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Ai Weiwei, Tax case: In June 2011, the Beijing Local Taxation Bureau demanded a total of over 12 million yuan (US$1.85 million) from Beijing Fa Ke Cultural Development Ltd. in unpaid taxes and fines, and accorded three days to appeal the demand in writing. According to Ai's wife, Beijing Fa Ke Cultural Development Ltd. has hired two Beijing lawyers as defense attorneys. Ai's family state that Ai is "neither the chief executive nor the legal representative of the design company, which is registered in his wife's name." Offers of donations poured in from Ai's fans across the world when the fine was announced. Eventually an online loan campaign was initiated on 4 November 2011, and close to 9 million RMB was collected within ten days, from 30,000 contributions. Notes were folded into paper planes and thrown over the studio walls, and donations were made in symbolic amounts such as 8964 (4 June 1989, Tiananmen Massacre) or 512 (12 May 2008, Sichuan earthquake). To thank creditors and acknowledge the contributions as loans, Ai designed and issued loan receipts to all who participated in the campaign. Funds raised from the campaign were used as collateral, required by law for an appeal on the tax case. Lawyers acting for Ai submitted an appeal against the fine in January 2012; the Chinese government subsequently agreed to conduct a review. In June 2012, the court heard the tax appeal case. Ai's wife, Lu Qing, the legal representative of the design company, attended the hearing. Lu was accompanied by several lawyers and an accountant, but the witnesses they had requested to testify, including Ai, were prevented from attending a court hearing. Ai asserts that the entire matter - including the 81 days he spent in jail in 2011 - is intended to suppress his provocations. Ai said he had no illusions as to how the case would turn out, as he believes the court will protect the government's own interests. On 20 June, hundreds of Ai's supporters gathered outside the Chaoyang District Court in Beijing despite a small army of police officers, some of whom videotaped the crowd and led several people away. On 20 July, Ai's tax appeal was rejected in court. The same day Ai's studio released "The Fake Case" which tracks the status and history of this case including a timeline and the release of official documents. On 27 September, the court upheld the 2.4 million tax evasion fine. Ai had previously deposited 1.33 million in a government-controlled account in order to appeal. Ai said he will not pay the remainder because he does not recognize the charge. In October 2012, authorities revoked the license of Beijing Fa Ke Cultural Development Ltd. for failing to re-register, an annual requirement by the administration. The company was not able to complete this procedure as its materials and stamps were confiscated by the government.

Did anything else happen after this?

authorities revoked the license of Beijing Fa Ke Cultural Development Ltd.

Fred Rogers, Early and personal life: Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh, to James and Nancy Rogers; he had one sister, Elaine. Early in life, he spent much of his free time with his maternal grandfather, Fred McFeely, who had an interest in music. He would often sing along as his mother would play the piano, and he himself began playing at five. He obtained a pilot's license while still in high school. Rogers graduated from Latrobe High School (1946). He studied at Dartmouth College (1946-48), then transferred to Rollins College in Winter Park, Florida, where he earned a B.A. in Music Composition in 1951. Rogers was also a trained general aviation pilot. At Rollins, he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952. They had two sons, James (b. 1959) and John (b. 1961). In 1963, Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A. Rogers had an apartment in New York City and a summer home on Nantucket island in Massachusetts. Rogers was red-green color blind, swam every morning, and neither smoked nor drank. He was a vegetarian on ethical grounds, stating "I don't want to eat anything that has a mother." Despite recurring rumors, he never served in the military. His office at WQED Pittsburgh famously did not have a desk, only a sofa and armchairs, because Rogers thought a desk was "too much of a barrier".

when was fred rogers born?

Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh,

Fred Rogers, Early and personal life: Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh, to James and Nancy Rogers; he had one sister, Elaine. Early in life, he spent much of his free time with his maternal grandfather, Fred McFeely, who had an interest in music. He would often sing along as his mother would play the piano, and he himself began playing at five. He obtained a pilot's license while still in high school. Rogers graduated from Latrobe High School (1946). He studied at Dartmouth College (1946-48), then transferred to Rollins College in Winter Park, Florida, where he earned a B.A. in Music Composition in 1951. Rogers was also a trained general aviation pilot. At Rollins, he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952. They had two sons, James (b. 1959) and John (b. 1961). In 1963, Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A. Rogers had an apartment in New York City and a summer home on Nantucket island in Massachusetts. Rogers was red-green color blind, swam every morning, and neither smoked nor drank. He was a vegetarian on ethical grounds, stating "I don't want to eat anything that has a mother." Despite recurring rumors, he never served in the military. His office at WQED Pittsburgh famously did not have a desk, only a sofa and armchairs, because Rogers thought a desk was "too much of a barrier".

who were his parents?

James and Nancy Rogers;

Fred Rogers, Early and personal life: Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh, to James and Nancy Rogers; he had one sister, Elaine. Early in life, he spent much of his free time with his maternal grandfather, Fred McFeely, who had an interest in music. He would often sing along as his mother would play the piano, and he himself began playing at five. He obtained a pilot's license while still in high school. Rogers graduated from Latrobe High School (1946). He studied at Dartmouth College (1946-48), then transferred to Rollins College in Winter Park, Florida, where he earned a B.A. in Music Composition in 1951. Rogers was also a trained general aviation pilot. At Rollins, he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952. They had two sons, James (b. 1959) and John (b. 1961). In 1963, Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A. Rogers had an apartment in New York City and a summer home on Nantucket island in Massachusetts. Rogers was red-green color blind, swam every morning, and neither smoked nor drank. He was a vegetarian on ethical grounds, stating "I don't want to eat anything that has a mother." Despite recurring rumors, he never served in the military. His office at WQED Pittsburgh famously did not have a desk, only a sofa and armchairs, because Rogers thought a desk was "too much of a barrier".

Are there any other interesting aspects about this article?

Despite recurring rumors, he never served in the military.

Fred Rogers, Early and personal life: Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh, to James and Nancy Rogers; he had one sister, Elaine. Early in life, he spent much of his free time with his maternal grandfather, Fred McFeely, who had an interest in music. He would often sing along as his mother would play the piano, and he himself began playing at five. He obtained a pilot's license while still in high school. Rogers graduated from Latrobe High School (1946). He studied at Dartmouth College (1946-48), then transferred to Rollins College in Winter Park, Florida, where he earned a B.A. in Music Composition in 1951. Rogers was also a trained general aviation pilot. At Rollins, he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952. They had two sons, James (b. 1959) and John (b. 1961). In 1963, Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A. Rogers had an apartment in New York City and a summer home on Nantucket island in Massachusetts. Rogers was red-green color blind, swam every morning, and neither smoked nor drank. He was a vegetarian on ethical grounds, stating "I don't want to eat anything that has a mother." Despite recurring rumors, he never served in the military. His office at WQED Pittsburgh famously did not have a desk, only a sofa and armchairs, because Rogers thought a desk was "too much of a barrier".

what did he do instead of serving in the military?

Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A.

Fred Rogers, Early and personal life: Rogers was born in Latrobe, Pennsylvania, 40 miles (65 km) southeast of Pittsburgh, to James and Nancy Rogers; he had one sister, Elaine. Early in life, he spent much of his free time with his maternal grandfather, Fred McFeely, who had an interest in music. He would often sing along as his mother would play the piano, and he himself began playing at five. He obtained a pilot's license while still in high school. Rogers graduated from Latrobe High School (1946). He studied at Dartmouth College (1946-48), then transferred to Rollins College in Winter Park, Florida, where he earned a B.A. in Music Composition in 1951. Rogers was also a trained general aviation pilot. At Rollins, he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952. They had two sons, James (b. 1959) and John (b. 1961). In 1963, Rogers graduated from Pittsburgh Theological Seminary and was ordained a minister in the United Presbyterian Church in the U.S.A. Rogers had an apartment in New York City and a summer home on Nantucket island in Massachusetts. Rogers was red-green color blind, swam every morning, and neither smoked nor drank. He was a vegetarian on ethical grounds, stating "I don't want to eat anything that has a mother." Despite recurring rumors, he never served in the military. His office at WQED Pittsburgh famously did not have a desk, only a sofa and armchairs, because Rogers thought a desk was "too much of a barrier".

was rogers ever married?

he met Sara Joanne Byrd (born c. 1928), an Oakland, Florida, native; they married on June 9, 1952.

Fred Rogers, VCR: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.

Did Fred Rogers have anything to do with the development of the VCR?

Rogers was involved in supporting the manufacturers of VCRs in court.

Fred Rogers, VCR: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.

What was Roger's role in supporting the VCR

His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc.,

Fred Rogers, VCR: During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.

Was Roger's in support of allowing recording TV programs at home?

did not object to home recordings of his television programs,

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

What happened in 1989?

played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989.

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

How long did it take them to tour?

During the summer of that year, the band made its first tour through the United Kingdom

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

Did they do anything in 1991?

The band's first album, July 1991's Babyteeth,

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

Was there any other albums I should know about?

January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

Did they go on tour?

During the summer of that year, the band made its first tour through the United Kingdom

Therapy?, Early years (1989-1992): While attending a charity gig at the Jordanstown Polytechnic in early 1989, Andy Cairns noticed Fyfe Ewing playing drums in a punk covers band. The two spoke afterwards and agreed to meet for rehearsal in Fyfe's house in Larne with Andy playing a small practice amp and Fyfe playing his kit with brushes. In the summer they recorded a four track demo tape (Thirty Seconds of Silence) with Andy playing a bass guitar borrowed from Fyfe's classmate Michael McKeegan. Deciding to play live, they recruited McKeegan and played their debut gig at the Belfast Art College supporting Decadence Within on 20 August 1989. They followed this up with another four track demo tape (Meat Abstract). Their sound was becoming highly influenced by artists of the indie rock movement such as The Jesus Lizard, Big Black, and The Membranes as well as new beat disco acts such as Belgian outfit Erotic Dissidents. Therapy? released its first single, called Meat Abstract in July 1990. The single was limited to 1000 copies, and released on the bands' own Multifuckinational Records. During the summer of that year, the band made its first tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way. The band's early years followed the familiar pattern of hard graft on the local alternative music scene, with Cairns often putting in a full day at the Michelin tyre factory (where he worked as a quality controller), then speeding across Northern Ireland in order to make it to gigs. The band also took whatever support slot they could, opening for the likes of Loop, Ride, Teenage Fanclub, Inspiral Carpets, Tad, Fugazi and Ned's Atomic Dustbin. Therapy? quickly came to the attention of local music fans with their distinctively uncompromising style. Their use of guitar feedback as a "fourth instrument" and unconventional song structures, combined with a darkly original approach to lyrics and imaginative use of samples pulled from cult movies and obscure documentaries, led them to be spotted in 1990 by London-based independent label Wiiija Records. The move was helped by Lesley Rankine of Silverfish, who passed the band's first single on to Gary Walker of Wiiija. The band's first album, July 1991's Babyteeth, and its January 1992 follow up, Pleasure Death, were successful enough to earn the band a major label deal with A&M Records. Both albums were underground successes, hitting number 1 in the UK Indie Charts. The attention led to support slots with both Babes In Toyland and Hole on their respective UK tours. A compilation of the two albums entitled Caucasian Psychosis was prepared for the North American market, and the band embarked on their first U.S. tour in October 1992. Their debut A&M record, Nurse, made its way into UK's Top 40 Album Chart in November 1992, while lead single "Teethgrinder" became the band's first Top 40 single in both the UK and Ireland. The grunge revolution was in full swing, with US outfit Nirvana leading the way. Predictably, the media began to draw comparisons between the two bands. The heavy guitars and inventive drumming that was swiftly becoming Therapy?'s trademark led them more towards the grunge camp than away from it.

Was it successful?

tour through the United Kingdom with The Beyond, catching the attention of influential DJ John Peel along the way.

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Did they release any albums in 1993?

The release of the Shortsharpshock EP catapulted Therapy

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Were they on the charts?

Top 40, peaking at nine, featuring the lead track Screamager.

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Did they do any songs with other popular artists?

Kings X initially, and then both Helmet and The Jesus Lizard,

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Did they win an awards?

It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards.

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Did they release any other albums during this time?

1994 saw the release of the commercially successful Troublegum album

Therapy?, The success (1993-1995): If there was one true "breakthrough" year in the band's history, it would almost certainly be 1993. The release of the Shortsharpshock EP catapulted Therapy? into the Top 40, peaking at nine, featuring the lead track Screamager. The single led to the first of several appearances on the venerable UK music show Top of the Pops. Two more UK Top 40 EPs Face the Strange and Opal Mantra followed, as the band toured heavily on the European festival circuit, made two separate jaunts to the United States in support of Kings X initially, and then both Helmet and The Jesus Lizard, and played their debut shows in Japan. Compilations of the three EP's were released in the U.S. and Japan (Hats Off to the Insane), and in Europe (Born in a Crash). 1994 saw the release of the commercially successful Troublegum album in February which earned the band appearances at a string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone, as well as a clutch of Top 40 singles. It achieved a string of nominations in end-of-year polls, including a Mercury Music Prize nomination, and success at the Kerrang! Awards. With impatience mounting for a new album, Infernal Love was released in June 1995. This time, the press reaction was lukewarm. The band had attempted to create a "cinematic" record with Belfast DJ David Holmes employed to link each track with "insanity", but in the eyes of many, had produced a disjointed piece over-subscribed with ballads. Despite a second consecutive Donington appearance at Metallica's request, and singles Stories and Loose charting in the UK earlier in the year, it was clear that Therapy? had changed direction. Although the string laden single Diane was a Top 10 hit in 15 European countries later in the year, much of the early momentum had gone.

Did they go on tour?

string of rock and indie festivals, including Reading (third consecutive appearance), Donington and Phoenix in the UK alone,

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Where was be born?

Detroit, Michigan,

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Does he have siblings?

Carson's older brother, Curtis, was born in 1949,

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Where did Ben attend school?

a two-classroom school at the Berea Seventh-day Adventist church

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Who are his parents?

Robert Solomon Carson, Jr.

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Who is his mother?

Sonya Carson (nee Copeland; 1928-2017).

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

What did his father do for a living?

Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer.

Ben Carson, Early life and education: Carson was born in Detroit, Michigan, to Robert Solomon Carson, Jr. (1914-1992), a World War II U.S. Army veteran, and his wife, Sonya Carson (nee Copeland; 1928-2017). Robert Carson was a Baptist minister, but later a Cadillac automobile plant laborer. Both of his parents came from large families in rural Georgia, and they were living in rural Tennessee when they met and married. Carson's mother was 13 and his father was 28 when they married, and after his father finished his military service, they moved from Chattanooga, Tennessee to Detroit, where they lived in a large house in the Indian Village neighborhood. Carson's older brother, Curtis, was born in 1949, when his mother was 20. In 1950, Carson's parents purchased a new 733-square foot single-family detached home on Deacon Street in the Boynton neighborhood in southwest Detroit. Carson's Detroit Public Schools education began in 1956 with kindergarten at the Fisher School, and continued through first, second, and the first half of third grade, during which time he was an average student. When Carson was five, his mother learned that his father had a prior family and had not divorced his first wife. In 1959, when Carson was eight, his parents separated and he moved with mother and brother to live for two years with his mother's Seventh-day Adventist older sister and her sister's husband in multi-family dwellings in the Dorchester and Roxbury neighborhoods of Boston. In Boston, Carson's mother attempted suicide, had several psychiatric hospitalizations for depression, and for the first time began working outside the home as a domestic worker, while Carson and his brother attended a two-classroom school at the Berea Seventh-day Adventist church where two teachers taught eight grades, and the vast majority of time was spent singing songs and playing games. In 1961, when Carson was ten, he moved with his mother and brother back to southwest Detroit, where they lived in a multi-family dwelling in a primarily white neighborhood (Springwells Village) across the railroad tracks from the Delray neighborhood, while renting out their house on Deacon Street which his mother received in a divorce settlement. When they returned to Detroit public schools, Carson and his brother's academic performance initially lagged far behind their new classmates, having essentially lost a year of school by attending a Seventh-day Adventist church school in Boston, but both improved when their mother limited their time watching television and required them to read and write book reports on two library books per week. Carson attended the predominantly white Higgins Elementary School for fifth and sixth grades and the predominantly white Wilson Junior High School for seventh and the first half of eighth grade. In 1965, when Carson was 13, he moved with his mother and brother back to their house on Deacon Street. He attended the predominantly black Hunter Junior High School for the second half of eighth grade. When he was eight, Carson had dreamed of becoming a missionary doctor, but five years later he aspired to the lucrative lifestyles of psychiatrists portrayed on television, and his brother bought him a subscription to Psychology Today for his 13th birthday.

Where did he grow up?

they moved from Chattanooga, Tennessee to Detroit,

Ben Carson, High school: By ninth grade, the family's financial situation had improved, his mother surprising neighbors by paying cash to buy a new Chrysler car, and the only government assistance they still relied on was food stamps. Carson attended the predominantly black Southwestern High School for ninth through 12th grades, graduating third in his class academically. In high school he played the baritone horn in the band, and participated in forensics (public speaking), chess club, and the U.S. Army Junior Reserve Officers' Training Corps (JROTC) program where he reached its highest rank--cadet colonel. Carson served as a laboratory assistant in the high school's biology, chemistry, physics school laboratories beginning in 10th, 11th, and 12th grade, respectively, and worked as a biology laboratory assistant at Wayne State University the summer between 11th and 12th grades. In his book Gifted Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers," Carson told NBC's Meet the Press in October 2015. He said he once tried to hit his mother on the head with a hammer over a clothing dispute, while in the ninth grade he tried to stab a friend who had changed the radio station. Fortunately, the blade broke in his friend's belt buckle. Carson said that the intended victim, whose identity he wants to protect, was a classmate, a friend, or a close relative. After this incident, Carson said that he began reading the Book of Proverbs and applying verses on anger. As a result, he states he "never had another problem with temper". In his various books and at campaign events, he repeated these stories and said he once attacked a schoolmate with a combination lock. Nine friends, classmates, and neighbors who grew up with him told CNN in 2015 they did not remember the anger or violence he has described. In response, Carson posted on Facebook a 1997 Parade Magazine issue, in which his mother verified the stabbing incident. He then questioned the extent of the effort CNN had exerted in the investigation. He has said that he protected white students in a biology lab after a race riot broke out at his high school in response to the assassination of Martin Luther King Jr. in 1968. The Wall Street Journal confirmed the riot but could not find anyone who remembered Carson sheltering white students.

Where did Carson attend high school

Southwestern High School

Ben Carson, High school: By ninth grade, the family's financial situation had improved, his mother surprising neighbors by paying cash to buy a new Chrysler car, and the only government assistance they still relied on was food stamps. Carson attended the predominantly black Southwestern High School for ninth through 12th grades, graduating third in his class academically. In high school he played the baritone horn in the band, and participated in forensics (public speaking), chess club, and the U.S. Army Junior Reserve Officers' Training Corps (JROTC) program where he reached its highest rank--cadet colonel. Carson served as a laboratory assistant in the high school's biology, chemistry, physics school laboratories beginning in 10th, 11th, and 12th grade, respectively, and worked as a biology laboratory assistant at Wayne State University the summer between 11th and 12th grades. In his book Gifted Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers," Carson told NBC's Meet the Press in October 2015. He said he once tried to hit his mother on the head with a hammer over a clothing dispute, while in the ninth grade he tried to stab a friend who had changed the radio station. Fortunately, the blade broke in his friend's belt buckle. Carson said that the intended victim, whose identity he wants to protect, was a classmate, a friend, or a close relative. After this incident, Carson said that he began reading the Book of Proverbs and applying verses on anger. As a result, he states he "never had another problem with temper". In his various books and at campaign events, he repeated these stories and said he once attacked a schoolmate with a combination lock. Nine friends, classmates, and neighbors who grew up with him told CNN in 2015 they did not remember the anger or violence he has described. In response, Carson posted on Facebook a 1997 Parade Magazine issue, in which his mother verified the stabbing incident. He then questioned the extent of the effort CNN had exerted in the investigation. He has said that he protected white students in a biology lab after a race riot broke out at his high school in response to the assassination of Martin Luther King Jr. in 1968. The Wall Street Journal confirmed the riot but could not find anyone who remembered Carson sheltering white students.

What years did Carson attend Southwestern High School

ninth through 12th grades,

Ben Carson, High school: By ninth grade, the family's financial situation had improved, his mother surprising neighbors by paying cash to buy a new Chrysler car, and the only government assistance they still relied on was food stamps. Carson attended the predominantly black Southwestern High School for ninth through 12th grades, graduating third in his class academically. In high school he played the baritone horn in the band, and participated in forensics (public speaking), chess club, and the U.S. Army Junior Reserve Officers' Training Corps (JROTC) program where he reached its highest rank--cadet colonel. Carson served as a laboratory assistant in the high school's biology, chemistry, physics school laboratories beginning in 10th, 11th, and 12th grade, respectively, and worked as a biology laboratory assistant at Wayne State University the summer between 11th and 12th grades. In his book Gifted Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers," Carson told NBC's Meet the Press in October 2015. He said he once tried to hit his mother on the head with a hammer over a clothing dispute, while in the ninth grade he tried to stab a friend who had changed the radio station. Fortunately, the blade broke in his friend's belt buckle. Carson said that the intended victim, whose identity he wants to protect, was a classmate, a friend, or a close relative. After this incident, Carson said that he began reading the Book of Proverbs and applying verses on anger. As a result, he states he "never had another problem with temper". In his various books and at campaign events, he repeated these stories and said he once attacked a schoolmate with a combination lock. Nine friends, classmates, and neighbors who grew up with him told CNN in 2015 they did not remember the anger or violence he has described. In response, Carson posted on Facebook a 1997 Parade Magazine issue, in which his mother verified the stabbing incident. He then questioned the extent of the effort CNN had exerted in the investigation. He has said that he protected white students in a biology lab after a race riot broke out at his high school in response to the assassination of Martin Luther King Jr. in 1968. The Wall Street Journal confirmed the riot but could not find anyone who remembered Carson sheltering white students.

Did Carson participate in any extra curricular activities in High School

played the baritone horn in the band, and participated in forensics (

Ben Carson, High school: By ninth grade, the family's financial situation had improved, his mother surprising neighbors by paying cash to buy a new Chrysler car, and the only government assistance they still relied on was food stamps. Carson attended the predominantly black Southwestern High School for ninth through 12th grades, graduating third in his class academically. In high school he played the baritone horn in the band, and participated in forensics (public speaking), chess club, and the U.S. Army Junior Reserve Officers' Training Corps (JROTC) program where he reached its highest rank--cadet colonel. Carson served as a laboratory assistant in the high school's biology, chemistry, physics school laboratories beginning in 10th, 11th, and 12th grade, respectively, and worked as a biology laboratory assistant at Wayne State University the summer between 11th and 12th grades. In his book Gifted Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers," Carson told NBC's Meet the Press in October 2015. He said he once tried to hit his mother on the head with a hammer over a clothing dispute, while in the ninth grade he tried to stab a friend who had changed the radio station. Fortunately, the blade broke in his friend's belt buckle. Carson said that the intended victim, whose identity he wants to protect, was a classmate, a friend, or a close relative. After this incident, Carson said that he began reading the Book of Proverbs and applying verses on anger. As a result, he states he "never had another problem with temper". In his various books and at campaign events, he repeated these stories and said he once attacked a schoolmate with a combination lock. Nine friends, classmates, and neighbors who grew up with him told CNN in 2015 they did not remember the anger or violence he has described. In response, Carson posted on Facebook a 1997 Parade Magazine issue, in which his mother verified the stabbing incident. He then questioned the extent of the effort CNN had exerted in the investigation. He has said that he protected white students in a biology lab after a race riot broke out at his high school in response to the assassination of Martin Luther King Jr. in 1968. The Wall Street Journal confirmed the riot but could not find anyone who remembered Carson sheltering white students.

Was he popular in High School

Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers,"

Ben Carson, High school: By ninth grade, the family's financial situation had improved, his mother surprising neighbors by paying cash to buy a new Chrysler car, and the only government assistance they still relied on was food stamps. Carson attended the predominantly black Southwestern High School for ninth through 12th grades, graduating third in his class academically. In high school he played the baritone horn in the band, and participated in forensics (public speaking), chess club, and the U.S. Army Junior Reserve Officers' Training Corps (JROTC) program where he reached its highest rank--cadet colonel. Carson served as a laboratory assistant in the high school's biology, chemistry, physics school laboratories beginning in 10th, 11th, and 12th grade, respectively, and worked as a biology laboratory assistant at Wayne State University the summer between 11th and 12th grades. In his book Gifted Hands, Carson relates that as a youth he had a violent temper. "As a teenager, I would go after people with rocks, and bricks, and baseball bats, and hammers," Carson told NBC's Meet the Press in October 2015. He said he once tried to hit his mother on the head with a hammer over a clothing dispute, while in the ninth grade he tried to stab a friend who had changed the radio station. Fortunately, the blade broke in his friend's belt buckle. Carson said that the intended victim, whose identity he wants to protect, was a classmate, a friend, or a close relative. After this incident, Carson said that he began reading the Book of Proverbs and applying verses on anger. As a result, he states he "never had another problem with temper". In his various books and at campaign events, he repeated these stories and said he once attacked a schoolmate with a combination lock. Nine friends, classmates, and neighbors who grew up with him told CNN in 2015 they did not remember the anger or violence he has described. In response, Carson posted on Facebook a 1997 Parade Magazine issue, in which his mother verified the stabbing incident. He then questioned the extent of the effort CNN had exerted in the investigation. He has said that he protected white students in a biology lab after a race riot broke out at his high school in response to the assassination of Martin Luther King Jr. in 1968. The Wall Street Journal confirmed the riot but could not find anyone who remembered Carson sheltering white students.

id he get into trouble often when he was in High School

while in the ninth grade he tried to stab a friend who had changed the radio station.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Was chapter 94 eventful?

This part mostly concerns romantic events at the court of Louis XIV.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

How does it progress from there to chapter 180?

Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Do they get married?

The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

What do they do during the delay?

the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Is successful in doing so?

during the fete, the king overhears Louise confess her attraction for him to friends,

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Then what happens?

That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Do they get caught?

Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Are there any other interesting aspects about this article?

After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta,

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Does she stay?

Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation.

The Vicomte of Bragelonne: Ten Years Later, Part Two: Louise de la Valliere (Chapters 94-180): This part mostly concerns romantic events at the court of Louis XIV. Raoul de Bragelonne finds his childhood sweetheart, Louise de La Valliere, is maid of honour to the Princess. Fearing a tarnishing of Louise's reputation by affairs at court, Raoul seeks to marry her. His father, Athos, the Comte de la Fere, disapproves, but eventually, out of love for his son, reluctantly agrees. The king, however, refuses to sanction the marriage because Louise is of inferior social status, and so marriage is delayed. Meanwhile, the struggle for power begins between Fouquet and Colbert. Louis attempts to impoverish Fouquet by asking for money to pay for a grand fete at Fontainebleau. Meanwhile, Aramis meets the governor of the Bastille M. de Baisemeaux, and learns of a secret prisoner who bears a striking resemblance to Louis XIV. Aramis uses this secret to persuade the dying general of the Jesuits to name him his successor. After Buckingham leaves France, the Comte de Guiche grows besotted with Henrietta, as soon does Louis XIV. To avoid her new husband being jealous Henrietta suggests that the king choose a young lady at court to act as a smokescreen for their flirtation. They select Louise de la Valliere for this part, but during the fete, the king overhears Louise confess her attraction for him to friends, and promptly forgets his affection for Henrietta. That same night Henrietta hears de Guiche confess his love for her to Raoul. The two pursue their own love affair. Aware of Louise's attachment, the king sends Raoul to England indefinitely as a diplomatic envoy. Rumours of the king's love affair cause friction with de Wardes, who has inherited from his father a hatred of d'Artagnan and all those associated with him. De Guiche is forced to fight a duel with him and is defeated and seriously wounded. The incident is the last straw for Madame Henrietta who resolves to dismiss Louise from her service as Maid of Honour. The king dissuades Henrietta, but she prevents the king from seeing Louise. The king circumvents Henrietta, and so she contacts her brother King Charles II, imploring him to eject Raoul from England. On his return to France, Raoul is heartbroken to discover Louise in the arms of the king. Athos finds out everything and spits his contempt at Louis XIV. The young King orders Athos's imprisonment, but D'Artagnan convinces him to release him.

Does he choose one?

They select Louise de la Valliere for this part,

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

What can you tell me about this?

After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

What happened next?

He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

How does he help Charles?

With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

What happened next?

In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

How did he do once he was in power?

Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

Are there any other interesting aspects about this article?

He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

What did the king do?

Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return.

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

What did he find during his investigation?

D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos,

The Vicomte of Bragelonne: Ten Years Later, Part One: The Vicomte of Bragelonne (Chapters 1-93): After 35 years of loyal service, d'Artagnan resigns as lieutenant of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly. In France, Cardinal Mazarin has died, leaving Louis to assume power with Jean-Baptiste Colbert as his finance minister. Colbert has an intense hatred for his superior the king's Superintendent of Finances, Nicolas Fouquet, and tries to bring about his fall. He brings to the king's attention that Fouquet is fortifying his fief of Belle Ile secretly. Louis persuades d'Artagnan to re-enter his service, and tasks him to investigate Belle Ile, promising him a substantial salary and promotion to Captain of the King's Musketeers on his return. Louis, finally growing into a decisive ruler, also accepts an offer relayed by Athos from Charles II to marry his brother Philippe I, Duke of Orleans to Charles' sister Henrietta Anne Stuart. D'Artagnan confirms that Belle Ile is being fortified and the architect ostensibly in charge is Porthos, though the blueprints show the handwriting of Aramis, who is now the bishop of Vannes. Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos around Vannes. Porthos warns Fouquet in the nick of time, and he cedes Belle Ile to the king, humiliating Colbert. On returning from the mission, d'Artagnan is made Captain of the King's Musketeers anyway. Meanwhile, Princess Henrietta arrives in France escorted by the second Duke of Buckingham, to be met by an embassy consisting of Raoul de Bragelonne, his close friend Armand de Gramont, Comte de Guiche, and the Comte de Wardes, son of the previous Comte de Wardes from The Three Musketeers. The erratic Buckingham is madly in love with the princess and can scarcely conceal it, while Guiche soon finds himself equally smitten. Philippe, though little attracted to women, becomes horribly jealous of Buckingham and has him exiled after the wedding.

Is there anything else of note?

Aramis, suspicious of d'Artagnan, sends Porthos back to Paris to warn Fouquet, whilst tricking d'Artagnan into searching for Porthos

Nolan Ryan, Later activity: Nolan Ryan's post-retirement business interests include ownership of two minor league teams: the Corpus Christi Hooks, which play in the Class AA Texas League, and the Round Rock Express, a Class AAA team in the Pacific Coast League. Both teams were affiliates of the Houston Astros, for whom Ryan also served as a special assistant to the general manager until selling his interest in the team in the off-season between 2004 and 2005. He became the president of the Texas Rangers in 2008. The Express became the Rangers' AAA affiliate beginning in 2010; the Hooks are still the Astros' AA affiliate and were purchased by the Astros in 2013 when Nolan's son, Reid Ryan, took office as President of the Houston Astros. Ryan threw out the ceremonial first pitch before Game 3 of the 2005 World Series between the Astros and the White Sox, the first World Series game ever played in Texas. That game went 14 innings, equaling the longest in innings in World Series history (at 5:41, it was the longest in time). ESPN wryly suggested the Astros might have needed to pull the 58-year-old Ryan out of retirement if the game had gone much longer. Ryan has co-written six books: autobiographies Miracle Man (with Jerry Jenkins, 1992), Throwing Heat (with Harvey Frommer, 1988) and The Road to Cooperstown (with Mickey Herskowitz and T.R. Sullivan, 1999); Kings of the Hill (with Mickey Herskowitz, 1992), about contemporary pitchers; and instructional books Pitching and Hitting (with Joe Torre and Joel Cohen, 1977), and Nolan Ryan's Pitcher's Bible (with Tom House, 1991). In addition to his baseball activities, Ryan was majority owner and chairman of Express Bank of Alvin but sold his interest in 2005. He also owned a restaurant in Three Rivers, Texas. He served on the Texas Parks and Wildlife Commission from 1995 to 2001. He appeared as a TV spokesman for Advil for several years, promoting the pain medication he recommended for his own arm. He also has appeared in various television commercials shown in the Texas market. After retiring from baseball, Ryan teamed up with the federal government to promote physical fitness. His likeness was used in the "Nolan Ryan Fitness Guide", published by The President's Council on Physical Fitness and Sports in 1994. Ryan suffered a heart attack on April 25, 2000, and had to receive a double coronary bypass.

what did Nolan do later in life?

Nolan Ryan's post-retirement business interests include ownership of two minor league teams:

Nolan Ryan, Later activity: Nolan Ryan's post-retirement business interests include ownership of two minor league teams: the Corpus Christi Hooks, which play in the Class AA Texas League, and the Round Rock Express, a Class AAA team in the Pacific Coast League. Both teams were affiliates of the Houston Astros, for whom Ryan also served as a special assistant to the general manager until selling his interest in the team in the off-season between 2004 and 2005. He became the president of the Texas Rangers in 2008. The Express became the Rangers' AAA affiliate beginning in 2010; the Hooks are still the Astros' AA affiliate and were purchased by the Astros in 2013 when Nolan's son, Reid Ryan, took office as President of the Houston Astros. Ryan threw out the ceremonial first pitch before Game 3 of the 2005 World Series between the Astros and the White Sox, the first World Series game ever played in Texas. That game went 14 innings, equaling the longest in innings in World Series history (at 5:41, it was the longest in time). ESPN wryly suggested the Astros might have needed to pull the 58-year-old Ryan out of retirement if the game had gone much longer. Ryan has co-written six books: autobiographies Miracle Man (with Jerry Jenkins, 1992), Throwing Heat (with Harvey Frommer, 1988) and The Road to Cooperstown (with Mickey Herskowitz and T.R. Sullivan, 1999); Kings of the Hill (with Mickey Herskowitz, 1992), about contemporary pitchers; and instructional books Pitching and Hitting (with Joe Torre and Joel Cohen, 1977), and Nolan Ryan's Pitcher's Bible (with Tom House, 1991). In addition to his baseball activities, Ryan was majority owner and chairman of Express Bank of Alvin but sold his interest in 2005. He also owned a restaurant in Three Rivers, Texas. He served on the Texas Parks and Wildlife Commission from 1995 to 2001. He appeared as a TV spokesman for Advil for several years, promoting the pain medication he recommended for his own arm. He also has appeared in various television commercials shown in the Texas market. After retiring from baseball, Ryan teamed up with the federal government to promote physical fitness. His likeness was used in the "Nolan Ryan Fitness Guide", published by The President's Council on Physical Fitness and Sports in 1994. Ryan suffered a heart attack on April 25, 2000, and had to receive a double coronary bypass.

what are the 2 minor league teams he owns?

Corpus Christi Hooks, which play in the Class AA Texas League,

Nolan Ryan, Later activity: Nolan Ryan's post-retirement business interests include ownership of two minor league teams: the Corpus Christi Hooks, which play in the Class AA Texas League, and the Round Rock Express, a Class AAA team in the Pacific Coast League. Both teams were affiliates of the Houston Astros, for whom Ryan also served as a special assistant to the general manager until selling his interest in the team in the off-season between 2004 and 2005. He became the president of the Texas Rangers in 2008. The Express became the Rangers' AAA affiliate beginning in 2010; the Hooks are still the Astros' AA affiliate and were purchased by the Astros in 2013 when Nolan's son, Reid Ryan, took office as President of the Houston Astros. Ryan threw out the ceremonial first pitch before Game 3 of the 2005 World Series between the Astros and the White Sox, the first World Series game ever played in Texas. That game went 14 innings, equaling the longest in innings in World Series history (at 5:41, it was the longest in time). ESPN wryly suggested the Astros might have needed to pull the 58-year-old Ryan out of retirement if the game had gone much longer. Ryan has co-written six books: autobiographies Miracle Man (with Jerry Jenkins, 1992), Throwing Heat (with Harvey Frommer, 1988) and The Road to Cooperstown (with Mickey Herskowitz and T.R. Sullivan, 1999); Kings of the Hill (with Mickey Herskowitz, 1992), about contemporary pitchers; and instructional books Pitching and Hitting (with Joe Torre and Joel Cohen, 1977), and Nolan Ryan's Pitcher's Bible (with Tom House, 1991). In addition to his baseball activities, Ryan was majority owner and chairman of Express Bank of Alvin but sold his interest in 2005. He also owned a restaurant in Three Rivers, Texas. He served on the Texas Parks and Wildlife Commission from 1995 to 2001. He appeared as a TV spokesman for Advil for several years, promoting the pain medication he recommended for his own arm. He also has appeared in various television commercials shown in the Texas market. After retiring from baseball, Ryan teamed up with the federal government to promote physical fitness. His likeness was used in the "Nolan Ryan Fitness Guide", published by The President's Council on Physical Fitness and Sports in 1994. Ryan suffered a heart attack on April 25, 2000, and had to receive a double coronary bypass.

is there anything else interesting about what he did after retirement?

Ryan threw out the ceremonial first pitch before Game 3 of the 2005 World Series between the Astros and the White Sox,

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

what happened in 1964?

Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

what else happened after that?

received critical acclaim for the role.

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

what happened in 1965?

She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

Was she successful?

which brought her a second wave of notoriety in spite of the film's lackluster reviews.

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

What were some sex symbol roles?

she appeared posing in the December 1964 issue of Playboy.

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

Did she have any other sex symbol roles?

She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist,

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

What did people say about this?

middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse."

Carroll Baker, 1964-1966: Sex symbol roles: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress." Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation). In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.

What other sex symbols was she known for?

production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

When did Baker appear in her first European film?

1967

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

What was it called?

Her Harem

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

What was the next film she was in?

This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971).

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

Did the horror films do well?

Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970),

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

What can you tell me about her European success?

abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying:

Carroll Baker, 1967-1975: European films: Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world." She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress".

What did Baker think of her time in Italy?

"I think I made more films [there] than I made in Hollywood, but the mentality is different.

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What was Girl power?

phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions.

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What were the reactions it was met with?

message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females.

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

Did anyone dislike the message?

some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance,

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What was the appearance issue?

concerned about the potential impact on self-conscious and/or impressionable youngsters.

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What else did you find interesting in this section?

"What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were,

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What types of things made them so unique?

Spice Girls' girl power is being used to encourage and empower a whole new generation?"

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What else did you find interesting in this section?

Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying:

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

What did she say?

they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

When did that happen?

At the 43rd People's Choice Awards in January 2017,

Spice Girls, Girl power: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra. However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females. In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable." The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?" At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

Have they received any awards or high reviews?

How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?"

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

What is the Hiatus?

In December 2000, the group unofficially announced that they were beginning an indefinite hiatus

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

what happened in 1998?

released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

tribute to what?

to Geri Halliwell,

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

what else happened prior to Hiatus?

Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

what did they win?

"Best Pop Act" and "Best Group"

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

Any other awards or recognition?

at the 2000 Brit Awards, where they received a Lifetime Achievement Award.

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

What else happened during this time?

In late 1998, Brown and Adams announced they were both pregnant;

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

Anything you find interesting about this article?

The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

What was the third album called?

"Holler"/"Let Love Lead the Way

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

Anything notable about it?

achieved only a fraction of the success of its two best-selling predecessors, selling five million copies.

Spice Girls, 1998-2000: Forever and hiatus: While on tour in the United-States, the group continued to record new material and released a new song, "Goodbye", before Christmas in 1998. The song was seen as a tribute to Geri Halliwell, and when it topped the UK Singles Chart it became their third consecutive Christmas number-one - equalling the record previously set by the Beatles. Later in 1998, Bunton and Chisholm appeared at the 1998 MTV Europe Music Awards without their other band members, and the group won two awards: "Best Pop Act" and "Best Group" for a second time. In late 1998, Brown and Adams announced they were both pregnant; Brown was married to dancer Jimmy Gulzer and became known as Mel G for a brief period. She gave birth to daughter Phoenix Chi in February 1999. One month later, Adams gave birth to son Brooklyn, whose father was then Manchester United footballer David Beckham. Later that year, she married Beckham in a highly publicised wedding in Ireland. The Spice Girls returned to the studio in August 1999, after an eight-month recording break to start work on their third and last studio album. The album's sound was initially more pop-influenced, similar to their first two albums, and included production from Eliot Kennedy. The album's sound took a mature direction when American producers like Rodney Jerkins, Jimmy Jam and Terry Lewis came on to collaborate with the group. In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester, also showcasing new songs from the third album. During 1999, the group recorded the character Amneris' song "My Strongest Suit" in Elton John and Tim Rice's Aida, a concept album which would later go on to fuel the musical version of Verdi's Aida. The band performed again at the 2000 Brit Awards, where they received a Lifetime Achievement Award. Despite being at the event, Halliwell did not join her former bandmates on stage. In November 2000, the group released Forever. Sporting a new edgier R&B sound, the album received a lukewarm response from critics. In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was released the same week as Westlife's Coast to Coast album and the chart battle was widely reported by the media, where Westlife won the battle reaching number one in the UK, leaving the Spice Girls at number two. The lead single from Forever, the double A-side "Holler"/"Let Love Lead the Way", became the group's ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. "Holler" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000. The only major performance of the lead single came at the MTV Europe Music Awards on 16 November 2000. In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies. In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers in regards to their foreseeable future, although they pointed out that the group was not splitting.

Why did they decide to take a hiatus?

In December 2000, the group unofficially announced that they were beginning an indefinite hiatus and would be concentrating on their solo careers

Claude Auchinleck, Between the world wars: Auchinleck attended the Staff College, Quetta between 1920 and 1921. He married Jessie Stewart in 1921. Jessie had been born in 1900 in Tacoma, Washington, to Alexander Stewart, head of the Blue Funnel Line that plied the west coast of the United States. When he died about 1919, their mother took her, her twin brother Alan and her younger brother Hepburne back to Bun Rannoch, the family estate at Innerhadden in Perthshire. Holidaying at Grasse on the French Riviera, Auchinleck, who was on leave from India at the time, met Jessie on the tennis courts. She was a high-spirited, blue-eyed beauty. Things moved quickly, and they were married within five months. Sixteen years younger than Auchinleck, Jessie became known as 'the little American girl' in India, but adapted readily to life there. Auchinleck became temporary Deputy Assistant Quartermaster-General at Army Headquarters in February 1923 and then second-in-command of his regiment, which in the 1923 reorganisation of the Indian Army had become the 1st battalion, 1st Punjab Regiment, in September 1925. He attended the Imperial Defence College in 1927 and, having been promoted to lieutenant-colonel on 21 January 1929 he was appointed to command his regiment. Promoted to full colonel on 1 February 1930 with seniority from 15 November 1923, he became an instructor at the Staff College, Quetta in February 1930 where he remained until April 1933. He was promoted to temporary brigadier on 1 July 1933 and given command of the Peshawar Brigade, which was active in the pacification of the adjacent tribal areas during the Mohmand and Bajaur Operations between July and October 1933: during his period of command he was mentioned in despatches. He led a second punitive expedition during the Second Mohmand Campaign in August 1935 for which he was again mentioned in despatches, promoted to Major-General on 30 November 1935 and appointed a Companion of the Order of the Star of India on 8 May 1936. On leaving his brigade command in April 1936 Auchinleck was on the unemployed list (on half pay) until September 1936 when he was appointed Deputy Chief of the General Staff and Director of Staff Duties in Delhi. He was then appointed to command the Meerut District in India in July 1938. In 1938 Auchinleck was appointed to chair a committee to consider the modernisation, composition and re-equipment of the British Indian Army: the committee's recommendations formed the basis of the 1939 Chatfield Report which outlined the transformation of the Indian Army - it grew from 183,000 in 1939 to over 2,250,000 men by the end of the war.

What did Claude do between the world wars?

Auchinleck attended the Staff College, Quetta between 1920 and 1921.

Claude Auchinleck, Between the world wars: Auchinleck attended the Staff College, Quetta between 1920 and 1921. He married Jessie Stewart in 1921. Jessie had been born in 1900 in Tacoma, Washington, to Alexander Stewart, head of the Blue Funnel Line that plied the west coast of the United States. When he died about 1919, their mother took her, her twin brother Alan and her younger brother Hepburne back to Bun Rannoch, the family estate at Innerhadden in Perthshire. Holidaying at Grasse on the French Riviera, Auchinleck, who was on leave from India at the time, met Jessie on the tennis courts. She was a high-spirited, blue-eyed beauty. Things moved quickly, and they were married within five months. Sixteen years younger than Auchinleck, Jessie became known as 'the little American girl' in India, but adapted readily to life there. Auchinleck became temporary Deputy Assistant Quartermaster-General at Army Headquarters in February 1923 and then second-in-command of his regiment, which in the 1923 reorganisation of the Indian Army had become the 1st battalion, 1st Punjab Regiment, in September 1925. He attended the Imperial Defence College in 1927 and, having been promoted to lieutenant-colonel on 21 January 1929 he was appointed to command his regiment. Promoted to full colonel on 1 February 1930 with seniority from 15 November 1923, he became an instructor at the Staff College, Quetta in February 1930 where he remained until April 1933. He was promoted to temporary brigadier on 1 July 1933 and given command of the Peshawar Brigade, which was active in the pacification of the adjacent tribal areas during the Mohmand and Bajaur Operations between July and October 1933: during his period of command he was mentioned in despatches. He led a second punitive expedition during the Second Mohmand Campaign in August 1935 for which he was again mentioned in despatches, promoted to Major-General on 30 November 1935 and appointed a Companion of the Order of the Star of India on 8 May 1936. On leaving his brigade command in April 1936 Auchinleck was on the unemployed list (on half pay) until September 1936 when he was appointed Deputy Chief of the General Staff and Director of Staff Duties in Delhi. He was then appointed to command the Meerut District in India in July 1938. In 1938 Auchinleck was appointed to chair a committee to consider the modernisation, composition and re-equipment of the British Indian Army: the committee's recommendations formed the basis of the 1939 Chatfield Report which outlined the transformation of the Indian Army - it grew from 183,000 in 1939 to over 2,250,000 men by the end of the war.

Are there any other interesting aspects about this article?

he was appointed Deputy Chief of the General Staff and Director of Staff Duties in Delhi.

Claude Auchinleck, Between the world wars: Auchinleck attended the Staff College, Quetta between 1920 and 1921. He married Jessie Stewart in 1921. Jessie had been born in 1900 in Tacoma, Washington, to Alexander Stewart, head of the Blue Funnel Line that plied the west coast of the United States. When he died about 1919, their mother took her, her twin brother Alan and her younger brother Hepburne back to Bun Rannoch, the family estate at Innerhadden in Perthshire. Holidaying at Grasse on the French Riviera, Auchinleck, who was on leave from India at the time, met Jessie on the tennis courts. She was a high-spirited, blue-eyed beauty. Things moved quickly, and they were married within five months. Sixteen years younger than Auchinleck, Jessie became known as 'the little American girl' in India, but adapted readily to life there. Auchinleck became temporary Deputy Assistant Quartermaster-General at Army Headquarters in February 1923 and then second-in-command of his regiment, which in the 1923 reorganisation of the Indian Army had become the 1st battalion, 1st Punjab Regiment, in September 1925. He attended the Imperial Defence College in 1927 and, having been promoted to lieutenant-colonel on 21 January 1929 he was appointed to command his regiment. Promoted to full colonel on 1 February 1930 with seniority from 15 November 1923, he became an instructor at the Staff College, Quetta in February 1930 where he remained until April 1933. He was promoted to temporary brigadier on 1 July 1933 and given command of the Peshawar Brigade, which was active in the pacification of the adjacent tribal areas during the Mohmand and Bajaur Operations between July and October 1933: during his period of command he was mentioned in despatches. He led a second punitive expedition during the Second Mohmand Campaign in August 1935 for which he was again mentioned in despatches, promoted to Major-General on 30 November 1935 and appointed a Companion of the Order of the Star of India on 8 May 1936. On leaving his brigade command in April 1936 Auchinleck was on the unemployed list (on half pay) until September 1936 when he was appointed Deputy Chief of the General Staff and Director of Staff Duties in Delhi. He was then appointed to command the Meerut District in India in July 1938. In 1938 Auchinleck was appointed to chair a committee to consider the modernisation, composition and re-equipment of the British Indian Army: the committee's recommendations formed the basis of the 1939 Chatfield Report which outlined the transformation of the Indian Army - it grew from 183,000 in 1939 to over 2,250,000 men by the end of the war.

Who appointed him?

He was then appointed to command the Meerut District in India in July 1938. In

Claude Auchinleck, Partition of India and later years: Auchinleck continued as Commander-in-Chief of the Indian Army after the end of the war helping, though much against his own convictions, to prepare the future Indian and Pakistani armies for the Partition of India: in November 1945 he was forced to commute the more serious judicial sentences awarded against officers of the Indian National Army in face of growing unease and unrest both within the Indian population, and the British Indian Army. On 1 June 1946 he was promoted to field marshal, but he refused to accept a peerage, lest he be thought associated with a policy (i.e. Partition) that he thought fundamentally dishonourable. Sending a report to British Government on 28 September 1947 Auchinleck wrote: "I have no hesitation, whatever, in affirming that the present Indian Cabinet are implacably determined to do all in their power to prevent the establishment of the Dominion of Pakistan on firm basis." He stated in the second, political part of his assessment, "Since 15th August, the situation has steadily deteriorated and the Indian leaders, cabinet ministers, civil officials and others have persistently tried to obstruct the work of partition of the armed forces." When partition was effected in August 1947, Auchinleck was appointed Supreme Commander of all British forces remaining in India and Pakistan and remained in this role until the winding up and closure of the Supreme H.Q. at the end of November 1948. This marked his effective retirement from the army (although technically field marshals in the British Army never retire, remaining on the active list on half pay). He left India on 1 December. After a brief period in Italy in connection with an unsuccessful business project, Auchinleck retired to London, where he occupied himself with a number of charitable and business interests and became a respectably skilled watercolour painter. In 1960 he settled in Beccles in the county of Suffolk, remaining there for seven years until, at the age of eighty-four, he decided to emigrate and set up home in Marrakesh, where he died on 23 March 1981.

What did Auchinleck do during his later years?

Auchinleck continued as Commander-in-Chief of the Indian Army after the end of the war

Claude Auchinleck, Partition of India and later years: Auchinleck continued as Commander-in-Chief of the Indian Army after the end of the war helping, though much against his own convictions, to prepare the future Indian and Pakistani armies for the Partition of India: in November 1945 he was forced to commute the more serious judicial sentences awarded against officers of the Indian National Army in face of growing unease and unrest both within the Indian population, and the British Indian Army. On 1 June 1946 he was promoted to field marshal, but he refused to accept a peerage, lest he be thought associated with a policy (i.e. Partition) that he thought fundamentally dishonourable. Sending a report to British Government on 28 September 1947 Auchinleck wrote: "I have no hesitation, whatever, in affirming that the present Indian Cabinet are implacably determined to do all in their power to prevent the establishment of the Dominion of Pakistan on firm basis." He stated in the second, political part of his assessment, "Since 15th August, the situation has steadily deteriorated and the Indian leaders, cabinet ministers, civil officials and others have persistently tried to obstruct the work of partition of the armed forces." When partition was effected in August 1947, Auchinleck was appointed Supreme Commander of all British forces remaining in India and Pakistan and remained in this role until the winding up and closure of the Supreme H.Q. at the end of November 1948. This marked his effective retirement from the army (although technically field marshals in the British Army never retire, remaining on the active list on half pay). He left India on 1 December. After a brief period in Italy in connection with an unsuccessful business project, Auchinleck retired to London, where he occupied himself with a number of charitable and business interests and became a respectably skilled watercolour painter. In 1960 he settled in Beccles in the county of Suffolk, remaining there for seven years until, at the age of eighty-four, he decided to emigrate and set up home in Marrakesh, where he died on 23 March 1981.

What else did he do?

in November 1945 he was forced to commute the more serious judicial sentences awarded against officers of the Indian National Army in face of growing unease and unrest

Claude Auchinleck, Partition of India and later years: Auchinleck continued as Commander-in-Chief of the Indian Army after the end of the war helping, though much against his own convictions, to prepare the future Indian and Pakistani armies for the Partition of India: in November 1945 he was forced to commute the more serious judicial sentences awarded against officers of the Indian National Army in face of growing unease and unrest both within the Indian population, and the British Indian Army. On 1 June 1946 he was promoted to field marshal, but he refused to accept a peerage, lest he be thought associated with a policy (i.e. Partition) that he thought fundamentally dishonourable. Sending a report to British Government on 28 September 1947 Auchinleck wrote: "I have no hesitation, whatever, in affirming that the present Indian Cabinet are implacably determined to do all in their power to prevent the establishment of the Dominion of Pakistan on firm basis." He stated in the second, political part of his assessment, "Since 15th August, the situation has steadily deteriorated and the Indian leaders, cabinet ministers, civil officials and others have persistently tried to obstruct the work of partition of the armed forces." When partition was effected in August 1947, Auchinleck was appointed Supreme Commander of all British forces remaining in India and Pakistan and remained in this role until the winding up and closure of the Supreme H.Q. at the end of November 1948. This marked his effective retirement from the army (although technically field marshals in the British Army never retire, remaining on the active list on half pay). He left India on 1 December. After a brief period in Italy in connection with an unsuccessful business project, Auchinleck retired to London, where he occupied himself with a number of charitable and business interests and became a respectably skilled watercolour painter. In 1960 he settled in Beccles in the county of Suffolk, remaining there for seven years until, at the age of eighty-four, he decided to emigrate and set up home in Marrakesh, where he died on 23 March 1981.

What else is significant about the partition of india?

When partition was effected in August 1947, Auchinleck was appointed Supreme Commander of all British forces remaining in India and Pakistan

Michael Bennett (theater), Early life and career: Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

Where was Bennett born?

Bennett was born Michael Bennett DiFiglia in Buffalo, New York,

Michael Bennett (theater), Early life and career: Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

Who are his parents?

the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker.

Michael Bennett (theater), Early life and career: Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

when did his career begin?

Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping,

Michael Bennett (theater), Early life and career: Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

What show did he begin his career?

he appeared in Meredith Willson's Here's Love and the short-lived Bajour.