What’s “Love” Got to Do with It?

It was fun last month to take a look at our favorite romance movies and some of the greatest lines from them. After all, I breathe “romance” novels. They are my favorite escape genre. So, tell me what you think of these tidbits:

The truth is… I gave my heart away a long time ago, my whole heart… and I never really got it back.
– Reese Witherspoon as Melanie Smooter, Sweet Home Alabama

Rose: I love you, Jack.
Jack: Don’t you do that! Don’t you say your good-byes. Not yet! Do you understand me?
Rose: I’m so cold.
Jack: Listen, Rose. You’re gonna get out of here. You’re gonna go on and you’re gonna make lots of babies, and you’re gonna watch them grow. You’re gonna die an old… an old lady warm in her bed. Not here, not this night! Not like this, do you understand me?
Rose: I can’t feel my body.
Jack: Winning that ticket, Rose, was the best thing that ever happened to me. It brought me to you. And I’m thankful for that, Rose. I’m thankful. You must do me this honor. Promise me you’ll survive. That you won’t give up, no matter what happens, no matter how hopeless. Promise me now, Rose, and never let go of that promise.
Rose: I promise.
Jack: Never let go.
Rose: I’ll never let go, Jack. I’ll never let go. – Leonardo DeCaprio (Jack) and Kate Winslet (Rose) in Titanic

Bella and Edward Twilight New Moon movie image Kristen Stewart and Robert Pattision
“I love you. You’re my only reason to stay alive… if that’s what I am.”
—Edward (Robert Pattinson) to Bella (Kristen Stewart) in The Twilight Saga: New Moon

 

“What I really want to do with my life — what I want to do for a living — is I want to be with your daughter. I’m good at it.”
—Lloyd (John Cusack) to his girlfriend Diane’s (Ione Skye) dad (John Mahoney) in Say Anything 

MV5BMTkwMDIwNzI0Nl5BMl5BanBnXkFtZTgwNDU1MjEyMDE@._V1_SX214_I don’t think you’re an idiot at all. I mean, there are elements of the ridiculous about you. Your mother’s pretty interesting. And you really are an appallingly bad public speaker. And, um, you tend to let whatever’s in your head come out of your mouth without much consideration of the consequences… But the thing is, um, what I’m trying to say, very inarticulately, is that, um, in fact, perhaps despite appearances, I like you, very much. Just as you are. – Colin Firth as Mark Darcy from Bridget Jones’ Diary

It seems right now that all I’ve ever done in my life is making my way here to you. – Clint Eastwood as Robert Kincaid in The Bridges of Madison County

“I would rather have had one breath of her hair, one kiss from her mouth, one touch of her hand, than eternity without it.” – Nicholas Cage as the angel Seth in City of Angels

I have dreamed that arms are love
I have dreamed what a joy you’ll be
I have dreamed every word you whisper
When your close
Close to me
How you look in the glow of evening
I have dreamed and enjoyed the view
In these dreams I’ve loved you so
That by now I think I know
What it’s like to be loved by you
I will love being loved by you – Lun Tha (lyrics from “I Have Dreamed” from The King and I

Robbie, look at me, come back, come back to me. – Keira Knightley as Cecilia Tallis in Atonement

I love you without knowing how, why, or even from where. I love you straight forward, without complexities or pride. So close that your hand on my chest is my hand. So close that when you close your eyes, I fall asleep. – Robin Williams as Patch Adams in the movie by the same name

May I ask your name, my lady? Or perhaps angels have no names, only beautiful faces. – Heath Ledger as William Thatcher in A Knight’s Tale

220px-Four_weddings_poster
 “Ehm, look. Sorry, sorry. I just, ehm, well, this is a very stupid question and… particularly in view of our recent shopping excursion, but I just wondered, by any chance, ehm, eh, I mean obviously not because I guess I’ve only slept with 9 people, but-but I-I just wondered… ehh. I really feel, ehh, in short, to recap it slightly in a clearer version, eh, the words of David Cassidy in fact, eh, while he was still with the Partridge family, eh, “I think I love you,” and eh, I… I just wondered by any chance you wouldn’t like to… Eh… Eh… No, no, no of course not… I’m an idiot, he’s not… Excellent, excellent, fantastic, eh, I was gonna say lovely to see you, sorry to disturb… Better get on…”
—Charles (Hugh Grant) to Carrie (Andie MacDowell) in Four Weddings and a Funeral

Love cannot be found where it doesn’t exist, nor can it be hidden where it truly does.
– David Schwimmer as Max Abbitt, in the movie Kissing a Fool

MV5BMTk3OTM5Njg5M15BMl5BanBnXkFtZTYwMzA0ODI3._V1_SX214_
I am nothing special; just a common man with common thoughts, and I’ve led a common life. There are no monuments dedicated to me and my name will soon be forgotten. But in one respect I have succeeded as gloriously as anyone who’s ever lived: I’ve loved another with all my heart and soul; and to me, this has always been enough. – Ryan Gosling as Noah in The Notebook

 

I remember once when I was young and I was coming back from some place—a movie or something—I was on a subway. And there was a girl sitting across from me and she was wearing this dress that was bottoned clear up right to here. She was the most beautiful thing I’ve ever seen. And I was shy then, so when she would look at me I would look away. Then, afterwards, when I would look back, she would look away. Then, I got to where I was gonna get off—and got off—the doors closed, and as the train was pulling away, she looked right at me and gave me the most incredible smile. It was awful. I wanted to tear the doors open. And I went back every night, same time, for two weeks. But she never showed up. That was thirty years ago and I don’t think that there’s a day that goes by that I don’t think about her. I don’t want that to happen again. – Robert Redford as John Gage in Indecent Proposal

51367_1219254771542_500_281I love you. Most ardently. – Matthew Macfadyen as Fitzwilliam Darcy in 2005s Pride and Prejudice

Beast: I let her go.
Cogsworth: Yes, yes splendid- You what? How could you do that?
Beast: I had to.
Cogsworth: Yes, but… Why?
Beast: Because I love her. – from Disney’s Beauty and the Beast

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Do You Remember: the Last Old-Fashioned Presidential Campaign

What do you know of the Presidential race between Harry S. Truman and Thomas E. Dewey, one one where Truman came from behind to beat the anointed “next President,” Dewey? Do you realize it was really a four-party race?

290px-Deweytruman12 “Dewey Defeats Truman” was a famously incorrect banner headline on the front page of the Chicago Tribune on November 3, 1948, the day after incumbent United States President Harry S. Truman won an upset victory over Republican challenger and Governor of New York Thomas E. Dewey in the 1948 presidential election.

The Chicago Tribune‘s erroneous headline became notorious after a jubilant Truman was photographed holding a copy of the paper during a stop at St. Louis Union Station while returning by train from his home in Independence, Missouri, to Washington, D.C. The Tribune, which had once referred to Truman as a “nincompoop,” was a famously Republican-leaning paper. In a retrospective article over half a century later about the newspaper’s most famous and embarrassing headline, the Tribune wrote that Truman “had as low an opinion of the Tribune as it did of him.”

For about a year prior to the 1948 general election, the printers who operated the linotype machines at the Chicago Tribune and other Chicago papers had been on strike, in protest of the Taft–Hartley Act. Around the same time, the Tribune had switched to a method in which copy for the paper was composed on typewriters and photographed and then engraved onto the printing plates. This process required the paper to go to press several hours earlier than usual.

On election night, this earlier press deadline required the first post-election issue of the Tribune to go to press before even the East coast states had reported many results from the polling places. The paper relied on its veteran Washington correspondent and political analyst Arthur Sears Henning, who had predicted the winner in four out of five presidential contests in the past 20 years. Conventional wisdom, supported by polls, was almost unanimous that a Dewey presidency was “inevitable,” and that the New York governor would win the election handily. The first (one-star) edition of the Tribune therefore went to press with the banner headline “DEWEY DEFEATS TRUMAN.”

The story by Tribune correspondent Henning also reported Republican control of the House of Representatives and Senate that would work with President-elect Dewey. Henning wrote that “Dewey and Warren won a sweeping victory in the presidential election yesterday. The early returns showed the Republican ticket leading Truman and Barkley pretty consistently in the western and southern states” and added that “indications were that the complete returns would disclose that Dewey won the presidency by an overwhelming majority of the electoral vote.”

As returns began to indicate a close race later in the evening, Henning continued to stick to his prediction, and thousands of papers continued to roll off the presses with the banner headline predicting a Dewey victory. Even after the paper’s lead story was rewritten to emphasize local races and to indicate the narrowness of Dewey’s lead in the national race, the same banner headline was left on the front page. Only late in the evening, after press dispatches cast doubt upon the certainty of Dewey’s victory, did the Tribune change the headline to “DEMOCRATS MAKE SWEEP OF STATE OFFICES” for the later two-star edition. Some 150,000 copies of the paper had already been published with the erroneous headline before the gaffe was corrected.

Truman, as it turned out, won the electoral vote by a 303–189–39 majority over Dewey and Dixiecrat candidate Strom Thurmond, though a swing of just a few thousand votes in Ohio, Illinois, and California would have produced a Dewey victory.

Instead of a Republican sweep of the White House and hold of both houses of Congress, the Democrats not only won the Presidency but also took over control of the Senate and the House of Representatives.

245px-ThomasDewey The other major candidate in the race was Thomas E. Dewey, the Republican Party nominee. Although Life magazine had “named” Dewey the winner nearly a year prior to the election in its pre-election issue, Dewey had come off as haughty and out of touch with the American public. Dewey had previously given Franklin Roosevelt a close race in 1944. He represented the liberal wing of the party. To his benefit, Dewey was seen as hard-working and incorruptible.

220px-Robert_a_taft An early Republican possibility was Ohio Senator Robert Taft, the son of President and Chief Justice, William Howard Taft. The younger Taft was extremely conservative. As the U.S. Senate’s main opponent of President Franklin Roosevelt’s New Deal domestic policies, after Roosevelt’s death Taft successfully led the conservative coalition’s effort to curb the expanding power of labor unions in America. Taft was also a major advocate of the foreign policy of non-interventionism. He battled New York Governor Thomas E. Dewey (leader of the moderate “Eastern Establishment”) for control of the national Republican Party. Chief Taft biographer James T. Patterson portrayed Taft as honest, conscientious, courageous, dignified, and highly intelligent, while also faulting Taft’s competitiveness and extreme partisanship.

230px-Harold_Stassen A third Republican candidate had been Minnesota Governor Harold Stassen. Stassen was later best known for being a perennial candidate for the Republican Party nomination for President of the United States, seeking it 13 times between 1940 and 2000 (1940, 1944, 1948, 1952, 1964, 1968, 1976, 1980, 1984, 1988 and 1992. Stassen’s strongest bid for the Republican presidential nomination was in 1948, when he won a series of upset victories in early primaries. His challenge to the front runner, New York Governor and 1944 G.O.P. presidential nominee Thomas E. Dewey, was serious enough that Dewey challenged Stassen to a debate on the night before the Oregon Republican primary. The May 17 Dewey–Stassen debate was the first recorded modern debate between presidential candidates to take place in the United States. The debate, which concerned the criminalization of the Communist Party of the United States, was broadcast over the radio throughout the nation.

Vice-President Harry Truman had taken office with the death of Franklin D. Roosevelt in April 1945. Everyone agreed that although Truman was likable, he did not possess his predecessor’s innate power of presence, nor did he speak with an authoritative voice. The major for Truman, however, came in the form of FDR’s long term. In the 1946 Congressional elections, the Republicans adopted the slogan “Had Enough?” referring to the 16 year reign of the Democratic party. Many of the more liberal and conservative members of the party left, among them the former Vice President Henry Wallace.

220px-Henry-A.-Wallace-Townsend Henry Agard Wallace (October 7, 1888 – November 18, 1965) was the 33rd Vice President of the United States (1941–1945), the Secretary of Agriculture (1933–1940), and the Secretary of Commerce (1945–1946). In the 1948 presidential election, Wallace was the nominee of the Progressive Party. With Idaho Democratic U.S. Senator Glen H. Taylor as his running mate, his platform advocated friendly relations with the Soviet Union, an end to the nascent Cold War, an end to segregation, full voting rights for blacks, and universal government health insurance. His campaign was unusual for his time in that it included African American candidates campaigning alongside white candidates in the American South, and that during the campaign he refused to appear before segregated audiences or to eat or stay in segregated establishments.

220px-Strom_ThurmondThe far-right wing of the Democratic party formed the States Rights Democratic (Dixiecrat) Party and nominated South Carolina Strom Thurmond. The Dixiecrats strongly opposed Truman’s ideas on civil rights. James Strom Thurmond (December 5, 1902 – June 26, 2003) was an American politician who served for 48 years as a United States Senator. He ran for president in 1948 as the States Rights Democratic Party candidate, receiving 2.4% of the popular vote and 39 electoral votes. Thurmond represented South Carolina in the United States Senate from 1954 until 2003, at first as a Democrat and, after 1964, as a Republican. He switched because of his opposition to the 1964 Civil Rights Act, disaffection with the liberalism of the national party, and his support for the conservatism and opposition to the Civil Rights bill of the Republican presidential candidate Senator Barry Goldwater.

At the final count, Truman had won 304 electoral votes to Dewey’s 189 and Thurmond’s 38.

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Doo Wop Quiz – Are You Old Enough to Pass This One?

doowoperaDoo Wop Quiz – Are You Old Enough to Pass This One?

My special friend, George Arnold, sent me this in an email. I know not its source, but for me, it was a fabulous trip down memory lane. George earned 28 out of 30, but he is older than I.  I only managed 27 out of 30. How many did you name correctly?

Doo Wop Test – answers at the bottom. Don’t cheat, now!

1. When did ”Little Suzie” finally wake up?
(a) The movie’s over, it’s 2 o’clock
(b) The movie’s over, it’s 3 o’clock
(c) The movie’s over, it’s 4 o’clock

2. ”Rock Around The Clock” was used in what movie?
(a) Rebel Without A Cause
(b) Blackboard Jungle
(c) The Wild Ones

3. What’s missing from a Rock & Roll standpoint? Earth _____
(a) Angel
(b) Mother
(c) Worm

4. ”I found my thrill . . .” where?
(a) Kansas City
(b) Heartbreak Hotel
(c) Blueberry Hill

5. ”Please turn on your magic beam, _____ _____ bring me a dream,”:
(a) Mr. Sandman
(b) Earth Angel
(c) Dream Lover

6. For which label did Elvis Presley first record?
(a) Atlantic
(b) RCA
(c) Sun

7. He asked, ”Why’s everybody always pickin’ on me?” Who was he?
(a) Bad, Bad Leroy Brown
(b) Charlie Brown
(c) Buster Brown

8. In Bobby Darin’s ”Mack The Knife,” the one with the knife, was named:
(a) MacHeath
(b) MacCloud
(c) MacNamara

9. Name the song with ”A-wop bop a-loo bop a-lop bam boom.”
(a) Good Golly, Miss Molly
(b) Be-Bop-A-Lula
(c) Tutti Fruitti

10. Who is generally given credit for originating the term ”Rock And
Roll”?
(a) Dick Clark
(b) Wolfman Jack
(c) Alan Freed

11. In 1957, he left the music business to become a preacher:
(a) Little Richard
(b) Frankie Lymon
(c) Tony Orlando

12. Paul Anka’s ”Puppy Love” is written to what star?
(a) Brenda Lee
(b) Connie Francis
(c) Annette Funicello

13. The Everly Brothers were . . …
(a) Pete and Dick
(b) Don and Phil
(c) Bob and Bill

14. The Big Bopper’s real name was:
(a) Jiles P. Richardson
(b) Roy Harold Scherer Jr.
(c) Marion Michael Morrison

15. In 1959, Berry Gordy, Jr.., started a small record company called…
(a) Decca
(b) Cameo
(c) Motown

16. Edd Brynes had a hit with ”Kookie, Kookie, Lend Me Your Comb.” What TV
show was he on?
(a) 77 Sunset Strip
(b) Hawaiian Eye
(c) Surfside Six

17. In 1960 Bobby Darin married:
(a) Carol Lynley
(b) Sandra Dee
(c) Natalie Wood

18. They were a one hit wonder with ”Book Of Love”:
(a) The Penguins
(b) The Monotones
(c) The Moonglows

19. The Everly Brothers sang a song called ”Till I ______ You.”
(a) Loved
(b) Kissed
(c) Met

20. Chuck Berry sang ”Oh, ___________, why can’t you be true?”
(a) Suzie Q
(b) Peggy Sue
(c) Maybelline

21. ”Wooly _______”
(a) Mammouth
(b) Bully
(c) Pully

22. ”I’m like a one-eyed cat . . . ..”
(a) can’t go into town no more
(b) sleepin’ on a cold hard floor
(c) peepin’ in a seafood store

23. ”Sometimes I wonder what I’m gonna do . . . . ..”
(a) cause there ain’t no answer for a life without booze
(b) cause there ain’t no cure for the summertime blues
(c) cause my car’s gassed up and I’m ready to cruise

24. ”They often call me Speedo, but my real name is … . . . .. .”
(a) Mr. Earl
(b) Jackie Pearl
(c) Milton Berle

25. ”You’re my Fanny and nobody else’s ……”
(a) girl
(b) butt
(c) love

26. ”I want you to play with my . . . ”
(a) heart
(b) dreams
(c) ding a ling

27. ”Be Bop A Lula ….”
(a) she’s got the rabies
(b) she’s my baby.
(c) she loves me, maybe

28. ”Fine Love, Fine Kissing ..”
(a) right here
(b) fifty cents
(c) just for you

29. ”He wore black denim trousers and . . ..”
(a) a pink carnation
(b) pink leotards
(c) motorcycle boots

30. ”I got a gal named . … ..”
(a) Jenny Zamboni
(b) Gerri Mahoney
(c) Boney Maroney

 

 

Answers:

Scroll Down so you aren’t tempted to cheat (as if cheating were needed
here).
* * * * * * * * * * * *
1 (c) The movie’s over, it’s 4 o’clock
2. (b) Blackboard Jungle
3. (a) Angel
4. (c) Blueberry Hill
5. (a) Mr. Sandman
6. (c) Sun
7. (b) Charlie Brown
8. (a) Mac Heath
9. (c) Tutti Fruitti
10. (c) Alan Freed
11. (a) Little Richard
12. (c) Annette Funicello
13. (b) Don and Phil
14. (a) Jiles P. Richardson
15. (c) Motown
16. (a) 77 Sunset Strip
17. (b) Sandra Dee
18. (b) The Monotones
19. (b) Kissed
20. (c) Maybelline
21. (b) Bully
22. (c) peepin’ in a sea food store
23. (b) cause there ain’t no cure for the summertime blues
24. (a) Mr. Earl
25. (b) butt
26. (c) ding a ling
27. (b) she’s my baby
28. (a) right here
29. (c) motorcycle boots
30. (c) Boney Maroney

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The Wonderful World of the English Language: From Where Does That Phrase Come?

words.1Do you wonder from where words originate? From whom they originate? Try some of these on for fun. They would make great story starters at a party. LOL!

Ketchup:
Ketchup was originally a sauce composed of the juices of edible fungi, salted for preservation and spiced. The Dutch imported large amounts of this Chinese dish in the 18th Century. It was spelled “ketjap” by the Dutch from the Chinese word “ke-tsiap.”

Sincere:
There are several sources for this word, but I like the one which says it came from two Latin words: “sine,” meaning “without” and “cera,” meaning “wax.” Reportedly, Roman artisans used wax to fill cracks and holes in furniture, so the “sine” and “cera” became to mean “without flaws.”

Jitney:
In the early 1900s in the U.S., “jitney” became to mean “a nickel.” The word then transformed into meaning a passenger vehicle for which the fare was five cents. In A Desk-Book of Idioms and Idiomatic Phrases,” it is suggested that the word might have been a corruption of “jetnee” or the French jeton” (which means a token or counter).

Hollyhock:
There are those who think the word came about as the plant is indigenous in the Holy Land. However, as I am a great fan of the story of St. Cuthert (and the plant is also known as “St. Cuthbert’s cole”), I choose the idea the plant’s name came either from the holy man St. Cuthbert or even from the mystical island, Holy Island, off the coast of Northumberland, to which St. Cuthbert retreated in the 7th Century.

To Knock into a Cocked Hat:
This phrase comes the hats worn by both the American and British soldiers during the Revolutionary War. The tricorn hats were often criticized because the brim was turned up upon all sides and of little use. Therefore, to knock a fellow soldier into a cocked hat was to knock the man useless. The phrase was first used in print in 1833 by James Kirke Paulding in “Banks of the Ohio.”

Sour Grapes:
Those who know the Bible know of the story of Jeremiah and Ezekiel and the ancient proverb which says, “The fathers have eaten sour grapes, and the children’s teeth are set on edge.” One can also find a possible root in Aesop’s “The Fox and the Grapes.” Today we comfort ourselves with the idea that what in unattainable would only be “sour grapes,” after all.

UnknownUpside Down:
This expression only dates back to the time of Queen Elizabeth. Prior to that time, one would say “upsedown” to indicate an item is overturned or in a state of disorder. It was originally “up so down.”

Handwriting on the Wall:
In the fifth chapter of Daniel in the Old Testament, Belshazzar celebrates his accession to his father’s throne upon Nebuchadnezzar’s death. Belshazzar held a great feast and to signal his subjugation of the Jews, Belshazzar removed the golden vessels from the temple at Jerusalem, and he and his household and his concubines drank from them. Then “came forth fingers of a man’s hand, and wrote over against the candlestick upon the plaster of the wall.” The finger wrote “Mene, mene, tekel, upharsin.” Belshazzar demanded the Jewish prophet, Daniel, translate the words meanings: “This is the interpretation of the thing: Mene; God hath numbered thy kingdom, and finished it. Tekel‘ Thou art weighed in the balances, and art found wanting. Peres; Thy kingdom is divided, and given to Medes and Persians.” The fifth chapter ends with “In that night was Belshazzar the king of the Chaldeans slain. And Darius the Median took the kingdom.”

To Ride the Goat:
Likely, this term comes from the initiation of young men into secret collegiate societies. The earliest mention of the phrase in print come from George Wilbur Peck in Chapter 19 of Peck’s Bad Boy and His Pa (1883). “Pa” is given the instructions to say “A pilgrim who wants to join your ancient order and ride the goat,” when he asked if he wishes to be ‘nishiated.

A Donnybrook Fair:
Donnybrook, which is now part of Dublin, where a riotous fair was staged each August for some six centuries, beginning in 1204. The fair ended in 1885, but over the nearly 600 years of its life melees marked the annual week-long celebration. The phrase has come to mean strife of the most severe sort.

To Lose One’s Shirt:
In Chaucer’s “The Wyf of Bathes Tale,” we find “Who that holt him payd of his povert, I holde him riche al [though] had he nought a schert.”

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The Broad Street Riots, June 11, 1837

The Broad Street Riot occurred in Boston, Massachusetts, U.S., on June 11, 1837. The riot began when a company of Yankee firefighters met with an Irish funeral procession on Broad Street. Fire Engine Company 20 was returning from a fire in Roxbury. Many of the firefighters went to a saloon nearby. Afterwards, while traveling back to the firestation, George Fay either insulted or shoved members of a passing Irish funeral procession. The Irish and firemen began to fight, but under the orders of W.W. Miller, the firemen ran to the station. Miller sounded the emergency alarm, calling all of the fire engines in Boston. Although many of the Irish had left the scene, the fire companies continued to come as called. As the fight continued, local Yankees and Irishmen joined the row. Eventually 1000 people were included in the melee, though no one was killed. Several houses were broken into and vandalized, and the rioters launched rocks and other missiles at each other. The fight was broken up when Mayor Samuel A. Eliot commanded 10 companies from the military to patrol the neighborhoods surrounding Broad Street.

Mayor Samuel Atkins Eliot assembled the militia to calm the riots and placed a guard at every church in the city, in order to prevent individuals from raising false alarms.

Mayor Samuel Atkins Eliot assembled the militia to calm the riots and placed a guard at every church in the city, in order to prevent individuals from raising false alarms.

Court Decisions
On June 15, 17 people were forced to pay reparations of three hundred dollars, and to attend the nearest term at the Municipal Court. Mark Adams was held to bail, as witnesses reported him for breaking into homes. Fourteen Irish and four Protestant men that had participated in the riot were put on trial. Only three of the Irish men, John Whaley, John Welsh, and Barney Fanning were assigned hard labor in the House of Correction. John Whaley was sentenced four months, while John Welsh and Barney Fanning were sentenced two months. All four of the protestants were found innocent.

Afterwards
The following Monday, June 18, military forces were located outside of the armories. When engines returned from duty, hissing and hooting was heard. Many people attempted to start brawls throughout the day; however, none were successful. The Broad Street Riot is still considered the worst riot of Boston’s history.

Background Information
Boston was a main place for immigrants to arrive in the United States due to its large seaport. Tension between Irish and English Americans was high, and led to the Broad Street Riot.

References in Popular Culture
The riot was used as the basis of the Mighty Mighty Bosstones song “Riot on Broad Street.” The narrative from the song differs from the facts as presented on the Celebrate Boston website. According to the website, the riot commenced between an engine company returning from a fire, and an Irish funeral procession. In the song, however, the firefighters are described as being on the way to stopping an on-going fire at a brownstone. The song further describes the frustration of the firefighters halted by a funeral procession moving “way too slow.” The song concludes with a lyric that the “brownstone lay in ashes,” implying that the riot prevented the company from putting out the blaze.

But, regardless of the specifics of the particular element that sparked the riots, the basic underlying tensions between the Catholic Irish mourners and the Protestant Yankee firefighters was represented the same by both accounts.

Current Broad Street scene

Current Broad Street scene

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The Scope and Influence of The Ancient Celts

A great empire once stretched from the Black Sea to the British Isles. So powerful, the Celts leveled Rome, as well as conquering the Carthaginians in Spain. Unfortunately, the Celts left no written account of their society – most of what we know of them comes from the histories of their enemies and their allies. Other than a few coins and bronze weapons, we possess little proof of their existence.

We have what is known as the “Celtic fringe,” which means the Celts retreated to the “edges” of many of the lands they once occupied. For example, in Britain, an unmixed Celtic population is evident in Wales, as well as in Scotland’s Highlands, and in Ireland. Roman legionaries never entered Ireland, and so that area retained much of its early Celtic influences. Likewise, we find a short Celtic tradition in Brittany.

The Celts were known as a warlike race, one which fought many battles. The art of war was part of the heritage passed on to their descendants. In general, the Celts were tall, fair complected, and red of head. They were known to be fond of gossip and of their own opinions.  They were also very intelligent and shrewd. The created stories rich in the beauty of nature and life and love. Their stories have influenced much of the literature which followed.

The Celtic languages form a branch of the larger Indo-European family. By the time speakers of Celtic languages enter history around 400 BC, they were already split into several language groups, and spread over much of Western continental Europe, the Iberian Peninsula, Ireland and Britain.

Some scholars think that the Urnfield culture of Western Middle Europe represents an origin for the Celts as a distinct cultural branch of the Indo-European family. This culture was preeminent in central Europe during the late Bronze Age, from c. 1200 BC until 700 BC, itself following the Unetice and Tumulus cultures. The Urnfield period saw a dramatic increase in population in the region, probably due to innovations in technology and agricultural practices. The Greek historian Ephoros of Cyme in Asia Minor, writing in the 4th century BC, believed that the Celts came from the islands off the mouth of the Rhine and were “driven from their homes by the frequency of wars and the violent rising of the sea.”

The spread of iron-working led to the development of the Hallstatt culture directly from the Urnfield (c. 700 to 500 BC). Proto-Celtic, the latest common ancestor of all known Celtic languages, is considered by this school of thought to have been spoken at the time of the late Urnfield or early Hallstatt cultures, in the early 1st millennium BC. The spread of the Celtic languages to Iberia, Ireland and Britain would have occurred during the first half of the 1st millennium BC, the earliest chariot burials in Britain dating to c. 500 BC.

Other scholars see Celtic languages as covering Britain and Ireland, and parts of the Continent, long before any evidence of “Celtic” culture is found in archaeology. Over the centuries the language(s) developed into the separate Celtiberian, Goidelic and Brythonic languages. cel

The Hallstatt culture was succeeded by the La Tène culture of central Europe, which was overrun by the Roman Empire, though traces of La Tène style are still to be seen in Gallo-Roman artefacts. In Britain and Ireland La Tène style in art survived precariously to re-emerge in Insular art. Early Irish literature casts light on the flavour and tradition of the heroic warrior elites who dominated Celtic societies. Celtic river-names are found in great numbers around the upper reaches of the Danube and Rhine, which led many Celtic scholars to place the ethnogenesis of the Celts in this area.

Diodorus Siculus and Strabo both suggest that the heartland of the people they called Celts was in southern France. The former says that the Gauls were to the north of the Celts, but that the Romans referred to both as Gauls (in linguistic terms the Gauls were certainly Celts). Before the discoveries at Hallstatt and La Tene, it was generally considered that the Celtic heartland was southern France, see Encyclopædia Britannica for 1813.

Celtic remains of Tintagel Castle

Celtic remains of Tintagel Castle

Linguistic Evidence
The Proto-Celtic language is usually dated to the Late Bronze Age. The earliest records of a Celtic language are the Lepontic inscriptions of Cisalpine Gaul, the oldest of which still predate the La Tène period. Other early inscriptions are Gaulish, appearing from the early La Tène period in inscriptions in the area of Massilia, in the Greek alphabet.

Celtiberian inscriptions appear comparatively late, after about 200 BC. Evidence of Insular Celtic is available only from about 400 AD, in the form of Primitive Irish Ogham inscriptions. Besides epigraphical evidence, an important source of information on early Celtic is toponymy.

In 2010, Koch tentatively proposed that the language of the Tartessian inscriptions of south Portugal and southwest Spain (dating from the 7th–5th centuries BC) was Celtic.

Archaeological Evidence
Before the 19th century, scholars assumed that the original land of the Celts was west of the Rhine, more precisely in Gaul, because it was where Greek and Roman ancient sources, namely Caesar, located the Celts. This view was challenged by the 19th-century historian Marie Henri d’Arbois de Jubainville, who placed the land of origin of the Celts east of the Rhine.

Ireland_Celtic_Head_Wearing_HelmetJubainville based his arguments on a phrase of Herodotus’ that placed the Celts at the source of the Danube, and argued that Herodotus had meant to place the Celtic homeland in southern Germany. The finding of the prehistoric cemetery of Hallstat in 1846 by Johan Ramsauer and the finding of the archaeological site of La Tène by Hansli Kopp in 1857 drew attention to this area. The concept that the Hallstatt and La Tene cultures could be seen not just as chronological periods but as “Culture Groups”, entities composed of people of the same ethnicity and language, started to grow by the end of the 19th century. In the beginning of the 20th century the belief that those “Culture Groups” could be thought in racial or ethnic terms was strongly held by Gordon Childe whose theory was influenced by the writings of Gustaf Kossinna. Along the 20th century the racial ethnic interpretation of La Tene culture rooted much stronger, and any findings of “La Tene culture” and “flat inhumation cemeteries” were directly associated with the celts and the Celtic language. The Iron Age Hallstatt (c. 800–475 BC) and La Tène (c. 500–50 BC) cultures are typically associated with Proto-Celtic and Celtic culture.

In various academic disciplines the Celts were considered a Central European Iron Age phenomenon, through the cultures of Hallstatt and La Tène. However, archaeological finds from the Halstatt and La Tène culture were rare in the Iberian Peninsula, in southwestern France, northern and western Britain, southern Ireland and Galatia and did not provide enough evidence for a cultural scenario comparable to that of Central Europe. It is considered equally difficult to maintain that the origin of the Peninsular Celts can be linked to the preceding Urnfield culture, leading to a more recent approach that introduces a ‘proto-Celtic’ substratum and a process of Celticisation having its initial roots in the Bronze Age Bell Beaker culture.

The La Tène culture developed and flourished during the late Iron Age (from 450 BC to the Roman conquest in the 1st century BC) in eastern France, Switzerland, Austria, southwest Germany, the Czech Republic, Slovakia and Hungary. It developed out of the Hallstatt culture without any definite cultural break, under the impetus of considerable Mediterranean influence from Greek, and later Etruscan civilisations. A shift of settlement centres took place in the 4th century.

The western La Tène culture corresponds to historical Celtic Gaul. Whether this means that the whole of La Tène culture can be attributed to a unified Celtic people is difficult to assess; archaeologists have repeatedly concluded that language, material culture, and political affiliation do not necessarily run parallel. Frey notes that in the 5th century, “burial customs in the Celtic world were not uniform; rather, localised groups had their own beliefs, which, in consequence, also gave rise to distinct artistic expressions.” Thus, while the La Tène culture is certainly associated with the Gauls, the presence of La Tène artefacts may be due to cultural contact and does not imply the permanent presence of Celtic speakers.

Historical Evidence
Polybius published a history of Rome about 150 BC in which he describes the Gauls of Italy and their conflict with Rome. Pausanias in the 2nd century AD says that the Gauls “originally called Celts,” “live on the remotest region of Europe on the coast of an enormous tidal sea.” Posidonius described the southern Gauls about 100 BC. Though his original work is lost it was used by later writers such as Strabo. The latter, writing in the early 1st century AD, deals with Britain and Gaul as well as Hispania, Italy and Galatia. Caesar wrote extensively about his Gallic Wars in 58–51 BC. Diodorus Siculus wrote about the Celts of Gaul and Britain in his 1st-century history.

Minority Views
Myles Dillon and Nora Kershaw Chadwick accepted that “the Celtic settlement of the British Isles” might have to be dated to the Beaker period concluding that “There is no reason why so early a date for the coming of the Celts should be impossible.”

Martín Almagro Gorbea proposed the origins of the Celts could be traced back to the 3rd millennium BC, seeking the initial roots in the Bell Beaker culture, thus offering the wide dispersion of the Celts throughout western Europe, as well as the variability of the different Celtic peoples, and the existence of ancestral traditions an ancient perspective. Using a multidisciplinary approach Alberto J. Lorrio and Gonzalo Ruiz Zapatero reviewed and built on Almagro Gorbea’s work to present a model for the origin of the Celtic archaeological groups in the Iberian Peninsula (Celtiberian, Vetton, Vaccean, the Castro Culture of the northwest, Asturian-Cantabrian and Celtic of the southwest) and proposing a rethinking the meaning of “Celtic” from a European perspective. More recently, John Koch and Barry Cunliffe have suggested that Celtic origins lie with the Atlantic Bronze Age, roughly contemporaneous with the Hallstatt culture but positioned considerably to the West, extending along the Atlantic coast of Europe.

Stephen Oppenheimer points out that Herodotus seemed to believe the Danube rose near the Pyrenees.

Distribution
Continental Celts: Gaul

The Romans knew the Celts then living in what became present-day France as Gauls. The territory of these peoples probably included the Low Countries, the Alps and present-day northern Italy. Julius Caesar in his Gallic Wars described the 1st-century BC descendants of those Gauls.

Eastern Gaul became the centre of the western La Tène culture. In later Iron Age Gaul, the social organisation resembled that of the Romans, with large towns. From the 3rd century BC the Gauls adopted coinage, and texts with Greek characters from southern Gaul have survived from the 2nd century BC.

Greek traders founded Massalia about 600 BC, with some objects (mostly drinking ceramics) being traded up the Rhone valley. But trade became disrupted soon after 500 BC and re-oriented over the Alps to the Po valley in the Italian peninsula. The Romans arrived in the Rhone valley in the 2nd century BC and encountered a mostly Celtic-speaking Gaul. Rome wanted land communications with its Iberian provinces and fought a major battle with the Saluvii at Entremont in 124–123 BC. Gradually Roman control extended, and the Roman Province of Gallia Transalpina developed along the Mediterranean coast.

The Romans knew the remainder of Gaul as Gallia Comata – “Hairy Gaul.”

In 58 BC the Helvetii planned to migrate westward but Julius Caesar forced them back. He then became involved in fighting the various tribes in Gaul, and by 55 BC had overrun most of Gaul. In 52 BC Vercingetorix led a revolt against the Roman occupation but was defeated at the siege of Alesia and surrendered.

Following the Gallic Wars of 58–51 BC, Caesar’s Celtica formed the main part of Roman Gaul, becoming the province of Gallia Lugdunensis. This territory of the Celtic tribes was bounded on the south by the Garonne and on the north by the Seine and the Marne. The Romans attached large swathes of this region to neighboring provinces Belgica and Aquitania, particularly under Augustus.

Place- and personal-name analysis and inscriptions suggest that the Gaulish Celtic language was spoken over most of what is now France.

Iberia
Until the end of the 19th century, traditional scholarship dealing with the Celts did acknowledge their presence in the Iberian Peninsula as a material culture relatable to the Hallstatt and La Tène cultures. However, since according to the definition of the Iron Age in the 19th century Celtic populations were supposedly rare in Iberia and did not provide a cultural scenario that could easily be linked to that of Central Europe, the presence of Celtic culture in that region was generally not fully recognised. Three divisions of the Celts of the Iberian Peninsula were assumed to have existed: the Celtiberians in the mountains near the centre of the peninsula, the Celtici in the southwest, and the celts in the northwest (in Gallaecia and Asturias).

Modern scholarship, however, has clearly proven that Celtic presence and influences were most substantial in what is today Spain and Portugal (with perhaps the highest settlement saturation in Western Europe), particularly in the central, western and northern regions. The Celts in Iberia were divided into two main archaeological and cultural groups, even though that division is not very clear:

One group was spread out along Galicia and the Iberian Atlantic shores. They were made up of the Proto / Para-Celtic Lusitanians (in Portugal) and the Celtic region that Strabo called Celtica in the southwestern Iberian peninsula, including the Algarve, which was inhabited by the Celtici, the Vettones and Vacceani peoples (of central-western Spain and Portugal), and the Gallaecian, Astures and Cantabrian peoples of the Castro culture of northern and northwestern Spain and Portugal.

The Celtiberian group of central Spain and the upper Ebro valley. This group originated when Celts (mainly Gauls and some Celtic-Germanic groups) migrated from what is now France and integrated with the local Iberian people.

The origins of the Celtiberians might provide a key to understanding the Celticisation process in the rest of the Peninsula. The process of Celticisation of the southwestern area of the peninsula by the Keltoi and of the northwestern area is, however, not a simple Celtiberian question. Recent investigations about the Callaici and Bracari in northwestern Portugal are providing new approaches to understanding Celtic culture (language, art and religion) in western Iberia.

John T. Koch of the University of Wales-Aberystwyth suggested that Tartessian inscriptions of the 8th century BC might already be classified as Celtic. This would mean that Tartessian is the earliest attested trace of Celtic by margin of more than a century.

Alps and Po Valley
It had been known for some time that there was an early, although apparently somewhat limited, Celtic (Lepontic, sometimes called Cisalpine Celtic) presence in Northern Italy since inscriptions dated to the 6th century BC have been found there.

The site of Golasecca, where the Ticino exits from Lake Maggiore, was particularly suitable for long-distance exchanges, in which Golaseccans acted as intermediaries between Etruscans and the Halstatt culture of Austria, supported on the all-important trade in salt.

In 391 BC Celts “who had their homes beyond the Alps streamed through the passes in great strength and seized the territory that lay between the Appennine mountains and the Alps” according to Diodorus Siculus. The Po Valley and the rest of northern Italy (known to the Romans as Cisalpine Gaul) was inhabited by Celtic-speakers who founded cities such as Milan.

Later the Roman army was routed at the battle of Allia and Rome was sacked in 390 BC by the Senones.

At the battle of Telamon in 225 BC a large Celtic army was trapped between two Roman forces and crushed.

The defeat of the combined Samnite, Celtic and Etruscan alliance by the Romans in the Third Samnite War sounded the beginning of the end of the Celtic domination in mainland Europe, but it was not until 192 BC that the Roman armies conquered the last remaining independent Celtic kingdoms in Italy.

Eastward Expansion
The Celts also expanded down the Danube river and its tributaries. One of the most influential tribes, the Scordisci, had established their capital at Singidunum in 3rd century BC, which is present-day Belgrade, Serbia. The concentration of hill-forts and cemeteries shows a density of population in the Tisza valley of modern-day Vojvodina, Serbia, Hungary and into Ukraine. Expansion into Romania was however blocked by the Dacians.

Further south, Celts settled in Thrace (Bulgaria), which they ruled for over a century, and Anatolia, where they settled as the Galatians. Despite their geographical isolation from the rest of the Celtic world, the Galatians maintained their Celtic language for at least 700 years. St Jerome, who visited Ancyra (modern-day Ankara) in 373 AD, likened their language to that of the Treveri of northern Gaul.

For Venceslas Kruta, Galatia in central Turkey was an area of dense Celtic settlement.

The Boii tribe gave their name to Bohemia, Bologna and possibly Bavaria, and Celtic artefacts and cemeteries have been discovered further east in what is now Poland and Slovakia. A Celtic coin (Biatec) from Bratislava’s mint was displayed on the old Slovak 5-crown coin.

As there is no archaeological evidence for large-scale invasions in some of the other areas, one current school of thought holds that Celtic language and culture spread to those areas by contact rather than invasion. However, the Celtic invasions of Italy and the expedition in Greece and western Anatolia, are well documented in Greek and Latin history.

There are records of Celtic mercenaries in Egypt serving the Ptolemies. Thousands were employed in 283–246 BC and they were also in service around 186 BC. They attempted to overthrow Ptolemy II.

Insular Celts
All Celtic languages extant today belong to the Insular Celtic languages, derived from the Celtic languages spoken in Iron Age Britain and Ireland. They were separated into a Goidelic and a Brythonic branch from an early period.

Linguists have been arguing for many years whether a Celtic language came to Britain and Ireland and then split or whether there were two separate “invasions.” The older view of prehistorians was that the Celtic influence in the British Isles was the result of successive invasions from the European continent by diverse Celtic-speaking peoples over the course of several centuries, accounting for the P-Celtic vs. Q-Celtic isogloss. This view has fallen into disfavour,  to be replaced by the model of a phylogenetic Insular Celtic dialect group.

In the 19th and 20th centuries, scholars commonly dated the “arrival” of Celtic culture in Britain to the 6th century BC, corresponding to archaeological evidence of Hallstatt influence and the appearance of chariot burials in what is now England. Some Iron Age migration does seem to have occurred but the nature of the interactions with the indigenous populations of the isles is unknown. In the late Iron Age.

According to this model, by about the 6th century (Sub-Roman Britain), most of the inhabitants of the Isles were speaking Celtic languages of either the Goidelic or the Brythonic branch. Since the late 20th century, a new model has emerged (championed by archaeologists such as Barry Cunliffe and Celtic historians such as John T. Koch) which places the emergence of Celtic culture in Britain much earlier, in the Bronze Age, and credits its spread not to invasion, but due to a gradual emergence in situ out of Proto-Indo-European culture, perhaps introduced to the region by the Bell Beaker People, and enabled by an extensive network of contacts that existed between the peoples of Britain and Ireland and those of the Atlantic seaboard.

Romanisation
Under Caesar the Romans conquered Celtic Gaul, and from Claudius onward the Roman empire absorbed parts of Britain. Roman local government of these regions closely mirrored pre-Roman tribal boundaries, and archaeological finds suggest native involvement in local government.

The native peoples under Roman rule became Romanised and keen to adopt Roman ways. Celtic art had already incorporated classical influences, and surviving Gallo-Roman pieces interpret classical subjects or keep faith with old traditions despite a Roman overlay.

The Roman occupation of Gaul, and to a lesser extent of Britain, led to Roman-Celtic syncretism. In the case of the continental Celts, this eventually resulted in a language shift to Vulgar Latin, while the Insular Celts retained their language.

There was also considerable cultural influence exerted by Gaul on Rome, particularly in military matters and horsemanship, as the Gauls often served in the Roman cavalry. The Romans adopted the Celtic cavalry sword, the spatha, and Epona, the Celtic horse goddess.

Society
To the extent that sources are available, they depict a pre-Christian Iron Age Celtic social structure based formally on class and kingship, although this may only have been a particular late phase of organization in Celtic societies.

Patron-client relationships similar to those of Roman society are also described by Caesar and others in the Gaul of the 1st century BC.

In the main, the evidence is of tribes being led by kings, although some argue that there is also evidence of oligarchical republican forms of government eventually emerging in areas which had close contact with Rome. Most descriptions of Celtic societies portray them as being divided into three groups: a warrior aristocracy; an intellectual class including professions such as druid, poet, and jurist; and everyone else. In historical times, the offices of high and low kings in Ireland and Scotland were filled by election under the system of tanistry, which eventually came into conflict with the feudal principle of primogeniture in which succession goes to the first-born son.

Little is known of family structure among the Celts. Patterns of settlement varied from decentralised to urban. The popular stereotype of non-urbanised societies settled in hillforts and duns, drawn from Britain and Ireland (there are about 3,000 hill forts known in Britain) contrasts with the urban settlements present in the core Hallstatt and La Tene areas, with the many significant oppida of Gaul late in the first millennium BC, and with the towns of Gallia Cisalpina.

Slavery, as practised by the Celts, was very likely similar to the better documented practice in ancient Greece and Rome.

Slaves were acquired from war, raids, and penal and debt servitude. Slavery was hereditary, though manumission was possible. The Old Irish word for slave, cacht, and the Welsh term caeth are likely derived from the Latin captus, captive, suggesting that slave trade was an early venue of contact between Latin and Celtic societies. In the Middle Ages, slavery was especially prevalent in the Celtic countries. Manumissions were discouraged by law and the word for “female slave,” cumal, was used as a general unit of value in Ireland.

Archaeological evidence suggests that the pre-Roman Celtic societies were linked to the network of overland trade routes that spanned Eurasia. Archaeologists have discovered large prehistoric trackways crossing bogs in Ireland and Germany. Due to their substantial nature, these are believed to have been created for wheeled transport as part of an extensive roadway system that facilitated trade. The territory held by the Celts contained tin, lead, iron, silver and gold. Celtic smiths and metalworkers created weapons and jewellery for international trade, particularly with the Romans.

The myth that the Celtic monetary system consisted of wholly barter is a common one, but is in part false. The monetary system was complex and is still not understood (much like the late Roman coinages), and due to the absence of large numbers of coin items, it is assumed that “proto-money” was used. This included bronze items made from the early La Tene period and onwards, which were often in the shape of axeheads, rings, or bells. Due to the large number of these present in some burials, it is thought they had a relatively high monetary value, and could be used for “day to day” purchases. Low-value coinages of potin, a bronze alloy with high tin content, were minted in most Celtic areas of the continent and in South-East Britain prior to the Roman conquest of these lands. Higher-value coinages, suitable for use in trade, were minted in gold, silver, and high-quality bronze. Gold coinage was much more common than silver coinage, despite being worth substantially more, as while there were around 100 mines in Southern Britain and Central France, silver was more rarely mined. This was due partly to the relative sparcity of mines and the amount of effort needed for extraction compared to the profit gained. As the Roman civilisation grew in importance and expanded its trade with the Celtic world, silver and bronze coinage became more common. This coincided with a major increase in gold production in Celtic areas to meet the Roman demand, due to the high value Romans put on the metal. The large number of gold mines in France is thought to be a major reason why Caesar invaded.

There are only very limited records from pre-Christian times written in Celtic languages. These are mostly inscriptions in the Roman and sometimes Greek alphabets. The Ogham script, an Early Medieval alphabet, was mostly used in early Christian times in Ireland and Scotland (but also in Wales and England), and was only used for ceremonial purposes such as inscriptions on gravestones. The available evidence is of a strong oral tradition, such as that preserved by bards in Ireland, and eventually recorded by monasteries. Celtic art also produced a great deal of intricate and beautiful metalwork, examples of which have been preserved by their distinctive burial rites.

In some regards the Atlantic Celts were conservative: for example, they still used chariots in combat long after they had been reduced to ceremonial roles by the Greeks and Romans. However, despite being outdated, Celtic chariot tactics were able to repel the invasion of Britain attempted by Julius Caesar.

According to Diodorus Siculus:
The Gauls are tall of body with rippling muscles and white of skin and their hair is blond, and not only naturally so for they also make it their practice by artificial means to increase the distinguishing colour which nature has given it. For they are always washing their hair in limewater and they pull it back from the forehead to the nape of the neck, with the result that their appearance is like that of Satyrs and Pans since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of horses. Some of them shave the beard but others let it grow a little; and the nobles shave their cheeks but they let the moustache grow until it covers the mouth.
—Diodorus Siculus

Clothing
During the later Iron Age the Gauls generally wore long-sleeved shirts or tunics and long trousers (called braccae by the Romans). Clothes were made of wool or linen, with some silk being used by the rich. Cloaks were worn in the winter.

Brooches and armlets were used, but the most famous item of jewellery was the torc, a neck collar of metal, sometimes gold. The horned Waterloo Helmet in the British Museum, which long set the standard for modern images of Celtic warriors, is in fact a unique survival, and may have been a piece for ceremonial rather than military wear.

Gender and Sexual Norms
According to Aristotle, most “belligerent nations” were strongly influenced by their women, but the Celts were unusual because their men openly preferred male lovers (Politics II 1269b). H. D. Rankin in Celts and the Classical World notes that “Athenaeus echoes this comment (603a) and so does Ammianus (30.9). It seems to be the general opinion of antiquity.” In book XIII of his Deipnosophists, the Roman Greek rhetorician and grammarian Athenaeus, repeating assertions made by Diodorus Siculus in the 1st century BC (Bibliotheca historica 5:32), wrote that Celtic women were beautiful but that the men preferred to sleep together. Diodorus went further, stating that “the young men will offer themselves to strangers and are insulted if the offer is refused.” Rankin argues that the ultimate source of these assertions is likely to be Poseidonius and speculates that these authors may be recording male “bonding rituals.”

The sexual freedom of women in Britain was noted by Cassius Dio:
… a very witty remark is reported to have been made by the wife of Argentocoxus, a Caledonian, to Julia Augusta. When the empress was jesting with her, after the treaty, about the free intercourse of her sex with men in Britain, she replied: “We fulfill the demands of nature in a much better way than do you Roman women; for we consort openly with the best men, whereas you let yourselves be debauched in secret by the vilest.” Such was the retort of the British woman. —Cassius Dio

There are instances recorded where women participated both in warfare and in kingship, although they were in the minority in these areas. Plutarch reports that Celtic women acted as ambassadors to avoid a war among Celts chiefdoms in the Po valley during the 4th century BC.

Very few reliable sources exist regarding Celtic views towards gender divisions and societal status, though some archaeological evidence does suggest that their views towards gender roles may differ from contemporary and less egalitarian classical counterparts of the Roman era.

There are some general indications from Iron Age burial sites in the Champagne and Bourgogne regions of Northeastern France suggesting that women may have had roles in combat during the earlier La Tène period. However, the evidence is far from conclusive. Examples of individuals buried with both female jewellery and weaponry have been identified, such as the Vix Grave, and there are questions about the gender of some skeletons that were buried with warrior assemblages. However, it has been suggested that “the weapons may indicate rank instead of masculinity.”

Among the insular Celts, there is a greater amount of historic documentation to suggest warrior roles for women. In addition to commentary by Tacitus about Boudica, there are indications from later period histories that also suggest a more substantial role for “women as warriors,” in symbolic if not actual roles. Posidonius and Strabo described an island of women where men could not venture for fear of death, and where the women ripped each other apart. Other writers, such as Ammianus Marcellinus and Tacitus, mentioned Celtic women inciting, participating in, and leading battles. Poseidonius’ anthropological comments on the Celts had common themes, primarily primitivism, extreme ferocity, cruel sacrificial practices, and the strength and courage of their women.

Under Brehon Law, which was written down in early Medieval Ireland after conversion to Christianity, a woman had the right to divorce her husband and gain his property if he was unable to perform his marital duties due to impotence, obesity, homosexual inclination or preference for other women.

Celtic Art
Celtic art is generally used by art historians to refer to art of the La Tène period across Europe, while the Early Medieval art of Britain and Ireland, that is what “Celtic art” evokes for much of the general public, is called Insular art in art history. Both styles absorbed considerable influences from non-Celtic sources, but retained a preference for geometrical decoration over figurative subjects, which are often extremely stylised when they do appear; narrative scenes only appear under outside influence. Energetic circular forms, triskeles and spirals are characteristic. Much of the surviving material is in precious metal, which no doubt gives a very unrepresentative picture, but apart from Pictish stones and the Insular high crosses, large monumental sculpture, even with decorative carving, is very rare; possibly it was originally common in wood.

The interlace patterns that are often regarded as typical of “Celtic art” were in fact introduced to Insular art from the animal Style II of Germanic Migration Period art, though taken up with great skill and enthusiasm by Celtic artists in metalwork and illuminated manuscripts. Equally, the forms used for the finest Insular art were all adopted from the Roman world: Gospel books like the Book of Kells and Book of Lindisfarne, chalices like the Ardagh Chalice and Derrynaflan Chalice, and penannular brooches like the Tara Brooch. These works are from the period of peak achievement of Insular art, which lasted from the 7th to the 9th centuries, before the Viking attacks sharply set back cultural life.

In contrast the less well known but often spectacular art of the richest earlier Continental Celts, before they were conquered by the Romans, often adopted elements of Roman, Greek and other “foreign” styles (and possibly used imported craftsmen) to decorate objects that were distinctively Celtic. After the Roman conquests, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian styles, but also producing work in local taste, including figurines of deities and wares painted with animals and other subjects in highly formalised styles. Roman Britain also took more interest in enamel than most of the Empire, and its development of champlevé technique was probably important to the later Medieval art of the whole of Europe, of which the energy and freedom of Insular decoration was an important element.

Warfare and Weapons
Tribal warfare appears to have been a regular feature of Celtic societies. While epic literature depicts this as more of a sport focused on raids and hunting rather than organised territorial conquest, the historical record is more of tribes using warfare to exert political control and harass rivals, for economic advantage, and in some instances to conquer territory.

The Celts were described by classical writers such as Strabo, Livy, Pausanias, and Florus as fighting like “wild beasts,” and as hordes. Dionysius said that their “manner of fighting, being in large measure that of wild beasts and frenzied, was an erratic procedure, quite lacking in military science. Thus, at one moment they would raise their swords aloft and smite after the manner of wild boars, throwing the whole weight of their bodies into the blow like hewers of wood or men digging with mattocks, and again they would deliver crosswise blows aimed at no target, as if they intended to cut to pieces the entire bodies of their adversaries, protective armour and all.” Such descriptions have been challenged by contemporary historians.

Polybius indicates that the principal Celtic weapon was a long bladed sword which was used for hacking edgewise rather than stabbing. Celtic warriors are described by Polybius and Plutarch as frequently having to cease fighting in order to straighten their sword blades. This claim has been questioned by some archaeologists, who note that Noric steel, steel produced in Celtic Noricum, was famous in the Roman Empire period and was used to equip the Roman military.

However, Radomir Pleiner, in The Celtic Sword (1993) argues that “the metallographic evidence shows that Polybius was right up to a point,” as around one third of surviving swords from the period might well have behaved as he describes.

Polybius also asserts that certain of the Celts fought naked, “The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.” According to Livy this was also true of the Celts of Asia Minor.

Head Hunting
Celts had a reputation as head hunters. According to Paul Jacobsthal, “Amongst the Celts the human head was venerated above all else, since the head was to the Celt the soul, centre of the emotions as well as of life itself, a symbol of divinity and of the powers of the other-world.” Arguments for a Celtic cult of the severed head include the many sculptured representations of severed heads in La Tène carvings, and the surviving Celtic mythology, which is full of stories of the severed heads of heroes and the saints who carry their own severed heads, right down to Sir Gawain and the Green Knight, where the Green Knight picks up his own severed head after Gawain has struck it off, just as St. Denis carried his head to the top of Montmartre.

A further example of this regeneration after beheading lies in the tales of Connemara’s St. Feichin, who after being beheaded by Viking pirates carried his head to the Holy Well on Omey Island and on dipping the head into the well placed it back upon his neck and was restored to full health.

Diodorus Siculus, in his 1st-century History had this to say about Celtic head-hunting:

They cut off the heads of enemies slain in battle and attach them to the necks of their horses. The blood-stained spoils they hand over to their attendants and striking up a paean and singing a song of victory; and they nail up these first fruits upon their houses, just as do those who lay low wild animals in certain kinds of hunting. They embalm in cedar oil the heads of the most distinguished enemies, and preserve them carefully in a chest, and display them with pride to strangers, saying that for this head one of their ancestors, or his father, or the man himself, refused the offer of a large sum of money. They say that some of them boast that they refused the weight of the head in gold.

In Gods and Fighting Men, Lady Gregory’s Celtic Revival translation of Irish mythology, heads of men killed in battle are described in the beginning of the story The Fight with the Fir Bolgs as pleasing to Macha, one aspect of the war goddess Morrigu.
Religion

Polytheism
Like other European Iron Age tribal societies, the Celts practised a polytheistic religion. Many Celtic gods are known from texts and inscriptions from the Roman period. Rites and sacrifices were carried out by priests known as druids. The Celts did not see their gods as having human shapes until late in the Iron Age. Celtic shrines were situated in remote areas such as hilltops, groves, and lakes.

Celtic religious patterns were regionally variable; however, some patterns of deity forms, and ways of worshipping these deities, appeared over a wide geographical and temporal range. The Celts worshipped both gods and goddesses. In general, Celtic gods were deities of particular skills, such as the many-skilled Lugh and Dagda, while goddesses were associated with natural features, particularly rivers (such as Boann, goddess of the River Boyne). This was not universal, however, as goddesses such as Brighid and The Morrígan were associated with both natural features (holy wells and the River Unius) and skills such as blacksmithing and healing.

Triplicity is a common theme in Celtic cosmology, and a number of deities were seen as threefold. This trait is exhibited by The Three Mothers, a group of goddesses worshipped by many Celtic tribes (with regional variations). three-mothers-for-oe

The Celts had literally hundreds of deities, some of which were unknown outside a single family or tribe, while others were popular enough to have a following that crossed lingual and cultural barriers. For instance, the Irish god Lugh, associated with storms, lightning, and culture, is seen in similar forms as Lugos in Gaul and Lleu in Wales. Similar patterns are also seen with the continental Celtic horse goddess Epona and what may well be her Irish and Welsh counterparts, Macha and Rhiannon, respectively.

Roman reports of the druids mention ceremonies being held in sacred groves. La Tène Celts built temples of varying size and shape, though they also maintained shrines at sacred trees and votive pools.

Druids fulfilled a variety of roles in Celtic religion, serving as priests and religious officiants, but also as judges, sacrificers, teachers, and lore-keepers. Druids organised and ran religious ceremonies, and they memorised and taught the calendar. Other classes of druids performed ceremonial sacrifices of crops and animals for the perceived benefit of the community.

Gallic Calendar
The Coligny calendar, which was found in 1897 in Coligny, Ain, was engraved on a bronze tablet, preserved in 73 fragments, that originally was 1.48 m wide and 0.9 m high (Lambert p. 111). Based on the style of lettering and the accompanying objects, it probably dates to the end of the 2nd century. It is written in Latin inscriptional capitals, and is in the Gallic language. The restored tablet contains 16 vertical columns, with 62 months distributed over 5 years.

Overview of the reassembled tablet (This work is in public domain.)

Overview of the reassembled tablet (This work is in public domain.)

The French archaeologist J. Monard speculated that it was recorded by druids wishing to preserve their tradition of timekeeping in a time when the Julian calendar was imposed throughout the Roman Empire. However, the general form of the calendar suggests the public peg calendars (or parapegmata) found throughout the Greek and Roman world.

Roman Influence
The Roman invasion of Gaul brought a great deal of Celtic peoples into the Roman Empire. Roman culture had a profound effect on the Celtic tribes which came under the empire’s control. Roman influence led to many changes in Celtic religion, the most noticeable of which was the weakening of the druid class, especially religiously; the druids were to eventually disappear altogether. Romano-Celtic deities also began to appear: these deities often had both Roman and Celtic attributes and combined the names of Roman and Celtic deities. Other changes included the adaptation of the Jupiter Pole, a sacred pole which was used throughout Celtic regions of the empire, primarily in the north. Another major change in religious practice was the use of stone monuments to represent gods and goddesses. The Celts had only created wooden idols (including monuments carved into trees, which were known as sacred poles) previously to Roman conquest.

Celtic Christianityceltic-cross

While the regions under Roman rule adopted Christianity along with the rest of the Roman empire, unconquered areas of Ireland and Scotland moved from Celtic polytheism to Christianity in the 5th century. Ireland was converted under missionaries from Britain, such as Patrick. Later missionaries from Ireland were a major source of missionary work in Scotland, Saxon parts of Britain, and central Europe. Celtic Christianity, the forms of Christianity that took hold in Britain and Ireland at this time, have carried traditions distinct from the rest of Western Christianity. The development of Christianity in Ireland and Britain brought an early medieval renaissance of Celtic art between 390 and 1200 AD.  Many of the styles now thought of as typically “Celtic” developed in this period, and are found throughout much of Ireland and Britain, including the northeast and far north of Scotland, Orkney and Shetland. Notable works produced during this period include the Book of Kells and the Ardagh Chalice. Antiquarian interest from the 17th century led to the term Celt being extended, and rising nationalism brought Celtic revivals from the 19th century.

Posted in British history, customs and tradiitons, Ireland, Scotland, Uncategorized, Wales | Tagged | 1 Comment

The Evolution of Wigs and Hair Pieces

In one of my two Works in Progress (WIP), my main character chooses to wear a disguise. However, as I write in the Regency Period, the use of wigs, as were common in the 18th Century, had gone by the way side. Below, one will discover an interesting sampling of the “evolution of wigs.” A wig is a head covering made from human hair, animal hair, or synthetic fiber that is worn for fashion or other reasons, including cultural tradition and religious observance. The word wig is short for periwig and first appeared in the English language around 1675. Some people wear wigs to disguise baldness; a wig may be used as a less intrusive and less expensive alternative to medical therapies for restoring hair. Wigs may also be used as an article of apparel, or to fulfill a religious obligation. Actors often wear costume wigs in order to portray characters.

History

Ancient Use

The ancient Egyptians wore wigs to shield their shaved, hairless heads from the sun. They also wore the wigs on top of their hair using beeswax and resin to keep the wigs in place. Other ancient cultures, including the Assyrians, Phoenicians, Greeks and Romans, also used wigs as an everyday fashion. 267px-Egypte_louvre_286_couple In Korea, gache were popular among women until it was banned in the late 18th century, while wigs were rarely used in China and Japan except in the traditional theatre.

16th and 17th Centuries

After the fall of the Roman Empire, the use of wigs fell into disuse in the West for a thousand years until they were revived in the 16th century as a means of compensating for hair loss or improving one’s personal appearance. They also served a practical purpose: the unhygienic conditions of the time meant that hair attracted head lice, a problem that could be much reduced if natural hair were shaved and replaced with a more easily de-loused artificial hairpiece. Fur hoods were also used in a similar preventative fashion. Royal patronage was crucial to the revival of the wig. Queen Elizabeth I of England famously wore a red wig, tightly and elaborately curled in a “Roman” style, while among men King Louis XIII of France (1601–1643) started to pioneer wig-wearing in 1624 when he had prematurely begun to bald. This fashion was largely promoted by his son and successor Louis XIV of France (1638–1715) that contributed to its spread in European and European-influenced countries.

Perukes or periwigs for men were introduced into the English-speaking world with other French styles when Charles II was restored to the throne in 1660, following a lengthy exile in France. These wigs were shoulder-length or longer, imitating the long hair that had become fashionable among men since the 1620s. Their use soon became popular in the English court.

The London diarist Samuel Pepys recorded the day in 1665 that a barber had shaved his head and that he tried on his new periwig for the first time, but in a year of plague he was uneasy about wearing it:

“3rd September 1665: Up, and put on my coloured silk suit, very fine, and my new periwig, bought a good while since, but darst not wear it because the plague was in Westminster when I bought it. And it is a wonder what will be the fashion after the plague is done as to periwigs, for nobody will dare to buy any haire for fear of the infection? That it had been cut off the heads of people dead of the plague.”

Wigs were not without other drawbacks, as Pepys noted on March 27, 1663:

“I did go to the Swan; and there sent for Jervas my old periwig-maker and he did bring me a periwig; but it was full of nits, so as I was troubled to see it (it being his old fault) and did send him to make it clean.”

With wigs virtually obligatory garb for men with social rank, wigmakers gained considerable prestige. A wigmakers’ guild was established in France in 1665, a development soon copied elsewhere in Europe. Their job was a skilled one as 17th century wigs were extraordinarily elaborate, covering the back and shoulders and flowing down the chest; not surprisingly, they were also extremely heavy and often uncomfortable to wear. Such wigs were expensive to produce. The best examples were made from natural human hair. The hair of horses and goats was often used as a cheaper alternative.

Nicolas de Vermont

Nicolas de Vermont

18th Century

In the 18th century, men’s wigs were powdered in order to give them their distinctive white or off-white color. Women in the 18th century did not wear wigs, but wore a coiffure supplemented by artificial hair or hair from other sources. Women mainly powdered their hair grey, or blue-ish grey, and from the 1770s onwards never bright white like men. Wig powder was made from finely ground starch that was scented with orange flower, lavender, or orris root. Wig powder was occasionally colored violet, blue, pink or yellow, but was most often used as off-white.

Powdered wigs (men) and powdered natural hair with supplemental hairpieces (women) became essential for full dress occasions and continued in use until almost the end of the 18th century.

The elaborate form of wigs worn at the coronation of George III in 1761 was lampooned by William Hogarth in his engraving Five Orders of Periwigs. 220px-William_Hogarth_-_The_Five_Orders_of_Perriwigs

Powdering wigs and extensions were messy and inconvenient, and the development of the naturally white or off-white powderless wig (made of horsehair) for men made the retention of wigs in everyday court dress a practical possibility. By the 1780s, young men were setting a fashion trend by lightly powdering their natural hair, as women had already done from the 1770s onwards.

After 1790, both wigs and powder were reserved for older, more conservative men, and were in use by ladies being presented at court. After 1790 English women seldom powdered their hair.

In 1795, the British government levied a tax on hair powder of one guinea per year. This tax effectively caused the demise of both the fashion for wigs and powder. Granville Leveson-Gower, in Paris during the winter of 1796, noted “The word citoyen seemed but very little in use, and hair powder being very common, the appearance of the people was less democratic than in England.” Among women in the French court of Versailles in the mid-to-late 18th century, large, elaborate and often themed wigs (such as the stereotypical “boat poufs”) were in vogue for women.

These combed-up hair extensions were often very heavy, weighted down with pomades, powders, and other ornamentation. In the late 18th century these coiffures (along with many other indulgences in court life) became symbolic of the decadence of the French nobility, and for that reason quickly became out of fashion from the beginning of the French Revolution in 1789.

During the 18th century, men’s wigs became smaller and more formal with several professions adopting them as part of their official costumes. This tradition survives in a few legal systems. They are routinely worn in various countries of the Commonwealth. Until 1823, bishops of the Church of England and Church of Ireland wore ceremonial wigs. The wigs worn by barristers are in the style favoured in the late eighteenth century. Judges’ wigs, in everyday use as court dress, are short like barristers’ wigs (although in a slightly different style), but for ceremonial occasions judges and also senior barristers (QCs) wear full-bottomed wigs.

Charles-Alexandre de Calonne by Élisabeth-Louise Vigée-Le Brun (1784), London, Royal Collection. The Vicomte de Calonne is shown wearing a powdered wig; the powder that has fallen from the wig is visible on his shoulders.

Charles-Alexandre de Calonne by Élisabeth-Louise Vigée-Le Brun (1784), London, Royal Collection. The Vicomte de Calonne is shown wearing a powdered wig; the powder that has fallen from the wig is visible on his shoulders.

19th and 20th Centuries

The wearing of wigs as a symbol of social status was largely abandoned in the newly created United States and France by the start of the 19th century. In the United States, only the first five Presidents, from George Washington to James Monroe, wore powdered wigs according to the old-fashioned style of the 18th century. The latest-born notable person to be portrayed wearing a powdered wig tied in a queue according to this old fashion was Grand Duke Constantine Pavlovich of Russia (born in 1779, portrayed in 1795).

Women’s wigs developed in a somewhat different way. They were worn from the 18th century onwards, although at first only surreptitiously. Full wigs in the 19th and early 20th century were not fashionable. They were often worn by old ladies who had lost their hair. In the film Mr. Skeffington (1944), when Bette Davis has to wear a wig after a bout of diphtheria, it is a moment of pathos and a symbol of her frailty.

During the late nineteenth and early twentieth century hairdressers in England and France did a brisk business supplying postiches, or pre-made small wiglets, curls, and false buns to be incorporated into the hairstyle.

The use of postiches did not diminish even as women’s hair grew shorter in the decade between 1910 and 1920, but they seem to have gone out of fashion during the 1920s. In the 1960s a new type of synthetic wig was developed using a modacrylic fiber which made wigs more affordable. Reid-Meredith was a pioneer in the sales of these types of wigs.

Military Wigs

From the late 17th to early 19th centuries, European armies wore uniforms more or less imitating the civilian fashions of the time, but with militarized additions. As part of that uniform, officers wore wigs more suited to the drawing rooms of Europe than its battlefields. The late 17th century saw officers wearing full-bottomed natural-coloured wigs, but the civilian change to shorter, powdered styles with pigtails in the early 18th century saw officers adopting similar styles. The elaborate, over-sized court-styles of the late 18th century were not followed by armies in the field however, as they were impractical to withstand the rigours of military life and simpler wigs were worn.

Whilst officers normally wore their own hair short under a powdered wig, the rank and file of the infantry was not afforded such luxury. Instead of wigs, the men grew their hair long and according to the prevailing fashion in a nation’s army, hair was either allowed to grow long with simple modeling, as in the French army of the 1740s, or else was elaborately coiffured as in Prussian and British armies. In the case of British soldiers of the 1740s, contemporary artwork suggests that they cut their hair short, which was not the case. Instead, the men used tallow or other fat to grease the hair, which was then fashioned into pigtails and tied back into the scalp hair to give the impression of short hair. It was then liberally dusted with powdered chalk to give the impression of a powdered wig. Later in the century, hair was likewise tied back, greased and powdered, but false hair pigtails were adopted, kept in a tubular queue and tied back with ribbons to the soldier’s own hair. The overall effect was that of a wig with a long tail and bow. The Prussian army took personal hairstyles to an extreme during the time of Frederick The Great, each soldier commonly having a long pigtail hanging down the back nearly to waist level.

By contrast, in the 1780s Russian General Potemkin abhorred the tight uniforms and uncomfortable wigs and powdered coiffures worn by his soldiers and instigated a complete revision of both. As well as comfortable, practical, well-fitting uniforms, his reforms introduced neat, natural hairstyles for all, with no wigs, powder and grease or hair-tying evident.

Formal military hairstyles lasted until beyond the end of the 18th century and it was the French Revolution which spelled the end of wigs and powdered, greased hairstyles in modern, Western armies. Powdered hair and pigtails made a brief return during Napoleon’s reign, being worn by infantry of his Foot Grenadiers and Foot Chasseurs of the Old Guard and the Horse Grenadiers of the Guard.

Merkin

A merkin is a pubic wig often worn as a decorative item or for theatrical and fashion purposes. They are sometimes viewed as erotic and some designs are meant for entertainment or as a form of comedy.

Current Usage

In Britain, most Commonwealth nations, and the Republic of Ireland special wigs are also worn by barristers, judges, and certain parliamentary and municipal or civic officials as a symbol of the office. Hong Kong barristers and judges continue to wear wigs as part of court dress as an influence from their former jurisdiction of the Commonwealth of Nations. In July 2007, judges in New South Wales, Australia voted to discontinue the wearing of wigs in the NSW Court of Appeal. New Zealand lawyers and judges have ceased to wear wigs except for special ceremonial occasions such as openings of Parliament or the calling of newly qualified barristers to the bar.

A number of celebrities, including Nicki Minaj, Dolly Parton, Lady Gaga, Diana Ross & The Supremes, Tina Turner and Raquel Welch have popularized wigs. Cher has worn all kinds of wigs in the last 40 years- from blonde to black, and curly to straight. They may also be worn for fun as part of fancy dress (costume wearing), when they can be of outlandish colour or made from tinsel. They are quite common at Halloween, when “rubber wigs” (solid bald cap-like hats, shaped like hair), are sold at some stores.

Jewish law requires married women to cover their hair for reasons of modesty (tznius). Some women wear wigs, known as sheitels, for this purpose. Haredi, Orthodox and Modern Orthodox Jewish women will often wear human-hair wigs.

Wigs are used in film, theater, and television. In the Japanese film and television genre Jidaigeki, wigs are used extensively to alter appearance to reflect the Edo Period when most stories take place. Only a few actors starring in big-budgeted films and television series will grow their hair so that it may be cut to the appropriate hair style, and forgo using a wig.

Wigs are worn by some people on a daily or occasional basis in everyday life. This is sometimes done for reasons of convenience, since wigs can be styled ahead of time. They are also worn by individuals who are experiencing hair loss due to medical reasons (most commonly cancer patients who are undergoing chemotherapy, or those who are suffering from alopecia areata).

Manufacture

There are two methods of attaching hair to wigs. The first and oldest is to weave the root ends of the hair onto a warp of three silk threads to form a sort of fringe called a “weft.” The wefts are then sewn to a foundation made of net or other material. In modern times, the wefts can also be made with a specially adapted sewing machine, reducing the amount of hand labour involved. In the 19th century another method came into use. A small hook called a “ventilating needle,” similar to the tambour hooks used for decorating fabric with chain-stitch embroidery at that period, is used to knot a few strands of hair at a time directly to a suitable foundation material. This newer method produces a lighter and more natural looking wig. High quality custom wigs, and those used for film and theatrical productions are usually done this way. It is also possible to combine the two techniques, using weft for the main part of the wig and ventilating hair at the edges and partings to give a fine finish.

Measurement

Making custom wigs starts with measuring the subject’s head. The natural hair is arranged in flat curls against the head as the various measurements are taken. It is often helpful to make a pattern from layers of transparent adhesive tape applied over a piece of plastic wrap, on which the natural hairline can be traced accurately. These measurements are then transferred to the “block,” a wooden or cork-stuffed canvas form the same size and shape as the client’s head.

Foundation

Depending on the style of the wig, a foundation is made of net or other material, different sizes and textures of mesh being used for different parts of the wig. The edges and other places might be trimmed and reinforced with a narrow ribbon called “galloon.” Sometimes flesh colored silk or synthetic material is applied where it will show through the hair at crown and partings, and small bones or elastic are inserted to make the wig fit securely. Theatrical, and some fine custom wigs have a fine, flesh colored net called “hair lace” at the front which is very inconspicuous in wear and allows the hair to look as if it is coming directly from the skin underneath. These are usually referred to as “lace front wigs.”

Hair Preparation

Natural hair, either human or from an animal such as a goat or yak, must be carefully sorted so that the direction of growth is maintained, root to root, and point to point. Because of the scale-like structure of the cortex of a hair shaft, if some hairs get turned the wrong way, they will ride backwards against their neighbors and cause tangles and matting. The highest quality of hair has never been bleached or colored, and has been carefully sorted to ensure the direction is correct. For less expensive wigs, this labour-intensive sorting process is substituted for by “processing” the hair. It is treated with a strongly base solution which partially dissolves the cortex leaving the strands smooth, It is then bleached and dyed to the required shade and given a synthetic resin finish which partially restores the strength and luster of the now damaged hair. Synthetic fiber, of course, is simply manufactured in the required colors, and has no direction.

The wigmaker will choose the type, length and colors of hair required by the design of the wig and blend them by pulling the hair through the upright teeth of a brush-like tool called a “hackle” which also removes tangles and any short or broken strands. The hair is placed on one of a pair of short-bristled brushes called “drawing brushes” with the root ends extending over one edge, and the second brush is pressed down on top of it so that a few strands can be withdrawn at a time, leaving the rest undisturbed.

Adding the Hair

Weft structured wigs can have the wefts sewn to the foundation by hand, while it is on the block or, as is common with mass-produced wigs, sewn to a ready-made base by skilled sewing machine operators. Ventilated (hand knotted) wigs have the hair knotted directly to the foundation, a few strands at a time while the foundation is fastened to the block. With the hair folded over the finger, the wigmaker pulls a loop of hair under the mesh, and then moves the hook forward to catch both sides of the loop. The ends are pulled through the loop and the knot is tightened for a “single knot”, or a second loop is pulled though the first before finishing for a “double knot.” Typically, the bulkier but more secure double knot is used over the majority of the wig and the less obvious single knot at the edges and parting areas. A skilled wigmaker will consider the number of strands of hair used and the direction of each knot to give the most natural effect possible.

It takes generally six heads of hair to make a full human hair wig. Styling At this point, the hair on the wig is all the same length. The wig must be styled into the desired form in much the same manner as a regular stylist.

Fitting

The subject’s natural hair is again knotted tightly against the head and the wig is applied. Any remaining superfluous wiglace is trimmed away. Hairpins can be used to secure the lace to the hair and occasionally, skin-safe adhesives are used to adhere the wig against bald skin and to better hide any exposed lace. Finishing touches are done to the hair styling to achieve the desired effect.

Types of Human Hair Wigs

There are two basic kinds of human hair wigs: lace wigs and non-lace wigs (lace front or full lace.) Lace wigs are made partially (lace front) or entirely (full lace) of various forms of lace. Regular human hair wigs are similar to synthetic wigs in their design. Human hair wigs can also be “hand tied”, where a full lace cap is used and each hair is attached one at a time. Hair type is the distinguishing factor in human hair wigs.

Four main types of hair are used in manufacturing : Chinese or “Malaysian”, Indian, Indonesian or “Brazilian”, and Caucasian or “European.” The majority of human hair wigs are made of Chinese or Indian hair, while European hair is considered the most expensive and rare, as most donors are from Russia or Northern Europe, where there is a smaller portion of hair donors to the market.

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Forerunners of Elizabethan Tragedy: Thomas Kyd

Today, I am taking a step away from my beloved Regency England to visit a time period, which also fascinates me. With a minor in theatre, I have studied the development of the drama of the period. With Kyd and Marlowe the Elizabethan tragedy took flight.

5784358_f260Thomas Kyd (baptised 6 November 1558; buried 15 August 1594) was an English dramatist, the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.

Although well known in his own time, Kyd fell into obscurity until 1773 when Thomas Hawkins (an early editor of The Spanish Tragedy) discovered that Kyd was named as its author by Thomas Heywood in his Apologie for Actors (1612). A hundred years later, scholars in Germany and England began to shed light on his life and work, including the controversial finding that he may have been the author of a Hamlet play pre-dating Shakespeare’s.

Kyd was the son of a London scrivener. He attended Merchant Taylors’ school, and although there is no evidence of Kyd having a university education, he was well versed in the classics. He was also known to possess an affinity for French and Italian. When The Spanish Tragedy was published (likely in 1586), the play did not carry Kyd’s name. The only other play known to be associated with Kyd is a translation of Garnier’s CornélieThere are, however, other plays thought to be part of Kyd’s writings: Soliman and Perseda (a romantic tragedy involving a murderous Sultan), Arden of Feversham (the oldest and most powerful of the Domestic Tragedies), and Hamlet (upon which Shakespeare’s play is likely founded).

Tragedies had known popularity in England, but they were academic plays of the Senecan school, plays like Gorboduc, or parodies of tragic actions (see Cambises or Horestes). However, true Elizabethan drama began with Kyd and Marlowe.

spanishtragedy2In the last year of Kyd’s life, his papers were seized by the Privy Council, with the PC believing him the author of anti-alien propaganda. One of the documents reportedly denied the divinity of Christ. Under torture, Kyd swore the document was not his, but rather the property of Christopher Marlowe. Marlowe was arrested and later released upon parole, but Thomas Kyd was a ruined man. Kyd wrote a very public letter to the Lord Chancellor, Kyd’s patron, asking the Lord Chancellor to restore his patronage, but no assistance was forthcoming. In poverty, Kyd died the following year.

150px-Spanish-tragedyThe Spanish Tragedy was published before Kyd’s death, coming into print in 1592. The last quarto appeared in 1633. Strange’s company performed the play again and again to packed houses in 1592. The Admiral’s company added it to their repertoire in 1597. Henslowe paid Jonson for additions to the play. The play was known to have a bit of everything: something for the classically taught and something for the general populace. It contains the proud and passionate heroine, Bel-imperia, and the first Machiavellian villain, the lady’s brother, Lorenzo. The most important events of the story are not “reported” and taking place off stage. Instead, Kyd add the action required to entertain those in the audience who lacked an education.

The murder of Horatio is quite graphic, as is the hanging of the tool villain and the murder of a second youth.

 

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Movie Discussion ~ 2005’s Pride and Prejudice

Pride and Prejudice 2005 – Movie Discussion


This is a film where the spectator enjoys a lesson in Voyeurism 101. We follow the story as we view the characters through windows, eavesdrop on them through doors, read over their shoulders, stand behind them while they are conversing, etc. From the opening shot to the closing kiss (in the American version), we are drawn into the Bennet family through the character of Elizabeth, portrayed by Keira Knightley. The opening shot establishes Elizabeth as being both “inside” the action, but also an “outside” observer through which the audience will view the story. Joe Wright, the director, uses camera angles and filmography to tell the story of Darcy and Elizabeth’s love. He gives us a story steeped in Romantic elements, which seems a bit odd to those who have been taught that Jane Austen rejected the concept of “self,” emphasized by Romanticism.

In that opening shot, Elizabeth is walking home reading what is thought to be Austen’s First Impressions. In other words, Elizabeth is reading “her story.” Reaching her home, (through the camera’s lens) we follow her around the house. We see that this is a “working” estate, rather than what we sometimes see in the more traditional “Heritage” films. Elizabeth walks behind the sheets hanging on the line. They obstruct our vision, but this also tells the viewer that Elizabeth’s perceptions are  hampered.
In one of my favorite shots in the film, we see Elizabeth most intimately in the “mirror” sequence. Masterly, Wright summarizes three chapters of Austen’s novel with soft lighting and darkness, using both to show the passage of time. We find various blurred medium long shots and medium close-ups of Elizabeth, of Darcy, and of the letter. They provide the viewer with insights into Elizabeth’s internal turmoil. She turns suddenly when she realizes she has misjudged Darcy, but he is gone. To Charlotte’s question of her health, Elizabeth responds, “I hardly know.” Hardly knows what? Herself? Darcy? the Truth?
Another masterly crafted scene is the Netherfield Ball. The camera steps in to refocus the audience’s attention that this is a turning point in Darcy and Elizabeth’s relationship. The camera leaves the traditional set up and follows them in their movements. We whirl and complete the dance steps along with them. Then the camera “crosses the line” by moving more than 180 degrees. I must tell you when I first saw this, I nearly jumped out of my chair. One rarely sees this film technique used so well. The characters’ positioning from right to left in the frame reverses, telling the viewer everything has changed for both of them. It is a leap from spatial reality to a dream. The characters complete each other. This scene forecasts the film’s resolution: Social isolation will ultimately unite them. They dance alone. Before, they were only going through the motions of social performances.
In the “Accomplished Lady” scene, the dialogue mixes idioms with archaic sounding sentence structure. Simon Woods (Bingley) says, “amazing you young ladies” and “you all paint tables….” The script says, “It’s amazing how young ladies…” and “They all paint tables….” Therefore, Caroline’s use of “She must have …” makes her appear more distant and impersonal. A look at the filmography of this scene shows Elizabeth surrounded by emblems of the ornate femininity she rejects: a decorative vase, a framed portrait of a young woman in white, a bowl of flowers, etc. During this scene, both Darcy and Elizabeth remained seated. This gives them visual authority. The change in shot from character to character is often slightly off sync with the beginning and ending of each speech. This creates movement in an otherwise static scene.  The final shot shows Caroline and Elizabeth separating, crossing behind Darcy, and sitting. They represent different potential mates for Darcy. Of course, any student of Austen knows Wright combined two separate incidents from the novel into this one scene.

At Pemberley, Elizabeth sees Darcy’s sensual side. She realizes his true worth through the beauty of his home. There is constant camera movement, which emphasizes the significance of the moment. The camera circles Elizabeth and then Darcy’s statue, showing her emerging feelings for Darcy. Did you notice the right to left tracking shot of (Chatsworth) Pemberley’s facáde? As Elizabeth moves through the house, she touches the various objects, giving her a “true” picture of Darcy. “I hope to afford you more clarity in the future.” Elizabeth peers through the door to see Darcy with Georgiana. His role as a loving brother softens Elizabeth’s opinion of him.
Rosings Park’s murals show men laboring under tyrannical conditions – under the oppressive social order represented by Lady Catherine. The murals at Pemberley depict men and women in a pastoral setting. It is the ideal place for Darcy and Elizabeth’s love to grow.
Wright shows that Elizabeth needs to be in a natural setting. That is where she will bloom. In Derbyshire, Elizabeth stands on the bluff. She is part of the rugged landscape. She belongs in Derbyshire with Darcy. She sits on the roots of a 200+ year old tree (which is really in Nottingham). She must set down roots in this area. The free running deer represent Elizabeth’s new sense of freedom.
Darcy is seen as a social outsider. The film creates him as a Byronic hero. He is a reluctant

social participant. Matthew Macfadyen’s body language and facial expressions suggest discomfort – a true dislike for social practices – an unhappiness rather than hauteur or censure. The film begins in the countryside at dawn. It ends with the second proposal in the same setting. Neither Elizabeth nor Darcy is dressed properly. They will, therefore, live their lives on their own terms.
As one can see, there are many areas of discussion on this film. It is quite different from the more traditional 1995 P&P, but that does not mean that it is not worthy in its own right. Keep in mind, that a 2-hour commercial film should not be compared to a nearly 6-hour “heritage” adaptation. I welcome your comments. I will check in regularly to respond.
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Regency Happenings: The Year Without Summer

tambora_11The Year Without a Summer (also known as the Poverty Year, Year There Was No Summer, and Eighteen Hundred and Froze to Death) was 1816, in which severe summer climate abnormalities resulted in major food shortages. Much of the cause of this anomaly is blamed on the volcanic eruption of Mount Tambora (located on the island of Sumbawa, Indonesia) in April 1815.

Rated a 7 on the Volcanic Explosivity Index, the Tambora eruption had ash falls as far away as Borneo, Sulawesi, Java, and the Maluku islands. Most who died from the eruption came from starvation and disease. 71,000+ people died. Some 12,000 killed from the explosion.

In Europe, people were still recovering from the devastation of the Napoleonic Wars. Food shortages were already prevalent. In the UK and France, food riots were common. Switzerland declared a national emergency because of famine. Abnormal rainfall swelled European rivers. 100,000 Irishmen perished from a combination of a famine and a major typhus epidemic.

In New England, the corn crop failed. Because of supply and demand, the cost of wheat and grains skyrocketed. In Hungary, the population experienced brown snow. Italy had red snow. Volcanic ash is believed to be the cause. The rice crop in China failed due to the summer’s low temperatures. Summer snowfalls occurred in several of China’s provinces. In tropical Taiwan, snow was also reported.

J. M. W. Turner celebrated the spectacular sunsets during this period, likely caused by high levels of ash. People have noted the yellow tinge that is predominant in his paintings, such as Chichester Canal circa 1828.

The crop failures of the “Year without a Summer” may have helped shape the settling of the “American Heartland,” as many thousands of people (particularly farm families who were wiped out by the event) departed New England for what is now western and central New York and the upper Midwest in search of a more profitable land.

Among those who left Vermont were the family of Joseph Smith. This move precipitated a series of events which culminated in the publication of the Book of Mormon and the founding of the Church of Jesus-Christ of Latter-day Saints

In July 1816 “incessant rainfall” during that “wet, ungenial summer” forced Mary Shelley, John William Polidori, Lord Byron and their friends to stay indoors for much of their Swiss holiday.

They decided to have a contest to see who could write the scariest story, leading Shelley to write Frankenstein, the Modern Prometheus and Polidori to write The Vampyre In addition, their host, Lord Byron was inspired to write a poem, “Darkness,” at the same time.

The events of April 1815 play a part in my next novel The Disappearance of Georgiana Darcy (scheduled for release in March 2012), which begins in July 1815, after Wellington vanquishes Napoleon at Waterloo.

Chichester Canal, circa 1828 by J.M.W. Turner

Chichester Canal, circa 1828 by J.M.W. Turner

Among those who left Vermont were the family of Joseph Smith. This move precipitated a series of events which culminated in the publication of the Book of Mormon and the founding of the Church of Jesus-Christ of Latter-day Saints.

In July 1816 “incessant rainfall” during that “wet, ungenial summer” forced Mary Shelley, John William Polidori, Lord Byron and their friends to stay indoors for much of their Swiss holiday.

Shelley

Shelley

Polidori

Polidori

They decided to have a contest to see who could write the scariest story, leading Shelley to write Frankenstein, the Modern Prometheus and Polidori to write The Vampyre In addition, their host, Lord Byron was inspired to write a poem, “Darkness,” at the same time.

The events of April 1815 play a part in my  novel The Disappearance of Georgiana Darcy, which begins in July 1815, after Wellington vanquishes Napoleon at Waterloo. It also plays a role in several other of my works: A Touch of Honor, A Touch of Love, and the upcoming The Prosecution of Mr. Darcy’s Cousin. Those who write in the Regency period (1811-1820) must address the hardships such a disastrous event brought to the wealthy land owners and the tenant farmers.

Information shared on the historical event is tied to Wikipedia.

 

Posted in British history, Great Britain, Living in the Regency, Living in the UK, mystery, Napoleonic Wars, real life tales, Regency era | Tagged | 1 Comment