document_title: List of The Drew Carey Show characters

question_text: who played oswald on the drew carey show

text: List of The Drew Carey Show characters

text: Main characters[edit]

text:
Drew Allison Carey (Drew Carey) – Drew Carey is the main protagonist of the series. A perpetual "nice guy", for most of the series, he works in the human resources department of Winfred-Louder, a multinational department store chain. Drew is the founder and co-owner of Buzz Beer, a coffee-flavored caffeinated beer (at the time, such drinks were legal but uncommon in the United States). He has a long-standing feud with co-worker Mimi Bobeck; both play endless, occasionally complicated, seriously mean-spirited pranks on each other until she becomes his sister-in-law, after which they still dislike each other.[1]
Mimi Bobeck (Kathy Kinney) – Mimi Bobeck is Mr. Wick's assistant/secretary and the main antagonist of the series. Much like Fonzie from Happy Days and Steve Urkel from Family Matters, the Mimi character was originally a one-time character, only appearing in the pilot episode.[2] She is an overweight woman who wears a lot of makeup, yet has a very high but unstable self-esteem. (As an in-joke, Mimi's mother was played by known makeup addict and connoisseur Tammy Faye Bakker.) Mimi is Drew's nemesis; she vowed to make Drew's life a living hell after Drew denied her a job based on her makeup. Mimi's pranks included gluing Drew's hand to a pornographic magazine, covering Drew's desk with garbage, and eventually sending Drew to China while he is unconscious. She is also known for calling him "Pig" and "Doughboy." Mimi's past has a lot of connections to the world of music; she often talks about being a roadie for Foghat and was married to Eddie Money for two weeks after appearing at his first concert. Additionally, she claims to have slept with both Joe Walsh and Peter Frampton. Later on, Mimi becomes more of a friend to Drew (they agree to put their feud on hold while Mimi dates and later marries his brother, Steve) and a loving, if unconventional, mother to Gus. Early in the series, it was revealed that Mimi was Catholic and of Polish ancestry, and inherited the title of Duchess of Kraków after her aunt died. (Starting in 2009, Mimi/Kinney resurfaced as a guest on The Price is Right, hosted by Drew Carey since October 15, 2007, during the show's April Fool's episode, first in 2009 as a model and then ransacking Mike Richards' position as executive producer on the show, in 2010. Carey usually promotes Kinney's next project during the closing of that episode.)
Lewis Kiniski (Ryan Stiles) – Forms a double-act with Oswald. Lewis, who is tall, gangly, and perpetually bemused. Ryan Stiles once described Lewis as "Not even a character at first, just a creep really." He possesses an IQ of 162, but works as a janitor for a company called DrugCo, which conducts bizarre experiments. Due to accidentally releasing a strain of bacteria into the population, he was busted down to janitor from a position that required him to wear a lab coat. At one point, he posed as Drew to take his physical exam for him, unexpectedly taking a psychiatric exam as well. He tried to give answers which he thought suited Drew's life and situation, and the results showed him to be mentally unstable and possibly criminally insane. He mentioned in one episode he was adopted.
Oswald Lee Harvey (Diedrich Bader) – Lewis's slightly shorter, dark-haired friend is the dumb one of the double-act, which tends to be his most distinguishing characteristic. Lewis described him once as a "man-child stuck in a sort of prolonged adolescence." Oswald was a deejay at the beginning of the first season but later on became a delivery driver for Global Parcel (a fictional package-delivery service whose uniforms are modeled after those of UPS). He later attempted to become a nurse, but he failed the required tests. Drew later got him a job as a delivery man for Never Ending Store, but Oswald was injured on store property. After receiving damages, he bought the Warsaw. In the episode Bus-ted, it is revealed that Oswald joined the group of friends to replace Adam, a childhood friend who fell through the ice on a lake.
Kate O'Brien (Christa Miller) – Friends with Drew, Lewis, and Oswald since they were kids. Kate is a bit of a tomboy and a hothead and good with her fists. She and Oswald almost got married at one point, but she called it off just after Oswald threw her a surprise wedding (essentially leaving Oswald at the altar). She later found out about Drew's long-standing crush on her at their high school reunion, and she realized that she had feelings for him too. They dated for a season (even becoming engaged) but broke up when they disagreed about having kids. Drew and Kate were married for a short time in a later season, although this was illegal, as Drew had just become married to his old girlfriend, Nicki. Eventually, Drew's sham was discovered and Kate felt betrayed. Drew eventually regained Kate's trust and they became friends again. Kate left at the beginning of the eighth season, marrying a Naval aviator and moving from Cleveland to Guam.
Nigel Algernon Wick (Craig Ferguson) – Drew's boss after the first season, replacing Mr. Bell (Kevin Pollak). English, crude, boisterous and offensive, he was also a cocaine addict before he was forced to go into rehab. For some time, he and Drew were in a same-sex marriage (technically a civil union) in order for Mr. Wick to get his green card and Drew to get his job back. When he first appeared on stage in guest episodes in the last two seasons he was greeted with thunderous applause. Wick always had unusual methods of firing employees (usually men surnamed Johnson), which he does in most episodes. He is almost always referred to as "Mr. Wick", and his first name, Nigel, is rarely used. In the show's first April Fool's Day episode, Wick was shot in the crotch with a crossbow by an employee (named Johnson) whom he had just fired. Wick had to have one of his testicles removed. Wick also lost a toe and a nipple in a fox hunt that went terribly wrong. Craig Ferguson initially auditioned at Warner Bros. for a role as a Hispanic photographer on Suddenly Susan, and after he failed his audition, the casting director referred him to The Drew Carey Show which was auditioning across the studio. Ferguson, who is Scottish, played the role with an over-the-top posh English accent "to make up for generations of English actors doing crap Scottish accents." At the end of one episode, Ferguson broke the fourth wall and begin talking to the audience at home in his regular Scottish accent.
Steve Carey (John Carroll Lynch) – Drew's straight but cross-dressing brother. He came to Cleveland and got a job in the cosmetics department at Winfred-Louder. He fell in love with Mimi and after one season of dating they married in a ceremony in Drew's backyard, with Drew officiating along with an online minister from an Internet website. In later seasons the concept of Steve being a cross-dresser is abandoned entirely with little explanation (though it is hinted that he gave it up to make Mimi happy). He left, along with Kate and Wick, early in the eighth season.
Kellie Newmark (Cynthia Watros) – Drew's childhood friend. She has had a crush on Drew since high school but never told him. She was married but her husband cheated on her with her sister. Her mother is an alcoholic and leaves her father, eventually hooking up with Lewis. After Kate leaves, Drew realizes that he loves Kellie. Drew is afraid to tell Kellie because it may ruin their friendship like it did with Kate. After Lily leaves Drew, they confess their feelings for each other. When Kellie comes out while Drew is talking to his dad and asks Drew what they are going to do about their feelings for each other, Drew's dad falls off the roof and dies. Eventually during the beginning stage of their relationship Kellie finds out she is pregnant with Drew Jr. but won't marry Drew because she doesn't think he is ready for marriage. During the finale she decides Drew is ready. But her water breaks and she and Drew get married right when the baby is born.

text: Drew's marriages[edit]

text: Much of the show's humor revolved around Drew's single life (in real life, Drew was engaged for the first time in 2007, shortly after becoming a game show host). However, Drew was married a number of times during the show's run. His spouses during the series were:

text:
Diane (Nicole Sullivan) – A cocktail waitress Drew met on a business trip to Las Vegas. She tricked Drew into marrying her because she believed having a husband would give her an edge in winning custody of her children. Drew agreed to help her with the social workers, and they divorced a week later.
Nicki Fifer (Kate Walsh) - A real estate agent whom Drew dated and became engaged to; she dumped him after gaining a large amount of weight while they were dating (and, in her own words, "couldn't be with a man who loved to eat"). She lost the weight, got married and came back to Drew after her divorce (when Drew had just left a mental institution). Drew asked her to marry him on an impulse, and she agreed. Unfortunately, Drew married Kate soon after (thus becoming a bigamist) and she left him. Nicki returned later, having regained all her previous weight, and attempted to kill Drew because she blamed him for all the recent problems in her life. Drew let Nicki stay at his house until she could get back on her feet, after which she was rarely seen again.
Kate – The love of Drew's life and his best friend since childhood, Drew and Kate first broke off their engagement after a disagreement about having kids. After Drew's stint in the mental hospital, Kate realized that she still loved Drew and asked him to marry her. Drew agreed (despite having recently married Nicki and still being married to Mr. Wick) and kept both his marriages a secret for a time. Both wives discovered the situation, and Kate, furious, dumped Drew and told the newspapers about the situation; Drew became known as "The Impotent Bisexual Bigamist."
Lily (Tammy Lauren) – A Southern belle who met Drew after Oswald and Lewis started a campaign to find him a wife. Drew brought Lily to Cleveland and attempted to establish a relationship with her, but found it difficult to deal with Lily's night terrors. Drew ended up proposing to Lily on three different occasions: once in his house, another in a movie theater, and finally, back at his home again. After Drew tore up all of his pre-determined wedding plan receipts, Lily agreed to marry him. Lily left Drew after the wedding, driving off without him after giving Drew his ring back. At the reception, Drew and Kellie expressed their hidden love for each other and began their relationship, which would also lead to Drew's final marriage.
Kellie Newmark (Cynthia Watros) – Drew's childhood friend who was introduced in the eighth season. Drew went to a strip club and discovered that Kellie was working as a stripper to support herself after her divorce from her husband. Drew takes her into his home and their friendship blossoms. They were both reluctant to confess their feelings for each other, but they became a couple after Drew and Lily's wedding. Kellie soon becomes pregnant, but refuses to marry Drew for another eight months. On their wedding day and the series finale, Kellie gave birth to Drew Jr.

text: Other characters[edit]

text:
Larry Almada (Ian Gomez) – One of Drew's co-workers, Larry is a bumbling and somewhat unprofessional employee who is often willing to resort to less than savory methods to gain the upper hand. During a competition to determine the new employee representative on the Winfred-Louder board of directors, he managed to obtain the position by having sex with Mrs. Louder, a practice he repeats several times after being dumped by his wife. He loses his job on the board shortly after receiving the promotion, but continues his secret relationship with Mrs. Louder. He also ends up in jail for selling drugs, but is released and continues his job at the department store. After leaving Winfred-Louder, he set up a reasonably successful dating service which later expanded into a television chat show.
Gerald Hawthorne Bell (Kevin Pollak) – Drew's boss for the show's first season. Mr. Bell only appeared in person for his last appearance. He gets caught having relations with a woman in his office, and he and Mrs. Louder have to talk it out. When he appears, he is wearing a Santa costume. We only heard his voice on Drew's speakerphone, despite the fact that Drew had his desk very close to Bell's office. Little was known about him, but he behaved in a sexist and unprofessional manner, including liaisons with at least one female staffer. In the last episode of the first season, Mr. Bell finally appeared on camera as he was seen leaving his office after getting fired from the store. The running joke of his never being officially seen until this moment is referenced in dialogue when he says; "What's the matter, Carey? You act like you've never seen me before!"
Fran Louder (Nan Martin) – Mrs. Louder is one of the executives' "cougars" and partial namesake of the Winfred-Louder corporation who originally inherited the store from her dead husband. She is the CEO of the company that owns the department store, and retains her position even after the corporation is bought out by a larger company located in Amsterdam. As the head of the store, she thinks very little of Drew, and openly expresses surprise at the assertion that he still has dreams of becoming more successful, Mrs. Louder occasionally gives him minor promotions throughout the series, but his personality clashes with her ruthless and businesslike nature. She is somewhat sex-obsessed and conducts a long affair with the boorish, lazy, and obnoxious Larry Almada, played by Ian Gomez. (In another episode we learn Almada is superendowed sexually.) Mrs. Louder is last seen accompanying Mimi and Steve on their honeymoon (she advises them that she is a voyeur but they are forced to take her with them, anyway). She is removed from power shortly after when a member of the board improvises a speech slurring ethnic groups and gays. The insulted employees begin to riot, gaining the attention of the bosses in Amsterdam, who replace the entire board of directors except, for some reason, for Mr. Wick.
Robert Soulard (Mark Curry) – One of Drew's bosses at Winfred-Louder, Mr. Soulard was appointed by the Dutch as Mrs. Louder's replacement after the latter was fired along with the original board of directors. Slightly more open-minded than his predecessor, Mr. Soulard agrees to listen to the employees after he is made the new boss, and quickly appoints Drew to be the new Store Manager when Mr. Wick's incompetence gets him sent to Toledo for retraining.
Beulah Carey (Marion Ross) – Drew's and Steve's mother, married to George Carey (Stanley Anderson). George Anderson dies towards the end of the series' run, although not due to the death of the actor.
Kim Harvey (Adrienne Barbeau) – Oswald's mother, who wears tight clothes and sweaters with plunging necklines. Her sexiness caused the young Drew in his childhood to commit some embarrassing fauxes pas.
King Augustus Antonio Carey (Dakota and Ryan Williams) – Gus is Steve and Mimi's son as well as Drew's nephew, who saved Mimi from being fired by Drew in the episode "Drew Pops Something On Kate". Just as Drew is about to fire Mimi, he kicks while in the womb for the first time, causing him to feel compassion for Mimi and preventing him from firing her. Gus was born while Drew was in a coma, and his spirit (voiced by Jon Polito) met Drew up in Heaven before being born. After hearing Drew make jokes about how horrible Mimi was, Gus was afraid to be born. Drew convinced him that Mimi would be a good mother by going back down to Earth and spending time in the baby's body. Drew told this story to the others after coming out of his coma, but nobody believed him. Gus was an infant for most of his time on the show, but received an age boost (putting him somewhere between 5 and 6 years old) for the final season. He burns down his house, initially thought to be with a wood-burning kit that Drew gives him as a gift. Since Mimi and Gus had nowhere to live, Drew offers his home to them, and they stay there almost until the end of the show. It was later discovered that Gus was a pyromaniac and intentionally started a fire in the house.
Lisa Robbins (Katy Selverstone) – Drew's girlfriend from season one, she is prevented from dating him as the rules at Winfred-Louder do not allow management to participate in romantic relationships with their employees. Although this initially forces them to hide their relationship in public, they eventually find a way to overcome this obstacle. She vies for a job as the head of the personal shopper department to become a member of the store's management, prompting a competition with fellow applicants Kate and Mimi. Lisa begins dating Drew after she gets the job, but after a failed attempt to live together they agree to break up. She leaves her dog, Speedy, behind to stay with him and departs for good after her marriage in the second season.
Lord Mercer (Jim Piddock) – An extremely wealthy Englishman, who bought Winfred-Louder and became the new owner after the Dutch divested themselves of the company/store(s). He also brings back Mr. Wick, saying only Englishmen know how to run a business: despite this, he once put his teenybopper daughter Milan (Jessica Cauffiel) in charge of Winfred-Lauder.
Christine Watson (Wanda Sykes) – Hired to replace Nigel Wick as manager, falls in love with Drew.
Jay Clemens (Robert Torti) – Kate's handsome boyfriend from season one.
Evan (Kyle Howard) – Co-owner of Never Ending Store with his brother, Scott (of the two bosses, he is regarded as the 'nice' one). He is a Zen-seeking Buddhist who promotes peace and support, although he himself has a life coach, sees a family therapist with his brother, and takes anti-anxiety pills. He has a tenuous relationship with Scott because they spend so much time together.
Scott (Jonathan Mangum) – Co-owner of Never Ending Store with his brother, Evan. He is more business-minded than Evan, and can get very irritated by Evan's peace-seeking way of life. He teaches computer classes during the summer.
Mrs. Wick (Richard Chamberlain) – Nigel Wick's "Mum" Maggie, played by Chamberlain in drag. The character is clearly promiscuous, young Nigel having grown up with a series of "uncles" in and out of his life.
Chuck (Kelly Perine) – Security Guard/Head of Security at Winfred-Louder. Chuck is a fellow employee at Winfred-Louder who seems to have a friendly relationship with Drew, as he, in his first appearance in the episode "No Two Things Are Exactly Alike" in Season 1, he tips Drew to the person who complained about a fellow employee who became offended at a sexually offensive cartoon which he put on a memo in the hopes of boosting company morale. In Chuck's final appearance in the Season 5 episode "Drew and the Racial Tension Play", Chuck is among the many minority employees who become offended at the socially insensitive comments of senior company board member Arthur Crawford (Hansford Rowe) who try to solicit Drew to get Crawford to apologize for his comments or resign.

text: Notable guest stars/actor cameos[edit]

text:
Tim Allen – Himself
David Lander – Himself
Jamie Lee Curtis – Sioux
David Cross – Earl
Tom Bosley – Mimi's Father
Tammy Faye – Mimi's Mother
Brian Haley – Drew Look-Alike
Martin Mull – Himself
Michael R. White – Himself
Dan Castellaneta – Stan
Rachel Hunter – Herself
Donald Trump – Himself
Carol Channing – Herself
Rush Limbaugh – Himself
Eugene Levy – Dr. Rider
Joe Alaskey – Daffy Duck
Dick Clark – Himself
Paul "Triple H" Levesque – The Disciplinarian
Bo Derek – Herself
Wayne Brady – Himself
Greg Proops – Himself
Brad Sherwood – Himself
Laura Hall – Herself
Arturo Brachetti – Himself
J.P. Manoux – Malcolm
Cameron Mathison – Kirk
Norm Macdonald – Simon Tate
Heather Locklear – Herself
Dave Mustaine – Himself
Chip Esten – Himself

Kathy Greenwood – Herself
Carmen Electra – Lewis's Boss
Jay Leno – Lewis's Boss
Charles Nelson Reilly – Lewis's Boss
Ben Stein – Heavenly Guide
Gary Coleman – Drew's Double
Jimmie Walker – Lewis's African-American Double
Meshach Taylor – Oswald's African-American Double
Kim Fields – Kate's African-American Double
Thea Vidale – Mimi's African-American Double
Jenny McCarthy – Sketch Player/Marlo Kelly
Amanda Bynes – Sketch Player
Henry Winkler – Mr. Newsome
John Ratzenberger – Himself
Leslie Sykes – Herself
Lacey Chabert – Grace
Roselyn Sanchez – Maria
Kathryn Joosten – Natalie
French Stewart – Buddy
Lorenzo Music – Store Announcer
Jeff Davis – Himself/D'Artagnan
Jessica Cauffiel – Milan
Illeana Douglas – Rachel Murray
Tom Poston – Oswald's conniving former jailbird father
Colin Mochrie – Eugene Anderson
Wayne Knight – Insurance examiner

text: Musical artist cameos[edit]

text:
Little Richard
Joe Walsh (initially as himself, then as Ed, lead guitarist of Drew's band The Horn Dogs)
Dionne Warwick
Roy Clark
Dusty Hill
Jonny Lang
Lisa Loeb
Dave Mustaine
Rick Nielsen
Joey Ramone
Slash
Michael Stanley
Henry Rollins
Matthew Sweet
"Weird Al" Yankovic
Eddie Money

Charlotte Caffey
Belinda Carlisle
Gina Schock
Kathy Valentine
Jane Wiedlin
SHeDAISY
Smash Mouth
John Regan
Peter Frampton
Bob Mayo
Uncle Kracker
Sugar Ray
Motörhead
Blue Man Group
Dee Snider
Goo Goo Dolls
The Reverend Horton Heat
The Go-Go's

text: Sports personality cameos[edit]

text:
Rosey Brown
Dave Winfield
Bernie Kosar
Bob Costas
Kenny Mayne
Lynn Swann
Chris Palmer
Bobby Bonds
Jeff Gordon
Triple H


document_title: Chitty Chitty Bang Bang

question_text: where was the beach scene in chitty chitty bang bang filmed

root

text: Chitty Chitty Bang Bang

text: Plot[edit]

text: Set in circa 1910, the story opens with a montage of European Grand Prix races in which one particular car appears to win every race. In the final race, the car crashes and catches fire, ending its racing career. The car ends up in an old garage in rural England, where two children, Jeremy (Adrian Hall) and Jemima Potts (Heather Ripley), have grown fond of it. However, a man in the junkyard intends to buy the car from the garage owner, Mr. Coggins (Desmond Llewelyn), for scrap. The children, who live with their widowed father Caractacus Potts (Dick Van Dyke), an eccentric inventor, and the family's equally peculiar grandfather, implore their father to buy the car, but Caractacus can't afford it. While playing truant from school, they meet Truly Scrumptious (Sally Ann Howes), a beautiful upper-class woman with her own motor car, who brings them home to report their truancy to their father. After she leaves, Caractacus promises the children that he will save the car, but is taken aback at the cost he has committed himself to. He looks for ways to raise money to avoid letting them down.

tag: p

text: The next morning, Potts discovers that the sweets produced by a machine he has invented can be played like a flute. He tries to sell the "Toot Sweets" to Truly's father, Lord Scrumptious (James Robertson Justice), a major confectionery manufacturer. He is almost successful until the whistle attracts a pack of dogs who overrun the factory, resulting in Caractacus's proposition being rejected.

text: Caractacus next takes his automatic hair-cutting machine to a carnival to raise money, but his invention accidentally ruins the hair of a customer. Potts eludes the man by joining a song-and-dance act. He becomes the centre of the show and earns enough in tips to buy the car and rebuild it. They name the car "Chitty Chitty Bang Bang" for the unusual noise of its engine. In the first trip in the car, Caractacus, the children, and Truly picnic on the beach. Caractacus tells them a tale about nasty Baron Bomburst (Gert Fröbe), the tyrant of fictional Vulgaria, who wants to steal Chitty Chitty Bang Bang.

text: As Potts tells his story, the quartet and the car are stranded by high tide and are attacked by pirates working for the Baron. All of a sudden, Chitty deploys huge flotation devices and transforms into a power boat, and they escape Bomburst's yacht and return to shore. The Baron sends two spies to capture the car, but they capture Lord Scrumptious, then Grandpa Potts (Lionel Jeffries), mistaking each for the car's creator. Caractacus, Truly, and the children see Grandpa being taken away by airship, and they give chase. When they accidentally drive off a cliff, Chitty sprouts wings and propellers and begins to fly. They follow the airship to Vulgaria and find a land without children; the Baroness Bomburst (Anna Quayle) abhors them and imprisons any she finds. Grandpa has been ordered by the Baron to make another floating car, and he bluffs his abilities to avoid being executed. The Potts' party is hidden by the local Toymaker (Benny Hill), who now works only for the childish Baron. Chitty is discovered and taken to the castle. While Caractacus and the toymaker search for Grandpa and Truly searches for food, the children are caught by the Baron's Child Catcher (Robert Helpmann).

text: The Toymaker takes Truly and Caractacus to a grotto beneath the castle where the townspeople have been hiding their children. They concoct a scheme to free the children and the village from the Baron. The Toymaker sneaks them into the castle disguised as life-size dolls for the Baron's birthday. Caractacus snares the Baron, and the children swarm into the banquet hall, overcoming the Baron's palace guards and guests. In the ensuing chaos, the Baron, Baroness, and the evil Child Catcher are captured. The Pottses and Truly fly back to England. When they arrive home, Lord Scrumptious surprises Caractacus with an offer to buy the Toot Sweet as a canine confection. Caractacus, realising that he will be rich, rushes to tell Truly the news. They kiss, and Truly agrees to marry him. As they drive home, he acknowledges the importance of pragmatism, as the car takes off into the air again.

text: Cast[edit]

text: The cast includes:[5]

text:
Dick Van Dyke as Caractacus Potts
Sally Ann Howes as Truly Scrumptious
Adrian Hall as Jeremy Potts
Heather Ripley as Jemima Potts
Lionel Jeffries as Grandpa Bungie Potts
Gert Fröbe as Baron Bomburst
Anna Quayle as Baroness Bomburst
Benny Hill as the Toymaker
James Robertson Justice as Lord Scrumptious
Robert Helpmann as the Evil Child Catcher
Barbara Windsor as Blonde
Davy Kaye as Admiral
Stanley Unwin as the Chancellor
Peter Arne as the Captain of Bomburst's Army
Desmond Llewelyn as Mr. Coggins
Victor Maddern as Junkman
Arthur Mullard as Big Man
Max Wall as Inventor
Gerald Campion as Minister
Max Bacon as Orchestra Leader
Alexander Doré as First Spy
Bernard Spear as Second Spy
Richard Wattis as Sweet Factory Secretary (uncredited)
Phil Collins as Vulgarian Child (scene cut)

tag: ul

text: The part of Truly Scrumptious had originally been offered to Julie Andrews, to reunite her with Van Dyke after their success in Mary Poppins. Andrews rejected the role specifically because she considered that the part was too close to the Poppins mould.[6] Instead, Sally Ann Howes was given the role. Dick Van Dyke was cast after he turned down the role of Fagin from another 1968 musical Oliver! (which ended up going to Ron Moody).

text: Production[edit]

text: The Caractacus Potts inventions in the film were created by Rowland Emett; by 1976, Time magazine, describing Emett's work, said no term other than "Fantasticator...could remotely convey the diverse genius of the perky, pink-cheeked Englishman whose pixilations, in cartoon, watercolor and clanking 3-D reality, range from the celebrated Far Tottering and Oyster Creek Railway to the demented thingamabobs that made the 1968 movie Chitty Chitty Bang Bang a minuscule classic."[7]

text: Six Chitty-Chitty Bang-Bang cars were created for the film, only one of which was fully functional. At a 1973 auction in Florida, one of them sold for $37,000, equal to $203,972 today.[8] The original "hero" car, in a condition described as fully functional and road-going, was offered at auction on 15 May 2011 by a California-based auction house.[9] The car sold for $805,000, less than the $1–2 million it was expected to reach.[10] It was purchased by New Zealand film director Sir Peter Jackson.[11]

text: Locations[edit]

text:
Scrumptious Sweet Co. factory (exterior) – Kempton Waterworks, Snakey Lane, Hanworth, Middlesex, England.[12] This location now includes a steam museum open to the public.
Scrumptious Mansion – Heatherden Hall at Pinewood Studios in Iver Heath, Buckinghamshire, England.[12]
Windmill/Cottage – Cobstone Windmill in Ibstone, near Turville, Buckinghamshire, England.[12]
Duck Pond – Russell's Water, Oxfordshire, England.[12]
Train scene – The Longmoor Military Railway.
Beach – Cap Taillat in St. Tropez, France.
Bridge (river) where spies attempt to blow up Chitty – Iver Bridge, Iver, Buckinghamshire, England.
Bridge (railway) where spies kidnap Lord Scrumptious – Ilmer Bridge, Ilmer, Buckinghamshire, England.
White rock spires in the ocean and lighthouse – The Needles stacks, Isle of Wight, England.
White cliffs – Beachy Head, East Sussex, England.
Baron Bomburst's castle – Neuschwanstein Castle for the exterior, neighboured Hohenschwangau Castle for the interiors, Bavaria, Germany.
Vulgarian village – Rothenburg ob der Tauber, Germany.

text: Reception[edit]

text: Box office[edit]

text: The film was the tenth most popular at the US box office in 1969.[13]

text: Critical[edit]

text: Time began its review saying the film is a "picture for the ages—the ages between five and twelve" and ends noting that "At a time when violence and sex are the dual sellers at the box office, Chitty Chitty Bang Bang looks better than it is simply because it's not not all all bad bad"; the film's "eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility."[14]

text: The New York Times critic Renata Adler wrote, "in spite of the dreadful title, Chitty Chitty Bang Bang ... is a fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game"; Adler called the screenplay "remarkably good" and the film's "preoccupation with sweets and machinery seems ideal for children"; she ends her review on the same note as Time: "There is nothing coy, or stodgy or too frightening about the film; and this year, when it has seemed highly doubtful that children ought to go to the movies at all, Chitty Chitty Bang Bang sees to it that none of the audience's terrific eagerness to have a good time is betrayed or lost."[15]

text: Film critic Roger Ebert reviewed the film (Chicago Sun Times, 24 December 1968). He wrote: "Chitty Chitty Bang Bang contains about the best two-hour children's movie you could hope for, with a marvelous magical auto and lots of adventure and a nutty old grandpa and a mean Baron and some funny dances and a couple of [scary] moments."

text: Film critic and historian Leonard Maltin considered the picture "one big Edsel, with totally forgettable score and some of the shoddiest special effects ever."[16] In 2008, Entertainment Weekly called Helpmann's depiction of the Child Catcher one of the "50 Most Vile Movie Villains."[17]

text: As of March 2014, the film has a 65% "Fresh" rating (17 of 26 reviews) on Rotten Tomatoes.[18]

text: Accolades[edit]

text: The film was nominated for the American Film Institute's 2006 AFI's Greatest Movie Musicals list.[19]

text: Soundtrack[edit]

text: The original soundtrack album, as was typical of soundtrack albums, presented mostly songs with very few instrumental tracks. The songs were also edited, with specially recorded intros and outros and most instrumental portions removed, both because of time limitations of the vinyl LP and the belief that listeners would not be interested in listening to long instrumental dance portions during the songs.

text: The soundtrack has been released on CD four times, the first two releases using the original LP masters rather than going back to the original music masters to compile a more complete soundtrack album with underscoring and complete versions of songs. The 1997 Rykodisc release included several quick bits of dialogue from the film between some of the tracks and has gone out of circulation. On 24 February 2004, a few short months after MGM released the movie on a 2-Disc Special Edition DVD, Varèse Sarabande reissued a newly remastered soundtrack album without the dialogue tracks, restoring it to its original 1968 LP format.

text: In 2011, Kritzerland released the definitive soundtrack album, a 2-CD set featuring the Original Soundtrack Album plus bonus tracks, music from the Song and Picture Book Album on disc 1, and the Richard Sherman Demos, as well as six Playback Tracks (including a long version of international covers of the theme song). Inexplicably, this release was limited to only 1,000 units.[20]

text: In April 2013, Perseverance Records re-released the Kritzerland double CD set with expansive new liner notes by John Trujillo and a completely new designed booklet by Perseverance regular James Wingrove.

text: Home video releases[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010) (Learn how and when to remove this template message)

tag: table

text: Chitty Chitty Bang Bang was released numerous times in the VHS format. In 1998 the film saw its first DVD release. The year 2003 brought a two-disc "Special Edition" release. On 2 November 2010, 20th Century Fox released a two-disc Blu-ray and DVD combination set featuring the extras from the 2003 release as well as new features. The 1993 LaserDisc release by MGM/UA Home Video was the first home video release with the proper 2.20:1 Super Panavision 70 aspect ratio.

text: Adaptations[edit]

text: Novelisation of film[edit]

text: The film did not follow Fleming's novel closely. A separate novelisation of the film was published at the time of the film's release. It basically followed the film's story but with some differences of tone and emphasis, e.g. it mentioned that Caractacus Potts had had difficulty coping after the death of his wife, and it made it clearer that the sequences including Baron Bomburst were extended fantasy sequences. It was written by John Burke.[21]

text: Comic book adaption[edit]

text: Gold Key: Chitty Chitty Bang Bang. Gold Key Comics. February 1969. [22]


document_title: The Gates of Hell

question_text: where is the gates of hell sculpture located

text: The Gates of Hell

text: History[edit]

text: The sculpture was commissioned by the Directorate of Fine Arts in 1880 and was meant to be delivered in 1885. Rodin would continue to work on and off on this project for 37 years, until his death in 1917.

text: The Directorate asked for an inviting entrance to a planned Decorative Arts Museum with the theme being left to Rodin's selection. Even before this commission, Rodin had developed sketches of some of Dante's characters based on his admiration of Dante's Inferno.[1]

text: The Decorative Arts Museum was never built. Rodin worked on this project on the ground floor of the Hôtel Biron. Near the end of his life, Rodin donated sculptures, drawings and reproduction rights to the French government. In 1919, two years after his death, The Hôtel Biron became the Musée Rodin housing a cast of The Gates of Hell and related works.

text: Inspiration[edit]

text:
Through me the way into the suffering city,
Through me the way to the eternal pain,
Through me the way that runs among the lost.
Justice urged on my high artificer;
My Maker was Divine authority,
The highest Wisdom, and the primal Love.
Before me nothing but eternal things
Were made, and I endure eternally.
Abandon every hope, who enter here.

Dante, Inferno, 3.1-9

tag: div

text: Rodin conceived that people would walk toward the work, perhaps up a flight of stairs, and be overwhelmed frontally by the massive gates, contemplating the experience of hell that Dante describes in his Inferno. Rodin thought particularly of Dante's warning over the entrance of the Inferno, "Abandon every hope, who enter here."[2]

text: A work of the scope of The Gates of Hell had not been attempted before, but inspiration came from Lorenzo Ghiberti's Gates of Paradise at the Baptistery of St. John, Florence; the 15th century bronze doors depict figures from the Old Testament. Another source of inspiration was medieval cathedrals; some of those combine both high and low relief. Rodin was also inspired by Michelangelo's fresco The Last Judgment, Delacroix's painting The Barque of Dante, Balzac's collection La Comédie humaine and Baudelaire's poems Les Fleurs du mal.[3][4]

text: In an article by Serge Basset printed in Le Matin in 1890, Rodin said: "For a whole year I lived with Dante, with him alone, drawing the circles of his inferno. At the end of this year, I realized that while my drawing rendered my vision of Dante, they had become too remote from reality. So I started all over again, working from nature, with my models."[citation needed]

text: Gallery[edit]

text:
Variations of ''The Gates of Hell''

The Kunsthaus Zürich in Zurich.

Musée d'Orsay in Paris.

The National Museum of Western Art in Ueno Park, Tokyo.

The Rodin Museum in Philadelphia.

The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University.

text: Outstanding figures[edit]

text: The original sculptures were enlarged and became works of art of their own.

text:
The Thinker (Le Penseur), also called The Poet, is located above the door panels. One interpretation suggests that it might represent Dante looking down to the characters in the Inferno. Another interpretation is that the Thinker is Rodin himself meditating about his composition. Others believe that the figure may be Adam, contemplating the destruction brought upon mankind because of his sin.
The Kiss (Le Baiser) was originally in The Gate along with other figures of Paolo and Francesca da Rimini. Rodin wanted to represent their initial joy as well as their final damnation. He removed the figure that became known as The Kiss because it seemed to conflict with the other suffering figures.
Ugolino and His Children (Ugolin et ses enfants) depicts Ugolino della Gherardesca, who according to the story, ate the corpses of his children after they died by starvation (Dante, Inferno, Canto XXXIII). The Ugolino group was cast as a separate bronze in 1882.
The Three Shades (Les Trois Ombres) was originally 98 cm high. The over-life size group was initially made of three independent figures in 1899. Later on, Rodin replaced one hand in the figures to fuse them together, in the same form as the smaller version. The figures originally pointed to the phrase "Lasciate ogne speranza, voi ch'intrate" ("Abandon all hope, ye who enter here") from Canto III of the Inferno.[5]
Fleeting Love (Fugit Amor) is located on the right door pane, it is one of several figures of lovers that represent Paolo and Francesca da Rimini. The male figure is also called The Prodigal.
Paolo and Francesca is shown on the left door pane. Paolo tries to reach Francesca, who seems to slip away.
Meditation appears on the rightmost part of the tympanum, shown as an enlarged figure in 1896.
The Old Courtesan is a bronze cast from 1910 of an aged, naked female body. The sculpture is also called She Who Was Once the Helmet-Maker's Beautiful Wife (Celle qui fut la belle heaulmière). This title is taken from a poem by François Villon.
Fallen Caryatid Carrying her Stone is based on the figure at the top of the left pilaster. Around 1881 Rodin enlarged her and gave her a stone.[6]
I Am Beautiful (Je suis belle), cast in 1882, is among the second set of figures on the extreme right portion of the door.
Eternal Springtime (L'Éternel printemps) was cast in 1884. It exists in several separate versions, both in marble and in bronze.
Adam and Eve. Rodin asked the directorate for additional funds for the independent sculptures of Adam and Eve that were meant to frame The Gates of Hell. However, Rodin found he could not get Eve's figure right. Consequently, several figures of Eve were made, none of which were used, and all of them were later sold.

text: Smaller models for the work include Kneeling Female Faun.

text: Locations[edit]

text:
External video

 Rodin's The Gates of Hell, Smarthistory[7]

 The Gates of Hell, The story of a damned artwork , Canal Educatif[8]

text: The plaster original was restored in 1917 and is displayed at the Musée d'Orsay in Paris.[7] A series of plaster casts illustrating the development of the work is on view at the Musée Rodin in Meudon. Also in 1917, a model was used to make the original three bronze casts:

text:
The Musée Rodin, Paris.[9]
The Rodin Museum, Philadelphia, Pennsylvania.
The National Museum of Western Art in Ueno Park, Tokyo.[10]

text: Subsequent bronzes have been distributed by the Musée Rodin to a number of locations, including:

text:
The Kunsthaus Zürich, Zurich
The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University
The Plateau, Seoul, Korea
Museo Soumaya, Mexico City


document_title: Saddle valve

question_text: what is a saddle valve on a water line

question_tokens: what is a saddle valve on a water line

text: Saddle valve

text:
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text: A saddle valve is a valve used to supply liquid where a low volume, low pressure stream is required. The name is derived from the fact that it is mounted in such a way that it "saddles" the line, mounting it from both sides.

text: They are typically used for supplying cold water, via a 3/8 inch tube, to:

text:
humidifiers and
icemakers in freezers.

text: A saddle valve is mounted directly on to a pipe which is usually 1/2 inch copper tubing. Saddle valves are self-tapping devices. Once mounted on a line, with the included rubber seal in place, all that is required is to turn the valve clockwise until it pierces the water line. When the valve handle can no longer be turned, it is done tapping the pipe. Turning the handle counter-clockwise opens the valve. These valves can be installed without shutting off the main water supply.

text: Plumbing codes, local or international, often do not allow use of a saddle valve; instead a tee and a conventional globe, gate, or ball valve is to be installed. Saddle valves often fail and should be avoided.


document_title: Symphony

question_text: the number of movements in a symphony usually is

text: Symphony

text: Origins[edit]

text: The word symphony is derived from the Greek word συμφωνία (symphonia), meaning "agreement or concord of sound", "concert of vocal or instrumental music", from σύμφωνος (symphōnos), "harmonious".[1] The word referred to a variety of different concepts before ultimately settling on its current meaning designating a musical form.

text: In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία (diaphōnia), which was the word for "dissonance".[2] In the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously.[2] Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, and from c. 1155 to 1377 the French form symphonie was the name of the organistrum or hurdy-gurdy. In late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a generic term for spinets and virginals from the late 16th century to the 18th century.[3]

text: In the sense of "sounding together," the word begins to appear in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli's Sacrae symphoniae, and Symphoniae sacrae, liber secundus, published in 1597 and 1615, respectively; Adriano Banchieri's Eclesiastiche sinfonie, dette canzoni in aria francese, per sonare, et cantare, op. 16, published in 1607; Lodovico Grossi da Viadana's Sinfonie musicali, op. 18, published in 1610; and Heinrich Schütz's Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op. 10, published in 1629 and 1647, respectively. Except for Viadana's collection, which contained purely instrumental and secular music, these were all collections of sacred vocal works, some with instrumental accompaniment.[4][5]

text: In the 17th century, for most of the Baroque period, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used in operas, sonatas and concertos—usually part of a larger work. The opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements: fast, slow, fast and dance-like. It is this form that is often considered as the direct forerunner of the orchestral symphony. The terms "overture", "symphony" and "sinfonia" were widely regarded as interchangeable for much of the 18th century.[5]

text: In the 17th century, pieces scored for large instrumental ensemble did not precisely designate which instruments were to play which parts, as is the practice from the 19th century to the current period. When composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. To give one example, whereas the bassline in a 19th-century work is scored for cellos, double basses and other specific instruments, in a 17th-century work, a basso continuo part for a sinfonia would not specify which instruments would play the part. A performance of the piece might be done with a basso continuo group as small as a single cello and harpsichord. However, if a bigger budget was available for a performance and a larger sound was required, a basso continuo group might include multiple chord-playing instruments (harpsichord, lute, etc.) and a range of bass instruments, including cello, double bass, bass viol or even a serpent, an early bass woodwind instrument.

text: 18th century[edit]

text: During the 18th century, "the symphony was cultivated with extraordinary intensity".[6] It played a role in many areas of public life, including church services,[7] but a particularly strong area of support for symphonic performances was the aristocracy. In Vienna, perhaps the most important location in Europe for the composition of symphonies, "literally hundreds of noble families supported musical establishments, generally dividing their time between Vienna and their ancestral estate [elsewhere in the Empire]". [8] Since the normal size of the orchestra at the time was quite small, many of these courtly establishments were capable of performing symphonies. The young Joseph Haydn, taking up his first job as a music director in 1757 for the Morzin family, found that when the Morzin household was in Vienna, his own orchestra was only part of a lively and competitive musical scene, with multiple aristocrats sponsoring concerts with their own ensembles.[9]

text: LaRue, Bonds, Walsh, and Wilson trace the gradual expansion of the symphonic orchestra through the 18th century.[10] At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible.[10]

text: The first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together. Over the century, other instruments were added to the classical orchestra: flutes (sometimes replacing the oboes), separate parts for bassoons, clarinets, and trumpets and timpani. Works varied in their scoring concerning which of these additional instruments were to appear. The full-scale classical orchestra, deployed at the end of the century for the largest-scale symphonies, has the standard string ensemble mentioned above, pairs of winds (flutes, oboes, clarinets, bassoons), a pair of horns, and timpani. A keyboard continuo instrument (harpsichord or piano) remained an option.

text: The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies,[11] along the lines described in the next paragraph. The three-movement symphony died out slowly; about half of Haydn's first thirty symphonies are in three movements;[12] and for the young Mozart, the three-movement symphony was the norm, perhaps under the influence of his friend Johann Christian Bach.[13] An outstanding late example of the three-movement Classical symphony is Mozart's "Prague" Symphony, from 1787.

text: The four-movement form that emerged from this evolution was as follows:[14][15]

text:
an opening sonata or allegro
a slow movement, such as adagio
a minuet or scherzo with trio
an allegro, rondo, or sonata

tag: ol

text: Variations on this layout, like changing the order of the middle movements or adding a slow introduction to the first movement, were common. Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements.[16]

text: The composition of early symphonies was centred on Milan, Vienna, and Mannheim. The Milanese school centred around Giovanni Battista Sammartini and included Antonio Brioschi, Ferdinando Galimberti and Giovanni Battista Lampugnani. Early exponents of the form in Vienna included Georg Christoph Wagenseil, Wenzel Raimund Birck and Georg Matthias Monn, while later significant Viennese composers of symphonies included Johann Baptist Wanhal, Carl Ditters von Dittersdorf and Leopold Hofmann. The Mannheim school included Johann Stamitz.[17]

text: The most important symphonists of the latter part of the 18th century are Haydn, who wrote at least 107 symphonies over the course of 36 years,[18] and Mozart, with at least 47 symphonies in 24 years.[19]

text: 19th century[edit]

text:
Beethoven's Symphony No. 5

First movement: Allegro con brio

Second movement: Andante con moto

Third movement: Scherzo. Allegro

Fourth movement: Allegro

Performed by the Skidmore College Orchestra. Music courtesy of Musopen

Problems playing these files? See media help.

text: At the beginning of the 19th century, Beethoven elevated the symphony from an everyday genre produced in large quantities to a supreme form in which composers strove to reach the highest potential of music in just a few works.[20] Beethoven began with two works directly emulating his models Mozart and Haydn, then seven more symphonies, starting with the Third Symphony ("Eroica") that expanded the scope and ambition of the genre. His Symphony No. 5 is perhaps the most famous symphony ever written; its transition from the emotionally stormy C minor opening movement to a triumphant major-key finale provided a model adopted by later symphonists such as Brahms[21] and Mahler.[citation needed] His Symphony No. 6 is a programmatic work, featuring instrumental imitations of bird calls and a storm; and, unconventionally, a fifth movement (symphonies usually had at most four movements). His Symphony No. 9 includes parts for vocal soloists and choir in the last movement, making it a choral symphony.[22]

text: Of the symphonies of Franz Schubert, two are core repertory items and are frequently performed. Of the Eighth Symphony (1822), Schubert completed only the first two movements; this highly Romantic work is usually called by its nickname "The Unfinished." His last completed symphony, the Ninth (1826) is a massive work in the Classical idiom.[23]

text: Of the early Romantics, Felix Mendelssohn (five symphonies) and Robert Schumann (four) continued to write symphonies in the classical mold, though using their own musical language. In contrast, Hector Berlioz favored programmatic works, including his "dramatic symphony" Roméo et Juliette and the highly original Symphonie fantastique. The latter is also a programme work and has both a march and a waltz and five movements instead of the customary four. His fourth and last symphony, the Grande symphonie funèbre et triomphale (originally titled Symphonie militaire) was composed in 1840 for a 200-piece marching military band, to be performed out of doors, and is an early example of a band symphony. Berlioz later added optional string parts and a choral finale.[24] In 1851, Richard Wagner declared that all of these post-Beethoven symphonies were no more than an epilogue, offering nothing substantially new. Indeed, after Schumann's last symphony, the "Rhenish" composed in 1850, for two decades the Lisztian symphonic poem appeared to have displaced the symphony as the leading form of large-scale instrumental music. If the symphony had been eclipsed, it was not long before it re-emerged in a "second age" in the 1870s and 1880s, with the symphonies of Anton Bruckner, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Camille Saint-Saëns, Alexander Borodin, Antonín Dvořák, and César Franck—works which continued to dominate the concert repertory for at least a century.[20]

text: Over the course of the 19th century, composers continued to add to the size of the symphonic orchestra. Around the beginning of the century, a full-scale orchestra would consist of the string section plus pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and lastly a set of timpani.[25] This is, for instance, the scoring used in Beethoven's symphonies numbered 1, 2, 4, 7, and 8. Trombones, which had previously been confined to church and theater music, came to be added to the symphonic orchestra, notably in Beethoven's 5th, 6th, and 9th symphonies. The combination of bass drum, triangle, and cymbals (sometimes also: piccolo), which 18th century composers employed as a coloristic effect in so-called "Turkish music", came to be increasingly used during the second half of the 19th century without any such connotations of genre.[25] By the time of Mahler (see below), it was possible for a composer to write a symphony scored for "a veritable compendium of orchestral instruments".[25] In addition to increasing in variety of instruments, 19th century symphonies were gradually augmented with more string players and more wind parts, so that the orchestra grew substantially in sheer numbers, as concert halls likewise grew.[25]

text: 20th century[edit]

text: At the beginning of the 20th century, Gustav Mahler wrote long, large-scale symphonies. His Eighth Symphony, for example, was composed in 1906 and is nicknamed the "Symphony of a Thousand" because of the large number of voices required to perform the work. Additionally, his Third Symphony is one of the longest regularly performed symphonies at around 100 minutes in length for most performances. The 20th century also saw further diversification in the style and content of works that composers labeled symphonies (Anon. 2008). Some composers, including Dmitri Shostakovich, Sergei Rachmaninoff, and Carl Nielsen, continued to write in the traditional four-movement form, while other composers took different approaches: Jean Sibelius' Symphony No. 7, his last, is in one movement, whereas Alan Hovhaness's Symphony No. 9, Saint Vartan—originally op. 80, changed to op. 180—composed in 1949–50, is in twenty-four.[26]

text: A concern with unification of the traditional four-movement symphony into a single, subsuming formal conception had emerged in the late 19th century. This has been called a "two-dimensional symphonic form", and finds its key turning point in Arnold Schoenberg's Chamber Symphony No. 1, Op. 9 (1909), which was followed in the 1920s by other notable single-movement German symphonies, including Kurt Weill’s First Symphony (1921), Max Butting’s Chamber Symphony, Op. 25 (1923), and Paul Dessau's 1926 Symphony.[27]

text: There remained, however, certain tendencies. Designating a work a "symphony" still implied a degree of sophistication and seriousness of purpose. The word sinfonietta came into use to designate a work that is shorter, of more modest aims, or "lighter" than a symphony, such as Sergei Prokofiev's Sinfonietta for orchestra (Kennedy 2006a).[28]

text: In the first half of the century, Edward Elgar, Gustav Mahler, Jean Sibelius, Carl Nielsen, Igor Stravinsky, Bohuslav Martinů, Roger Sessions, and Dmitri Shostakovich composed symphonies "extraordinary in scope, richness, originality, and urgency of expression" (Steinberg 1995, 404). One measure of the significance of a symphony is the degree to which it reflects conceptions of temporal form particular to the age in which it was created. Five composers from across the span of the 20th century who fulfil this measure are Sibelius, Stravinsky, Luciano Berio (in his Sinfonia, 1968–69), Elliott Carter (in his Symphony of Three Orchestras, 1976), and Pelle Gudmundsen-Holmgreen (in Symphony/Antiphony, 1980).[29]

text: Beginning in the 20th century, more symphonies have been written for concert band than in past centuries. Although examples exist from as early as 1932, the first such symphony of importance since Hector Berlioz wrote the Grande symphonie funèbre et triomphale in 1840 is Nikolai Miaskovsky’s Symphony No. 19, Op. 46, composed in 1939 (Battisti 2002, 42). Some further examples are Paul Hindemith's Symphony in B-flat for Band, composed in 1951[citation needed]; Morton Gould's Symphony No. 4 "West Point", composed in 1952; Vincent Persichetti's Symphony No. 6, Op. 69, composed in 1956; Vittorio Giannini's Symphony No.3, composed in 1959[citation needed]; Alan Hovhaness's Symphonies No. 4, op. 165, No. 7, "Nanga Parvat", op. 175, No. 14, "Ararat", op. 194, and No. 23, "Ani", op. 249, composed in 1958, 1959, 1961, and 1972 respectively[citation needed]; Alfred Reed's 2nd, 3rd, 4th, and 5th symphonies, composed in 1979, 1988, 1992, and 1994 respectively[citation needed]; and Johan de Meij's Symphony No. 1 "The Lord of the Rings", composed in 1988, and his Symphony No. 2 "The Big Apple", composed in 1993[citation needed].

text: Other modern usages of "symphony"[edit]

text: The word "symphony" is also used to refer to the orchestra, the large ensemble that often performs these works. The word "symphony" appears in the name of many orchestras, for example, the Boston Symphony Orchestra, the St. Louis Symphony, the Houston Symphony, or Miami's New World Symphony. For some orchestras, "(city name) Symphony" provides a shorter version of the full name; for instance, the OED gives "Vancouver Symphony" as a possible abbreviated form of Vancouver Symphony Orchestra.[30] As well, in common usage, a person may say they are going out to hear a symphony perform, a reference to the orchestra and not the works on the program.


document_title: Biltmore Estate

question_text: when was the biltmore opened to the public

text: Biltmore Estate

text: History[edit]

text: In the 1880s, at the height of the Gilded Age, George Washington Vanderbilt II, youngest son of William Henry Vanderbilt, began to make regular visits with his mother, Maria Louisa Kissam Vanderbilt (1821–1896), to the Asheville, North Carolina, area. He loved the scenery and climate so much that he decided to create his own summer estate in the area, which he called his "little mountain escape", just as his older brothers and sisters had built opulent summer houses in places such as Newport, Rhode Island, and Hyde Park, New York. Vanderbilt named his estate Biltmore derived from "Bildt," Vanderbilt's ancestors' place of origin in Holland, and "More", Anglo-Saxon for open, rolling land.[3] A portion of the estate was once the community of Shiloh.[4] Vanderbilt bought almost 700 parcels of land, including over 50 farms and at least five cemeteries. A spokesperson for the estate said in 2017 that archives show much of the land "was in very poor condition, and many of the farmers and other landowners were glad to sell."[5]

text: Construction of the house began in 1889 and continued well into 1896. In order to facilitate such a large project, a woodworking factory and brick kiln, which produced 32,000 bricks a day, were built onsite, and a three-mile railroad spur was constructed to bring materials to the building site. Construction on the main house required the labor of well over 1,000 workers and 60 stonemasons.[6] Vanderbilt went on extensive buying trips overseas as construction on the house was in progress. He returned to North Carolina with thousands of furnishings for his newly built home including tapestries, hundreds of carpets, prints, linens, and decorative objects, all dating between the 15th century and the late 19th century. Among the few American-made items were the more practical oak drop-front desk, rocking chairs, a walnut grand piano, bronze candlesticks and a wicker wastebasket.[7]

text: George Vanderbilt opened his opulent estate on Christmas Eve 1895 to invited family and friends from across the country, who were encouraged to enjoy leisure and country pursuits. Notable guests to the estate over the years included author Edith Wharton, novelist Henry James, ambassadors Joseph Hodges Choate and Larz Anderson, and Presidents William McKinley, Theodore Roosevelt, and Woodrow Wilson. George married Edith Stuyvesant Dresser in 1898 in Paris, France; their only child, Cornelia Stuyvesant Vanderbilt, was born at Biltmore in the Louis XV room in 1900, and grew up at the estate.

text: Driven by the impact of the newly imposed income taxes, and the fact that the estate was getting harder to manage economically, Vanderbilt initiated the sale of 87,000 acres (352 km²) to the federal government. After Vanderbilt's unexpected death in 1914 of complications from an emergency appendectomy, his widow completed the sale to carry out her husband's wish that the land remain unaltered, and that property became the nucleus of the Pisgah National Forest.[6] Overwhelmed with running such a large estate, Edith began consolidating her interests and sold Biltmore Estate Industries in 1917 and Biltmore Village in 1921. Edith intermittently occupied the house, living in an apartment carved out of the former Bachelors' Wing, until the marriage of her daughter to John Francis Amherst Cecil in April 1924. The Cecils went on to have two sons who were born in the same room as their mother.

text: In an attempt to bolster the estate's financial situation during the Great Depression, Cornelia and her husband opened Biltmore to the public in March 1930 at the request of the City of Asheville, which hoped the attraction would revitalize the area with tourism.[8] Biltmore closed during World War II and in 1942, 62 paintings and 17 sculptures were moved to the estate by train from the National Gallery of Art in Washington, D.C. to protect them in the event of an attack on the United States. The Music Room on the first floor was never finished, so it was used for storage until 1944, when the possibility of an attack became more remote. Among the works stored were the Gilbert Stuart portrait of George Washington and works by Rembrandt, Raphael, and Anthony van Dyck. David Finley, the gallery director, was a friend of Edith Vanderbilt and had stayed at the estate.[9]

text: After the divorce of the Cecils in 1934, Cornelia left the estate never to return; however, John Cecil maintained his residence in the Bachelors' Wing until his death in 1954. Their eldest son George Henry Vanderbilt Cecil, occupied rooms in the wing until 1956. At this point Biltmore House ceased to be a family residence and has continued to be operated as a historic house museum.

text: Younger son William A. V. Cecil, Sr. returned to the estate in 1960 and joined his brother to manage the estate and make it a profitable and self-sustaining enterprise like his grandfather envisioned. He eventually inherited the estate upon the death of his mother, Cornelia, in 1976, while his brother, George, inherited the then more profitable dairy farm which was split off into Biltmore Farms. In 1995, while celebrating the 100th anniversary of the estate, Cecil turned over control of the company to his son, William A.V. Cecil, Jr. The Biltmore Company is privately held and of the 4,306.86 acres that make up Biltmore Estate, only 1.36 acres are in the city limits of Asheville, and the Biltmore House is not part of any municipality.[10]

text: The estate was designated a National Historic Landmark in 1963,[11] and remains a major tourist attraction in Western North Carolina with over 1 million visitors each year.[12]

text: Architecture[edit]

text: Vanderbilt commissioned prominent New York architect Richard Morris Hunt, who had previously designed houses for various Vanderbilt family members, to design the house in the Châteauesque style, using French Renaissance chateaus that Vanderbilt and Hunt had visited in early 1889, including Château de Blois, Chenonceau and Chambord in France and Waddesdon Manor in England, as inspiration with their steeply pitched roofs, turrets and sculptural ornamentation.[13] Hunt sited the four-story Indiana limestone-built home to face east with a 375-foot facade to fit into the mountainous topography behind. The facade is asymmetrically balanced with two projecting wings connecting to the entrance tower with an open loggia to the left side and a windowed arcade to the right which held the Winter Garden that was fashionable during the Victorian era. The entrance tower contains a series of windows with decorated jambs that extend from the front door to the most decorated dormer at Biltmore on the fourth floor. The carved decorations include trefoils, flowing tracery, rosettes, gargoyles, and at prominent lookouts, grotesques. The staircase is one of the more prominent features of the east facade, with its three-story, highly decorated winding balustrade with carved statues of St. Louis and Joan of Arc by the Austrian-born architectural sculptor Karl Bitter.

text: The south facade has the smallest dimensions for the house and is dominated by three large dormers on the east side and a polygonal turret on the west side. An arbor is attached to the house and is accessed from the library which is located on the ground floor. On the north end of the house, Hunt placed the attached stables, carriage house and its courtyard to protect the house and gardens from the wind. The 12,000-square-foot complex housed Vanderbilt's prized driving horses and the carriage house opposite the stables stored his 20 carriages in addition to any of his guest's carriages.

text: The rear western elevation is less elaborate than the front facade, with some windows not having any decoration at all. Two matching polygonal towers in the center are connected to the polygonal south turret by an open loggia that opens the main rooms of the house to the views of the Blue Ridge Mountains in the distance. The loggia is decorated overhead with terracotta tiles set in a herringbone pattern. The self-supporting ceramic tile vault and arch system was used extensively inside and outside of Biltmore, and was patented by Rafael Guastavino, a Spanish architect and engineer, who personally supervised the installation. The limestone columns were carved to reflect the sunlight in aesthetically pleasing and varied ways per Vanderbilt's wish. The rusticated base is a contrast to the smooth limestone used on the remainder of the house.

text: The steeply pitched roof is punctuated by 16 chimneys and covered with slate tiles that were affixed one by one. Each tile was drilled at the corners and wired onto the attic’s steel infrastructure. Copper flashing was then installed at the junctions to prevent water from penetrating. The fanciful flashing on the ridge of the roof was embossed with George Vanderbilt’s initials and motifs from his family crest, though the original gold leaf no longer survives.[14]

text: Biltmore House had electricity from the time it was built. With electricity less safe and fire more of a danger at the time, the house had six separate sections divided by brick fire walls.[15]

text: Vanderbilt paid little attention to the family business or his own investments, and it is believed that the construction and upkeep of Biltmore depleted much of his inheritance.[citation needed]

text: Interiors[edit]

text: First floor[edit]

text: Biltmore has four acres of floor space and a total of 250 rooms in the house including 35 bedrooms for family and guests, 43 bathrooms, 65 fireplaces, three kitchens and 19th-century novelties such as electric elevators, forced-air heating, centrally controlled clocks, fire alarms, and a call-bell system.[13] The principal rooms of the house are located on the ground floor. To the right of the marbled Entrance Hall, the octagonal, sunken Winter Garden is surrounded by stone archways with a ceiling of architecturally sculptured wood and multifaceted glass. The centerpiece is a marble and bronze fountain sculpture titled Boy Stealing Geese created by Karl Bitter. On the walls just outside the Winter Garden are copies of the Parthenon frieze. The Banquet Hall is the largest room in the house, measuring 42 feet wide and 72 feet long, with a 70-foot-high barrel-vaulted ceiling. The table could seat 64 guests surrounded by rare Flemish tapestries and a triple fireplace that spans one end of the hall. On the opposite end of the hall is an organ gallery that houses a 1916 Skinner pipe organ. Left unfinished with bare brick walls, the Music Room was not completed and opened to the public until 1976. It showcases a mantle designed by Hunt, and a large engraving by Albrecht Dürer called the Triumphal Arch commissioned by Holy Roman Emperor Maximilian I. The mantle had been stored in the stable for over 80 years. To the left of the entrance hall is the 90-foot-long Tapestry Gallery, which leads to the Library, featuring three 16th-century tapestries representing The Triumph of Virtue Over Vice. Elsewhere on the walls are family portraits by John Singer Sargent, Giovanni Boldini and James Whistler. The two-story Library contains over 10,000 volumes in eight languages, reflecting George Vanderbilt's broad interests in classic literature as well as works on art, history, architecture, and gardening. The second-floor balcony is accessed by an ornate walnut spiral staircase. The baroque detailing of the room is enhanced by the rich walnut paneling and the ceiling painting, The Chariot of Aurora, brought to Biltmore by Vanderbilt from the Palazzo Pisani Moretta in Venice, Italy. The painting by Giovanni Antonio Pellegrini is the most important work by the artist still in existence.[16]

text: Second floor[edit]

text: The second floor is accessed by the cantilevered Grand Staircase of 102 steps spiraling around a four-story, wrought-iron chandelier holding 72 light bulbs.[17] The Second Floor Living Hall is an extension of the grand staircase as a formal hall and portrait gallery, and was restored to its original configuration in 2013. Several large-scale masterpieces are displayed in the hall, including two John Singer Sargent portraits of Biltmore's architect, Richard Morris Hunt, and landscaper, Frederick Law Olmsted, both commissioned for the home by Vanderbilt.[18] Located nearby in the south tower is George Vanderbilt's gilded bedroom with furniture designed by Hunt. His bedroom connects to his wife's Louis XV-style, oval-shaped bedroom in the north tower through a Jacobean carved oak paneled sitting room with an intricate ceiling.

text: The suite of rooms includes the Damask Room; the Claude Room, named after one of Vanderbilt's favorite artists, Claude Lorrain; the Tyrolean Chimney Room; and the most grand, the Louis XV Room, so named due to its architectural scheme and furnishings that were very popular in the late nineteenth century. The suite was restored and opened to the public for the first time in 100 years in 2011.[19]

text: Third and fourth floors[edit]

text: The third floor has a number of guest rooms with names that describe the furnishing or artist that they were decorated with. The fourth floor has 21 bedrooms that were inhabited by housemaids, laundresses, and other female servants. Also included on the fourth floor is an Observatory with a circular staircase that leads to a wrought iron balcony with doorways to the rooftop where Vanderbilt could view his estate. Male servants were not housed here, however, but instead resided in rooms above the stable and complex.[13]

text: Bachelors' wing[edit]

text: The Billiard Room is decorated with an ornamental plaster ceiling and rich oak paneling and was equipped with both a custom-made pool table and a carom table (table without pockets). The room was mainly frequented by men, but ladies were welcome to enter as well. Secret door panels on either side of the fireplace lead to the private quarters of the Bachelors’ Wing where female guests and staff members were not allowed. The wing includes the Smoking Room, which was fashionable for country houses, and the Gun Room, which held mounted trophies and displayed George Vanderbilt’s gun collection.[13]

text: Basement[edit]

text: Guests of the estate could enjoy other activities that were found on the basement level, including an indoor 70,000-gallon (265,000-litre and 265-cubic meter) heated swimming pool with underwater lighting, one of the nation's first bowling alleys installed in a private residence, and a gymnasium with once state-of-the-art fitness equipment. The service hub of the house is also found in the largest basement in the US, as the location for the main kitchen, pastry kitchen, rotisserie kitchen, walk-in refrigerators that provided an early form of mechanical refrigeration, the servants' dining hall, laundry rooms and additional bedrooms for staff.

text: Park and landscape[edit]

text: Wanting the best, Vanderbilt envisioned a park-like setting for his home and employed landscape architect Frederick Law Olmsted to design the grounds. However, Olmsted was not impressed with the condition of the 125,000 acres (195 sq mi; 510 km2) and advised for a park surrounding the house, establishing farms along the river and replanting the rest as a commercial timber forest, a plan to which Vanderbilt agreed. Gifford Pinchot and later Carl A. Schenck were hired to manage the forests, with Schenck establishing the first forestry education program in the U.S., the Biltmore Forest School, on the estate grounds in 1898.

text: Another important aspect of the landscaping was the intentionally rustic three-mile (5 km) Approach Road that began at the brick quoined and pebbledash stucco Lodge Gate at the edge of Biltmore Village, and ended at the sphinx-topped stone pillars at the Esplanade. In between, the lane was densely filled with natural and uncultivated looking foliage and shrubbery to provide a relaxing journey for guests. Olmsted made sure to incorporate 75 acres (30 ha) of formal gardens that had been requested by Vanderbilt for the grounds directly surrounding the house. He constructed an Italian formal garden, a walled garden, a shrub and rose garden, fountains, and a conservatory with individual rooms for palms and orchids. There was also a bowling green, an outdoor tea room, and a terrace to incorporate the European statuary that Vanderbilt had brought back from his travels. At the opposite end of the Esplanade is the Rampe Douce, a graduated stairway zigzagging along a rough-cut limestone wall that leads to the grassy slope known as the Vista, topped with a statue of Diana, the goddess of the hunt.[13]

text: Water features were an important aspect of Victorian landscaping and Olmsted incorporated two for the estate: the Bass Pond created from an old creek-fed millpond and the Lagoon. Each was used for guest recreation like fishing and rowing. To supply water for the estate, Olmsted engineered two reservoirs. One was a spring-fed man-made lake on nearby Busbee Mountain. The other was a man-made, brick-lined reservoir, located behind the statue of Diana in the Vista, at an elevation of approximately 266 feet above the Esplanade.[20]

text: Estate[edit]

text: Vanderbilt's idea was to replicate the working estates of Europe. He asked Hunt and Olmsted to design a village with architecturally compatible buildings and picturesque landscaping as a source of income through building rental, a place to help carry out philanthropic programs, and an easy point of access between the estate and the train station.[21] The result was Biltmore Village. The village included rental cottages complete with plumbing and central heating, a post office, shops, doctor's office, school, and a church, known today as the Cathedral of All Souls.[22] Intending that the estate could be self-supporting, Vanderbilt set up scientific forestry programs, poultry farms, cattle farms, hog farms, and a dairy. His wife, Edith, also enthusiastically supported agricultural reform and promoted the establishment of a state agricultural fair. In 1901, the Vanderbilts provided financial assistance to Biltmore Industries, started by Biltmore Village resident Eleanor Vance, which taught young people how to make hand-carved furniture, woven baskets, homespun wool fabric, and more.[23]

text: The estate today covers approximately 8,000 acres (13 sq mi; 32 km2) and is split in half by the French Broad River, overseen by The Biltmore Company, a trust set up by the family. The company is a large enterprise that is one of the largest employers in the Asheville area. Restaurants were opened in 1979 and 1987 as well as four gifts shops in 1993. The former dairy barn was converted into the popular Biltmore Winery in 1985. The AAA four-diamond 210-room Inn on Biltmore Estate opened in 2001, and in 2010, the estate debuted Antler Hill Village, as well as a remodeled winery, and connected farmyard.

text: In other media[edit]

text: The Biltmore Estate licenses its name and design elements to a line of housewares, linens, and luggage called "Biltmore For Your Home", marketed exclusively by Belk stores.[24]

text: The house has been featured in "Empires of the Smoky Skies", a scenario in Sid Meier's Civilization V. The estate and its surrounding forest make up the setting of Robert Beatty's 2015 middle-grade novel Serafina and The Black Cloak, and its sequels Serafina and the Twisted Staff, and Serafina and the Splintered Heart.[25]

text: The grounds and buildings of Biltmore Estate have appeared in a number of major motion pictures and TV series:

text:
Tap Roots (1948)
The Swan (1956)
The Pruitts of Southampton (1966)
Being There (1979)
The Private Eyes (1980)
A Breed Apart (1984)
Mr. Destiny (1990)
The Last of the Mohicans (1992)
Forrest Gump (1994)
Richie Rich (1994)
My Fellow Americans (1996)
Patch Adams (1998)
Return to the Secret Garden (2000)
Hannibal (2001)
One Tree Hill (2003)
The Clearing (2004)
The Odd Life of Timothy Green (2012)
Hannibal (2015)


question_text: who is the director of the cia today

question_tokens: who is the director of the cia today

text:
Director of the Central Intelligence Agency

Seal of the CIA

Flag of the CIA

Incumbent
Mike Pompeo
since January 23, 2017

Central Intelligence Agency

Reports to
President
Director of National Intelligence

Seat
George Bush Center for Intelligence, Langley, Fairfax County, Virginia, U.S.

Appointer
President

Term length
No fixed term

Constituting instrument
50 U.S.C. § 3036

Precursor
Director of Central Intelligence

Inaugural holder
Porter J. Goss

Formation
April 21, 2005

Deputy
Deputy Director of the CIA

Salary
Executive Schedule, II[1]

Website
www.cia.gov

text: The Director of the Central Intelligence Agency (D/CIA) is a statutory office (50 U.S.C. § 3036) that functions as the head of the Central Intelligence Agency, which in turn is a part of the United States Intelligence Community. Since February 2017, the D/CIA has been a cabinet-level position.

text: The Director reports to the Director of National Intelligence (DNI) and is assisted by the Deputy Director of the Central Intelligence Agency. The Director is a civilian or a general/flag officer of the armed forces[2] nominated by the President, with the concurring or nonconcurring recommendation from the DNI,[3] and must be confirmed by a majority vote of the Senate.[4]

text: History[edit]

text: Before April 21, 2005, the Director of Central Intelligence (DCI) headed both the Intelligence Community and the Central Intelligence Agency. In addition, DCI served as an advisor to the President of the United States on intelligence matters and was the statutory intelligence advisor to the National Security Council (NSC). On April 21, 2005, the Director of National Intelligence (DNI) took on the roles as head of the Intelligence Community and principal intelligence advisor to the President and the NSC.

text: The post of DCI was established in 1946 by President Harry S. Truman;[5] it thus predates the establishment of the Central Intelligence Agency (created by the National Security Act of 1947). After the end of World War II, the Office of Strategic Services was dismantled and its functions were split between the Departments of State and War (now Defense).[6] President Truman soon recognized the inefficiency of this arrangement and created the Central Intelligence Group,[7] which could be considered a smaller precursor to the National Security Council.[8] The following year the National Security Act of 1947 created the Central Intelligence Agency and National Security Council, while formally defining the duties of the Director of Central Intelligence. The duties of the DCI had been further defined over the years by tradition, congressional acts, and Executive Orders.

text: List of Directors of the Central Intelligence Agency[edit]

text:
Director
Tenure
President(s) served under

Position succeeded the Director of Central Intelligence.

Porter Goss
April 21, 2005 – May 5, 2006[9]

George W. Bush

Michael Hayden
May 30, 2006 – February 12, 2009[10]

Barack Obama

Leon Panetta
February 13, 2009 – June 30, 2011[11]

Michael Morell
Acting
July 1, 2011 – September 6, 2011

David Petraeus
September 6, 2011 – November 9, 2012[12]

Michael Morell
Acting
November 9, 2012 – March 8, 2013

John Brennan
March 8, 2013 – January 20, 2017[13]

Meroe Park
Acting
January 20, 2017 – January 23, 2017

Donald Trump

Mike Pompeo
January 23, 2017 – present[14]