

text: Theocritus, wrote of an earlier role of Demeter as a poppy goddess:

text: In a clay statuette from Gazi (Heraklion Museum, Kereny 1976 fig 15), the Minoan poppy goddess wears the seed capsules, sources of nourishment and narcosis, in her diadem. "It seems probable that the Great Mother Goddess, who bore the names Rhea and Demeter, brought the poppy with her from her Cretan cult to Eleusis, and it is certain that in the Cretan cult sphere, opium was prepared from poppies" (Kerenyi 1976, p 24).

text: Cult places[edit]

text: Major cults to Demeter are known at Eleusis in Attica, Hermion (in Crete), Megara, Celeae, Lerna, Aegila, Munychia, Corinth, Delos, Priene, Akragas, Iasos, Pergamon, Selinus, Tegea, Thoricus, Dion (in Macedonia)[65] Lykosoura, Mesembria, Enna (Sicily), and Samothrace.

text: An ancient Amphictyony, probably the earliest centred on the cult of Demeter at Anthele (Ἀνθήλη), which lay on the coast of Malis south of Thessaly. This was the locality of Thermopylae.[66][67]

text: After the "First Sacred War", the Anthelan body was known thenceforth as the Delphic Amphictyony[66]

text: Demeter of Mysia had a seven-day festival at Pellené in Arcadia.[68] Pausanias passed the shrine to Demeter at Mysia on the road from Mycenae to Argos but all he could draw out to explain the archaic name was a myth of an eponymous Mysius who venerated Demeter.[citation needed]

text: Genealogy[edit]

text:
hideDemeter's family tree [69]

UranusGaia

Uranus' genitalsCronusRhea

ZeusHeraPoseidonHadesDEMETERHestia

    a [70]
     b [71]

AresHephaestus
Metis
Athena [72]
Leto

ApolloArtemis
Maia
Hermes
Semele
Dionysus
Dione
    a [73]     b [74]

Aphrodite

tag: table

text: Consorts and children[edit]

text:
Zeus
Persephone
Poseidon
Despoina
Arion
Iasion
Plutus
Philomelus
Karmanor
Eubuleus
Chrysothemis
Triptolemus
Amphitheus I
Oceanus
Dmia[75]

text: Portrayals[edit]

text:
Demeter was frequently associated with images of the harvest, including flowers, fruit, and grain. She was also sometimes pictured with her daughter Persephone.
The Black Demeter, a sculpture made by Onatas.
Demeter is not generally portrayed with a consort: the exception is Iasion, the youth of Crete who lay with Demeter in a thrice-ploughed field, and was sacrificed afterwards by a jealous Zeus with a thunderbolt.
Demeter is assigned the zodiac constellation Virgo the Virgin by Marcus Manilius in his 1st century Roman work Astronomicon. In art, constellation Virgo holds Spica, a sheaf of wheat in her hand and sits beside constellation Leo the Lion.[citation needed]


document_title: Smokey and the Bandit

question_text: what year was the first smokey and the bandit trans am

text: Smokey and the Bandit

text: Plot[edit]

text: Wealthy Texan Big Enos Burdette (Pat McCormick) and his son Little Enos (Paul Williams) seek a truck driver willing to bootleg Coors beer to Georgia for their refreshment. At the time, Coors was regarded as one of the finest beers in the United States,[3] but it could not be legally sold east of the Mississippi River. Truck drivers who had taken the bet previously had been caught and arrested by "Smokey" (CB slang for highway patrol officers, referring to the Smokey Bear–type hats worn in some states).

text: The Burdettes find legendary trucker Bo "Bandit" Darville (Burt Reynolds) competing in a truck rodeo at Lakewood Fairgrounds in Atlanta; they offer him $80,000 to haul 400 cases of Coors beer from Texarkana, Texas back to Atlanta in 28 hours; Big Enos has sponsored a driver running in the Southern Classic stockcar race and "when he wins I want to celebrate in style." Bandit accepts the bet and recruits his partner Cledus "Snowman" Snow (Jerry Reed) to drive the truck, while Bandit drives the "blocker", a black Pontiac Trans Am bought on an advance from the Burdettes, to divert attention away from the truck and its illegal cargo.

text: The trip to Texas is mostly uneventful except for at least one pursuing Smokey whom Bandit evades with ease. They reach Texarkana an hour ahead of schedule, load their truck with the beer and head back toward Atlanta. Immediately upon starting the second leg of the run, Bandit picks up runaway bride Carrie (Sally Field), whom he eventually nicknames "Frog" because she is "kinda cute like a frog" and "always hoppin' around". But in so doing, Bandit makes himself a target of Texas Sheriff Buford T. Justice (Jackie Gleason), a career lawman whose handsome but slow-witted son Junior (Mike Henry) was to have been Carrie's bridegroom. Ignoring his own jurisdiction, Sheriff Justice, with Junior in tow, chases Bandit all the way to Georgia, even as various mishaps cause his cruiser to disintegrate around them.

text: The remainder of the film is one lengthy high-speed chase, as Bandit's antics attract more and more attention from local and state police across Dixie while Snowman barrels on toward Atlanta with the contraband beer. Bandit and Snowman are helped along the way via CB radio by many colorful characters, including an undertaker with his hearse driver and their funeral procession, an elderly lady, a drive-in waitress and all her customers, a convoy of trucks, and even a madam who runs a brothel out of her RV. Neither Sheriff Justice nor any other police officers have any knowledge of Snowman's illegal manifest.

text: The chase intensifies as Bandit and Snowman get closer to Atlanta; moments after crossing back into Georgia, Bandit comes to the rescue when Snowman is pulled over by a motorcycle patrolman, and state and local police step up their pursuit with more cruisers, larger roadblocks, and even a police helicopter to track Bandit's movements. Discouraged by the unexpected mounting attention, and with just four miles left to go, Bandit is about to give up, but Snowman refuses to listen and takes the lead, smashing through the police roadblock at the entrance to the fairgrounds. They arrive back at Lakewood Speedway (while the Southern Classic race is being run) with only 10 minutes to spare, but instead of taking the payoff, Frog and Bandit accept a double-or-nothing offer from Little Enos — a challenge to run up to Boston and bring back clam chowder in 18 hours. They quickly escape in one of Big Enos' Cadillac convertibles, passing Sheriff Justice's badly damaged police car by the side of the road. Bandit first directs Sheriff Justice to Big and Little Enos, but then in a gesture of respect, reveals his true location and invites Justice to give chase, leaving Junior behind.

text: Cast[edit]

text:
Burt Reynolds as Bo Darville ("Bandit")
Sally Field as Carrie ("Frog")
Jerry Reed as Cledus Snow ("Snowman")
Jackie Gleason as Sheriff Buford T. Justice ("Smokey")
Mike Henry as Junior Justice
Pat McCormick as Big Enos Burdette
Paul Williams as Little Enos Burdette
Macon McCalman as Mr. B
Susan McIver as Hot Pants
George Reynolds as Sheriff Branford
Laura Lizer Sommers as Little Beaver
Michael Mann as Branford's Deputy
Lamar Jackson as Sugar Bear
Ronnie Gay as Georgia Trooper
Quinnon Sheffield as Alabama Trooper
Alfie Wise as Patrolman
Pat Hustis as Tow Truck Driver
Ingeborg Kjeldsen as Foxy Lady
Ben Jones as Trucker #1
Joe Klecko as Trucker #2
Hank Worden as Trucker #3

text: Production[edit]

text: Director Hal Needham originally planned the film as a low-budget B movie with a production cost of $1 million,[2] with Jerry Reed as the Bandit. It was not until Needham's friend Burt Reynolds read the script, and said he would star, that the film was aimed at a more mainstream release; Reed would now portray Bandit's friend Snowman (Reed would eventually play the Bandit in Smokey and the Bandit Part 3). At that time Reynolds was the top box office star in the world. In the original script Carrie was called Kate while Big Enos and Little Enos were called Kyle and Dickey. Bandit's car was a second generation Ford Mustang and the prize for completing the run was a new truck rather than $80,000.[4]

text: Burt Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads. Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read but that he would still make the movie. Most of the dialogue was improvised on set.[5]

text: Universal Studios bankrolled Smokey and the Bandit for $5.3 million, figuring it was a good risk.[2] Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million. With Reynolds' salary at $1 million, Needham was left with only $3.3 million to make the film. Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule.[2]

text: "Buford T. Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who was once Police Chief of Riviera Beach, Florida. His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that, according to Reynolds, he uttered quite often.

text: Jackie Gleason was given free rein to ad-lib dialogue and make suggestions. It was his idea to have Junior alongside him throughout. In particular, the scene where Sheriff Justice unknowingly encounters the Bandit in the "choke and puke" (a roadside diner) wasn't in the original story, but rather was Gleason's idea.

text: Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T. Justice.[5]

text: Sally Field only accepted the part after her agent advised her that she needed a big movie role on her resume. Reynolds actively pushed for her casting after Universal initially resisted, claiming Field was not attractive enough. Field enjoyed making the film, but remembers that virtually the entire project was improvised.

text: Reportedly, Needham had great difficulty getting any studios or producers to take his project seriously , as in the film industry, he was better known as a stuntman. He managed to obtain studio attention after his friend Reynolds agreed to portray the Bandit in the film.

text: The movie was primarily filmed in Georgia in the cities of McDonough, Jonesboro and Lithonia. The scenes set in Texarkana were filmed in Jonesboro and the surrounding area, and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit), and in McDonough. However, the scene where they drive through the Shell gas station was filmed in Ojai, California on the corner of Ojai and El Paseo. Much of the surrounding scene comes from that immediate vicinity. The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on the south side of Atlanta. The roller coaster seen in the movie was the Greyhound. It had not been used for some time and was repainted for the film. It was destroyed in Smokey and the Bandit II and a flashback scene in Part 3.[6]

text: The film's theme song, "East Bound and Down", was written virtually overnight by Jerry Reed. He gave Needham a preview of the song, and when initially he got no reaction from the director, offered to rewrite the song. Needham, however, liked the song so much he assured Jerry not to change a word. It became one of Reed's biggest hits and his signature number.[7]

text: The area around Helen, Georgia was also used for some locations. The scene where Buford T. Justice's car has the door knocked off by a passing semi truck was shot on Georgia State Route 75, 3 miles (4.8 km) north of Helen. The tow truck driver was an a local garage owner, Berlin Wike.

text: The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas.[8] Niver provided much of the western attire worn in the film, as well as the custom-made sheriff's uniforms (waist size 64 inches) that Jackie Gleason wore throughout the film.

text: Reynolds and Sally Field began dating during the filming of Smokey and the Bandit.

text: While made to take advantage of the ongoing 1970s CB radio fad, the film added to the craze.[9]

text: Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979-1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on air. Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider and Sonny Shroyer (who played a police officer in both). In return, Reynolds portrayed the Dukes character Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005). Reynolds is also referenced by name in several early episodes of the series.

text: Vehicles[edit]

text: Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that would be the Bandit's car, or, as Needham referred to it, a character in the movie. He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans 4-door sedans would be provided for the movie.[10] The Trans Ams were actually 1976-model cars with 1977 front ends. (From 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro had two round headlights, and in 1977, the Firebird/Trans Am was changed to four square headlights, while the Camaro remained unchanged.) The decals were also changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches, as had been the case in 1976. The hood scoop on these cars says "6.6 LITRE", which in 1977 would have denoted an Oldsmobile 403-equipped car or a non W-72, 180 hp version of the 400 Pontiac engine. All four of the cars were badly damaged during production,[11] one of which was all but destroyed during the jump over the dismantled bridge. The Trans Am used for the dismantled bridge jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump. Needham served as the driver for the stunt (standing in for Reynolds) while Lada St. Edmund was in the same car (standing in for Sally Field during the jump). By the movie's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running. The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme, and is seen briefly at the beginning of the movie and as Bandit, Snowman, Fred, and Frog make their escape in the final scene.

text: The film also made use of three Kenworth W900A short-frame semi trucks, which Jerry Reed can be seen driving, each equipped with 38-inch sleepers. Two units were 1974 models as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model as evidenced by the gold-painted Kenworth emblem on the truck's grille signifying Kenworth's 50 years in business. The paint code for each truck was coffee brown with gold trims, and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a non-operational Thermo King Refrigeration unit. This is obvious, because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running.[12]

text: Legal status of Coors beer[edit]

text: In 1977, Coors was unavailable for sale east of Oklahoma. A 1974 Time magazine article explains why Coors was so coveted that one would be willing to pay the Bandit such a high price to transport it. Coors Banquet Beer had a brief renaissance as certain people sought it out for its lack of stabilizers and preservatives. The article says that future Vice President Gerald Ford hid it in his luggage after a trip to Colorado in order to take it back to Washington. President Dwight D. Eisenhower had a steady supply airlifted to Washington by the Air Force. The article also mentions Frederick Amon, who smuggled it from Colorado to North Carolina and sold it for four times the retail price.[13] The lack of additives and preservatives meant that Coors had the potential for spoiling in a week if it were not kept cold throughout its transportation and in storage at its destination. This explains the 28-hour deadline.[14]

text: Soundtrack[edit]

text:
Smokey And The Bandit: Music from the Motion Picture

Soundtrack album by Various artists

Released
1977 (1977)

Genre
Truck-driving country
country rock
country
bluegrass
rock

Length
41:11

Label
MCA Records

Producer
Sonny Burke

Singles from Smokey And The Bandit: Music from the Motion Picture

"East Bound and Down"
Released: August 1, 1977

text: The theme music, "East Bound and Down", was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller. It became Reed's signature song and is found on multiple albums, including Country Legends and his live album Jerry Reed: Live Still. In 1991 it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm. Several other groups, such as US rock band Tonic, have also covered it. Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of The Bandit's escapades prior to the events of the film, and the ballad "The Bandit", which features in several versions in the movie and on the soundtrack. Reed's hit not withstanding, Bill Justis is the first name on the credits for the soundtrack as he composed and arranged original music throughout the film. Musicians such as Beegie Adair and George Tidwell played on the soundtrack as part of long careers in music. Legendary five-string banjo player Bobby Thompson is also heard prominently towards the end of "East Bound and Down." The soundtrack album was released in 1977 on vinyl, cassette and 8-track through MCA Records.[15]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Length

1.
"The Legend"
Jerry R. Hubbard
2:09

2.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

0:28

3.
"West Bound And Down"
Jerry R. Hubbard, Dick Feller
2:45

4.
"Foxy Lady"
Bill Justis
2:51

5.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["smokey"] – Jackie Gleason, Voice ["snowman"] – Jerry Reed)

0:56

6.
"Orange Blossom Special"
Ervin T. Rouse
2:40

7.
"The Bandit"
Dick Feller
3:00

8.
"March Of The Rednecks"
Bill Justis
2:22

9.
"If You Leave Me Tonight I'll Cry"
Gerald Sanford, Hal Mooney
2:47

10.
"East Bound and Down (Incidental CB Dialogue Included)" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)
Jerry R. Hubbard, Dick Feller
4:42

11.
"The Bandit"
Dick Feller
2:48

12.
"And The Fight Played On!"
Bill Justis
2:22

13.
"Ma Cousin Plays Steel"
Bill Justis
3:11

14.
"Hot Pants Fuzz Parade"
Bill Justis
4:48

15.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

1:05

16.
"The Bandit (Reprise)"
Dick Feller
2:17

Total length:
41:11

text: Reception[edit]

text: Smokey and the Bandit was a smash hit at the box office. With an original budget of $5.3 million (cut to $4.3 million two days before initial production),[2] the film grossed $126,737,428 in North America,[16] making it the second-highest-grossing movie of 1977. The worldwide gross is estimated at over $300 million.[2]

text: Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "About as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed."[17]

text: Gene Siskel, in his review in the Chicago Tribune, gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus removing suspense throughout the film concerning how long remained to them. He also claimed that Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him. However, this is inaccurate: within seconds of Bandit picking her up, Frog tells him "there is a wedding in search of a bride", and goes on to explain her ill-advised romance with Junior, as Bandit holds up the CB mic for Snowman to hear.

text: The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing. It currently holds an 81% "Fresh" rating on review aggregate website Rotten Tomatoes, based on 27 reviews.[18]

text: Burt Reynolds rated the film as the one he most enjoyed and had the most fun making in his career.[19]

text: Legendary film maker Alfred Hitchcock stated that the movie was one of his favorites.[20]

text: Upon meeting Burt Reynolds, Billy Bob Thornton told him that the picture was not considered as such in the south, and was considered more of a documentary.[21]

text: "Smokey and the Bandit" was released in the United Kingdom on August 28, 1977 and was a sizeable success there, garnering positive reviews[22]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:

Bandit (Bo Darville) – Nominated Hero

text: Cultural impact[edit]

text: Trans Am[edit]

text: After the debut of the movie the Trans Am became wildly popular with sales almost doubling in two years of the film's release, to the delight of General Motors; in fact, it outsold its Camaro counterpart for the first time ever.[23] Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film. Because of the popularity of the movie and the sales success of the Trans Am, then President of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year. Owing to his financial difficulties, in 2014 Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am. High estimates for the car were up to $80,000, but that was dwarfed by the actual sale price of $450,000. Also up for auction was a go-kart replica of the car, which sold for nearly $14,000.[24] In 2016, Trans Am Depot, a Florida-based automobile customization company, announced that it would build 77 Trans Ams that would be modeled after the car that Reynolds drove in the 1977 original, despite Pontiac having been discontinued by GM in 2009. These new models were built off the Camaro platform (the very same one that the real Firebird and Trans Am used), came with Pontiac arrowhead, flaming bird and Bandit logos, as well as instrument panels, center consoles and hood scoops emulating their 1977 counterparts, and were signed by Reynolds. Some differences included the use of a supercharged 454-cid (7.4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967-69 Firebirds/Trans Ams only; the actual 1977-81 models had square headlights.[25]

text: Diablo sandwich[edit]

text: The diablo sandwich ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film. While no authoritative source identifies the composition of the sandwich, there are several possibilities. A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn and sour cream.[26] Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun.[27]

text: The Bandit Run[edit]

text: First run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car. A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, Georgia, recreating the route taken by the characters in the film.

text: The Bandit Run quickly caught on and has become a fixture, most recently celebrating the 40th anniversary of the movie with a special screening of the film attended by Burt Reynolds and a recreation of the jump undertaken by Bandit and Frog across a river.[28]

text: Mobil 1 commercial[edit]

text: In 2014, petroleum company Mobil 1 produced television commercials, featuring NASCAR star Tony Stewart, closely based on the film. Called Smoke is the Bandit playing on Stewart's nickname, the commercials featured him as the Bandit opposite Darrell Waltrip who played Snowman and Jeff Hammond as Buford T. Justice. The story replaced the Coors beer with Mobil 1 products. The adverts poked fun at the film and even featured a Pontiac Trans Am and a cover version of the song East Bound and Down. The commercials were produced after Stewart mentioned that the movie was one of his favorites.[29]

text: Television censorship and alternative versions[edit]

text: When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film. For this purpose, they overdubbed dialogue deemed offensive, which was (and remains, to an extent) common practice. The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum". This phrase achieved a level of popularity with children, and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail. The TV prints of the first two Bandit films are still shown regularly on television, although a few TV stations aired the unedited version in recent years as some of the phraseology (i.e. "(son of a) bitch", "ass", etc.) became more acceptable on TV.

text: The original actors mostly redubbed their own lines for the television version, except for Gleason. Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died, was used to replace a considerable amount of Sheriff Justice's dialogue. This is fitting, as Fred Flintstone was a parody of/homage to Gleason's character Ralph Kramden and The Flintstones was a parody of/homage to The Honeymooners.

text: In the UK, the heavily dubbed version was shown for a number of years, particularly by the BBC. However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly and noticeably.

text: The theatrical release itself had a few lines deleted, including a creative edit in which Sheriff Justice tells a state trooper to "fuck off." His expletive is obscured when a passing big rig sounds its horn. At the time, using the 'F' word would immediately require an R rating which the producers were looking to avoid. This clever self-censorship allowed the film to avoid this rating and reach a much larger audience.

text: In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally-remastered audio track with 5.1 Dolby-compatible surround sound. It should be noted however that many of the film's original sounds were replaced. For instance, the diesel engine start and run up sequence in the opening sequence of the film was completely dubbed over with a totally new sound. A few other examples of "sound effect replacement" occur when Bandit takes off after managing to get a reluctant Cledus involved in the bet, and after he comes to a screeching halt on a roadway moments before picking up Carrie. Some of the original sound effects (such as Cledus' dog Fred's barking) and music (such as the final chase to the Southern Classic) were removed and not replaced. (Note: earlier DVD releases of the film have the original soundtrack intact.)

text: Major portions of the audio 'background' have been modified with different engine sounds or tire squeals from the original film. The updated version of the film features sounds inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film. The original film had correct sounds that were usually recorded live as the action took place.

text: Some TV versions also feature a longer version of the scene where Cledus wades into the pond after Fred.[30]

text: Spinoff[edit]

text: This section needs expansion. You can help by adding to it. (April 2013)

text: A series of television movies aired in 1994. The car featured was a Dodge Stealth.

text: Reboot[edit]

text: In late 2017, Universal Pictures accquires Edgar Wright to direct a reimagining/reboot of the first film, due to the summer of 2019 release.


document_title: Forestry in Russia

question_text: what are two important challenges to russia's forestry industry

question_tokens: what are two important challenges to russia 's forestry industry

text: Forestry in Russia

text: Composition[edit]

text: Forestry (raw only accommodation factor)

text: European North

text: (The forest area is reduced)

text: Eastern Siberia Ural Far East Mechanical wood processing Sawmills (raw factor) Construction materials (consumption factor) - is typical for all regions Chemical treatment of wood Pulp and paper industry (energy, raw materials, environmental factors accommodation, hygroscopic) Dendrochemistry (raw factor) Machining of wood [edit | edit wiki text]

text: Vintage frame saw, mounted on Rakovski Street in Minsk Mechanical wood processing (sawmilling, manufacture of prefabricated wooden houses, furniture, plywood, wood-fiber, chipboard) is located in the blanks areas and in areas of consumption. (Especially when crossing the floatable rivers and railways, or in estuaries)

text: Lumber [edit | edit wiki text] In connection with the declared policy of the Russian government to reduce the export of raw timber companies are starting to increase the export of sawn timber. In the 1st quarter of 2010 the volume of exports of softwood lumber from Russia increased by 11%, export prices increased by 6%, it said in a published analytical results service Lesprom Network export markets research. The bulk of Russian lumber was shipped to China, Egypt, Uzbekistan, Japan and Iran. In the 1st quarter of 2010 increased the volume of lumber shipments to Europe, China, Middle East and North Africa. Reduced prices for lumber, raised in China and the CIS countries. At the same time China took the largest share in exports - 19%. The leaders in the volume of exports of sawn timber in the 1st quarter were: Lesosibirsk LDK, Ust-Ilim Timber Processing Plant, Novoyeniseysk LHK, "Sawmill-25" and "Svir Timber".

text: Pulp and paper industry [citation | edit wiki text] Main article: Pulp and Paper Industry in Russia In the production of paper in the first place the European North, in the second - the Eastern Siberia.

text: Venues - Arkhangelsk, Syktyvkar, Krasnoyarsk, Bratsk and Ust-Ilim, Irkutsk. And Svetogorsk, Moscow, Balakhna (Nizhniy Novgorod region), Astrakhan (as a raw material - cane), Rostov-on-Don (as a raw material - cane), Amursk, Perm, Solikamsk. In this connection, the sharpness becomes the question of the preservation and renewal of forest resources in Siberia (especially taiga) and the other aforementioned cities of the Russian Federation.

text: The largest enterprises of the timber industry, combining all stages of the processing timber 3 are called the timber industry complex. It Arkhangelsk, Syktyvkar, Asino (Tomsk.), Krasnoyarsk, Lesosibirsk (Krasnoyarsk region), Bratsk and Ust-Ilim, Komsomolsk-on-Amur.

text: Biofuels [edit | edit wiki text] In Russia, the development of the biofuel sector is regulated by the state program "Energy saving and energy efficiency for the period up to 2020." and "Energy Strategy of Russia for the period till 2030". However, as noted in the journal article "Forest Industry". [6], these goals are not sufficiently clear in the draft. According to these documents, by 2020, 4.5% of electricity in Russia must be made with the use of alternative sources. In Norway the figure is 67.5%, in Sweden - 50%, in Latvia - 40%.

text: With the growing of biofuel consumption in Central Europe will miss its forest resources, therefore, Germany, Netherlands, United Kingdom increase the import of pellets. Russia is fully capable to take a large part of this market, but it is necessary to improve the country's relations with Europe. Direct Russian competitors in the market of wood pellets in Europe - Brazil, Canada and the United States with large reserves of biofuel feedstocks.

text: Russian forest-based industries financials[edit]

text: Profitability ratio of Russian forest industry companies decreased harshly in 2008, as indicated in the annual Top 50 Russian Forest Industry rating published by Lesnaya Industriya Russian magazine.

text: Following the results of 2008, joint revenue of companies listed in the Lesnaya Industriya’s Top 50 amounted to 216.34 billion roubles ($7.19 billion). Ten largest companies had over 70% of the total Top 50 joint revenue. Joint net benefit of 50 companies made up 6.26 billion roubles ($208.1 million). Share of woodworking companies that do not deal in pulp and paper business was slightly over 27% of the total revenue and 26.8% of the total net benefit.

text: Average profitability ratio of Top 50 companies decreased to 0.7%, compared to 9.0% in the previous year. Woodworking companies’ profitability was slightly higher than that of pulp and paper companies (5.7% and 4.9% respectively). Only four of the Top 50 companies managed to reach a double-digit profitability ratio.

text: Zelenodolskiy plywood plant had the highest profitability ratio (17%) in 2008. The fastest-growing forest industry company in Russia was United Panel Group, which revenue boosted by 89.5% up to 3.04 billion roubles. Among pulp and paper companies, the fastest-growing was Obyedinyonnye bumazhnye fabriki (United paper mills, +49.6% up to 1.76 billion roubles).

text: Ilim Group gained the largest net benefit un 2008 (1.67 billion roubles) and was also listed in the Top 50 forest industry companies as having the largest revenue (37.92 billion roubles).

text: The Top 50 Russian Forest Industry rating is prepared and published by Lesnaya Industriya magazine on the base of companies’ accounting reporting and data provided by th companies. [7]

text: Problems of forest industry[edit]

text: The forest industry is harvested annually about 0.5 billion tons of biomass, of which production is only 25%. Do not use needles, bark, twigs, that apparently is due to irrational use of extracted raw materials. The finished product is converted only 11% of the feedstock. In addition, according to the voiced in autumn 2011 Forest Club participants at the St. Petersburg International Forestry Forum, Russian timber industry is faced with the following problems:

text: The increase in fuel prices; Problems of transport and logistics. Including commercialization and transport companies serving the forest industry, which caused an increase in the final cost of forestry products; Problems of legal regulation of the lease and the organization of auctions for the right to lease forest areas; The lack of a coherent foreign countries the regulatory framework governing economic relations; The cost of cleaning systems for water and air resources used in the timber industry; The absence of a competent methodology of selection of investment projects in the timber industry. [7]


document_title: Lanval

question_text: the lady whom lanval meets in the meadow warns him that he will never see her again if

text: Lanval

text: Historical context[edit]

text: Lanval is one of Marie's 12-lai collection, and only one explicitly set in Arthur's court with reference to the Round Table and the isle of Avalon (although the lai Chevrefoil too can be classed as Arthurian material).[2] It was composed after Geoffrey of Monmouth’s who wrote of King Arthur in History of the Kings of Britain (ca. 1136) and of Avalon in Life of Merlin (ca. 1150).[3] A lai is a lyrical, narrative written in octosyllabic couplets that often deals with tales of adventure and romance. Lais were mainly composed in France and Germany, during the 13th and 14th centuries.

text: Marie's lays despite the fairy tale atmosphere all feature ordinary humans, except for Lanval which features an immortal "fairy mistress". Here too, she is not "particularly supernatural" in her described manners and guises. However, she is evidently from the Otherworld and able to confer everlasting life on her lover.[4] Lanval is rescued from Arthur's judgment by his mistress, which reverses the traditional gender roles of the knight in shining armor and the damsel in distress—at the conclusion, Lanval leaps onto the back of his mistress's horse and they ride off to Avalon.

text: Having composed Lanval around 1170-1215, Marie wrote near the time of the Third Lateran Council 1179, which prescribed excommunication for those guilty of sodomy. This was following a tradition derived from a misreading of the Bible that the innocent in Sodom and Gomorah were killed as well as the guilty for homosexuality, although it states that God only slew the wicked. Thus, homosexuality became a sin not just against oneself, as with other sexual sin, but an endangerment to everyone near the person. In France Rouen 1214 it was punishable by hanging. The only way to prove sexuality was to have open mistresses, and so abstinence or not condemning the sin led to imagined guilt. Lanval, by saying that he did not want to betray the king implied that the queen was behaving traitorously. By declaring him an homosexual, Guinevere reflected that charge back on him because everyone was endangered by that sin, according to common belief.[5]

text: Lanval's economic situation at the beginning of the Lai also has basis in history. Lanval is depicted as a knight that experiences personal alienation in reflection of the actual alienation of twelfth century lower nobility that primarily consisted of younger, unmarried sons. During the crisis of aristocracy, caused by the reconstitution of monarchy and through the rise of the urban bourgeoisie, the bacheliers or jeunes found themselves in a position of being without land or in the need to sell that which they did own in order to pay off their debts. Lanval is poor not just because of neglect but also because he has spent all that he has inherited.[6] His condition reflects both a class and generation whose dispossession is the result of a matrimonial model that works against the interest of women and younger sons. Under which if the eldest son survived to the age of marriage and reproduction, the younger siblings were left to wander far from home, much like depicted within the opening lines of Lanval. His wandering into the countryside and encounter with the fairy mistress represent the dream of possession. She serves as a foil to reality, while he is exiled, she has left her own country to find him and while he is neglected by Arthur, she holds him above all other knights. Most importantly while Lanval is poor, she is rich beyond measure. Lanval can be read as a sort of parody of the numerous damsel in distress tales in which a valiant knight rescues a maiden. As within Lanval it is the fairy mistress saving the valiant knight from distress instead. She is the literary incarnation of a fantasized solution to class issues which persisted in actual history during the twelfth century for young knights.[7]

text: Plot[edit]

text: Lanval, a knight in King Arthur's court, envied for "his valor, his generosity, his beauty, his prowess", is forgotten from being invited to a banquet where the King distributed rewards, and falls into penury. Lanval rode out to a meadow one day and lay down by a stream. Two women appear and direct him to a tent to see their lady, who is in love with him. Lanval is immediately struck by the lady's beauty (who is never mentioned by name) and they become lovers. She blesses him that, "the more richly he spends, the more gold and silver he will have," and that she will come when he wants her, but only on the condition that he does not tell anyone else of her.

text: Lanval goes home and gives gifts, and they continue to meet. After a while he is invited to join the knights by Gawain. The Queen (Guinevere) makes advances to Lanval, which he rebuffs, and the Queen accuses him of homosexuality. He protests by saying he has a mistress, even whose handmaidens more beautiful than the queen, thus breaking his oath of secrecy to the fairy mistress, and defaming the queen at the same time.

text: The queen then complains to Arthur that Lanval asked to be her lover and when she refused him he said he loved someone more beautiful, and Arthur puts Lanval on trial. It is decided that if his lady comes then they will know that Lanval would not have made advances on the queen. Lanval has been calling to her, to no avail. Lanval becomes very sullen and almost depressed because he is longing for his lover to come and prove herself and to prove that the promise that they made with each other was true. A lot of the barons and other knights believed Lanval, but they did not want to go against their king so they agree to the trial. Lanval at this point is all on his own until there is a shift in the narrative. The day of the trial arrives and first her maidens come, then her. By her beauty and request, Lanval is freed and hops up behind her on her horse to go to Avalon.[8][9]

text: Analysis[edit]

text: One reading of the text introduces the theme that such a devoted love as Lanval's can't exist within the society of the day. This is first symbolized when Lanval abandons his horse to go into the woods to see the lady. This represents his willingness to leave behind the world he knows and the world which makes him an outcast. As he forsakes the world he knows he is well rewarded by the unnamed lady who only asks that he keep their love a secret. His "love" becomes that more impassioned and he is willing to drift away from the world he knows. This is seen when Gawain invites him to spend time with him and the other knights—however it is not long before Lanval drifts off to be by himself."Marie wishes us to realize, however, the tragedy that such an intensely personal love will always be at odds with the world, so dedicated to society of others. Consider how no other characters ever act or are seen alone in the poem. The only other valiant character, Gawain, is nevertheless always described as being part of a company, even when they are nameless, as though to suggest he cannot act without his buddies. Arthur cannot decide Lanval's fate without calling together his men, who then request that they contact more men to facilitate the process." [10]

text: Another reading can be seen from a sexual standpoint. Marie De France’s story begins with a young knight of the Arthurian court named Lanval. Lanval is a "king’s son" who feels he has great potential because of lineage. He is a knight possessed of great qualities including both beauty and valor, and as a result is envied by many other knights who would not have grieved had he suffered misfortune. Arthur never grants him anything, despite his loyal service, and neither do the other knights make any effort to help him. As he was born far away and has long since spent his inheritance, Lanval lives a sad, lonely life.[11] In search of fulfillment and help from his “sorrows”,[12] Lanval saddles a horse and rides off into the forest in search of enlightenment as to the meaning of his life. Marie De France’s understanding of Lanval’s, and most adolescents’, psychology is impressive. She continues to follow this psychology and Lanval’s transition from boy to man throughout her lais, but does it in a more symbolic and cryptic form. Lanval enters the forest in search of something. The forest is a common representation of the unknown or discovery that we later see in early American literature, and that still exists today (Peterson). Once Lanval enters the forest, it is clear the forest truly represents discovery. As he enters the forest he finds a nameless woman who "[grants] him her love and her body",[12] facilitating his transition from boyhood to manhood. However, this relationship that Lanval has with the unknown woman is more like that of masturbation. It is a way of self-gratification and done in secret. Though this relationship he feels more like a man but is unable to tell other the source of his confidence. This transition comes strictly from finding his sexuality, which will later be threatened by the very court that caused him his previous turmoil.

text: By realizing the whole purpose of Lanval’s journey to the woods, and his new found sexuality we also understand the purpose of the unnamed woman. Her whole existence is based upon Lanval and awaking his sex drive. This gives great insight into how many women felt throughout this time period, but also how they were viewed: as necessary objects for the future generation. By the end of the poem Lanval’s ultimate lover still has no name. Nevertheless, she shows Lanval mercy by saving him from a terrible fate, despite his having broken his only promise to her. Many people view "Lanval" as being a rather revolutionary story for its time in regard to feminism because of the unnamed woman’s heroic ending. She saves Lanval instead of the traditional knight who saves the damsel in distress.Though this is one possible solution, it is also important to remember that this woman is no more than a nameless beauty with no personality. Her only role within the story is to gratify Lanval, but she also has the power to withhold that gratification. This is what is most different and makes steps to changing the game of romance so to say. Now women have a voice, though not much of one. They might not be able to simply refuse a man, but they are now able to set conditions through which men can obtain their gratification. Here Marie has set women on a pedestal causing them to appear more desirable while also setting parameters in order to achieve that beauty. Another point of interest is when she comes to rescue Lanval and comes riding upon a palfrey and putting Lanval behind her. The story ends with "No one ever hear[ing] another word of him".[13]

text: Lanval has a fairy-tale like simplicity, and leaves the realm of reality for a “happily ever after.” Avalon remains the utopic place accessed only through rejection of and by the real world. As readers of Lanval in the twenty-first century, we only have one reaction: Happiness, and maybe relief at the justice the story offers Lanval.[14]

text: In Lanval there is a parallel between Lanval's relationship with Arthur, and with lady. Lanval was a foreigner, and Arthur would not give him gifts despite Lanval being his vassal. This was a break of the traditional lord and vassal relationship, and Arthur possibly did it to ensure that Lanval would not leave once he had enough money. However, Lanval swears undying love to his lady, breaks his promise to her in order to prove his love for her. This is a break from courtly love, in that Lanval's love is not adulterous. His love forgives him, and even takes him to Avalon in contrast to Arthur's unwillingness to fulfill a lord's obligations.[15]

text: Allusions[edit]

text: This lai makes a number of references to ancient history. When describing the opulence of the fairy lady's lodgings, Marie de France describes them as being superior to those of the Assyrian queen Semiramis and the Roman emperor Octavian. Another example is Guinevere's denouncement of Lanval, which is an allusion to the story found in Genesis 39:7, where the wife of the powerful Potiphar falsely accuses Joseph of trying to seduce her against her will.[16]

text: "Lanval" is related to two other anonymous lais: "Graelent" and "Guingamor".[17] With "Graelent" it shares a plot structure involving a fair lover whose identity must not be revealed if her love is to be kept.

text: The idea of the woman being more beautiful than any other woman is an allusion to her being a fairy. Which in this story shows that this story is more fairy tale than factual. [18]

text: Form[edit]

text: The work was written in eight-syllable couplets, the standard form of French narrative verse.[19]