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"I'll Do 4 U" is a song by American hip hop artist Father MC, with background vocals by R&B artist Mary J. Blige. The song was recorded for Father MC's debut album Father's Day and released as the second single for the album in October 1990. It samples "Got To Be Real" by Cheryl Lynn.
Track listings
12", Vinyl"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Acappella) - 5:0612", Vinyl (Promo)"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Radio Instrumental) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Extended Instrumental) - 5:04
"I'll Do 4 U" (Acappella) - 5:06
Personnel
Information taken from Discogs.
executive production: Andre Harrell, Sean Combs
production: Mark Morales, Mark C. Rooney
Chart performance
== References ==
|
instance of
|
{
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|
"I'll Do 4 U" is a song by American hip hop artist Father MC, with background vocals by R&B artist Mary J. Blige. The song was recorded for Father MC's debut album Father's Day and released as the second single for the album in October 1990. It samples "Got To Be Real" by Cheryl Lynn.
Track listings
12", Vinyl"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Acappella) - 5:0612", Vinyl (Promo)"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Radio Instrumental) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Extended Instrumental) - 5:04
"I'll Do 4 U" (Acappella) - 5:06
Personnel
Information taken from Discogs.
executive production: Andre Harrell, Sean Combs
production: Mark Morales, Mark C. Rooney
Chart performance
== References ==
|
performer
|
{
"answer_start": [
99
],
"text": [
"Mary J. Blige"
]
}
|
"I'll Do 4 U" is a song by American hip hop artist Father MC, with background vocals by R&B artist Mary J. Blige. The song was recorded for Father MC's debut album Father's Day and released as the second single for the album in October 1990. It samples "Got To Be Real" by Cheryl Lynn.
Track listings
12", Vinyl"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Acappella) - 5:0612", Vinyl (Promo)"I'll Do 4 U" (Radio Version) - 3:03
"I'll Do 4 U" (Radio Instrumental) - 3:03
"I'll Do 4 U" (Extended Version) - 5:04
"I'll Do 4 U" (Extended Instrumental) - 5:04
"I'll Do 4 U" (Acappella) - 5:06
Personnel
Information taken from Discogs.
executive production: Andre Harrell, Sean Combs
production: Mark Morales, Mark C. Rooney
Chart performance
== References ==
|
part of
|
{
"answer_start": [
164
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"text": [
"Father's Day"
]
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|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
country
|
{
"answer_start": [
149
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"text": [
"United Kingdom"
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|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
located in the administrative territorial entity
|
{
"answer_start": [
198
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"text": [
"Devizes"
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}
|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
headquarters location
|
{
"answer_start": [
178
],
"text": [
"Wiltshire Museum"
]
}
|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
has part(s)
|
{
"answer_start": [
178
],
"text": [
"Wiltshire Museum"
]
}
|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
authority
|
{
"answer_start": [
178
],
"text": [
"Wiltshire Museum"
]
}
|
The Wiltshire Archaeological and Natural History Society was founded in 1853, and is one of the largest county-based archaeological societies in the United Kingdom. It runs the Wiltshire Museum in Devizes, Wiltshire which has the best Bronze Age collections in Britain, including finds from Avebury and Stonehenge. It also publishes the Wiltshire Archaeological and Natural History Magazine.
A history of the society was published in 1953, under the title The Wiltshire Archaeological and Natural History Society: 1853–1952: a centenary history.As well as continuing to publish an approximately annual journal, the Wiltshire Archaeological and Natural History Magazine, the society has in the past published books of Wiltshire interest, such as the Tropenell Cartulary. The present-day Wiltshire Record Society began life as the Wiltshire Archaeological and Natural History Society Records Branch.
Notable officers
George Scrope – first President
Robert Awdry – President 1936–1946, Chairman until his death in 1949
Margaret Guido – Vice President from 1984, Co-President 1987–1994
Stuart Piggott – Co-President 1987–1996
References
External links
Official website
|
historic county
|
{
"answer_start": [
4
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"text": [
"Wiltshire"
]
}
|
The Public Office for the Breton Language (Breton: Ofis Publik ar Brezhoneg; French: Office public de la langue bretonne) was established on 15 October 2010 as a public institution, with state and regional cooperation and funding, to promote and develop teaching and use of the Breton language in daily life. It is an example of language revival efforts for minority languages in France.
Mission
One of its missions is to collect and distribute socio-linguistic data, in order to approach language revival with a basis in science and facts. Its remit is to collect data on the Breton language (Arsellva ar brezhoneg) and publish it, and advise communes on bilingual signage and place names.
It supports TermBret, the cooperative terminology service which publishes glossaries. In addition, it assists individuals, administrations and businesses who want to use the Breton language. (From 1 July 1999 to September 15, 1999, 42 administrations, associations or companies have made an appealed to the national government to allow use of Breton as an official language.)
History
It was established to replace the Ofis ar Brezhoneg/Office de la langue bretonne, which had been created on 1 May 1999 by the Region of Brittany. That office had a similar mission and worked mostly to promote use of Breton in daily life. In 2001 it initiated Ya d'ar brezhoneg (French: Oui au breton, English: Yes to Breton), an effort to encourage businesses to adopt use of Breton and provide bilingual resources, as well as to encourage communes to establish bilingual signs and tourist materials.
Finance and organisation
The Office is now an Établissement public de coopération culturelle, a public institution run by a board of directors. They represent local authorities and the French state. It was presided over by Lena Louarn, a councillor elected in the Regional Council of Brittany until October 2021, when she was succeeded by regional councillor and deputy Paul Molac. The Office is based in Carhaix, where its director Fulup Jacq works. The Observatory of the Breton Language (l'Observatoire de la langue bretonne), led by the deputy director Olier ar Mogn, is located in Rennes.
Before October 2010, the OPB was an independent regional association, led by Lena Louarn between 1999 and 2010. Its budget of €1 million was primarily funded by the Brittany Region.
Breton language
The Office participates in the promotion of Breton courses for adults. It has published data on participation in and centers for Breton courses for adults:
In the year 1998–1999, 9,300 adults followed a course (e.g. evening courses, correspondence). Of those, 1,200 were in Upper Brittany (550 in Ille-et-Vilaine and 462 in Loire-Atlantique). At the time, a total of 165 organizations organised evening courses in Brittany and 28 outside Brittany (of the latter, 15 are in the region of Paris).
In 2003, the Office prepared and published a road map of Brittany in the Breton language. (The map includes Loire-Atlantique, which was historically considered part of the region until 1941.).
See also
Cornish Language Partnership (Keskowethyans an Taves Kernewek) – a comparable body for the Cornish language.
Welsh Language Commissioner (Comisiynydd y Gymraeg) – a Welsh Government officer with responsibility for enforcing Welsh-language policy.
Foras na Gaeilge – an all-Ireland board for the Irish language.
Bòrd na Gàidhlig – a comparable body for Scottish Gaelic.
Coonceil ny Gaelgey – a comparable body for the Manx language.
References
External links
(in French and Breton) http://www.brezhoneg.bzh/
|
country
|
{
"answer_start": [
380
],
"text": [
"France"
]
}
|
The Public Office for the Breton Language (Breton: Ofis Publik ar Brezhoneg; French: Office public de la langue bretonne) was established on 15 October 2010 as a public institution, with state and regional cooperation and funding, to promote and develop teaching and use of the Breton language in daily life. It is an example of language revival efforts for minority languages in France.
Mission
One of its missions is to collect and distribute socio-linguistic data, in order to approach language revival with a basis in science and facts. Its remit is to collect data on the Breton language (Arsellva ar brezhoneg) and publish it, and advise communes on bilingual signage and place names.
It supports TermBret, the cooperative terminology service which publishes glossaries. In addition, it assists individuals, administrations and businesses who want to use the Breton language. (From 1 July 1999 to September 15, 1999, 42 administrations, associations or companies have made an appealed to the national government to allow use of Breton as an official language.)
History
It was established to replace the Ofis ar Brezhoneg/Office de la langue bretonne, which had been created on 1 May 1999 by the Region of Brittany. That office had a similar mission and worked mostly to promote use of Breton in daily life. In 2001 it initiated Ya d'ar brezhoneg (French: Oui au breton, English: Yes to Breton), an effort to encourage businesses to adopt use of Breton and provide bilingual resources, as well as to encourage communes to establish bilingual signs and tourist materials.
Finance and organisation
The Office is now an Établissement public de coopération culturelle, a public institution run by a board of directors. They represent local authorities and the French state. It was presided over by Lena Louarn, a councillor elected in the Regional Council of Brittany until October 2021, when she was succeeded by regional councillor and deputy Paul Molac. The Office is based in Carhaix, where its director Fulup Jacq works. The Observatory of the Breton Language (l'Observatoire de la langue bretonne), led by the deputy director Olier ar Mogn, is located in Rennes.
Before October 2010, the OPB was an independent regional association, led by Lena Louarn between 1999 and 2010. Its budget of €1 million was primarily funded by the Brittany Region.
Breton language
The Office participates in the promotion of Breton courses for adults. It has published data on participation in and centers for Breton courses for adults:
In the year 1998–1999, 9,300 adults followed a course (e.g. evening courses, correspondence). Of those, 1,200 were in Upper Brittany (550 in Ille-et-Vilaine and 462 in Loire-Atlantique). At the time, a total of 165 organizations organised evening courses in Brittany and 28 outside Brittany (of the latter, 15 are in the region of Paris).
In 2003, the Office prepared and published a road map of Brittany in the Breton language. (The map includes Loire-Atlantique, which was historically considered part of the region until 1941.).
See also
Cornish Language Partnership (Keskowethyans an Taves Kernewek) – a comparable body for the Cornish language.
Welsh Language Commissioner (Comisiynydd y Gymraeg) – a Welsh Government officer with responsibility for enforcing Welsh-language policy.
Foras na Gaeilge – an all-Ireland board for the Irish language.
Bòrd na Gàidhlig – a comparable body for Scottish Gaelic.
Coonceil ny Gaelgey – a comparable body for the Manx language.
References
External links
(in French and Breton) http://www.brezhoneg.bzh/
|
official website
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A back examination is a portion of a physical examination used to identify potential pathology involving the back.
In addition to the general examinations performed on any joint (inspection, palpation, range of motion, and distal pulse, strength, sensation, and reflexes), there are several specialized maneuvers specific to the back examination. These components include:
Gait
Straight leg raise
Waddell's signs
Schober's testEvidence from the back examination indicating possible spinal damage may prompt a rectal examination to identify intact tone.
== References ==
|
subclass of
|
{
"answer_start": [
37
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"text": [
"physical examination"
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}
|
Emily Beaton (born 9 April 1987) was an Australian netball player in the ANZ Championship, playing for the Adelaide Thunderbirds. She was also starting WA for the Australian Diamonds squad that played in the 2011 World Netball Series tournament in Liverpool. She was part of both Adelaide Thunderbirds premiership teams, both in 2010 and 2013. She retired at the end of the 2016 ANZ Championship season as the only player remaining from the Thunderbirds original ANZ Championship team in 2008. This made her the only Thunderbirds player to play for the Adelaide Thunderbirds throughout the entire ANZ Championship period, having played 100 games. She now runs her typography business, Cleverhand.
== References ==
|
country of citizenship
|
{
"answer_start": [
40
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"text": [
"Australia"
]
}
|
Emily Beaton (born 9 April 1987) was an Australian netball player in the ANZ Championship, playing for the Adelaide Thunderbirds. She was also starting WA for the Australian Diamonds squad that played in the 2011 World Netball Series tournament in Liverpool. She was part of both Adelaide Thunderbirds premiership teams, both in 2010 and 2013. She retired at the end of the 2016 ANZ Championship season as the only player remaining from the Thunderbirds original ANZ Championship team in 2008. This made her the only Thunderbirds player to play for the Adelaide Thunderbirds throughout the entire ANZ Championship period, having played 100 games. She now runs her typography business, Cleverhand.
== References ==
|
sport
|
{
"answer_start": [
51
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"text": [
"netball"
]
}
|
Emily Beaton (born 9 April 1987) was an Australian netball player in the ANZ Championship, playing for the Adelaide Thunderbirds. She was also starting WA for the Australian Diamonds squad that played in the 2011 World Netball Series tournament in Liverpool. She was part of both Adelaide Thunderbirds premiership teams, both in 2010 and 2013. She retired at the end of the 2016 ANZ Championship season as the only player remaining from the Thunderbirds original ANZ Championship team in 2008. This made her the only Thunderbirds player to play for the Adelaide Thunderbirds throughout the entire ANZ Championship period, having played 100 games. She now runs her typography business, Cleverhand.
== References ==
|
given name
|
{
"answer_start": [
0
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"text": [
"Emily"
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|
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
place of birth
|
{
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412
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|
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
spouse
|
{
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|
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
country of citizenship
|
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Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
occupation
|
{
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41
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|
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
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Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
|
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Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos.
Life and work
Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper.Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan".In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose.Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.
Publications
Publications by Parke
Dream/Life. Kirribilli, N.S.W, Australia: Hot Chilli Press, 1999. ISBN 0-646-37991-7.
The Seventh Wave: Photographs of Australian Beaches. Kirribilli, N.S.W, Australia: Hot Chilli Press, 2000. Hardback ISBN 0-646-39747-8. Paperback ISBN 0-646-39746-X. With Narelle Autio. Includes an essay on the beach in Australian culture by Robert Drewe.
Minutes to Midnight. Paris: Filigranes Éditions, 2005. 32 pages, 20 plates, paperback. ISBN 978-2-35046-041-3.
Bedknobs & Broomsticks. St. Paul, Minnesota: Little Brown Mushroom, 2010. ISBN 978-0-615-37550-2.
The Christmas Tree Bucket – Trent Parke's Family Album. Göttingen: Steidl, 2013. ISBN 978-3869302065.
Minutes to Midnight. Göttingen: Steidl, 2013. 96 pages, hardback. ISBN 978-3869302058.
Göttingen: Steidl, 2014. 96 pages, hardback. ISBN 978-3869302058.
The Black Rose. Adelaide, Australia: Art Gallery of South Australia, 2015. Published to accompany an exhibition at the Art Gallery of South Australia, 14 March – 10 May 2015.
Crimson Line. London: Stanley/Barker, 2020. ISBN 978-1-913288-13-6.
Second edition with subtle changes. London: Stanley/Barker, 2021. ISBN 978-1-913288-13-6.
Cue The Sun. London: Stanley/Barker, 2021. ISBN 978-1-913288-37-2.
Publications with contributions by Parke
So now then. Cardiff: Ffotogallery, 2006. ISBN 9781872771656. Edited by Paul Seawright and Christopher Coppock. Photographs by Parke, Shelby Lee Adams, Adam Broomberg & Oliver Chanarin, Chien-Chi Chang, Weng Fen, Julio Grinblatt, An-My Lê Susan Meiselas, Boris Mikhailov, Simon Norfolk, Paul Shambroom, Massimo Vitali and Michael Wesely. Essays by David Campany, "Straight pictures of a crooked world"; Martha Langford, "What use is photography"; and Jan-Erik Lundström, "Look and tell: some further thoughts on the documentary genre". An anthology of international documentary photography commissioned by Hereford Photo Festival. Edition of 1000.
A Year in Photography: Magnum Archive. Munich: Prestel; New York, Paris, London, Tokyo: Magnum Photos, 2010. ISBN 978-3-7913-4435-5.
10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9.
Magnum Contact Sheets. Edited by Kristen Lubben.
Magnum Contact Sheets. London: Thames & Hudson, 2011. ISBN 9780500544129.
Magnum Contact Sheets. London: Thames & Hudson, 2014. ISBN 978-0500544310. Compact edition.
Magnum Contact Sheets: Trent Parke, The Seventh Wave, 2000 (Collector's Edition). London: Thames & Hudson, 2011. ISBN 978-0500544143.
The Street Photographer's Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes a chapter on Parke.
The World Atlas of Street Photography. New Haven and London: Yale University Press, 2014. ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.
Photographers' Sketchbooks. London: Thames & Hudson, 2014. ISBN 9780500544341. Edited by Stephen McLaren and Bryan Formhals.
100 Great Street Photographs. Munich, London, New York: Prestel, 2017. By David Gibson. ISBN 978-3791383132. Contains a commentary on and a photograph by Parke.
Home. Tokyo: Magnum Photos Tokyo, 2018. ISBN 978-4-9909806-0-3.
Films
Films by Parke
The Summation of Force – eight channel film directed by Parke, Autio and Matthew Bate
Documentaries about Parke
Dreamlives (2002). Directed and produced by Jennifer Crone. Includes Trent and Autio. OCLC 701130326
Trent Parke: The Black Rose (2015). Directed by Catherine Hunter. Includes Parke, Autio and Geoff Dyer. Broadcast on ABC, 21 April 2015.
Awards
1996–1998: 5 Gold Lenses, International Olympic Committee.
1999: Second prize, Daily Life category, World Press Photo Award (for "Bathurst Car Races").
2000: Second prize, Daily Life stories category, World Press Photo Award 1999 (for "The Seventh Wave").
2000: Canon photo essay prize, Sasakawa World Sports Awards.
2001: First prize, Nature stories category, World Press Photo Award 2000, with Narelle Autio (for "Australian Roadkill" series).
2003: W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund.
2005: Third prize, Daily Life category, World Press Photo Award 2004 (for "Wiluna").
2007: Exhibiting Finalist – Australian National Photographic Portrait Prize.
2014: Winner of Photography category, Prudential Eye Awards by Global Eye Program.
2014: Deutscher Fotobuchpreis 2015, Gold medal, Konzeptionell-künstlerische Fotobildbänd (Conceptually-artistic photobook) category, went to Steidl for Minutes to Midnight, along with three other winners.
Exhibitions
2000: The Seventh Wave (with Narelle Autio) – Stills Gallery, Sydney.
2002: Dream/Life and The Seventh Wave (with Narelle Autio) – Canvas International Art Gallery, Amsterdam.
2002: Dva Pivo Prosim (Two Beers Please) (with Narelle Autio) – Stills Gallery, Sydney.
2002: Sydney Treasures, Art & About, Sydney.
2002: Dream/Life & Beyond – Stills Gallery, Sydney.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – FotoFreo Photographic Festival, Western Australian Maritime Museum, Fremantle.
2004: Dream/Life and The Seventh Wave (with Narelle Autio) – Ariel Meyerowitz Gallery, New York.
2004: Suspended States, Sydney Arts Festival.
2004: Minutes to Midnight – Part One, Leica Gallery, Germany.
2005: Minutes to Midnight, Australian Centre for Photography, Sydney.
2005: Colour Work, Stills Gallery, Sydney.
2006: Minutes to Midnight, Wollongong City Gallery
2007: Welcome to Nowhere, Stills Gallery, Sydney. Part of New Blood, Magnum Photos 60th anniversary exhibition. With Antoine D'Agata, Jonas Bendiksen, Mark Power and Alec Soth.
2008: Christmas Tree Bucket, Stills Gallery, Sydney.
2009: Minutes to Midnight, Children's Art Gallery, National Gallery of Australia.
2009: Please step quietly everyone can hear you, Sydney Opera House.
2010: Survey Show, Hugo Michell Gallery, Adelaide.
2013: To the Sea with Narelle Autio, Hugo Michell Gallery, Adelaide.
2013: The Christmas Tree Bucket, National Gallery of Australia, 20 December 2013 – 23 February 2014.
2014: The Camera is God, The 2014 Adelaide Biennial of Australian Art: Dark Heart, Art Gallery of South Australia, Adelaide.
2014: The Camera is God, Hugo Michell Gallery, Adelaide.
2015: The Black Rose, Art Gallery of South Australia, Adelaide, 14 March – 10 May 2015. Part of the 2015 Adelaide Festival.
The Crimson Line, Hugo Michell Gallery, 31 October – 23 November 2019
Collections
Parke's work is held in the following public collections:
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne: 7 prints (as of November 2018)
National Library of Australia
Australian National Maritime Museum, Sydney
Museum of Contemporary Art, Sydney: 1 print (as of November 2018)
University of Sydney Union, University of Sydney, Sydney
References
External links
Parke's profile at Magnum Photos
Parke's profile at In-Public
Parke discusses Minutes To Midnight (video)
'Trent Parke – Dreamlives (2002) – Australian Story' (video)
Parke at Hugo Michell Gallery
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Balef Kola-ye Sharqi (Persian: بالف كلاشرقي, also Romanized as Bālef Kolā-ye Sharqī) is a village in Babol Kenar Rural District, Babol Kenar District, Babol County, Mazandaran Province, Iran. At the 2006 census, its population was 342, in 116 families.
== References ==
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Balef Kola-ye Sharqi (Persian: بالف كلاشرقي, also Romanized as Bālef Kolā-ye Sharqī) is a village in Babol Kenar Rural District, Babol Kenar District, Babol County, Mazandaran Province, Iran. At the 2006 census, its population was 342, in 116 families.
== References ==
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Balef Kola-ye Sharqi (Persian: بالف كلاشرقي, also Romanized as Bālef Kolā-ye Sharqī) is a village in Babol Kenar Rural District, Babol Kenar District, Babol County, Mazandaran Province, Iran. At the 2006 census, its population was 342, in 116 families.
== References ==
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located in the administrative territorial entity
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Freedom on My Mind is a 1994 feature documentary film that tells the story of the Mississippi voter registration movement of 1961 to 1964, which was characterized by violence against the people involved, including multiple instances of murder.
The film was produced and directed by Connie Field and Marilyn Mulford. Participants interviewed include Bob Moses, Victoria Gray Adams, Endesha Ida Mae Holland, and Freedom Summer volunteers Marshall Ganz, Heather Booth, and Pam Allen.
Freedom on My Mind premiered at the Sundance Film Festival, won that year's Grand Jury Prize for Best Documentary, and was nominated for an Academy Award for Best Documentary Feature.
Synopsis
In 1961, Mississippi was rigidly segregated. There were virtually no black voters even though African-Americans comprised a large percentage of the population, the majority in some localities. Bob Moses entered the state and the Mississippi Voter Registration Project began. The first black farmer who attempted to register was fatally shot by a Mississippi State Representative, E.H. Hurst. Due to intimidation of witnesses, one of whom, Louis Allen, was slain, Hurst was never prosecuted.
Among the events depicted in the film is the Freedom Summer of 1964, in which three civil rights workers were slain.
Freedom on My Mind combines personal interviews, rare archival film and television footage, authentic Mississippi Delta blues, and Movement gospel songs. It emphasizes the strategic brilliance of Mississippi's young, black organizers. Barred from political participation, they created their own integrated party the Mississippi Freedom Democratic Party. They recruited a thousand mostly white students from around the country to come to Mississippi, bringing the eyes and conscience of the nation with them. The students and the Mississippi Freedom Democratic Party organizers put together a delegation of sharecroppers, maids, and day-laborers that challenged the all-white delegates in the 1964 Democratic National Convention. The film describes how their effort to replace the state's delegation was not accepted by the Democratic Party leadership, embittering the activists.
Ultimately their efforts succeeded. In 1965 Congress passed the Voting Rights Act, and by 1990, Mississippi had more elected black officials than any other state in the country.
Cast
Chude Pamela Allen as Self
Heather Booth as Self
L.C. Dorsey as Self
Len Edwards as Self
Marshall Ganz as Self
Reception
Variety called it "a landmark documentary that chronicles the most tumultuous and significant years in the history of the civil rights movement. A must see." It was broadcast on PBS's American Experience and internationally, and has been used educationally in colleges and universities around the world.
The Washington Post said that the film "conveys the human dimensions of the fight with such a powerful combination of sensitivity and intelligence and pure emotional insight that it seems as if the facts were being set down for the very first time. As political history this is superlative stuff."Critic John Petrakis of The Chicago Tribune called the film "superbly produced and "must-viewing for anyone with an interest in the civil rights movement or American history."
Honors
Sundance Film Festival: Grand Jury Prize for Best Documentary (1994)
Academy Awards: Nominated as Best Feature Documentary (1994)
winner, Erik Barnouw Award, Organization of American Historians (1995)
winner, John O'Connor Award, American Historical Association
winner, Distinguished Documentary Award, International Documentary Association (1994)
winner, CINE Golden Eagle (1996)
See also
Civil rights movement in popular culture
Louis Allen
Voting Rights Act of 1965
References
External links
Freedom on My Mind at IMDb
Freedom on My Mind at the TCM Movie Database
Freedom on My Mind at AllMovie
Freedom on My Mind at the American Film Institute Catalog
Clarity Films website
PBS American Experience
|
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Freedom on My Mind is a 1994 feature documentary film that tells the story of the Mississippi voter registration movement of 1961 to 1964, which was characterized by violence against the people involved, including multiple instances of murder.
The film was produced and directed by Connie Field and Marilyn Mulford. Participants interviewed include Bob Moses, Victoria Gray Adams, Endesha Ida Mae Holland, and Freedom Summer volunteers Marshall Ganz, Heather Booth, and Pam Allen.
Freedom on My Mind premiered at the Sundance Film Festival, won that year's Grand Jury Prize for Best Documentary, and was nominated for an Academy Award for Best Documentary Feature.
Synopsis
In 1961, Mississippi was rigidly segregated. There were virtually no black voters even though African-Americans comprised a large percentage of the population, the majority in some localities. Bob Moses entered the state and the Mississippi Voter Registration Project began. The first black farmer who attempted to register was fatally shot by a Mississippi State Representative, E.H. Hurst. Due to intimidation of witnesses, one of whom, Louis Allen, was slain, Hurst was never prosecuted.
Among the events depicted in the film is the Freedom Summer of 1964, in which three civil rights workers were slain.
Freedom on My Mind combines personal interviews, rare archival film and television footage, authentic Mississippi Delta blues, and Movement gospel songs. It emphasizes the strategic brilliance of Mississippi's young, black organizers. Barred from political participation, they created their own integrated party the Mississippi Freedom Democratic Party. They recruited a thousand mostly white students from around the country to come to Mississippi, bringing the eyes and conscience of the nation with them. The students and the Mississippi Freedom Democratic Party organizers put together a delegation of sharecroppers, maids, and day-laborers that challenged the all-white delegates in the 1964 Democratic National Convention. The film describes how their effort to replace the state's delegation was not accepted by the Democratic Party leadership, embittering the activists.
Ultimately their efforts succeeded. In 1965 Congress passed the Voting Rights Act, and by 1990, Mississippi had more elected black officials than any other state in the country.
Cast
Chude Pamela Allen as Self
Heather Booth as Self
L.C. Dorsey as Self
Len Edwards as Self
Marshall Ganz as Self
Reception
Variety called it "a landmark documentary that chronicles the most tumultuous and significant years in the history of the civil rights movement. A must see." It was broadcast on PBS's American Experience and internationally, and has been used educationally in colleges and universities around the world.
The Washington Post said that the film "conveys the human dimensions of the fight with such a powerful combination of sensitivity and intelligence and pure emotional insight that it seems as if the facts were being set down for the very first time. As political history this is superlative stuff."Critic John Petrakis of The Chicago Tribune called the film "superbly produced and "must-viewing for anyone with an interest in the civil rights movement or American history."
Honors
Sundance Film Festival: Grand Jury Prize for Best Documentary (1994)
Academy Awards: Nominated as Best Feature Documentary (1994)
winner, Erik Barnouw Award, Organization of American Historians (1995)
winner, John O'Connor Award, American Historical Association
winner, Distinguished Documentary Award, International Documentary Association (1994)
winner, CINE Golden Eagle (1996)
See also
Civil rights movement in popular culture
Louis Allen
Voting Rights Act of 1965
References
External links
Freedom on My Mind at IMDb
Freedom on My Mind at the TCM Movie Database
Freedom on My Mind at AllMovie
Freedom on My Mind at the American Film Institute Catalog
Clarity Films website
PBS American Experience
|
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Freedom on My Mind is a 1994 feature documentary film that tells the story of the Mississippi voter registration movement of 1961 to 1964, which was characterized by violence against the people involved, including multiple instances of murder.
The film was produced and directed by Connie Field and Marilyn Mulford. Participants interviewed include Bob Moses, Victoria Gray Adams, Endesha Ida Mae Holland, and Freedom Summer volunteers Marshall Ganz, Heather Booth, and Pam Allen.
Freedom on My Mind premiered at the Sundance Film Festival, won that year's Grand Jury Prize for Best Documentary, and was nominated for an Academy Award for Best Documentary Feature.
Synopsis
In 1961, Mississippi was rigidly segregated. There were virtually no black voters even though African-Americans comprised a large percentage of the population, the majority in some localities. Bob Moses entered the state and the Mississippi Voter Registration Project began. The first black farmer who attempted to register was fatally shot by a Mississippi State Representative, E.H. Hurst. Due to intimidation of witnesses, one of whom, Louis Allen, was slain, Hurst was never prosecuted.
Among the events depicted in the film is the Freedom Summer of 1964, in which three civil rights workers were slain.
Freedom on My Mind combines personal interviews, rare archival film and television footage, authentic Mississippi Delta blues, and Movement gospel songs. It emphasizes the strategic brilliance of Mississippi's young, black organizers. Barred from political participation, they created their own integrated party the Mississippi Freedom Democratic Party. They recruited a thousand mostly white students from around the country to come to Mississippi, bringing the eyes and conscience of the nation with them. The students and the Mississippi Freedom Democratic Party organizers put together a delegation of sharecroppers, maids, and day-laborers that challenged the all-white delegates in the 1964 Democratic National Convention. The film describes how their effort to replace the state's delegation was not accepted by the Democratic Party leadership, embittering the activists.
Ultimately their efforts succeeded. In 1965 Congress passed the Voting Rights Act, and by 1990, Mississippi had more elected black officials than any other state in the country.
Cast
Chude Pamela Allen as Self
Heather Booth as Self
L.C. Dorsey as Self
Len Edwards as Self
Marshall Ganz as Self
Reception
Variety called it "a landmark documentary that chronicles the most tumultuous and significant years in the history of the civil rights movement. A must see." It was broadcast on PBS's American Experience and internationally, and has been used educationally in colleges and universities around the world.
The Washington Post said that the film "conveys the human dimensions of the fight with such a powerful combination of sensitivity and intelligence and pure emotional insight that it seems as if the facts were being set down for the very first time. As political history this is superlative stuff."Critic John Petrakis of The Chicago Tribune called the film "superbly produced and "must-viewing for anyone with an interest in the civil rights movement or American history."
Honors
Sundance Film Festival: Grand Jury Prize for Best Documentary (1994)
Academy Awards: Nominated as Best Feature Documentary (1994)
winner, Erik Barnouw Award, Organization of American Historians (1995)
winner, John O'Connor Award, American Historical Association
winner, Distinguished Documentary Award, International Documentary Association (1994)
winner, CINE Golden Eagle (1996)
See also
Civil rights movement in popular culture
Louis Allen
Voting Rights Act of 1965
References
External links
Freedom on My Mind at IMDb
Freedom on My Mind at the TCM Movie Database
Freedom on My Mind at AllMovie
Freedom on My Mind at the American Film Institute Catalog
Clarity Films website
PBS American Experience
|
genre
|
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Freedom on My Mind is a 1994 feature documentary film that tells the story of the Mississippi voter registration movement of 1961 to 1964, which was characterized by violence against the people involved, including multiple instances of murder.
The film was produced and directed by Connie Field and Marilyn Mulford. Participants interviewed include Bob Moses, Victoria Gray Adams, Endesha Ida Mae Holland, and Freedom Summer volunteers Marshall Ganz, Heather Booth, and Pam Allen.
Freedom on My Mind premiered at the Sundance Film Festival, won that year's Grand Jury Prize for Best Documentary, and was nominated for an Academy Award for Best Documentary Feature.
Synopsis
In 1961, Mississippi was rigidly segregated. There were virtually no black voters even though African-Americans comprised a large percentage of the population, the majority in some localities. Bob Moses entered the state and the Mississippi Voter Registration Project began. The first black farmer who attempted to register was fatally shot by a Mississippi State Representative, E.H. Hurst. Due to intimidation of witnesses, one of whom, Louis Allen, was slain, Hurst was never prosecuted.
Among the events depicted in the film is the Freedom Summer of 1964, in which three civil rights workers were slain.
Freedom on My Mind combines personal interviews, rare archival film and television footage, authentic Mississippi Delta blues, and Movement gospel songs. It emphasizes the strategic brilliance of Mississippi's young, black organizers. Barred from political participation, they created their own integrated party the Mississippi Freedom Democratic Party. They recruited a thousand mostly white students from around the country to come to Mississippi, bringing the eyes and conscience of the nation with them. The students and the Mississippi Freedom Democratic Party organizers put together a delegation of sharecroppers, maids, and day-laborers that challenged the all-white delegates in the 1964 Democratic National Convention. The film describes how their effort to replace the state's delegation was not accepted by the Democratic Party leadership, embittering the activists.
Ultimately their efforts succeeded. In 1965 Congress passed the Voting Rights Act, and by 1990, Mississippi had more elected black officials than any other state in the country.
Cast
Chude Pamela Allen as Self
Heather Booth as Self
L.C. Dorsey as Self
Len Edwards as Self
Marshall Ganz as Self
Reception
Variety called it "a landmark documentary that chronicles the most tumultuous and significant years in the history of the civil rights movement. A must see." It was broadcast on PBS's American Experience and internationally, and has been used educationally in colleges and universities around the world.
The Washington Post said that the film "conveys the human dimensions of the fight with such a powerful combination of sensitivity and intelligence and pure emotional insight that it seems as if the facts were being set down for the very first time. As political history this is superlative stuff."Critic John Petrakis of The Chicago Tribune called the film "superbly produced and "must-viewing for anyone with an interest in the civil rights movement or American history."
Honors
Sundance Film Festival: Grand Jury Prize for Best Documentary (1994)
Academy Awards: Nominated as Best Feature Documentary (1994)
winner, Erik Barnouw Award, Organization of American Historians (1995)
winner, John O'Connor Award, American Historical Association
winner, Distinguished Documentary Award, International Documentary Association (1994)
winner, CINE Golden Eagle (1996)
See also
Civil rights movement in popular culture
Louis Allen
Voting Rights Act of 1965
References
External links
Freedom on My Mind at IMDb
Freedom on My Mind at the TCM Movie Database
Freedom on My Mind at AllMovie
Freedom on My Mind at the American Film Institute Catalog
Clarity Films website
PBS American Experience
|
title
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Yura-Gora (Russian: Юра-Гора) is a rural locality (a village) in Tarasovskoye Rural Settlement of Plesetsky District, Arkhangelsk Oblast, Russia. The population was 13 as of 2010.
Geography
Yura-Gora is located 100 km east of Plesetsk (the district's administrative centre) by road. Barkhatikha is the nearest rural locality.
== References ==
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country
|
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11
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"text": [
"Russia"
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|
Yura-Gora (Russian: Юра-Гора) is a rural locality (a village) in Tarasovskoye Rural Settlement of Plesetsky District, Arkhangelsk Oblast, Russia. The population was 13 as of 2010.
Geography
Yura-Gora is located 100 km east of Plesetsk (the district's administrative centre) by road. Barkhatikha is the nearest rural locality.
== References ==
|
population
|
{
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165
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"13"
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|
The Grove is a historic home located near Hanover, Caroline County, Virginia. The original main house was built about 1787, and expanded to its present size about 1800. The main section is a 2+1⁄2-story, three bay, frame dwelling with a central hall plan. It stands on a small brick foundation and has a gable roof. The 19th and 20th centuries saw the construction of additions. Also on the property are a contributing smokehouse, water tower (c. 1920), tobacco barn, family cemetery, and site of an icehouse.It was listed on the National Register of Historic Places in 2009.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
68
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"text": [
"Virginia"
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|
Bangplub Don Army Football Club (Thai สโมสรฟุตบอลบางพลับ ดอนทหารบก), is a Thai football club based in Nonthaburi, Thailand. The club is currently playing in the 2017 Thailand Amateur League Bangkok Metropolitan Region.
Record
References
104 ทีมร่วมชิงชัย! แบโผผลจับสลาก ดิวิชั่น 3 ฤดูกาล 2016
Bangplub news
External links
Facebook Page
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country
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{
"answer_start": [
114
],
"text": [
"Thailand"
]
}
|
In the ballroom scene from Disney's 1991 animated film Beauty and the Beast, during which the fictional character Belle dances with the Beast to the film's titular song, Belle wears an opulent golden off-the-shoulder ball gown with a voluminous skirt. Producer Don Hahn claims the dress was conceived by several intoxicated male filmmakers during production of the film. Although Beauty and the Beast is set in 18th-century France, the dress's streamlined, anachronistic design borrows inspiration from several different fashion eras, with some of its elements centuries removed from its historical setting.
Although art director Brian McEntee had always envisioned the dress as gold and yellow, representing Belle's emotional growth into a happier, warmer character, Disney's marketing department wanted a pink dress to appeal to young girls; McEntee convinced the studio that gold would differentiate Belle from previous Disney princesses. The dress has been reimagined for several adaptations of the film, notably by Ann Hould-Ward for the Broadway musical in 1994, by Jacqueline Durran for the 2017 live-action remake in which the costume is worn by actress Emma Watson, and by Marina Toybina for the 2022 television special worn by singer H.E.R. Despite some significant deviations from their animated predecessor, all designs retained the original's signature color.
The dress is considered to be one of the most famous in film history, as well as one of Disney's most renowned outfits. Belle's dress has inspired several iterations in various tie-in media, including toys, video games, and television, with an alternate version of the character wearing a similar costume in the television series Once Upon a Time. Replicas of the dress have been worn by actresses Penélope Cruz and Hailee Steinfeld.
History and design
In Disney's 1991 animated film Beauty and the Beast, Belle attends dinner with the Beast wearing a golden ball gown. She slowly enters down the grand staircase before eating and dancing with the Beast, to the tune of the title song performed by Mrs. Potts. The dress is worn during one of Disney's most famous scenes, which in turn contributed to the outfit's popularity among audiences. According to Tracy Brown of the Chicago Tribune, the scene "helped cement the iconic status of Belle's yellow dress". The dress is a voluminous off-the-shoulder tiered ball gown, accessorized with a matching headpiece, opera gloves, earrings and shoes. Belle wears her hair in a half-up style. Out of her four costume changes, the yellow gown is the most opulent dress Belle wears in the film. Its color also matches that of the ballroom. Screenwriter Linda Woolverton theorized that Belle obtained the dress from the Wardrobe character, who was no longer able to fit into the gown upon being turned into a wardrobe.A writer for The Times of India believes the dress demonstrates Belle's preference for monochromatic, sometimes ostentatious pieces. Writing for the Los Angeles Times, Paddy Calistro observed that "the cut of Belle's clothes becomes more and more bare" as she falls in love with the Beast, "revealing voluptuous breasts and alluring shoulders". According to Vox contributor Genevieve Valentine, the dress "was lifted out of time, with crinolines and neckline a century removed from the movie's vaguely rococo trappings", believing these details help establish the character's "forward-thinking affinity for the unusual". Glamour fashion historian April Calahan determined that Belle's dresses are not historically accurate because they borrow design elements from entirely different fashion eras. The ball gown in particular is less shapely and omits several layers that would have been common for a typical gown of the time period, additionally lacking a wig or hat to indicate the character's sexual availability. Contrarily, Lacey Womack of Screen Rant believes the dress is fairly historically accurate but less "extreme" than 18th century fashion, observing that Belle's waist should be far more cinched to emphasize the fullness of her skirt. Uproxx contributor Donna Dickens wrote that audiences "believe the amount of petticoats utilized would hold the dress up without a human to support it", despite its lack of historical accuracy. Some critics have speculated that the gown was inspired by a costume actress Audrey Hepburn wears in the film Roman Holiday (1953), but this has not been confirmed by Disney.
Background and original animation
Beauty and the Beast is believed to be set in 18th-century France. Walt Disney himself had attempted to adapt the fairy tale during the 1940s but the idea was shelved, with an illustration of Belle wearing a yellow dress by Kay Nielsen being one of the few surviving artworks from the original project. In animator Andreas Deja's concept art from the film's early development dated 1989, Belle's dresses appear to draw inspiration from anywhere between the 1650s and 1780s. After the success of The Little Mermaid (1989) and popularity of its heroine Ariel, Disney was reminded of the potential their princess characters possess "as a narrative industry". Among several changes made to the film's style, Belle became the studio's "next great hope in establishing a second generation of indelible — and marketable — princesses", with her costumes adopting a cleaner, more anachronistic aesthetic. Dickens believes the animators forwent the intricacies of 18th-century fashion in favor of streamlining Belle's ball gown to save both time and effort.Beginning with Belle's blue dress during the film's opening scenes, color is used to demonstrate the character's emotional journey throughout her story and differentiate her from other characters. Art director Brian McEntee wanted the dress to be gold so light could capture as many of her movements as possible, despite the color being difficult to animate at the time. McEntee explained that by the time Belle wears her gold dress, the character has matured and warmed up, dressing her entirely in gold and yellow "to show her love and her warmth". Disney's marketing department originally wanted the dress to be pink or lavender to appeal to female audiences. However, McEntee and story artist Chris Sanders convinced the studio to allow the dress to be gold to distinguish Belle from previous Disney princesses, specifically Sleeping Beauty’s (1959) Aurora, who wears pink.Although the dress is not credited to a specific animator or designer, producer Don Hahn and McEntee recalled designing it with several male filmmakers while eating pizza and drinking alcohol. Hahn and McEntee find it ironic that, for several years to come, young girls would be wearing a costume that was essentially designed by drunken men. Although several different animators constructed Belle's movements throughout production, only supervising animator James Baxter animated the character and her ball gown during the ballroom scene.
1994 Broadway adaptation
Belle's dress was adapted for the stage musical adaptation of the film, which premiered on Broadway in 1994. The show's costumes were designed by costume designer Ann Hould-Ward, who consulted with the film's animators about how they created their characters. Despite resembling the original dress, Hould-Ward based her version of the gown on several historical portraits and artwork. Hould-Ward's daughter Leah insisted that the dress remain yellow or gold, prompting crewmembers to name the design's loyalty to the original "The Leah Factor". Notably, the stage version of the garment adheres to the original 18th century-influenced concept art and time period more closely, incorporating a robe a la française, elbow sleeves, and panniers. Weighing 30–40 pounds (14–18 kg), the completed costume was made of silk and consisted of a hoop skirt, brocade, beading, flowers, bows, lace, and ribbons. The corset-shaped bodice was decorated with various ribbons, bows, flowers and a corsage, all of which contributed to its "classic Belle look". Accessories included a beaded necklace, jewel earrings, floral hairpiece, and cream-colored fishnet elbow-length gloves. Hould-Ward also created a pair of bloomers to be worn underneath the dress, which were embroidered with flowers despite being hidden from the audience.The weight of the dress was such that it would pull actress Susan Egan, who originated the role of Belle, in the opposite of whichever direction she was dancing during "Beauty and the Beast". After the ballroom scene, removing the costume required assistance from three stagehands, who used wires to hoist the dress up into the rafters backstage, where it remained until its next performance. Belle's costume was the first one completed for the show, as Disney Theatrical Productions wanted the dress to be available for marketing and photoshoots six months prior to rehearsals. Egan was fitted for her costume several months before she met her original castmates. The New York Times published the first colored line-drawing by caricaturist Al Hirschfeld, which depicted Egan and her co-star Terrence Mann in costume as their characters. However, Disney was furious upon discovering that Hirschfeld had painted Belle's dress pink instead of yellow. Hirschfeld defended his work, explaining, "The costumes may have been blue and yellow, but they made me feel green and pink." The lithograph painting is currently estimated at $3,000. The stage featured a spotlight with a yellow filter that would shine on the dress to saturate its hue.Egan recalled that young girls would regularly attend shows wearing their own versions of the dress purchased from the Disney Store, with one girl yelling that Egan looks "just like [her]" when the actress appeared on stage one evening. The outburst paused the show momentarily, and prompted laughter from both the audience and cast. Hould-Ward won a Tony Award for Best Costume Design for her work on Beauty and the Beast. The dress was re-designed for R&B singer Toni Braxton when she joined the production as Belle in 1998, with alterations designed to make the costume sexier and more revealing. Braxton also wore a "fringed" version of the dress during the show's curtain call. Although simplified for traveling purposes, the costume's design has remained largely unaltered for subsequent touring productions. In 2000, Broadway Cares/Equity Fights created a teddy bear wearing a miniature replica of Belle's costume from the Broadway musical for charity.
2017 live-action remake
Costume designer Jacqueline Durran redesigned Belle's ball gown for the film's 2017 live-action remake, in which Belle is portrayed by actress Emma Watson. Durran identified the garment as the most difficult costume to adapt due to the original's popularity, prompting several production discussions about its appearance, color, and material. Never intended to be an exact replica of its animated predecessor, Durran decided to retain its color in homage to the original, but added more texture to "mak[e] it feel like a real living costume.” She felt that simply replicating the dress would result in "a terrible costume" due to the original's comparative simplicity. However, she feared the dress would disappoint fans if it did not invoke the original in some manner, and maintains that she never considered the costume being any color other than yellow. Handkerchief edges and taffeta fabrics were among some of the alternations Durran had considered, in addition to changing the shape of the skirt. Durran camera tested several different fabrics to determine the best shade of yellow for the film, as well as how the ballroom's lighting would affect its shade on screen. Watson retained significant creative input over her character's wardrobe, explaining that she did not "want a big princess dress" in favor of moving freely. Watson also insisted that the dress not consist of a corset, fearing the item would restrict her movement. The actress found it most important that the garment "dance beautifully", explaining, "We wanted it to feel like it could float, like it could fly." Willow, the five-year-old daughter of Watson's costar Dan Stevens, drew Watson several sketches of how she felt the dress should look, which Watson took seriously and reviewed with the costume department. Durran also designed a miniature version of the dress for Willow to wear to the film's premiere. The dress underwent several interpretations and re-designs during production, ranging from historically accurate to modern and experimental. Durran ultimately opted for simplicity, describing the costume as a "soft structure built up by with meters and meters of silk organza dyed yellow and cut broadly in a circular shape", which emphasize the actress' movement. Dickens theorized that Disney opted for a simpler design to make the dress easier to replicate for costumes and merchandise.Durran incorporated 18th-century fashion elements into the dress, namely its layered skirt and emphasized waistline. The costume required 12,000 hours to design and create, with 238 of those hours and 10 crewmembers devoted to making the dress. Multiple copies were made. The final costume is made of lightweight tulle, 180 feet of dyed satin organza, and taffeta, stitched together using 3,000 feet of thread. Although Watson wore a cage underneath certain areas of the skirt, several layers of organza contribute to most of its volume. Elements of the Beast's castle were incorporated into the design, specifically a gold rococo pattern borrowed from the ceiling. Durran recruited an English artist to transform the pattern's floral motif into a painted design, which was hand-painted onto a canvas before being enlarged and digitally printed onto the dress. Durran's team printed the artwork onto three layers of the skirt using gold leaf filigree in a pattern reminiscent of the ballroom's Rococo floor, on top of which they sewed 2,160 Swarovski crystals for additional sparkle. Overall, the design remained faithful to the original but, according to Fawnia Soo Hoo of Nylon, was updated to reflect Belle's liberated nature and allow her to lean into the final action scenes.The gown's accessories also complement the characters' surroundings, namely Belle's plant-like ear cuff, feather-like hairpiece and gold filigree necklace. Durran explained that since everything worn in the castle is created in the castle, the accessories should also "partake in the magic enchantment of the castle itself", with Belle's ear cuff resembling a growing plant. Watson wears her hair in a "half-up, half-down" style reminiscent of the original, held in place using a gilded hair piece which is used to unlock a cart later in the film. Belle's shoes are 18th-century high heels hand-painted with golden glowers. Despite their height, the shoes are practical enough for Belle to wear while running. Watson has identified wearing the dress as her favorite moment in the film. Unlike previous adaptations, Watson's Belle does not re-wear the golden gown at the end of the film once the castle's spell is lifted. Instead, Durran designed an original white floral dress for Watson.
2022 television special
Singer H.E.R. played Belle in Beauty and the Beast: A 30th Celebration, a 2022 television special commemorating the 30th anniversary of the film's Academy Award nomination for Best Picture. Costume designer Marina Toybina adapted Belle's ball gown for the special, which was the final costume she created for the program. Toybina debated whether she should design a live-action replica of the gown, or approach it from an entirely new direction. To help establish that H.E.R. was portraying her own version of the popular character for a modern audience, Toybina opted not to design an exact replica of the dress in favor of incorporating H.E.R.'s own musical style. Toybina wanted to use the rose motif in the gown's design, aiming to create a "yellow version of the rose". To achieve this effect, the designer specially draped the skirt in a manner intended to resemble rose petals, invoking a "softness and elegance" unique to the new design. Four different pleating techniques were used for the skirt's fullness, including sunburst pleating and gathered pleating. All embroidery was hand-beaded.After debating with the production team on whether the dress should appear yellow or gold, the costumer designer ultimately decided on a hybrid of both, described as "an iridescent yellow fabric with golden detailing on the corset". Discussing the gown's hue which continues to be debated, Toybina explained that the dress was originally gold dress and evolved into a yellow dress over time. She also drew inspiration from contemporary fashion designers such as Alexander McQueen, Thierry Mugler, and Daniel Roseberry, while the armor-like bodice draws inspiration from Joan of Arc.
Reception
When Beauty and the Beast was released in 1991, Belle's ball gown quickly became a favorite among Disney fans, and it has since become closely associated with the character. Alexis Bennett of Cosmopolitan called it "unforgettable". D23 contributor Beth Deitchman believes the dress "has remained equally enchanting since 1991", while Shea Simmons of Bustle called it "the star of the show". According to E!, the gown resembles a dress "straight off the Oscar de la Renta runway". Writing for Seventeen, Kelsey Stiegman called the dress "every little girl's prom dream". Both Hould-Ward and Durran's costume designs were nominated for industry awards in their respective fields of stage and film. Genevieve Valentine of Vox believes the design is difficult to recreate both at the Disney Parks and in merchandise, observing that the dress had received at least half a dozen redesigns by 2017.Durran's version of the dress divided critics and audiences, earning mixed reviews upon its debut in the film's 2017 live-action remake. Emmet Asher-Perrin of Tor.com felt "there's nothing wrong with the dress", describing it as functional and faithful to the original, but questioned its muted hue. Upon release of the remake's trailer, Penny Goldstone of Marie Claire complimented its details and silhouette. Brooke Bobb of Vogue described the costume as a "sun-colored cupcake frock" in which Watson "looks resplendent". While Dickens lauded the original dress as "a magnificent piece of fashion", she dismissed the remake as "a limp piece of margarine", particularly in comparison to costumes worn by the film's supporting characters and the gown worn by Lily James in Disney's 2015 live-action remake of Cinderella (1950). Valentine found Durran's design to be more concerned with Watson's brand than historical or aesthetical accuracy, opining that the garment's lack of visual impact "means they had something besides standout costuming in mind". Describing the dress as "a casualty of practicality", Valentine called it "a walking uncanny valley" in comparison to more imaginative costumes, particularly the Beast's. Farmers Harvest felt the costume "does not live up to its iconic" reputation, comparing it to a modern prom dress "as opposed to the royal French ball gown it is supposed to be", which they blamed on Watson's creative input. Jessica Mason of The Mary Sue described Watson's interpretation as a "monstrosity" and one of "the worst offenses in 'period' costuming".Nevertheless, both Cosmopolitan and Wonderwall cited Watson's version among the most iconic dresses in film history, with the latter calling it an "amazing gown that looks like it was ripped from the pages of a fairy tale", while Vogue Paris hailed it as one of film's most iconic yellow dresses. The Guardian journalist Jess Cartner-Morley described Watson's dress as an improvement over the original, writing that it "retains pride of place on screen – albeit with the sickly, 90s shade of the original ... filtered into a softer mid-century yellow". Cartner-Morley also observed that the dress adheres to the revival of yellow as a trending formalwear color between 2016 and 2017. According to Fawnia Soo Hoo of Nylon, "no timeless yellow dress brings as much warm nostalgia as Belle's circa-18th-century-France ballgown".
Legacy
Belle's ball gown is considered to be one of the most famous dresses in film history, as well as one of Disney's most recognizable dresses. Several media publications have referred to the dress as "iconic", with Clark Collis of Entertainment Weekly writing in 2016 that it "has become a genuinely iconic garment in the 25 years since the film's release". According to Floriane Reynaud of Vogue Paris, the dress "is one of the most iconic costumes in film history", comparing its impact to costumes from the films Gone With the Wind (1939) and Moulin Rouge! (2001). Penny Goldstone of Marie Claire agreed that the dress is Disney's most iconic princess gown, while Jo-Anne Rowney of the Daily Mirror called it "one of the most iconic dresses in Disney history". Sarah Karmali of British Vogue considers it to be both one of the studio's "most instantly recognisable dresses" and one of the 20 most famous dresses in fashion history. In a 2018 ranking of "Pop culture's 15 most iconic yellow dresses", Entertainment Weekly contributor Mary Sollosi said the dress "has gone down in Disney history as one of [their] most iconic fairy-tale dresses". The Houston Chronicle mentioned the garment in a similar ranking of famous yellow dresses, with author Kyrie O’Connor writing, "Whether you're Belle or Beyonce, wearing a yellow dress sends the message that the wearer is confident and doesn't worry about getting noticed". Niamh Campbell of Evoke.ie believes the dress alone is beloved enough to convince people to watch the live-action remake in theaters. According to Screen Rant's Sierra Robinson, the garment "is a huge reason as to why the [animated] film is so loved", ranking it the fifth "most iconic" movie dress. Writing for the same publication, Rotem Rusak ranked it the second-best Disney princess gown, describing it as an "incredible" dress that made Disney history, while Bethany Aroutunian ranked it third on the website's list of "Best Outfits In Disney Live-Action Adaptations".According to Fawnia Soo Hoo of Fashionista, the gown remains the film's most recognizable look, having been immortalized in the forms of dolls, Halloween costumes, and merchandise. The dress continues to be a popular Halloween costume among young girls, surpassed only by Elsa's ice dress from Frozen in terms of Disneyland purchases as of 2021. According to Bobb, "little girls everywhere have dreamed of twirling around in that dress" since 1991, describing it as arguably "the single most recognizable image from the original film". The gown is believed to have inspired red carpet dresses worn by several celebrities, including Cheryl, Alicia Vikander, Leslie Mann and Katie Holmes, as well as fashion designer Giambattista Valli's Haute Couture fashion show. Vikander admitted that the yellow Louis Vuitton dress she wore to the 88th Academy Awards in 2016 was deliberately inspired by Belle, who she had idolized as a child. In 2017, Olivia Bahou of InStyle observed that the dress's "appeal is spilling over from the screen to the fashion world, and the proof is on the red carpet ... with everyone [in Hollywood] channeling the Disney princess". Bahou called the gown "the original celebrity stylist", while Emma Firth of Grazia coined the dress's influence on fashion trends the "Belle-effect". Actress Penélope Cruz wore a rendition of Belle's dress for photographer Annie Leibovitz's Disney Dream Portraits series in 2011. Actress Hailee Steinfeld wore a Belle costume during a musical performance at the 2017 MTV Movie & TV Awards. An interpretation of the dress, designed by Eduardo Castro, appears in the television series Once Upon a Time. It is worn by actress Emilie de Ravin, who plays an alternate live-action version of Belle. Costume designer Bea Åkerlund identified the dress as their favorite "yellow fashion moment".Screen Rant contributor Lucy-Jo Finnighan believes the dress "is probably one of the reasons why this film is considered the best on-screen adaptation of Beauty and the Beast". The version of the costume Braxton wore on Broadway was displayed during the Treasures of the Walt Disney Archives exhibit at the Ronald Reagan Presidential Museum and Library in 2012. To commemorate the release of the remake, Belle's gown was exhibited at the El Capitan Theatre in March 2017. In 2019, Watson's costume was displayed at the Walt Disney Archives' "Heroes and Villains: The Art of the Disney Costume" exhibit at the D23 Expo. The dress and its exhibit were moved to the Museum of Pop Culture in 2021, following delays as a result of the COVID-19 pandemic.
See also
List of individual dresses
Belle (Beauty and the Beast)
Beauty and the Beast (1991 film)
Beauty and the Beast (musical)
Beauty and the Beast (2017 film)
Notes
== References ==
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In the ballroom scene from Disney's 1991 animated film Beauty and the Beast, during which the fictional character Belle dances with the Beast to the film's titular song, Belle wears an opulent golden off-the-shoulder ball gown with a voluminous skirt. Producer Don Hahn claims the dress was conceived by several intoxicated male filmmakers during production of the film. Although Beauty and the Beast is set in 18th-century France, the dress's streamlined, anachronistic design borrows inspiration from several different fashion eras, with some of its elements centuries removed from its historical setting.
Although art director Brian McEntee had always envisioned the dress as gold and yellow, representing Belle's emotional growth into a happier, warmer character, Disney's marketing department wanted a pink dress to appeal to young girls; McEntee convinced the studio that gold would differentiate Belle from previous Disney princesses. The dress has been reimagined for several adaptations of the film, notably by Ann Hould-Ward for the Broadway musical in 1994, by Jacqueline Durran for the 2017 live-action remake in which the costume is worn by actress Emma Watson, and by Marina Toybina for the 2022 television special worn by singer H.E.R. Despite some significant deviations from their animated predecessor, all designs retained the original's signature color.
The dress is considered to be one of the most famous in film history, as well as one of Disney's most renowned outfits. Belle's dress has inspired several iterations in various tie-in media, including toys, video games, and television, with an alternate version of the character wearing a similar costume in the television series Once Upon a Time. Replicas of the dress have been worn by actresses Penélope Cruz and Hailee Steinfeld.
History and design
In Disney's 1991 animated film Beauty and the Beast, Belle attends dinner with the Beast wearing a golden ball gown. She slowly enters down the grand staircase before eating and dancing with the Beast, to the tune of the title song performed by Mrs. Potts. The dress is worn during one of Disney's most famous scenes, which in turn contributed to the outfit's popularity among audiences. According to Tracy Brown of the Chicago Tribune, the scene "helped cement the iconic status of Belle's yellow dress". The dress is a voluminous off-the-shoulder tiered ball gown, accessorized with a matching headpiece, opera gloves, earrings and shoes. Belle wears her hair in a half-up style. Out of her four costume changes, the yellow gown is the most opulent dress Belle wears in the film. Its color also matches that of the ballroom. Screenwriter Linda Woolverton theorized that Belle obtained the dress from the Wardrobe character, who was no longer able to fit into the gown upon being turned into a wardrobe.A writer for The Times of India believes the dress demonstrates Belle's preference for monochromatic, sometimes ostentatious pieces. Writing for the Los Angeles Times, Paddy Calistro observed that "the cut of Belle's clothes becomes more and more bare" as she falls in love with the Beast, "revealing voluptuous breasts and alluring shoulders". According to Vox contributor Genevieve Valentine, the dress "was lifted out of time, with crinolines and neckline a century removed from the movie's vaguely rococo trappings", believing these details help establish the character's "forward-thinking affinity for the unusual". Glamour fashion historian April Calahan determined that Belle's dresses are not historically accurate because they borrow design elements from entirely different fashion eras. The ball gown in particular is less shapely and omits several layers that would have been common for a typical gown of the time period, additionally lacking a wig or hat to indicate the character's sexual availability. Contrarily, Lacey Womack of Screen Rant believes the dress is fairly historically accurate but less "extreme" than 18th century fashion, observing that Belle's waist should be far more cinched to emphasize the fullness of her skirt. Uproxx contributor Donna Dickens wrote that audiences "believe the amount of petticoats utilized would hold the dress up without a human to support it", despite its lack of historical accuracy. Some critics have speculated that the gown was inspired by a costume actress Audrey Hepburn wears in the film Roman Holiday (1953), but this has not been confirmed by Disney.
Background and original animation
Beauty and the Beast is believed to be set in 18th-century France. Walt Disney himself had attempted to adapt the fairy tale during the 1940s but the idea was shelved, with an illustration of Belle wearing a yellow dress by Kay Nielsen being one of the few surviving artworks from the original project. In animator Andreas Deja's concept art from the film's early development dated 1989, Belle's dresses appear to draw inspiration from anywhere between the 1650s and 1780s. After the success of The Little Mermaid (1989) and popularity of its heroine Ariel, Disney was reminded of the potential their princess characters possess "as a narrative industry". Among several changes made to the film's style, Belle became the studio's "next great hope in establishing a second generation of indelible — and marketable — princesses", with her costumes adopting a cleaner, more anachronistic aesthetic. Dickens believes the animators forwent the intricacies of 18th-century fashion in favor of streamlining Belle's ball gown to save both time and effort.Beginning with Belle's blue dress during the film's opening scenes, color is used to demonstrate the character's emotional journey throughout her story and differentiate her from other characters. Art director Brian McEntee wanted the dress to be gold so light could capture as many of her movements as possible, despite the color being difficult to animate at the time. McEntee explained that by the time Belle wears her gold dress, the character has matured and warmed up, dressing her entirely in gold and yellow "to show her love and her warmth". Disney's marketing department originally wanted the dress to be pink or lavender to appeal to female audiences. However, McEntee and story artist Chris Sanders convinced the studio to allow the dress to be gold to distinguish Belle from previous Disney princesses, specifically Sleeping Beauty’s (1959) Aurora, who wears pink.Although the dress is not credited to a specific animator or designer, producer Don Hahn and McEntee recalled designing it with several male filmmakers while eating pizza and drinking alcohol. Hahn and McEntee find it ironic that, for several years to come, young girls would be wearing a costume that was essentially designed by drunken men. Although several different animators constructed Belle's movements throughout production, only supervising animator James Baxter animated the character and her ball gown during the ballroom scene.
1994 Broadway adaptation
Belle's dress was adapted for the stage musical adaptation of the film, which premiered on Broadway in 1994. The show's costumes were designed by costume designer Ann Hould-Ward, who consulted with the film's animators about how they created their characters. Despite resembling the original dress, Hould-Ward based her version of the gown on several historical portraits and artwork. Hould-Ward's daughter Leah insisted that the dress remain yellow or gold, prompting crewmembers to name the design's loyalty to the original "The Leah Factor". Notably, the stage version of the garment adheres to the original 18th century-influenced concept art and time period more closely, incorporating a robe a la française, elbow sleeves, and panniers. Weighing 30–40 pounds (14–18 kg), the completed costume was made of silk and consisted of a hoop skirt, brocade, beading, flowers, bows, lace, and ribbons. The corset-shaped bodice was decorated with various ribbons, bows, flowers and a corsage, all of which contributed to its "classic Belle look". Accessories included a beaded necklace, jewel earrings, floral hairpiece, and cream-colored fishnet elbow-length gloves. Hould-Ward also created a pair of bloomers to be worn underneath the dress, which were embroidered with flowers despite being hidden from the audience.The weight of the dress was such that it would pull actress Susan Egan, who originated the role of Belle, in the opposite of whichever direction she was dancing during "Beauty and the Beast". After the ballroom scene, removing the costume required assistance from three stagehands, who used wires to hoist the dress up into the rafters backstage, where it remained until its next performance. Belle's costume was the first one completed for the show, as Disney Theatrical Productions wanted the dress to be available for marketing and photoshoots six months prior to rehearsals. Egan was fitted for her costume several months before she met her original castmates. The New York Times published the first colored line-drawing by caricaturist Al Hirschfeld, which depicted Egan and her co-star Terrence Mann in costume as their characters. However, Disney was furious upon discovering that Hirschfeld had painted Belle's dress pink instead of yellow. Hirschfeld defended his work, explaining, "The costumes may have been blue and yellow, but they made me feel green and pink." The lithograph painting is currently estimated at $3,000. The stage featured a spotlight with a yellow filter that would shine on the dress to saturate its hue.Egan recalled that young girls would regularly attend shows wearing their own versions of the dress purchased from the Disney Store, with one girl yelling that Egan looks "just like [her]" when the actress appeared on stage one evening. The outburst paused the show momentarily, and prompted laughter from both the audience and cast. Hould-Ward won a Tony Award for Best Costume Design for her work on Beauty and the Beast. The dress was re-designed for R&B singer Toni Braxton when she joined the production as Belle in 1998, with alterations designed to make the costume sexier and more revealing. Braxton also wore a "fringed" version of the dress during the show's curtain call. Although simplified for traveling purposes, the costume's design has remained largely unaltered for subsequent touring productions. In 2000, Broadway Cares/Equity Fights created a teddy bear wearing a miniature replica of Belle's costume from the Broadway musical for charity.
2017 live-action remake
Costume designer Jacqueline Durran redesigned Belle's ball gown for the film's 2017 live-action remake, in which Belle is portrayed by actress Emma Watson. Durran identified the garment as the most difficult costume to adapt due to the original's popularity, prompting several production discussions about its appearance, color, and material. Never intended to be an exact replica of its animated predecessor, Durran decided to retain its color in homage to the original, but added more texture to "mak[e] it feel like a real living costume.” She felt that simply replicating the dress would result in "a terrible costume" due to the original's comparative simplicity. However, she feared the dress would disappoint fans if it did not invoke the original in some manner, and maintains that she never considered the costume being any color other than yellow. Handkerchief edges and taffeta fabrics were among some of the alternations Durran had considered, in addition to changing the shape of the skirt. Durran camera tested several different fabrics to determine the best shade of yellow for the film, as well as how the ballroom's lighting would affect its shade on screen. Watson retained significant creative input over her character's wardrobe, explaining that she did not "want a big princess dress" in favor of moving freely. Watson also insisted that the dress not consist of a corset, fearing the item would restrict her movement. The actress found it most important that the garment "dance beautifully", explaining, "We wanted it to feel like it could float, like it could fly." Willow, the five-year-old daughter of Watson's costar Dan Stevens, drew Watson several sketches of how she felt the dress should look, which Watson took seriously and reviewed with the costume department. Durran also designed a miniature version of the dress for Willow to wear to the film's premiere. The dress underwent several interpretations and re-designs during production, ranging from historically accurate to modern and experimental. Durran ultimately opted for simplicity, describing the costume as a "soft structure built up by with meters and meters of silk organza dyed yellow and cut broadly in a circular shape", which emphasize the actress' movement. Dickens theorized that Disney opted for a simpler design to make the dress easier to replicate for costumes and merchandise.Durran incorporated 18th-century fashion elements into the dress, namely its layered skirt and emphasized waistline. The costume required 12,000 hours to design and create, with 238 of those hours and 10 crewmembers devoted to making the dress. Multiple copies were made. The final costume is made of lightweight tulle, 180 feet of dyed satin organza, and taffeta, stitched together using 3,000 feet of thread. Although Watson wore a cage underneath certain areas of the skirt, several layers of organza contribute to most of its volume. Elements of the Beast's castle were incorporated into the design, specifically a gold rococo pattern borrowed from the ceiling. Durran recruited an English artist to transform the pattern's floral motif into a painted design, which was hand-painted onto a canvas before being enlarged and digitally printed onto the dress. Durran's team printed the artwork onto three layers of the skirt using gold leaf filigree in a pattern reminiscent of the ballroom's Rococo floor, on top of which they sewed 2,160 Swarovski crystals for additional sparkle. Overall, the design remained faithful to the original but, according to Fawnia Soo Hoo of Nylon, was updated to reflect Belle's liberated nature and allow her to lean into the final action scenes.The gown's accessories also complement the characters' surroundings, namely Belle's plant-like ear cuff, feather-like hairpiece and gold filigree necklace. Durran explained that since everything worn in the castle is created in the castle, the accessories should also "partake in the magic enchantment of the castle itself", with Belle's ear cuff resembling a growing plant. Watson wears her hair in a "half-up, half-down" style reminiscent of the original, held in place using a gilded hair piece which is used to unlock a cart later in the film. Belle's shoes are 18th-century high heels hand-painted with golden glowers. Despite their height, the shoes are practical enough for Belle to wear while running. Watson has identified wearing the dress as her favorite moment in the film. Unlike previous adaptations, Watson's Belle does not re-wear the golden gown at the end of the film once the castle's spell is lifted. Instead, Durran designed an original white floral dress for Watson.
2022 television special
Singer H.E.R. played Belle in Beauty and the Beast: A 30th Celebration, a 2022 television special commemorating the 30th anniversary of the film's Academy Award nomination for Best Picture. Costume designer Marina Toybina adapted Belle's ball gown for the special, which was the final costume she created for the program. Toybina debated whether she should design a live-action replica of the gown, or approach it from an entirely new direction. To help establish that H.E.R. was portraying her own version of the popular character for a modern audience, Toybina opted not to design an exact replica of the dress in favor of incorporating H.E.R.'s own musical style. Toybina wanted to use the rose motif in the gown's design, aiming to create a "yellow version of the rose". To achieve this effect, the designer specially draped the skirt in a manner intended to resemble rose petals, invoking a "softness and elegance" unique to the new design. Four different pleating techniques were used for the skirt's fullness, including sunburst pleating and gathered pleating. All embroidery was hand-beaded.After debating with the production team on whether the dress should appear yellow or gold, the costumer designer ultimately decided on a hybrid of both, described as "an iridescent yellow fabric with golden detailing on the corset". Discussing the gown's hue which continues to be debated, Toybina explained that the dress was originally gold dress and evolved into a yellow dress over time. She also drew inspiration from contemporary fashion designers such as Alexander McQueen, Thierry Mugler, and Daniel Roseberry, while the armor-like bodice draws inspiration from Joan of Arc.
Reception
When Beauty and the Beast was released in 1991, Belle's ball gown quickly became a favorite among Disney fans, and it has since become closely associated with the character. Alexis Bennett of Cosmopolitan called it "unforgettable". D23 contributor Beth Deitchman believes the dress "has remained equally enchanting since 1991", while Shea Simmons of Bustle called it "the star of the show". According to E!, the gown resembles a dress "straight off the Oscar de la Renta runway". Writing for Seventeen, Kelsey Stiegman called the dress "every little girl's prom dream". Both Hould-Ward and Durran's costume designs were nominated for industry awards in their respective fields of stage and film. Genevieve Valentine of Vox believes the design is difficult to recreate both at the Disney Parks and in merchandise, observing that the dress had received at least half a dozen redesigns by 2017.Durran's version of the dress divided critics and audiences, earning mixed reviews upon its debut in the film's 2017 live-action remake. Emmet Asher-Perrin of Tor.com felt "there's nothing wrong with the dress", describing it as functional and faithful to the original, but questioned its muted hue. Upon release of the remake's trailer, Penny Goldstone of Marie Claire complimented its details and silhouette. Brooke Bobb of Vogue described the costume as a "sun-colored cupcake frock" in which Watson "looks resplendent". While Dickens lauded the original dress as "a magnificent piece of fashion", she dismissed the remake as "a limp piece of margarine", particularly in comparison to costumes worn by the film's supporting characters and the gown worn by Lily James in Disney's 2015 live-action remake of Cinderella (1950). Valentine found Durran's design to be more concerned with Watson's brand than historical or aesthetical accuracy, opining that the garment's lack of visual impact "means they had something besides standout costuming in mind". Describing the dress as "a casualty of practicality", Valentine called it "a walking uncanny valley" in comparison to more imaginative costumes, particularly the Beast's. Farmers Harvest felt the costume "does not live up to its iconic" reputation, comparing it to a modern prom dress "as opposed to the royal French ball gown it is supposed to be", which they blamed on Watson's creative input. Jessica Mason of The Mary Sue described Watson's interpretation as a "monstrosity" and one of "the worst offenses in 'period' costuming".Nevertheless, both Cosmopolitan and Wonderwall cited Watson's version among the most iconic dresses in film history, with the latter calling it an "amazing gown that looks like it was ripped from the pages of a fairy tale", while Vogue Paris hailed it as one of film's most iconic yellow dresses. The Guardian journalist Jess Cartner-Morley described Watson's dress as an improvement over the original, writing that it "retains pride of place on screen – albeit with the sickly, 90s shade of the original ... filtered into a softer mid-century yellow". Cartner-Morley also observed that the dress adheres to the revival of yellow as a trending formalwear color between 2016 and 2017. According to Fawnia Soo Hoo of Nylon, "no timeless yellow dress brings as much warm nostalgia as Belle's circa-18th-century-France ballgown".
Legacy
Belle's ball gown is considered to be one of the most famous dresses in film history, as well as one of Disney's most recognizable dresses. Several media publications have referred to the dress as "iconic", with Clark Collis of Entertainment Weekly writing in 2016 that it "has become a genuinely iconic garment in the 25 years since the film's release". According to Floriane Reynaud of Vogue Paris, the dress "is one of the most iconic costumes in film history", comparing its impact to costumes from the films Gone With the Wind (1939) and Moulin Rouge! (2001). Penny Goldstone of Marie Claire agreed that the dress is Disney's most iconic princess gown, while Jo-Anne Rowney of the Daily Mirror called it "one of the most iconic dresses in Disney history". Sarah Karmali of British Vogue considers it to be both one of the studio's "most instantly recognisable dresses" and one of the 20 most famous dresses in fashion history. In a 2018 ranking of "Pop culture's 15 most iconic yellow dresses", Entertainment Weekly contributor Mary Sollosi said the dress "has gone down in Disney history as one of [their] most iconic fairy-tale dresses". The Houston Chronicle mentioned the garment in a similar ranking of famous yellow dresses, with author Kyrie O’Connor writing, "Whether you're Belle or Beyonce, wearing a yellow dress sends the message that the wearer is confident and doesn't worry about getting noticed". Niamh Campbell of Evoke.ie believes the dress alone is beloved enough to convince people to watch the live-action remake in theaters. According to Screen Rant's Sierra Robinson, the garment "is a huge reason as to why the [animated] film is so loved", ranking it the fifth "most iconic" movie dress. Writing for the same publication, Rotem Rusak ranked it the second-best Disney princess gown, describing it as an "incredible" dress that made Disney history, while Bethany Aroutunian ranked it third on the website's list of "Best Outfits In Disney Live-Action Adaptations".According to Fawnia Soo Hoo of Fashionista, the gown remains the film's most recognizable look, having been immortalized in the forms of dolls, Halloween costumes, and merchandise. The dress continues to be a popular Halloween costume among young girls, surpassed only by Elsa's ice dress from Frozen in terms of Disneyland purchases as of 2021. According to Bobb, "little girls everywhere have dreamed of twirling around in that dress" since 1991, describing it as arguably "the single most recognizable image from the original film". The gown is believed to have inspired red carpet dresses worn by several celebrities, including Cheryl, Alicia Vikander, Leslie Mann and Katie Holmes, as well as fashion designer Giambattista Valli's Haute Couture fashion show. Vikander admitted that the yellow Louis Vuitton dress she wore to the 88th Academy Awards in 2016 was deliberately inspired by Belle, who she had idolized as a child. In 2017, Olivia Bahou of InStyle observed that the dress's "appeal is spilling over from the screen to the fashion world, and the proof is on the red carpet ... with everyone [in Hollywood] channeling the Disney princess". Bahou called the gown "the original celebrity stylist", while Emma Firth of Grazia coined the dress's influence on fashion trends the "Belle-effect". Actress Penélope Cruz wore a rendition of Belle's dress for photographer Annie Leibovitz's Disney Dream Portraits series in 2011. Actress Hailee Steinfeld wore a Belle costume during a musical performance at the 2017 MTV Movie & TV Awards. An interpretation of the dress, designed by Eduardo Castro, appears in the television series Once Upon a Time. It is worn by actress Emilie de Ravin, who plays an alternate live-action version of Belle. Costume designer Bea Åkerlund identified the dress as their favorite "yellow fashion moment".Screen Rant contributor Lucy-Jo Finnighan believes the dress "is probably one of the reasons why this film is considered the best on-screen adaptation of Beauty and the Beast". The version of the costume Braxton wore on Broadway was displayed during the Treasures of the Walt Disney Archives exhibit at the Ronald Reagan Presidential Museum and Library in 2012. To commemorate the release of the remake, Belle's gown was exhibited at the El Capitan Theatre in March 2017. In 2019, Watson's costume was displayed at the Walt Disney Archives' "Heroes and Villains: The Art of the Disney Costume" exhibit at the D23 Expo. The dress and its exhibit were moved to the Museum of Pop Culture in 2021, following delays as a result of the COVID-19 pandemic.
See also
List of individual dresses
Belle (Beauty and the Beast)
Beauty and the Beast (1991 film)
Beauty and the Beast (musical)
Beauty and the Beast (2017 film)
Notes
== References ==
|
color
|
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"answer_start": [
688
],
"text": [
"yellow"
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}
|
In the ballroom scene from Disney's 1991 animated film Beauty and the Beast, during which the fictional character Belle dances with the Beast to the film's titular song, Belle wears an opulent golden off-the-shoulder ball gown with a voluminous skirt. Producer Don Hahn claims the dress was conceived by several intoxicated male filmmakers during production of the film. Although Beauty and the Beast is set in 18th-century France, the dress's streamlined, anachronistic design borrows inspiration from several different fashion eras, with some of its elements centuries removed from its historical setting.
Although art director Brian McEntee had always envisioned the dress as gold and yellow, representing Belle's emotional growth into a happier, warmer character, Disney's marketing department wanted a pink dress to appeal to young girls; McEntee convinced the studio that gold would differentiate Belle from previous Disney princesses. The dress has been reimagined for several adaptations of the film, notably by Ann Hould-Ward for the Broadway musical in 1994, by Jacqueline Durran for the 2017 live-action remake in which the costume is worn by actress Emma Watson, and by Marina Toybina for the 2022 television special worn by singer H.E.R. Despite some significant deviations from their animated predecessor, all designs retained the original's signature color.
The dress is considered to be one of the most famous in film history, as well as one of Disney's most renowned outfits. Belle's dress has inspired several iterations in various tie-in media, including toys, video games, and television, with an alternate version of the character wearing a similar costume in the television series Once Upon a Time. Replicas of the dress have been worn by actresses Penélope Cruz and Hailee Steinfeld.
History and design
In Disney's 1991 animated film Beauty and the Beast, Belle attends dinner with the Beast wearing a golden ball gown. She slowly enters down the grand staircase before eating and dancing with the Beast, to the tune of the title song performed by Mrs. Potts. The dress is worn during one of Disney's most famous scenes, which in turn contributed to the outfit's popularity among audiences. According to Tracy Brown of the Chicago Tribune, the scene "helped cement the iconic status of Belle's yellow dress". The dress is a voluminous off-the-shoulder tiered ball gown, accessorized with a matching headpiece, opera gloves, earrings and shoes. Belle wears her hair in a half-up style. Out of her four costume changes, the yellow gown is the most opulent dress Belle wears in the film. Its color also matches that of the ballroom. Screenwriter Linda Woolverton theorized that Belle obtained the dress from the Wardrobe character, who was no longer able to fit into the gown upon being turned into a wardrobe.A writer for The Times of India believes the dress demonstrates Belle's preference for monochromatic, sometimes ostentatious pieces. Writing for the Los Angeles Times, Paddy Calistro observed that "the cut of Belle's clothes becomes more and more bare" as she falls in love with the Beast, "revealing voluptuous breasts and alluring shoulders". According to Vox contributor Genevieve Valentine, the dress "was lifted out of time, with crinolines and neckline a century removed from the movie's vaguely rococo trappings", believing these details help establish the character's "forward-thinking affinity for the unusual". Glamour fashion historian April Calahan determined that Belle's dresses are not historically accurate because they borrow design elements from entirely different fashion eras. The ball gown in particular is less shapely and omits several layers that would have been common for a typical gown of the time period, additionally lacking a wig or hat to indicate the character's sexual availability. Contrarily, Lacey Womack of Screen Rant believes the dress is fairly historically accurate but less "extreme" than 18th century fashion, observing that Belle's waist should be far more cinched to emphasize the fullness of her skirt. Uproxx contributor Donna Dickens wrote that audiences "believe the amount of petticoats utilized would hold the dress up without a human to support it", despite its lack of historical accuracy. Some critics have speculated that the gown was inspired by a costume actress Audrey Hepburn wears in the film Roman Holiday (1953), but this has not been confirmed by Disney.
Background and original animation
Beauty and the Beast is believed to be set in 18th-century France. Walt Disney himself had attempted to adapt the fairy tale during the 1940s but the idea was shelved, with an illustration of Belle wearing a yellow dress by Kay Nielsen being one of the few surviving artworks from the original project. In animator Andreas Deja's concept art from the film's early development dated 1989, Belle's dresses appear to draw inspiration from anywhere between the 1650s and 1780s. After the success of The Little Mermaid (1989) and popularity of its heroine Ariel, Disney was reminded of the potential their princess characters possess "as a narrative industry". Among several changes made to the film's style, Belle became the studio's "next great hope in establishing a second generation of indelible — and marketable — princesses", with her costumes adopting a cleaner, more anachronistic aesthetic. Dickens believes the animators forwent the intricacies of 18th-century fashion in favor of streamlining Belle's ball gown to save both time and effort.Beginning with Belle's blue dress during the film's opening scenes, color is used to demonstrate the character's emotional journey throughout her story and differentiate her from other characters. Art director Brian McEntee wanted the dress to be gold so light could capture as many of her movements as possible, despite the color being difficult to animate at the time. McEntee explained that by the time Belle wears her gold dress, the character has matured and warmed up, dressing her entirely in gold and yellow "to show her love and her warmth". Disney's marketing department originally wanted the dress to be pink or lavender to appeal to female audiences. However, McEntee and story artist Chris Sanders convinced the studio to allow the dress to be gold to distinguish Belle from previous Disney princesses, specifically Sleeping Beauty’s (1959) Aurora, who wears pink.Although the dress is not credited to a specific animator or designer, producer Don Hahn and McEntee recalled designing it with several male filmmakers while eating pizza and drinking alcohol. Hahn and McEntee find it ironic that, for several years to come, young girls would be wearing a costume that was essentially designed by drunken men. Although several different animators constructed Belle's movements throughout production, only supervising animator James Baxter animated the character and her ball gown during the ballroom scene.
1994 Broadway adaptation
Belle's dress was adapted for the stage musical adaptation of the film, which premiered on Broadway in 1994. The show's costumes were designed by costume designer Ann Hould-Ward, who consulted with the film's animators about how they created their characters. Despite resembling the original dress, Hould-Ward based her version of the gown on several historical portraits and artwork. Hould-Ward's daughter Leah insisted that the dress remain yellow or gold, prompting crewmembers to name the design's loyalty to the original "The Leah Factor". Notably, the stage version of the garment adheres to the original 18th century-influenced concept art and time period more closely, incorporating a robe a la française, elbow sleeves, and panniers. Weighing 30–40 pounds (14–18 kg), the completed costume was made of silk and consisted of a hoop skirt, brocade, beading, flowers, bows, lace, and ribbons. The corset-shaped bodice was decorated with various ribbons, bows, flowers and a corsage, all of which contributed to its "classic Belle look". Accessories included a beaded necklace, jewel earrings, floral hairpiece, and cream-colored fishnet elbow-length gloves. Hould-Ward also created a pair of bloomers to be worn underneath the dress, which were embroidered with flowers despite being hidden from the audience.The weight of the dress was such that it would pull actress Susan Egan, who originated the role of Belle, in the opposite of whichever direction she was dancing during "Beauty and the Beast". After the ballroom scene, removing the costume required assistance from three stagehands, who used wires to hoist the dress up into the rafters backstage, where it remained until its next performance. Belle's costume was the first one completed for the show, as Disney Theatrical Productions wanted the dress to be available for marketing and photoshoots six months prior to rehearsals. Egan was fitted for her costume several months before she met her original castmates. The New York Times published the first colored line-drawing by caricaturist Al Hirschfeld, which depicted Egan and her co-star Terrence Mann in costume as their characters. However, Disney was furious upon discovering that Hirschfeld had painted Belle's dress pink instead of yellow. Hirschfeld defended his work, explaining, "The costumes may have been blue and yellow, but they made me feel green and pink." The lithograph painting is currently estimated at $3,000. The stage featured a spotlight with a yellow filter that would shine on the dress to saturate its hue.Egan recalled that young girls would regularly attend shows wearing their own versions of the dress purchased from the Disney Store, with one girl yelling that Egan looks "just like [her]" when the actress appeared on stage one evening. The outburst paused the show momentarily, and prompted laughter from both the audience and cast. Hould-Ward won a Tony Award for Best Costume Design for her work on Beauty and the Beast. The dress was re-designed for R&B singer Toni Braxton when she joined the production as Belle in 1998, with alterations designed to make the costume sexier and more revealing. Braxton also wore a "fringed" version of the dress during the show's curtain call. Although simplified for traveling purposes, the costume's design has remained largely unaltered for subsequent touring productions. In 2000, Broadway Cares/Equity Fights created a teddy bear wearing a miniature replica of Belle's costume from the Broadway musical for charity.
2017 live-action remake
Costume designer Jacqueline Durran redesigned Belle's ball gown for the film's 2017 live-action remake, in which Belle is portrayed by actress Emma Watson. Durran identified the garment as the most difficult costume to adapt due to the original's popularity, prompting several production discussions about its appearance, color, and material. Never intended to be an exact replica of its animated predecessor, Durran decided to retain its color in homage to the original, but added more texture to "mak[e] it feel like a real living costume.” She felt that simply replicating the dress would result in "a terrible costume" due to the original's comparative simplicity. However, she feared the dress would disappoint fans if it did not invoke the original in some manner, and maintains that she never considered the costume being any color other than yellow. Handkerchief edges and taffeta fabrics were among some of the alternations Durran had considered, in addition to changing the shape of the skirt. Durran camera tested several different fabrics to determine the best shade of yellow for the film, as well as how the ballroom's lighting would affect its shade on screen. Watson retained significant creative input over her character's wardrobe, explaining that she did not "want a big princess dress" in favor of moving freely. Watson also insisted that the dress not consist of a corset, fearing the item would restrict her movement. The actress found it most important that the garment "dance beautifully", explaining, "We wanted it to feel like it could float, like it could fly." Willow, the five-year-old daughter of Watson's costar Dan Stevens, drew Watson several sketches of how she felt the dress should look, which Watson took seriously and reviewed with the costume department. Durran also designed a miniature version of the dress for Willow to wear to the film's premiere. The dress underwent several interpretations and re-designs during production, ranging from historically accurate to modern and experimental. Durran ultimately opted for simplicity, describing the costume as a "soft structure built up by with meters and meters of silk organza dyed yellow and cut broadly in a circular shape", which emphasize the actress' movement. Dickens theorized that Disney opted for a simpler design to make the dress easier to replicate for costumes and merchandise.Durran incorporated 18th-century fashion elements into the dress, namely its layered skirt and emphasized waistline. The costume required 12,000 hours to design and create, with 238 of those hours and 10 crewmembers devoted to making the dress. Multiple copies were made. The final costume is made of lightweight tulle, 180 feet of dyed satin organza, and taffeta, stitched together using 3,000 feet of thread. Although Watson wore a cage underneath certain areas of the skirt, several layers of organza contribute to most of its volume. Elements of the Beast's castle were incorporated into the design, specifically a gold rococo pattern borrowed from the ceiling. Durran recruited an English artist to transform the pattern's floral motif into a painted design, which was hand-painted onto a canvas before being enlarged and digitally printed onto the dress. Durran's team printed the artwork onto three layers of the skirt using gold leaf filigree in a pattern reminiscent of the ballroom's Rococo floor, on top of which they sewed 2,160 Swarovski crystals for additional sparkle. Overall, the design remained faithful to the original but, according to Fawnia Soo Hoo of Nylon, was updated to reflect Belle's liberated nature and allow her to lean into the final action scenes.The gown's accessories also complement the characters' surroundings, namely Belle's plant-like ear cuff, feather-like hairpiece and gold filigree necklace. Durran explained that since everything worn in the castle is created in the castle, the accessories should also "partake in the magic enchantment of the castle itself", with Belle's ear cuff resembling a growing plant. Watson wears her hair in a "half-up, half-down" style reminiscent of the original, held in place using a gilded hair piece which is used to unlock a cart later in the film. Belle's shoes are 18th-century high heels hand-painted with golden glowers. Despite their height, the shoes are practical enough for Belle to wear while running. Watson has identified wearing the dress as her favorite moment in the film. Unlike previous adaptations, Watson's Belle does not re-wear the golden gown at the end of the film once the castle's spell is lifted. Instead, Durran designed an original white floral dress for Watson.
2022 television special
Singer H.E.R. played Belle in Beauty and the Beast: A 30th Celebration, a 2022 television special commemorating the 30th anniversary of the film's Academy Award nomination for Best Picture. Costume designer Marina Toybina adapted Belle's ball gown for the special, which was the final costume she created for the program. Toybina debated whether she should design a live-action replica of the gown, or approach it from an entirely new direction. To help establish that H.E.R. was portraying her own version of the popular character for a modern audience, Toybina opted not to design an exact replica of the dress in favor of incorporating H.E.R.'s own musical style. Toybina wanted to use the rose motif in the gown's design, aiming to create a "yellow version of the rose". To achieve this effect, the designer specially draped the skirt in a manner intended to resemble rose petals, invoking a "softness and elegance" unique to the new design. Four different pleating techniques were used for the skirt's fullness, including sunburst pleating and gathered pleating. All embroidery was hand-beaded.After debating with the production team on whether the dress should appear yellow or gold, the costumer designer ultimately decided on a hybrid of both, described as "an iridescent yellow fabric with golden detailing on the corset". Discussing the gown's hue which continues to be debated, Toybina explained that the dress was originally gold dress and evolved into a yellow dress over time. She also drew inspiration from contemporary fashion designers such as Alexander McQueen, Thierry Mugler, and Daniel Roseberry, while the armor-like bodice draws inspiration from Joan of Arc.
Reception
When Beauty and the Beast was released in 1991, Belle's ball gown quickly became a favorite among Disney fans, and it has since become closely associated with the character. Alexis Bennett of Cosmopolitan called it "unforgettable". D23 contributor Beth Deitchman believes the dress "has remained equally enchanting since 1991", while Shea Simmons of Bustle called it "the star of the show". According to E!, the gown resembles a dress "straight off the Oscar de la Renta runway". Writing for Seventeen, Kelsey Stiegman called the dress "every little girl's prom dream". Both Hould-Ward and Durran's costume designs were nominated for industry awards in their respective fields of stage and film. Genevieve Valentine of Vox believes the design is difficult to recreate both at the Disney Parks and in merchandise, observing that the dress had received at least half a dozen redesigns by 2017.Durran's version of the dress divided critics and audiences, earning mixed reviews upon its debut in the film's 2017 live-action remake. Emmet Asher-Perrin of Tor.com felt "there's nothing wrong with the dress", describing it as functional and faithful to the original, but questioned its muted hue. Upon release of the remake's trailer, Penny Goldstone of Marie Claire complimented its details and silhouette. Brooke Bobb of Vogue described the costume as a "sun-colored cupcake frock" in which Watson "looks resplendent". While Dickens lauded the original dress as "a magnificent piece of fashion", she dismissed the remake as "a limp piece of margarine", particularly in comparison to costumes worn by the film's supporting characters and the gown worn by Lily James in Disney's 2015 live-action remake of Cinderella (1950). Valentine found Durran's design to be more concerned with Watson's brand than historical or aesthetical accuracy, opining that the garment's lack of visual impact "means they had something besides standout costuming in mind". Describing the dress as "a casualty of practicality", Valentine called it "a walking uncanny valley" in comparison to more imaginative costumes, particularly the Beast's. Farmers Harvest felt the costume "does not live up to its iconic" reputation, comparing it to a modern prom dress "as opposed to the royal French ball gown it is supposed to be", which they blamed on Watson's creative input. Jessica Mason of The Mary Sue described Watson's interpretation as a "monstrosity" and one of "the worst offenses in 'period' costuming".Nevertheless, both Cosmopolitan and Wonderwall cited Watson's version among the most iconic dresses in film history, with the latter calling it an "amazing gown that looks like it was ripped from the pages of a fairy tale", while Vogue Paris hailed it as one of film's most iconic yellow dresses. The Guardian journalist Jess Cartner-Morley described Watson's dress as an improvement over the original, writing that it "retains pride of place on screen – albeit with the sickly, 90s shade of the original ... filtered into a softer mid-century yellow". Cartner-Morley also observed that the dress adheres to the revival of yellow as a trending formalwear color between 2016 and 2017. According to Fawnia Soo Hoo of Nylon, "no timeless yellow dress brings as much warm nostalgia as Belle's circa-18th-century-France ballgown".
Legacy
Belle's ball gown is considered to be one of the most famous dresses in film history, as well as one of Disney's most recognizable dresses. Several media publications have referred to the dress as "iconic", with Clark Collis of Entertainment Weekly writing in 2016 that it "has become a genuinely iconic garment in the 25 years since the film's release". According to Floriane Reynaud of Vogue Paris, the dress "is one of the most iconic costumes in film history", comparing its impact to costumes from the films Gone With the Wind (1939) and Moulin Rouge! (2001). Penny Goldstone of Marie Claire agreed that the dress is Disney's most iconic princess gown, while Jo-Anne Rowney of the Daily Mirror called it "one of the most iconic dresses in Disney history". Sarah Karmali of British Vogue considers it to be both one of the studio's "most instantly recognisable dresses" and one of the 20 most famous dresses in fashion history. In a 2018 ranking of "Pop culture's 15 most iconic yellow dresses", Entertainment Weekly contributor Mary Sollosi said the dress "has gone down in Disney history as one of [their] most iconic fairy-tale dresses". The Houston Chronicle mentioned the garment in a similar ranking of famous yellow dresses, with author Kyrie O’Connor writing, "Whether you're Belle or Beyonce, wearing a yellow dress sends the message that the wearer is confident and doesn't worry about getting noticed". Niamh Campbell of Evoke.ie believes the dress alone is beloved enough to convince people to watch the live-action remake in theaters. According to Screen Rant's Sierra Robinson, the garment "is a huge reason as to why the [animated] film is so loved", ranking it the fifth "most iconic" movie dress. Writing for the same publication, Rotem Rusak ranked it the second-best Disney princess gown, describing it as an "incredible" dress that made Disney history, while Bethany Aroutunian ranked it third on the website's list of "Best Outfits In Disney Live-Action Adaptations".According to Fawnia Soo Hoo of Fashionista, the gown remains the film's most recognizable look, having been immortalized in the forms of dolls, Halloween costumes, and merchandise. The dress continues to be a popular Halloween costume among young girls, surpassed only by Elsa's ice dress from Frozen in terms of Disneyland purchases as of 2021. According to Bobb, "little girls everywhere have dreamed of twirling around in that dress" since 1991, describing it as arguably "the single most recognizable image from the original film". The gown is believed to have inspired red carpet dresses worn by several celebrities, including Cheryl, Alicia Vikander, Leslie Mann and Katie Holmes, as well as fashion designer Giambattista Valli's Haute Couture fashion show. Vikander admitted that the yellow Louis Vuitton dress she wore to the 88th Academy Awards in 2016 was deliberately inspired by Belle, who she had idolized as a child. In 2017, Olivia Bahou of InStyle observed that the dress's "appeal is spilling over from the screen to the fashion world, and the proof is on the red carpet ... with everyone [in Hollywood] channeling the Disney princess". Bahou called the gown "the original celebrity stylist", while Emma Firth of Grazia coined the dress's influence on fashion trends the "Belle-effect". Actress Penélope Cruz wore a rendition of Belle's dress for photographer Annie Leibovitz's Disney Dream Portraits series in 2011. Actress Hailee Steinfeld wore a Belle costume during a musical performance at the 2017 MTV Movie & TV Awards. An interpretation of the dress, designed by Eduardo Castro, appears in the television series Once Upon a Time. It is worn by actress Emilie de Ravin, who plays an alternate live-action version of Belle. Costume designer Bea Åkerlund identified the dress as their favorite "yellow fashion moment".Screen Rant contributor Lucy-Jo Finnighan believes the dress "is probably one of the reasons why this film is considered the best on-screen adaptation of Beauty and the Beast". The version of the costume Braxton wore on Broadway was displayed during the Treasures of the Walt Disney Archives exhibit at the Ronald Reagan Presidential Museum and Library in 2012. To commemorate the release of the remake, Belle's gown was exhibited at the El Capitan Theatre in March 2017. In 2019, Watson's costume was displayed at the Walt Disney Archives' "Heroes and Villains: The Art of the Disney Costume" exhibit at the D23 Expo. The dress and its exhibit were moved to the Museum of Pop Culture in 2021, following delays as a result of the COVID-19 pandemic.
See also
List of individual dresses
Belle (Beauty and the Beast)
Beauty and the Beast (1991 film)
Beauty and the Beast (musical)
Beauty and the Beast (2017 film)
Notes
== References ==
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present in work
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"Beauty and the Beast"
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In the ballroom scene from Disney's 1991 animated film Beauty and the Beast, during which the fictional character Belle dances with the Beast to the film's titular song, Belle wears an opulent golden off-the-shoulder ball gown with a voluminous skirt. Producer Don Hahn claims the dress was conceived by several intoxicated male filmmakers during production of the film. Although Beauty and the Beast is set in 18th-century France, the dress's streamlined, anachronistic design borrows inspiration from several different fashion eras, with some of its elements centuries removed from its historical setting.
Although art director Brian McEntee had always envisioned the dress as gold and yellow, representing Belle's emotional growth into a happier, warmer character, Disney's marketing department wanted a pink dress to appeal to young girls; McEntee convinced the studio that gold would differentiate Belle from previous Disney princesses. The dress has been reimagined for several adaptations of the film, notably by Ann Hould-Ward for the Broadway musical in 1994, by Jacqueline Durran for the 2017 live-action remake in which the costume is worn by actress Emma Watson, and by Marina Toybina for the 2022 television special worn by singer H.E.R. Despite some significant deviations from their animated predecessor, all designs retained the original's signature color.
The dress is considered to be one of the most famous in film history, as well as one of Disney's most renowned outfits. Belle's dress has inspired several iterations in various tie-in media, including toys, video games, and television, with an alternate version of the character wearing a similar costume in the television series Once Upon a Time. Replicas of the dress have been worn by actresses Penélope Cruz and Hailee Steinfeld.
History and design
In Disney's 1991 animated film Beauty and the Beast, Belle attends dinner with the Beast wearing a golden ball gown. She slowly enters down the grand staircase before eating and dancing with the Beast, to the tune of the title song performed by Mrs. Potts. The dress is worn during one of Disney's most famous scenes, which in turn contributed to the outfit's popularity among audiences. According to Tracy Brown of the Chicago Tribune, the scene "helped cement the iconic status of Belle's yellow dress". The dress is a voluminous off-the-shoulder tiered ball gown, accessorized with a matching headpiece, opera gloves, earrings and shoes. Belle wears her hair in a half-up style. Out of her four costume changes, the yellow gown is the most opulent dress Belle wears in the film. Its color also matches that of the ballroom. Screenwriter Linda Woolverton theorized that Belle obtained the dress from the Wardrobe character, who was no longer able to fit into the gown upon being turned into a wardrobe.A writer for The Times of India believes the dress demonstrates Belle's preference for monochromatic, sometimes ostentatious pieces. Writing for the Los Angeles Times, Paddy Calistro observed that "the cut of Belle's clothes becomes more and more bare" as she falls in love with the Beast, "revealing voluptuous breasts and alluring shoulders". According to Vox contributor Genevieve Valentine, the dress "was lifted out of time, with crinolines and neckline a century removed from the movie's vaguely rococo trappings", believing these details help establish the character's "forward-thinking affinity for the unusual". Glamour fashion historian April Calahan determined that Belle's dresses are not historically accurate because they borrow design elements from entirely different fashion eras. The ball gown in particular is less shapely and omits several layers that would have been common for a typical gown of the time period, additionally lacking a wig or hat to indicate the character's sexual availability. Contrarily, Lacey Womack of Screen Rant believes the dress is fairly historically accurate but less "extreme" than 18th century fashion, observing that Belle's waist should be far more cinched to emphasize the fullness of her skirt. Uproxx contributor Donna Dickens wrote that audiences "believe the amount of petticoats utilized would hold the dress up without a human to support it", despite its lack of historical accuracy. Some critics have speculated that the gown was inspired by a costume actress Audrey Hepburn wears in the film Roman Holiday (1953), but this has not been confirmed by Disney.
Background and original animation
Beauty and the Beast is believed to be set in 18th-century France. Walt Disney himself had attempted to adapt the fairy tale during the 1940s but the idea was shelved, with an illustration of Belle wearing a yellow dress by Kay Nielsen being one of the few surviving artworks from the original project. In animator Andreas Deja's concept art from the film's early development dated 1989, Belle's dresses appear to draw inspiration from anywhere between the 1650s and 1780s. After the success of The Little Mermaid (1989) and popularity of its heroine Ariel, Disney was reminded of the potential their princess characters possess "as a narrative industry". Among several changes made to the film's style, Belle became the studio's "next great hope in establishing a second generation of indelible — and marketable — princesses", with her costumes adopting a cleaner, more anachronistic aesthetic. Dickens believes the animators forwent the intricacies of 18th-century fashion in favor of streamlining Belle's ball gown to save both time and effort.Beginning with Belle's blue dress during the film's opening scenes, color is used to demonstrate the character's emotional journey throughout her story and differentiate her from other characters. Art director Brian McEntee wanted the dress to be gold so light could capture as many of her movements as possible, despite the color being difficult to animate at the time. McEntee explained that by the time Belle wears her gold dress, the character has matured and warmed up, dressing her entirely in gold and yellow "to show her love and her warmth". Disney's marketing department originally wanted the dress to be pink or lavender to appeal to female audiences. However, McEntee and story artist Chris Sanders convinced the studio to allow the dress to be gold to distinguish Belle from previous Disney princesses, specifically Sleeping Beauty’s (1959) Aurora, who wears pink.Although the dress is not credited to a specific animator or designer, producer Don Hahn and McEntee recalled designing it with several male filmmakers while eating pizza and drinking alcohol. Hahn and McEntee find it ironic that, for several years to come, young girls would be wearing a costume that was essentially designed by drunken men. Although several different animators constructed Belle's movements throughout production, only supervising animator James Baxter animated the character and her ball gown during the ballroom scene.
1994 Broadway adaptation
Belle's dress was adapted for the stage musical adaptation of the film, which premiered on Broadway in 1994. The show's costumes were designed by costume designer Ann Hould-Ward, who consulted with the film's animators about how they created their characters. Despite resembling the original dress, Hould-Ward based her version of the gown on several historical portraits and artwork. Hould-Ward's daughter Leah insisted that the dress remain yellow or gold, prompting crewmembers to name the design's loyalty to the original "The Leah Factor". Notably, the stage version of the garment adheres to the original 18th century-influenced concept art and time period more closely, incorporating a robe a la française, elbow sleeves, and panniers. Weighing 30–40 pounds (14–18 kg), the completed costume was made of silk and consisted of a hoop skirt, brocade, beading, flowers, bows, lace, and ribbons. The corset-shaped bodice was decorated with various ribbons, bows, flowers and a corsage, all of which contributed to its "classic Belle look". Accessories included a beaded necklace, jewel earrings, floral hairpiece, and cream-colored fishnet elbow-length gloves. Hould-Ward also created a pair of bloomers to be worn underneath the dress, which were embroidered with flowers despite being hidden from the audience.The weight of the dress was such that it would pull actress Susan Egan, who originated the role of Belle, in the opposite of whichever direction she was dancing during "Beauty and the Beast". After the ballroom scene, removing the costume required assistance from three stagehands, who used wires to hoist the dress up into the rafters backstage, where it remained until its next performance. Belle's costume was the first one completed for the show, as Disney Theatrical Productions wanted the dress to be available for marketing and photoshoots six months prior to rehearsals. Egan was fitted for her costume several months before she met her original castmates. The New York Times published the first colored line-drawing by caricaturist Al Hirschfeld, which depicted Egan and her co-star Terrence Mann in costume as their characters. However, Disney was furious upon discovering that Hirschfeld had painted Belle's dress pink instead of yellow. Hirschfeld defended his work, explaining, "The costumes may have been blue and yellow, but they made me feel green and pink." The lithograph painting is currently estimated at $3,000. The stage featured a spotlight with a yellow filter that would shine on the dress to saturate its hue.Egan recalled that young girls would regularly attend shows wearing their own versions of the dress purchased from the Disney Store, with one girl yelling that Egan looks "just like [her]" when the actress appeared on stage one evening. The outburst paused the show momentarily, and prompted laughter from both the audience and cast. Hould-Ward won a Tony Award for Best Costume Design for her work on Beauty and the Beast. The dress was re-designed for R&B singer Toni Braxton when she joined the production as Belle in 1998, with alterations designed to make the costume sexier and more revealing. Braxton also wore a "fringed" version of the dress during the show's curtain call. Although simplified for traveling purposes, the costume's design has remained largely unaltered for subsequent touring productions. In 2000, Broadway Cares/Equity Fights created a teddy bear wearing a miniature replica of Belle's costume from the Broadway musical for charity.
2017 live-action remake
Costume designer Jacqueline Durran redesigned Belle's ball gown for the film's 2017 live-action remake, in which Belle is portrayed by actress Emma Watson. Durran identified the garment as the most difficult costume to adapt due to the original's popularity, prompting several production discussions about its appearance, color, and material. Never intended to be an exact replica of its animated predecessor, Durran decided to retain its color in homage to the original, but added more texture to "mak[e] it feel like a real living costume.” She felt that simply replicating the dress would result in "a terrible costume" due to the original's comparative simplicity. However, she feared the dress would disappoint fans if it did not invoke the original in some manner, and maintains that she never considered the costume being any color other than yellow. Handkerchief edges and taffeta fabrics were among some of the alternations Durran had considered, in addition to changing the shape of the skirt. Durran camera tested several different fabrics to determine the best shade of yellow for the film, as well as how the ballroom's lighting would affect its shade on screen. Watson retained significant creative input over her character's wardrobe, explaining that she did not "want a big princess dress" in favor of moving freely. Watson also insisted that the dress not consist of a corset, fearing the item would restrict her movement. The actress found it most important that the garment "dance beautifully", explaining, "We wanted it to feel like it could float, like it could fly." Willow, the five-year-old daughter of Watson's costar Dan Stevens, drew Watson several sketches of how she felt the dress should look, which Watson took seriously and reviewed with the costume department. Durran also designed a miniature version of the dress for Willow to wear to the film's premiere. The dress underwent several interpretations and re-designs during production, ranging from historically accurate to modern and experimental. Durran ultimately opted for simplicity, describing the costume as a "soft structure built up by with meters and meters of silk organza dyed yellow and cut broadly in a circular shape", which emphasize the actress' movement. Dickens theorized that Disney opted for a simpler design to make the dress easier to replicate for costumes and merchandise.Durran incorporated 18th-century fashion elements into the dress, namely its layered skirt and emphasized waistline. The costume required 12,000 hours to design and create, with 238 of those hours and 10 crewmembers devoted to making the dress. Multiple copies were made. The final costume is made of lightweight tulle, 180 feet of dyed satin organza, and taffeta, stitched together using 3,000 feet of thread. Although Watson wore a cage underneath certain areas of the skirt, several layers of organza contribute to most of its volume. Elements of the Beast's castle were incorporated into the design, specifically a gold rococo pattern borrowed from the ceiling. Durran recruited an English artist to transform the pattern's floral motif into a painted design, which was hand-painted onto a canvas before being enlarged and digitally printed onto the dress. Durran's team printed the artwork onto three layers of the skirt using gold leaf filigree in a pattern reminiscent of the ballroom's Rococo floor, on top of which they sewed 2,160 Swarovski crystals for additional sparkle. Overall, the design remained faithful to the original but, according to Fawnia Soo Hoo of Nylon, was updated to reflect Belle's liberated nature and allow her to lean into the final action scenes.The gown's accessories also complement the characters' surroundings, namely Belle's plant-like ear cuff, feather-like hairpiece and gold filigree necklace. Durran explained that since everything worn in the castle is created in the castle, the accessories should also "partake in the magic enchantment of the castle itself", with Belle's ear cuff resembling a growing plant. Watson wears her hair in a "half-up, half-down" style reminiscent of the original, held in place using a gilded hair piece which is used to unlock a cart later in the film. Belle's shoes are 18th-century high heels hand-painted with golden glowers. Despite their height, the shoes are practical enough for Belle to wear while running. Watson has identified wearing the dress as her favorite moment in the film. Unlike previous adaptations, Watson's Belle does not re-wear the golden gown at the end of the film once the castle's spell is lifted. Instead, Durran designed an original white floral dress for Watson.
2022 television special
Singer H.E.R. played Belle in Beauty and the Beast: A 30th Celebration, a 2022 television special commemorating the 30th anniversary of the film's Academy Award nomination for Best Picture. Costume designer Marina Toybina adapted Belle's ball gown for the special, which was the final costume she created for the program. Toybina debated whether she should design a live-action replica of the gown, or approach it from an entirely new direction. To help establish that H.E.R. was portraying her own version of the popular character for a modern audience, Toybina opted not to design an exact replica of the dress in favor of incorporating H.E.R.'s own musical style. Toybina wanted to use the rose motif in the gown's design, aiming to create a "yellow version of the rose". To achieve this effect, the designer specially draped the skirt in a manner intended to resemble rose petals, invoking a "softness and elegance" unique to the new design. Four different pleating techniques were used for the skirt's fullness, including sunburst pleating and gathered pleating. All embroidery was hand-beaded.After debating with the production team on whether the dress should appear yellow or gold, the costumer designer ultimately decided on a hybrid of both, described as "an iridescent yellow fabric with golden detailing on the corset". Discussing the gown's hue which continues to be debated, Toybina explained that the dress was originally gold dress and evolved into a yellow dress over time. She also drew inspiration from contemporary fashion designers such as Alexander McQueen, Thierry Mugler, and Daniel Roseberry, while the armor-like bodice draws inspiration from Joan of Arc.
Reception
When Beauty and the Beast was released in 1991, Belle's ball gown quickly became a favorite among Disney fans, and it has since become closely associated with the character. Alexis Bennett of Cosmopolitan called it "unforgettable". D23 contributor Beth Deitchman believes the dress "has remained equally enchanting since 1991", while Shea Simmons of Bustle called it "the star of the show". According to E!, the gown resembles a dress "straight off the Oscar de la Renta runway". Writing for Seventeen, Kelsey Stiegman called the dress "every little girl's prom dream". Both Hould-Ward and Durran's costume designs were nominated for industry awards in their respective fields of stage and film. Genevieve Valentine of Vox believes the design is difficult to recreate both at the Disney Parks and in merchandise, observing that the dress had received at least half a dozen redesigns by 2017.Durran's version of the dress divided critics and audiences, earning mixed reviews upon its debut in the film's 2017 live-action remake. Emmet Asher-Perrin of Tor.com felt "there's nothing wrong with the dress", describing it as functional and faithful to the original, but questioned its muted hue. Upon release of the remake's trailer, Penny Goldstone of Marie Claire complimented its details and silhouette. Brooke Bobb of Vogue described the costume as a "sun-colored cupcake frock" in which Watson "looks resplendent". While Dickens lauded the original dress as "a magnificent piece of fashion", she dismissed the remake as "a limp piece of margarine", particularly in comparison to costumes worn by the film's supporting characters and the gown worn by Lily James in Disney's 2015 live-action remake of Cinderella (1950). Valentine found Durran's design to be more concerned with Watson's brand than historical or aesthetical accuracy, opining that the garment's lack of visual impact "means they had something besides standout costuming in mind". Describing the dress as "a casualty of practicality", Valentine called it "a walking uncanny valley" in comparison to more imaginative costumes, particularly the Beast's. Farmers Harvest felt the costume "does not live up to its iconic" reputation, comparing it to a modern prom dress "as opposed to the royal French ball gown it is supposed to be", which they blamed on Watson's creative input. Jessica Mason of The Mary Sue described Watson's interpretation as a "monstrosity" and one of "the worst offenses in 'period' costuming".Nevertheless, both Cosmopolitan and Wonderwall cited Watson's version among the most iconic dresses in film history, with the latter calling it an "amazing gown that looks like it was ripped from the pages of a fairy tale", while Vogue Paris hailed it as one of film's most iconic yellow dresses. The Guardian journalist Jess Cartner-Morley described Watson's dress as an improvement over the original, writing that it "retains pride of place on screen – albeit with the sickly, 90s shade of the original ... filtered into a softer mid-century yellow". Cartner-Morley also observed that the dress adheres to the revival of yellow as a trending formalwear color between 2016 and 2017. According to Fawnia Soo Hoo of Nylon, "no timeless yellow dress brings as much warm nostalgia as Belle's circa-18th-century-France ballgown".
Legacy
Belle's ball gown is considered to be one of the most famous dresses in film history, as well as one of Disney's most recognizable dresses. Several media publications have referred to the dress as "iconic", with Clark Collis of Entertainment Weekly writing in 2016 that it "has become a genuinely iconic garment in the 25 years since the film's release". According to Floriane Reynaud of Vogue Paris, the dress "is one of the most iconic costumes in film history", comparing its impact to costumes from the films Gone With the Wind (1939) and Moulin Rouge! (2001). Penny Goldstone of Marie Claire agreed that the dress is Disney's most iconic princess gown, while Jo-Anne Rowney of the Daily Mirror called it "one of the most iconic dresses in Disney history". Sarah Karmali of British Vogue considers it to be both one of the studio's "most instantly recognisable dresses" and one of the 20 most famous dresses in fashion history. In a 2018 ranking of "Pop culture's 15 most iconic yellow dresses", Entertainment Weekly contributor Mary Sollosi said the dress "has gone down in Disney history as one of [their] most iconic fairy-tale dresses". The Houston Chronicle mentioned the garment in a similar ranking of famous yellow dresses, with author Kyrie O’Connor writing, "Whether you're Belle or Beyonce, wearing a yellow dress sends the message that the wearer is confident and doesn't worry about getting noticed". Niamh Campbell of Evoke.ie believes the dress alone is beloved enough to convince people to watch the live-action remake in theaters. According to Screen Rant's Sierra Robinson, the garment "is a huge reason as to why the [animated] film is so loved", ranking it the fifth "most iconic" movie dress. Writing for the same publication, Rotem Rusak ranked it the second-best Disney princess gown, describing it as an "incredible" dress that made Disney history, while Bethany Aroutunian ranked it third on the website's list of "Best Outfits In Disney Live-Action Adaptations".According to Fawnia Soo Hoo of Fashionista, the gown remains the film's most recognizable look, having been immortalized in the forms of dolls, Halloween costumes, and merchandise. The dress continues to be a popular Halloween costume among young girls, surpassed only by Elsa's ice dress from Frozen in terms of Disneyland purchases as of 2021. According to Bobb, "little girls everywhere have dreamed of twirling around in that dress" since 1991, describing it as arguably "the single most recognizable image from the original film". The gown is believed to have inspired red carpet dresses worn by several celebrities, including Cheryl, Alicia Vikander, Leslie Mann and Katie Holmes, as well as fashion designer Giambattista Valli's Haute Couture fashion show. Vikander admitted that the yellow Louis Vuitton dress she wore to the 88th Academy Awards in 2016 was deliberately inspired by Belle, who she had idolized as a child. In 2017, Olivia Bahou of InStyle observed that the dress's "appeal is spilling over from the screen to the fashion world, and the proof is on the red carpet ... with everyone [in Hollywood] channeling the Disney princess". Bahou called the gown "the original celebrity stylist", while Emma Firth of Grazia coined the dress's influence on fashion trends the "Belle-effect". Actress Penélope Cruz wore a rendition of Belle's dress for photographer Annie Leibovitz's Disney Dream Portraits series in 2011. Actress Hailee Steinfeld wore a Belle costume during a musical performance at the 2017 MTV Movie & TV Awards. An interpretation of the dress, designed by Eduardo Castro, appears in the television series Once Upon a Time. It is worn by actress Emilie de Ravin, who plays an alternate live-action version of Belle. Costume designer Bea Åkerlund identified the dress as their favorite "yellow fashion moment".Screen Rant contributor Lucy-Jo Finnighan believes the dress "is probably one of the reasons why this film is considered the best on-screen adaptation of Beauty and the Beast". The version of the costume Braxton wore on Broadway was displayed during the Treasures of the Walt Disney Archives exhibit at the Ronald Reagan Presidential Museum and Library in 2012. To commemorate the release of the remake, Belle's gown was exhibited at the El Capitan Theatre in March 2017. In 2019, Watson's costume was displayed at the Walt Disney Archives' "Heroes and Villains: The Art of the Disney Costume" exhibit at the D23 Expo. The dress and its exhibit were moved to the Museum of Pop Culture in 2021, following delays as a result of the COVID-19 pandemic.
See also
List of individual dresses
Belle (Beauty and the Beast)
Beauty and the Beast (1991 film)
Beauty and the Beast (musical)
Beauty and the Beast (2017 film)
Notes
== References ==
|
worn by
|
{
"answer_start": [
114
],
"text": [
"Belle"
]
}
|
Paxton House may refer to:
in ScotlandPaxton House, Berwickshirein the United States(by state)
Paxton House (Brookhaven, Mississippi), listed on the NRHP in Mississippi
Paxton (Powhatan, Virginia), listed on the NRHP in Virginia
See also
All pages with titles beginning with Paxton House
All pages with titles containing Paxton House
Paxton (disambiguation)
|
location
|
{
"answer_start": [
0
],
"text": [
"Paxton"
]
}
|
Paxton House may refer to:
in ScotlandPaxton House, Berwickshirein the United States(by state)
Paxton House (Brookhaven, Mississippi), listed on the NRHP in Mississippi
Paxton (Powhatan, Virginia), listed on the NRHP in Virginia
See also
All pages with titles beginning with Paxton House
All pages with titles containing Paxton House
Paxton (disambiguation)
|
Commons category
|
{
"answer_start": [
39
],
"text": [
"Paxton House, Berwickshire"
]
}
|
Paxton House may refer to:
in ScotlandPaxton House, Berwickshirein the United States(by state)
Paxton House (Brookhaven, Mississippi), listed on the NRHP in Mississippi
Paxton (Powhatan, Virginia), listed on the NRHP in Virginia
See also
All pages with titles beginning with Paxton House
All pages with titles containing Paxton House
Paxton (disambiguation)
|
historic county
|
{
"answer_start": [
53
],
"text": [
"Berwickshire"
]
}
|
Arvo Jaakson (15 July 1942 in Halinga Parish – 10 August 2019) was an Estonian politician. He was a member of IX Riigikogu.He has been a member of Estonian Centre Party.
== References ==
|
country of citizenship
|
{
"answer_start": [
70
],
"text": [
"Estonia"
]
}
|
Arvo Jaakson (15 July 1942 in Halinga Parish – 10 August 2019) was an Estonian politician. He was a member of IX Riigikogu.He has been a member of Estonian Centre Party.
== References ==
|
occupation
|
{
"answer_start": [
79
],
"text": [
"politician"
]
}
|
Arvo Jaakson (15 July 1942 in Halinga Parish – 10 August 2019) was an Estonian politician. He was a member of IX Riigikogu.He has been a member of Estonian Centre Party.
== References ==
|
family name
|
{
"answer_start": [
5
],
"text": [
"Jaakson"
]
}
|
Arvo Jaakson (15 July 1942 in Halinga Parish – 10 August 2019) was an Estonian politician. He was a member of IX Riigikogu.He has been a member of Estonian Centre Party.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Arvo"
]
}
|
James Conrad Shindler IV (born July 20, 1988) is an American professional golfer.
Shindler was born in Phoenix, Arizona. He played college golf at Texas A&M University, helping the team win the NCAA Division I Championship in 2009.Shindler turned professional after graduating in 2011. He played on the Canadian Tour in 2013 and returned in 2016; his best finish was second place at the 2016 ATB Financial Classic. In 2017 he played on the Web.com Tour and won the Rex Hospital Open. He finished 17th on the money list to earn his 2018 PGA Tour card. He made only 9 cuts in 20 events in 2018, with a best finish of T15 at the Barbasol Championship. He finished 192nd on the FedEx Cup points list and returned to the Web.com Tour in 2019.
Professional wins (1)
Web.com Tour wins (1)
Web.com Tour playoff record (1–0)
See also
2017 Web.com Tour Finals graduates
References
External links
Conrad Shindler at the PGA Tour official site
Conrad Shindler at the Official World Golf Ranking official site
|
place of birth
|
{
"answer_start": [
103
],
"text": [
"Phoenix"
]
}
|
James Conrad Shindler IV (born July 20, 1988) is an American professional golfer.
Shindler was born in Phoenix, Arizona. He played college golf at Texas A&M University, helping the team win the NCAA Division I Championship in 2009.Shindler turned professional after graduating in 2011. He played on the Canadian Tour in 2013 and returned in 2016; his best finish was second place at the 2016 ATB Financial Classic. In 2017 he played on the Web.com Tour and won the Rex Hospital Open. He finished 17th on the money list to earn his 2018 PGA Tour card. He made only 9 cuts in 20 events in 2018, with a best finish of T15 at the Barbasol Championship. He finished 192nd on the FedEx Cup points list and returned to the Web.com Tour in 2019.
Professional wins (1)
Web.com Tour wins (1)
Web.com Tour playoff record (1–0)
See also
2017 Web.com Tour Finals graduates
References
External links
Conrad Shindler at the PGA Tour official site
Conrad Shindler at the Official World Golf Ranking official site
|
educated at
|
{
"answer_start": [
147
],
"text": [
"Texas A&M University"
]
}
|
James Conrad Shindler IV (born July 20, 1988) is an American professional golfer.
Shindler was born in Phoenix, Arizona. He played college golf at Texas A&M University, helping the team win the NCAA Division I Championship in 2009.Shindler turned professional after graduating in 2011. He played on the Canadian Tour in 2013 and returned in 2016; his best finish was second place at the 2016 ATB Financial Classic. In 2017 he played on the Web.com Tour and won the Rex Hospital Open. He finished 17th on the money list to earn his 2018 PGA Tour card. He made only 9 cuts in 20 events in 2018, with a best finish of T15 at the Barbasol Championship. He finished 192nd on the FedEx Cup points list and returned to the Web.com Tour in 2019.
Professional wins (1)
Web.com Tour wins (1)
Web.com Tour playoff record (1–0)
See also
2017 Web.com Tour Finals graduates
References
External links
Conrad Shindler at the PGA Tour official site
Conrad Shindler at the Official World Golf Ranking official site
|
occupation
|
{
"answer_start": [
74
],
"text": [
"golfer"
]
}
|
James Conrad Shindler IV (born July 20, 1988) is an American professional golfer.
Shindler was born in Phoenix, Arizona. He played college golf at Texas A&M University, helping the team win the NCAA Division I Championship in 2009.Shindler turned professional after graduating in 2011. He played on the Canadian Tour in 2013 and returned in 2016; his best finish was second place at the 2016 ATB Financial Classic. In 2017 he played on the Web.com Tour and won the Rex Hospital Open. He finished 17th on the money list to earn his 2018 PGA Tour card. He made only 9 cuts in 20 events in 2018, with a best finish of T15 at the Barbasol Championship. He finished 192nd on the FedEx Cup points list and returned to the Web.com Tour in 2019.
Professional wins (1)
Web.com Tour wins (1)
Web.com Tour playoff record (1–0)
See also
2017 Web.com Tour Finals graduates
References
External links
Conrad Shindler at the PGA Tour official site
Conrad Shindler at the Official World Golf Ranking official site
|
sport
|
{
"answer_start": [
74
],
"text": [
"golf"
]
}
|
James Conrad Shindler IV (born July 20, 1988) is an American professional golfer.
Shindler was born in Phoenix, Arizona. He played college golf at Texas A&M University, helping the team win the NCAA Division I Championship in 2009.Shindler turned professional after graduating in 2011. He played on the Canadian Tour in 2013 and returned in 2016; his best finish was second place at the 2016 ATB Financial Classic. In 2017 he played on the Web.com Tour and won the Rex Hospital Open. He finished 17th on the money list to earn his 2018 PGA Tour card. He made only 9 cuts in 20 events in 2018, with a best finish of T15 at the Barbasol Championship. He finished 192nd on the FedEx Cup points list and returned to the Web.com Tour in 2019.
Professional wins (1)
Web.com Tour wins (1)
Web.com Tour playoff record (1–0)
See also
2017 Web.com Tour Finals graduates
References
External links
Conrad Shindler at the PGA Tour official site
Conrad Shindler at the Official World Golf Ranking official site
|
given name
|
{
"answer_start": [
6
],
"text": [
"Conrad"
]
}
|
The Closed Circuit (Polish: Układ zamknięty) is a 2013 Polish action film directed by Ryszard Bugajski.
History
The writers of The Closed Circuit, Michał Pruski and Mirosław Piepka, were inspired by the true story of businessmen struggling with the accusations made by the prosecutor's office and the tax office. Some of them ended up in mining arrest, and their company was brought to collapse. One of the cases against them was discontinued years later due to the lack of any signs of a crime, and entrepreneurs received 10,000 zlotys in compensation, while in the second, the court issued an invalid conviction at the end of 2013. Some of the accused were acquitted, and some pleaded guilty and voluntarily submitted to the punishment.
Plot
Based on real events, the story of three owners of a thriving company, who – as a result of the collusion of corrupt officials: the prosecutor (Janusz Gajos) and the head of the tax office (Kazimierz Kaczor) – are showly detained on charges of acting in an organized criminal group and money laundering.
Cast
Janusz Gajos as Andrzej Kostrzewa
Kazimierz Kaczor as Miroslaw Kaminski
Wojciech Zoladkowicz as Kamil Slodowski
Robert Olech as Piotr Maj
Przemysław Sadowski as Marek Stawski
Magdalena Kumorek as Dorota Maj
References
External links
The Closed Circuit at IMDb
|
instance of
|
{
"answer_start": [
69
],
"text": [
"film"
]
}
|
The Closed Circuit (Polish: Układ zamknięty) is a 2013 Polish action film directed by Ryszard Bugajski.
History
The writers of The Closed Circuit, Michał Pruski and Mirosław Piepka, were inspired by the true story of businessmen struggling with the accusations made by the prosecutor's office and the tax office. Some of them ended up in mining arrest, and their company was brought to collapse. One of the cases against them was discontinued years later due to the lack of any signs of a crime, and entrepreneurs received 10,000 zlotys in compensation, while in the second, the court issued an invalid conviction at the end of 2013. Some of the accused were acquitted, and some pleaded guilty and voluntarily submitted to the punishment.
Plot
Based on real events, the story of three owners of a thriving company, who – as a result of the collusion of corrupt officials: the prosecutor (Janusz Gajos) and the head of the tax office (Kazimierz Kaczor) – are showly detained on charges of acting in an organized criminal group and money laundering.
Cast
Janusz Gajos as Andrzej Kostrzewa
Kazimierz Kaczor as Miroslaw Kaminski
Wojciech Zoladkowicz as Kamil Slodowski
Robert Olech as Piotr Maj
Przemysław Sadowski as Marek Stawski
Magdalena Kumorek as Dorota Maj
References
External links
The Closed Circuit at IMDb
|
director
|
{
"answer_start": [
86
],
"text": [
"Ryszard Bugajski"
]
}
|
The Closed Circuit (Polish: Układ zamknięty) is a 2013 Polish action film directed by Ryszard Bugajski.
History
The writers of The Closed Circuit, Michał Pruski and Mirosław Piepka, were inspired by the true story of businessmen struggling with the accusations made by the prosecutor's office and the tax office. Some of them ended up in mining arrest, and their company was brought to collapse. One of the cases against them was discontinued years later due to the lack of any signs of a crime, and entrepreneurs received 10,000 zlotys in compensation, while in the second, the court issued an invalid conviction at the end of 2013. Some of the accused were acquitted, and some pleaded guilty and voluntarily submitted to the punishment.
Plot
Based on real events, the story of three owners of a thriving company, who – as a result of the collusion of corrupt officials: the prosecutor (Janusz Gajos) and the head of the tax office (Kazimierz Kaczor) – are showly detained on charges of acting in an organized criminal group and money laundering.
Cast
Janusz Gajos as Andrzej Kostrzewa
Kazimierz Kaczor as Miroslaw Kaminski
Wojciech Zoladkowicz as Kamil Slodowski
Robert Olech as Piotr Maj
Przemysław Sadowski as Marek Stawski
Magdalena Kumorek as Dorota Maj
References
External links
The Closed Circuit at IMDb
|
cast member
|
{
"answer_start": [
890
],
"text": [
"Janusz Gajos"
]
}
|
The Closed Circuit (Polish: Układ zamknięty) is a 2013 Polish action film directed by Ryszard Bugajski.
History
The writers of The Closed Circuit, Michał Pruski and Mirosław Piepka, were inspired by the true story of businessmen struggling with the accusations made by the prosecutor's office and the tax office. Some of them ended up in mining arrest, and their company was brought to collapse. One of the cases against them was discontinued years later due to the lack of any signs of a crime, and entrepreneurs received 10,000 zlotys in compensation, while in the second, the court issued an invalid conviction at the end of 2013. Some of the accused were acquitted, and some pleaded guilty and voluntarily submitted to the punishment.
Plot
Based on real events, the story of three owners of a thriving company, who – as a result of the collusion of corrupt officials: the prosecutor (Janusz Gajos) and the head of the tax office (Kazimierz Kaczor) – are showly detained on charges of acting in an organized criminal group and money laundering.
Cast
Janusz Gajos as Andrzej Kostrzewa
Kazimierz Kaczor as Miroslaw Kaminski
Wojciech Zoladkowicz as Kamil Slodowski
Robert Olech as Piotr Maj
Przemysław Sadowski as Marek Stawski
Magdalena Kumorek as Dorota Maj
References
External links
The Closed Circuit at IMDb
|
original language of film or TV show
|
{
"answer_start": [
20
],
"text": [
"Polish"
]
}
|
The Closed Circuit (Polish: Układ zamknięty) is a 2013 Polish action film directed by Ryszard Bugajski.
History
The writers of The Closed Circuit, Michał Pruski and Mirosław Piepka, were inspired by the true story of businessmen struggling with the accusations made by the prosecutor's office and the tax office. Some of them ended up in mining arrest, and their company was brought to collapse. One of the cases against them was discontinued years later due to the lack of any signs of a crime, and entrepreneurs received 10,000 zlotys in compensation, while in the second, the court issued an invalid conviction at the end of 2013. Some of the accused were acquitted, and some pleaded guilty and voluntarily submitted to the punishment.
Plot
Based on real events, the story of three owners of a thriving company, who – as a result of the collusion of corrupt officials: the prosecutor (Janusz Gajos) and the head of the tax office (Kazimierz Kaczor) – are showly detained on charges of acting in an organized criminal group and money laundering.
Cast
Janusz Gajos as Andrzej Kostrzewa
Kazimierz Kaczor as Miroslaw Kaminski
Wojciech Zoladkowicz as Kamil Slodowski
Robert Olech as Piotr Maj
Przemysław Sadowski as Marek Stawski
Magdalena Kumorek as Dorota Maj
References
External links
The Closed Circuit at IMDb
|
title
|
{
"answer_start": [
28
],
"text": [
"Układ zamknięty"
]
}
|
Murder Unveiled is a 2005 Canadian television film. The movie is based on the true story of the Jaswinder Kaur Sidhu murder. The film was screened at the Asian Festival of First Films on November 26, 2005 and was first aired on CBC on February 6, 2006.
Plot
In India, a young woman is kidnapped, and her young male companion beaten within an inch of his life. He is working class Sikh, Surinder Singh; she is his wife, the former Davinder Samra, a Canadian Sikh whom he met when she visited India a year earlier for her cousin's wedding. For both, it was love at first sight. However, Davinder comes from a traditional Sikh family, who made their fortune in Canada. Her parents, who knew nothing of Surinder when Surinder and Davinder eloped, were seeking a suitable husband for her. As the story unfolds leading to the kidnapping/beating and the subsequent investigation by the local police and Crime Investigation Division, the power of money and of Sikh family honor is shown.
Cast
Anita Majumdar as Davinder Samra
Chenier Hundal as Surinder Singh
Hassani Shapi as Jaipal
Lushin Dubey a Kuldeep Samra
Sanjay Talwar as Inspector Darshan Singh
Vinay Pathak as Inspector Gurpal Badash
Cedric De Souza as Mohan
Vik Sahay as Bindri
Michael Benyaer as Ashu
Zena Darawalla as Jasminder
Parm Soor as Vikram Samra
Veena Sood as Magistrate
Tony Ali as Doctor
Sooraj Jaswal as Jaggi
Rajinder Singh Cheema as Suitor's #2 Father
Balinder Johal as Suitor's #2 Mother
Stephen Park as Immigration Officer
Bill MacDonald as Business Man #1
Jim Francis as Senior Immigration Officer
Manoj Sood as Lawyer
Vir Singh Pannu as Jhagi
Gurpreet Singh Sekhon as Ashu's Thug
Tegan Moss as Veronica
Jag Cheema as Suitor #3
Jai Sondhi as Parmveer
Tara Gerewal as Amarjeet
Taminder S. Singh as Dharamleen
Nina Tiwana as Grandmother
Paya Choudhry as Surinda's Mother
Kamal Tiwari as Nirmal Bakshi
Mylène Dinh-Robic as Host
George Gordon as Judge
Sanjay Madhav as Vic Prasad
Dev Parmar as Prisoner
Awards
2005 Best Actress Award at the 2005 Asian Festival of First Films: Anita Majumdar
2006 Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Miniseries: Lushin Dubey
References
External links
Murder Unveiled at IMDb
|
instance of
|
{
"answer_start": [
35
],
"text": [
"television film"
]
}
|
Murder Unveiled is a 2005 Canadian television film. The movie is based on the true story of the Jaswinder Kaur Sidhu murder. The film was screened at the Asian Festival of First Films on November 26, 2005 and was first aired on CBC on February 6, 2006.
Plot
In India, a young woman is kidnapped, and her young male companion beaten within an inch of his life. He is working class Sikh, Surinder Singh; she is his wife, the former Davinder Samra, a Canadian Sikh whom he met when she visited India a year earlier for her cousin's wedding. For both, it was love at first sight. However, Davinder comes from a traditional Sikh family, who made their fortune in Canada. Her parents, who knew nothing of Surinder when Surinder and Davinder eloped, were seeking a suitable husband for her. As the story unfolds leading to the kidnapping/beating and the subsequent investigation by the local police and Crime Investigation Division, the power of money and of Sikh family honor is shown.
Cast
Anita Majumdar as Davinder Samra
Chenier Hundal as Surinder Singh
Hassani Shapi as Jaipal
Lushin Dubey a Kuldeep Samra
Sanjay Talwar as Inspector Darshan Singh
Vinay Pathak as Inspector Gurpal Badash
Cedric De Souza as Mohan
Vik Sahay as Bindri
Michael Benyaer as Ashu
Zena Darawalla as Jasminder
Parm Soor as Vikram Samra
Veena Sood as Magistrate
Tony Ali as Doctor
Sooraj Jaswal as Jaggi
Rajinder Singh Cheema as Suitor's #2 Father
Balinder Johal as Suitor's #2 Mother
Stephen Park as Immigration Officer
Bill MacDonald as Business Man #1
Jim Francis as Senior Immigration Officer
Manoj Sood as Lawyer
Vir Singh Pannu as Jhagi
Gurpreet Singh Sekhon as Ashu's Thug
Tegan Moss as Veronica
Jag Cheema as Suitor #3
Jai Sondhi as Parmveer
Tara Gerewal as Amarjeet
Taminder S. Singh as Dharamleen
Nina Tiwana as Grandmother
Paya Choudhry as Surinda's Mother
Kamal Tiwari as Nirmal Bakshi
Mylène Dinh-Robic as Host
George Gordon as Judge
Sanjay Madhav as Vic Prasad
Dev Parmar as Prisoner
Awards
2005 Best Actress Award at the 2005 Asian Festival of First Films: Anita Majumdar
2006 Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Miniseries: Lushin Dubey
References
External links
Murder Unveiled at IMDb
|
cast member
|
{
"answer_start": [
988
],
"text": [
"Anita Majumdar"
]
}
|
Murder Unveiled is a 2005 Canadian television film. The movie is based on the true story of the Jaswinder Kaur Sidhu murder. The film was screened at the Asian Festival of First Films on November 26, 2005 and was first aired on CBC on February 6, 2006.
Plot
In India, a young woman is kidnapped, and her young male companion beaten within an inch of his life. He is working class Sikh, Surinder Singh; she is his wife, the former Davinder Samra, a Canadian Sikh whom he met when she visited India a year earlier for her cousin's wedding. For both, it was love at first sight. However, Davinder comes from a traditional Sikh family, who made their fortune in Canada. Her parents, who knew nothing of Surinder when Surinder and Davinder eloped, were seeking a suitable husband for her. As the story unfolds leading to the kidnapping/beating and the subsequent investigation by the local police and Crime Investigation Division, the power of money and of Sikh family honor is shown.
Cast
Anita Majumdar as Davinder Samra
Chenier Hundal as Surinder Singh
Hassani Shapi as Jaipal
Lushin Dubey a Kuldeep Samra
Sanjay Talwar as Inspector Darshan Singh
Vinay Pathak as Inspector Gurpal Badash
Cedric De Souza as Mohan
Vik Sahay as Bindri
Michael Benyaer as Ashu
Zena Darawalla as Jasminder
Parm Soor as Vikram Samra
Veena Sood as Magistrate
Tony Ali as Doctor
Sooraj Jaswal as Jaggi
Rajinder Singh Cheema as Suitor's #2 Father
Balinder Johal as Suitor's #2 Mother
Stephen Park as Immigration Officer
Bill MacDonald as Business Man #1
Jim Francis as Senior Immigration Officer
Manoj Sood as Lawyer
Vir Singh Pannu as Jhagi
Gurpreet Singh Sekhon as Ashu's Thug
Tegan Moss as Veronica
Jag Cheema as Suitor #3
Jai Sondhi as Parmveer
Tara Gerewal as Amarjeet
Taminder S. Singh as Dharamleen
Nina Tiwana as Grandmother
Paya Choudhry as Surinda's Mother
Kamal Tiwari as Nirmal Bakshi
Mylène Dinh-Robic as Host
George Gordon as Judge
Sanjay Madhav as Vic Prasad
Dev Parmar as Prisoner
Awards
2005 Best Actress Award at the 2005 Asian Festival of First Films: Anita Majumdar
2006 Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Miniseries: Lushin Dubey
References
External links
Murder Unveiled at IMDb
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Murder Unveiled is a 2005 Canadian television film. The movie is based on the true story of the Jaswinder Kaur Sidhu murder. The film was screened at the Asian Festival of First Films on November 26, 2005 and was first aired on CBC on February 6, 2006.
Plot
In India, a young woman is kidnapped, and her young male companion beaten within an inch of his life. He is working class Sikh, Surinder Singh; she is his wife, the former Davinder Samra, a Canadian Sikh whom he met when she visited India a year earlier for her cousin's wedding. For both, it was love at first sight. However, Davinder comes from a traditional Sikh family, who made their fortune in Canada. Her parents, who knew nothing of Surinder when Surinder and Davinder eloped, were seeking a suitable husband for her. As the story unfolds leading to the kidnapping/beating and the subsequent investigation by the local police and Crime Investigation Division, the power of money and of Sikh family honor is shown.
Cast
Anita Majumdar as Davinder Samra
Chenier Hundal as Surinder Singh
Hassani Shapi as Jaipal
Lushin Dubey a Kuldeep Samra
Sanjay Talwar as Inspector Darshan Singh
Vinay Pathak as Inspector Gurpal Badash
Cedric De Souza as Mohan
Vik Sahay as Bindri
Michael Benyaer as Ashu
Zena Darawalla as Jasminder
Parm Soor as Vikram Samra
Veena Sood as Magistrate
Tony Ali as Doctor
Sooraj Jaswal as Jaggi
Rajinder Singh Cheema as Suitor's #2 Father
Balinder Johal as Suitor's #2 Mother
Stephen Park as Immigration Officer
Bill MacDonald as Business Man #1
Jim Francis as Senior Immigration Officer
Manoj Sood as Lawyer
Vir Singh Pannu as Jhagi
Gurpreet Singh Sekhon as Ashu's Thug
Tegan Moss as Veronica
Jag Cheema as Suitor #3
Jai Sondhi as Parmveer
Tara Gerewal as Amarjeet
Taminder S. Singh as Dharamleen
Nina Tiwana as Grandmother
Paya Choudhry as Surinda's Mother
Kamal Tiwari as Nirmal Bakshi
Mylène Dinh-Robic as Host
George Gordon as Judge
Sanjay Madhav as Vic Prasad
Dev Parmar as Prisoner
Awards
2005 Best Actress Award at the 2005 Asian Festival of First Films: Anita Majumdar
2006 Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Miniseries: Lushin Dubey
References
External links
Murder Unveiled at IMDb
|
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
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endemic to
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"text": [
"Oregon"
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
|
taxon name
|
{
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The camas pocket gopher (Thomomys bulbivorus), also known as the camas rat or Willamette Valley gopher, is a rodent, the largest member in the genus Thomomys, of the family Geomyidae. First described in 1829, it is endemic to the Willamette Valley of northwestern Oregon in the United States. The herbivorous gopher forages for vegetable and plant matter, which it collects in large, fur-lined, external cheek pouches. Surplus food is hoarded in an extensive system of tunnels. The dull-brown-to-lead-gray coat changes color and texture over the year. The mammal's characteristically large, protuberant incisors are well adapted for use in tunnel construction, particularly in the hard clay soils of the Willamette Valley. The gophers make chattering sounds with their teeth; males and females make purring (or crooning) sounds when they are together, and the young make twittering sounds. Born toothless, blind and hairless, the young grow rapidly before being weaned at about six weeks of age.
Although the camas pocket gopher is fiercely defensive when cornered, it may become tame in captivity. While population trends are generally stable, threats to the species' survival include urbanization, habitat conversion for agricultural use and active attempts at eradication with trapping and poisons. It is prey for raptors and carnivorous mammals, and host to several parasitic arthropods and worms. Scientists believe that the gopher's evolutionary history was disrupted when the Missoula Floods washed over the Willamette Valley at the end of the last ice age. The floods almost completely inundated its geographic range, which may have caused a genetic bottleneck as survivors repopulated the region after the waters receded.
Taxonomy
There are six genera of North American pocket gophers: Cratogeomys, Geomys, Orthogeomys, Pappogeomys, Thomomys, and Zygogeomys. The camas pocket gopher is a smooth-toothed pocket gopher of the genus Thomomys, within the pocket-gopher family Geomyidae. The incisors of gophers in the genus Thomomys have characteristically smooth anterior surfaces, while those of Geomys have two deep grooves per tooth and those of Cratogeomys have a single groove. The camas pocket gopher is a member of the subgenus Megascapheus, established in 1903, at that time for the camas pocket gopher alone. Taxonomists subsequently assigned other gophers to the same subgenus. The name Thomomys derives from the Greek σωρός (heap) + μῦς (mouse), probably describing the mounds of excavated soil produced by the burrowing gopher. Bulbus translates as "bulb" in Latin, and the word for "devour" is voro. Naturalist David Douglas reported that the gopher consumed bulbs of the camas lily, and Vernon Bailey later attributed the lack of camas lilies in areas inhabited by the gopher to the bulbs being eaten. However, naturalist H. M. Wight observed that the gopher ate primarily dandelion greens, and was skeptical that it was a large consumer of bulbs.
Early history
The taxonomy of the camas pocket gopher and its genus, Thomomys, have a convoluted history. According to a review article published by the American Society of Mammalogists in 1987, Johann Friedrich von Brandt was the first to refer to the camas pocket gopher as Thomomys bulbivorus in an 1855 article published by the Imperial Academy of Sciences. In the 1855 article, Brandt refers to Tomomys bulbivora without the "h" and ending with an "a". He writes parenthetically "(man schreibe nicht Thomomys)". The authors of the 1987 review note that they did not see Brandt's actual article, but source the textbook The mammals of North America published in 1981.Early confusion arose from writings by John Richardson between 1828 and 1839. Although he describes six species in the genus, according to later critics he was unfamiliar with all specimens. Richardson's descriptions of the animals and the figures in the text were also criticized. His 1829 Fauna boreali-americana describes a type specimen of camas pocket gopher obtained from the "banks of the Columbia River, Oregon", the northern limit of the gopher's geographic range. This was probably Portland, at the confluence of the Willamette and Columbia Rivers, the only place on the Columbia where subsequent specimens have been found. The present location of this initial specimen is uncertain; reportedly stored at the Hudson Bay Museum, it could not be located in 1915. When Richardson made his first examination, the specimen was apparently incomplete; although Joel Asaph Allen wrote in 1893 that it consisted only of the skin, Richardson described the skull and facial features in detail.In Fauna boreali-americana, Richardson assigns the mammal to the now-defunct genus Diplostoma described by Rafinesque in 1817. He named it Diplostoma ? bulbivorum. Illustration-labeling errors in Richardson's book further confounded subsequent taxonomists; the plate was labeled Diplostoma douglasii.
There is a specimen of a quadruped in the Hudson's Bay Museum, which Mr David Douglas informs me is the animal known on the banks of the Columbia by the name of the camas-rat, because the bulbous root of the Quamash or Camas plant (Scilla esculenta) forms its favourite food. The scull is wanting, and the animal, therefore, cannot be with certainty referred to a genus, but the form of its exterior cheek-pouches leads me to think that it may belong to the diplostoma of M Rafinesque-Schmaltz.
The confusion around the species' taxonomy and identification amplified when naturalist Spencer Fullerton Baird interpreted Richardson's reports. The camas pocket gopher's large size led Baird to conclude that the animal's measurements (reported by Richardson) were an artifact of its taxidermy preparation. Baird was also apparently in error about the location from which the specimen was taken, attributing the name Thomomys bulbivorus to a set of previously collected specimens later known as the California Gopher. This confusion was echoed by subsequent authors. The article on gophers in the 1879 edition of the American Cyclopædia has an illustration captioned "California Gopher (Thomomys bulbivorus)". The ninth edition of the Encyclopædia Britannica (published during the late 19th century) mistakenly reports Thomomys bulbivorus as abundant along the central California coast.
Clarifications
Although Baird and Elliott Coues were involved in early assessments of the genus, according to Allen neither ever saw a specimen of the camas pocket gopher (T. bulbivorus). Allen obtained and examined two large adults (male and female) collected in Beaverton, Oregon, in May 1890 which were considerably larger and darker than previously examined specimens. Skull features and white markings around the mouth and anus also differed. His findings and the specimen-collection location helped identify the camas pocket gopher as a species separate from California gophers. The California specimens were classified by Eydoux and Gervais as Oryctomys bottae, now known as Thomomys bottae (Botta's pocket gopher). They were found near Monterey, California, over 1,000 kilometers (620 mi) south of the now-recognized range of the Camas pocket gopher.
The distribution of Elliot's "great pocket gopher" (as it was known) extended along the California coast "north of San Francisco." James Audubon and John Bachman reassessed the taxonomy on the camas pocket gopher in the late 1800s. They referred it as the "camas rat". They reclassified the gopher as Pseudostoma borealis. They rejected Diplostoma as a genus, and assigned Diplostoma bulbivorum as synonymous with P. borealis. They attributed any differences described by Richardson to artifact, from a specimen that was "twisted and disfigured" in preparation. Based on observations of taxidermy specimens in Europe, they suggested that Townsend's pocket gopher (Geomys (Thomomys) townsendii) belonged to the same species. In 1875, the camas pocket gopher was reported as a sub-species of the northern pocket gopher (Thomomys talpoides),. During the 1920s H. M. Wight referred to it colloquially as the "Willamette Valley gopher".
Current phylogeny
In 2008, a team of biologists from the University of California, Berkeley and Harvard University published multilocus phylogenetic analysis results of the genus Thomomys. The camas pocket gopher was found to be well separated from other taxa in the subgenus Megascapheus. These findings suggested that the camas pocket gopher was a sister to the other taxa in the subgenus, but the relationships between those other animals was less clear. Only one camas pocket gopher was included in this study, which limited the ability to distinguish features such as monophyly. The following cladogram was presented showing the placement of the camas pocket gopher among its closest relatives:
Patterns of genetic variation in the camas pocket gopher have been studied. Although there are no subspecies, there is substantial genetic diversity within the species. Its genetic patterns are consistent with limited inbreeding within specific populations. This is similar to patterns described in Botta's pocket gopher and the southern pocket gopher, both of which are members of the same genus. However, it contrasts with patterns noted in Baird's pocket gopher and the plains pocket gopher, members of a separate genus, Geomys, which showed a higher degree of inbreeding.The species' genetic diversity is similar to that of other pocket gophers occupying a larger geographic range and diversity of habitat. Compared to Townsend's pocket gopher, which is distributed across a much larger area, but less diverse habitat, it is more genetically heterogeneous. Although there is considerable differentiation between separate populations of camas pocket gophers, their genetic variability does not affect the mammal's appearance. Study of the effects of genetic change over time revealed a pattern affected by a cataclysmic event across the species' entire geographic area about 13,000 years ago. Such an event would cause a population bottleneck, leading to scattered, isolated populations.
Description
The camas pocket gopher is, by a small margin, the largest member of its genus (Thomomys). The fur is a dull brown above and dark, leaden gray beneath. There are often patches of white on the chin, throat and around the anus, and it has blackish ear and nose markings. The external ear is a thickened rim of tissue. During the summer, the gopher's coat is short and coarse; winter pelage is longer and furrier. The coat of the young is similar to the adult summer coat, but with more sparsely distributed fur; the abdominal skin may be visible.Like other gophers, it has small eyes and ears and a nearly hairless tail. Its shoulders are broader than its hips. It is pentadactyl, with five claws on each foot. The claws on its forefeet are longer than those on its hind feet, and its middle claws are longest. The front claws of the camas pocket gopher are short and weak relative to its size. It employs plantigrade locomotion. The male is larger than the female, measuring an average 300 mm (12 in) in length. A large male weighs about 500 g (18 oz). One male specimen was 321 mm (12.6 in) long and weighed 633.8 g (22.36 oz). Females are about 271 mm (10.7 in) long. The tail measures 90 mm (3.5 in) in the male and 81 mm (3.2 in) in the female. An adult male's hind feet measure 40–43 mm (1.6–1.7 in), and an average female's hind feet measure 39 mm (1.5 in). There are four mammary glands: two in the inguinal region and two in the pectoral region, each supplying a pair of nipples. Morphologically, it most closely resembles Botta's pocket gopher; differentiation can be made based on the concavity of the inner surface of the pterygoids, small claws, more uniform fur coloring and exoccipital groove of the camas pocket gopher.
Skull and dentition
The skull of the camas pocket gopher is sturdily proportioned. The camas pocket gopher and other smooth-toothed pocket gophers with robust snouts are included in the subgenus Megascapheus. Male skulls measure 52 mm (2.0 in) in length across the base and 57 mm (2.2 in) if the incisors are included. The short, wide skull has a relatively short nasal passage. In width, the skull measures 19 mm (0.75 in) across the nasal passages, 30.5 mm (1.20 in) across the mastoids and 36.5 mm (1.44 in) at the zygomatic arches. The external auditory meatus is broad and open, although the auditory bullae are confined.The dentition of the camas pocket gopher is symmetric, with one set of incisors, one set of premolars, and three sets of molars above and below. This gives a dental formula of 1.0.1.31.0.1.3, for a total of 20 teeth. The slender incisors are prominent and distinctive, smooth with yellow surface enamel and white tips due to soil abrasion. These distinctive, large, protuberant upper incisors give the gopher a buck-toothed appearance. The lips do not cover the incisors, but close behind them. There are faintly visible grooves on the inner aspect of the upper incisors, which are more pronounced in other members of the genus (such as the Mazama pocket gopher, T. mazama). The upper molars have an alveolar length of 10 mm (0.39 in).
Cheek pouches
Gophers are burrowing rodents of the family Geomyidae, characterized by fur-lined, external cheek pouches used to gather and transport food. The cheek pouches of geomyids such as the camas pocket gopher are controlled by a set of muscles, with a sphincter controlling the opening and closing of the pouch. A pair of muscles attached to the premaxilla pull the pouches forward, and paired retractor muscles pull the pouches back. These retractor muscles extend back and up from the cheek surfaces, forming a band 7–10 cm (2.8–3.9 in) long and about 2 cm (0.79 in) wide attached to aponeurosis of the latissimus dorsi muscle.
Male genitalia
Like many mammals, the penis of the camas pocket gopher contains a bone, the baculum. Although its baculum was initially reported as smaller than that of other gophers—1.5 mm (0.059 in) high, 1.8 mm (0.071 in) wide at the base and 8.5 mm (0.33 in) long—the examiner did not know if the specimen had reached full maturity. Subsequent reports averaged about 2.1 mm (0.083 in) high, 2.2 mm (0.087 in) wide at the base and 10.1 mm (0.40 in) long. The phallus' total length averaged 13.5 mm (0.53 in), with the glans covering more than half its length.
Distribution and habitat
The camas pocket gopher is found in the Willamette Valley and the drainage areas of the Yamhill River and other tributaries of the Willamette River. Its range extends north from Eugene to Portland and Forest Grove and west to Grand Ronde. A 1920 report of a Pleistocene fossil in Fort Rock, Oregon has been questioned, since it is far outside the species' current geographic range; as of 1987, the specimen could not be located for further evaluation.The clay-rich Willamette Valley soils are hard in the dry season, and the gopher's protuberant incisors are well adapted to these conditions. Adequate soil drainage and suitable plant food are essential components of the gopher's ideal habitat. Not typically found in wetland areas (where its tunnels would flood), the species is found in seral communities of grasses and shrubs. They are also established in agricultural fields in the Willamette Valley, including fields of alfalfa, wheat and oats. The species has also been found in areas of ecological disturbance with similar terrain features.On a geologic timescale, the Willamette Valley has been the site of massive floods. During the late Wisconsin glaciation, a series of floods (known as the Missoula or Bretz Floods) occurred. The last flood in the series, a massive flood with an estimated 1,693 km3 (406 cu mi) of water flowing at a rate of 42 km3 per hour (412 million ft3 per second) over a 40-hour period, occurred about 13,000 years ago. The flood filled the Willamette Valley to a depth of about 122 m (400 ft), in a near-perfect overlay of the camas pocket gopher's range. Although the species has been collected above this elevation, such finds are uncommon. A temporary lake, Lake Allison, formed. Although it is assumed that the gopher lived in the valley before the flood, no fossils have been recovered. The Chehalem Mountains, with a peak elevation of 497 m (1,631 ft), probably provided refuge for survivor populations and survivors would have repopulated in isolated pockets when the waters receded. Before and since the floods, the mountains are thought to have limited gene flow between populations. The relatively narrow, sluggish Willamette River does not appear to obstruct genetic flow in gopher populations.
Behavior
The gopher has been credited with being one of the most vicious animals known for its size. It has a great deal of courage and fights a man savagely until an opportunity for escape is offered, then it turns and runs as rapidly as possible, attempting to hide from its pursuer.
The camas pocket gopher is a mostly solitary herbivore which is active throughout the year and does not hibernate.
The gopher spends most of its time excavating tunnels in search of food, and the hard clay soils of the Willamette Valley pose a challenge. Although the gopher's front claws are too weak to dig through the clay (particularly during dry seasons), its large incisors and strongly protuberant orientation are well-adapted for this purpose. Tunnel systems constructed by the camas pocket gopher can be complex, with some tunnels exceeding 240 m (260 yd) in length. About 90 mm (3.5 in) in diameter, the tunnels are up to 0.91 m (3.0 ft) deep. When soils are damp the gopher constructs ventilation ducts or chimney mounds (possibly unique to the species), to increase ventilation. The chimney mounds rise vertically 15–25 cm (6–10 in), are open at the top and are thought to ventilate the burrows in accordance with Bernoulli's principle. It is not known if adjacent gopher burrowing systems interconnect. Reports differ about whether or not the ranges of the camas pocket gopher and the Mazama pocket gopher overlap; if so, this refutes the previous belief that Oregon gopher ranges do not overlap.
Although the species is primarily fossorial, it occasionally gathers food near the entrance of a tunnel. Dandelions seem to be its favorite food, and are also used as nesting material. During breeding season males will enter the tunnels of females, and males and females may make purring (or cooing) sounds when they are together. Mothers seem to comfort the young by softly vocalizing, with the young twittering in response.The camas pocket gopher may behave aggressively when on the defensive, with mammalogist Vernon Orlando Bailey describing the species as "morose and savage." However, it may be easily tamed in captivity; the female is more readily tamed than the male. Another small rodent endemic to the Willamette Valley, the gray-tailed vole (Microtus canicaudus), also uses camas pocket gopher tunnels. Other mammals sharing the range of the camas pocket gopher (and, possibly, its tunnels) include the vagrant shrew, Townsend's mole, the brush rabbit, the eastern cottontail rabbit, Townsend's chipmunk, the California ground squirrel, the dusky-footed woodrat, the North American deermouse, the creeping vole, Townsend's vole, the Pacific jumping mouse, the long-tailed weasel and the striped skunk.
Ecology
Varying onset times and duration of the camas pocket gopher breeding season have been reported. Early reports suggested an early-April onset, with the season extending through June. Other reports cited "evidently pregnant" females seen in late March. In heavily irrigated areas the breeding season may be longer, extending into early September. About four young are born in a litter, although litters as large as nine have been reported. The blind, hairless, toothless offspring weigh about 6.1 g (0.22 oz) and are 50 mm (2.0 in) in length. During their first six weeks they will begin to crawl, develop cheek pouches, open their eyes and wean from milk to solid food. The young then weigh about 86 g (3.0 oz) and measure 164 mm (6.5 in) in length. At weeks 8, 10 and 17 they will weigh 101 g (3.6 oz), 160 g (5.6 oz) and 167 g (5.9 oz). Some reports indicate that more than one litter may be born in a season. Sexual maturity probably develops by the following year's breeding season. Although males are fully grown by that time, females may continue to increase in size.
There was little data as of 1998 on the longevity and mortality of the camas pocket gopher. It is presumably prey for carnivorous mammals, and its bones have been identified in regurgitated pellets of raptors such as the great horned owl. Parasites include mites, lice, fleas, roundworms and flatworms. The species' tougher skin may protect it from some fleas known to infest Botta's pocket gopher and the Mazama pocket gopher. Mites known to parasitize the camas pocket gopher include Androlaelaps geomys and Echinonyssus femuralis. Some authorities report Androlaelaps fahrenholzi as another parasitic mite, but a later publication did not report it. The chewing louse Geomydoecus oregonus has also been reported.Two parasitic worms first discovered in the gastrointestinal tract of camas pocket gophers are the nematode Heligmosomoides thomomyos and the cestode Hymenolepis tualatinensis. Other worms include two nematodes and the cestode Hymenolepis horrida.
Human interactions
Camas pocket gophers cause significant economic losses, so may be treated as an agricultural pest. Crops damaged include clover, alfalfa and vetch. The gophers may eat these crops or damage the roots while burrowing. This can injure the roots and expose them to air, causing them to dry out. Subterranean activity can also damage the roots of fruit trees. Root crops are particularly susceptible to damage and consumption; potatoes, carrots, parsnips and other crops may be eaten on site or dragged off by the gopher for caching in the burrow. Excavated soil can cover grass and limit livestock grazing; freshly sprouted grains may be similarly damaged. An estimate of impact from camas pocket gopher activities in the Willamette Valley in 1918 amounted to $1.5 million annual losses. Gopher activities can provide a benefit of soil aeration, enhancing water retention after rain or snowmelt. Buried vegetation can also compost, enhancing organic soil content to provide additional benefits.Proposed methods for controlling gopher populations in agricultural areas include poisoning dandelions, clover, carrots, sweet potatoes and parsnips. Camas pocket gophers are larger than other gophers, so conventional gopher traps may fail to capture them. Toxic baits and fumigants may also fail, since the gophers will sometimes wall off a segment of the burrow. Gophers may also cause local flooding if their tunneling activities damage levees.In an effort to mitigate damage by camas pocket gophers to sensitive habitat, the Oregon Department of Transportation and the Institute for Applied Ecology trap and relocate the animals. At a site south of Philomath, Oregon, the IAE is working to protect a small but viable population of Kincaid's lupine (Lupinus sulphureus). This threatened flower is the primary host plant for the endangered Fender's blue butterfly (Icaricia icarioides fenderi), which is endemic to the Willamette Valley. The gophers are relocated to a nearby location distant from the lupines.
Conservation status
Citing concerns of urbanization, habitat loss and active attempts at eradication, NatureServe assessed in 2014 the camas pocket gophers' conservation status as vulnerable. The conservation status of the camas pocket gopher is classified as "least concern" by the IUCN (International Union for Conservation of Nature) Species Programme, with a stable population trend. The IUCN notes that the gopher is common in its range; studies indicate that populations can recover rapidly after traps are removed from an area, and the species may adapt well to environmental changes.The IUCN and others express concern about degradation of the species' habitat due to urbanization and agricultural expansion. The total area occupied by the camas pocket gopher is less than 20,000 km2 (7,700 sq mi). This area, the Willamette Valley, contains 70 percent of Oregon's human population. Although this range probably contains a few protected areas, many preserves in the valley are primarily waterfowl protection for hunters. Wetland areas are not suited to the camas pocket gopher, since tunnels are flood-prone. In areas better suited to the gopher (disturbed habitats and pastoral farmland), it may be considered a pest and subject to eradication by poisoning and trapping.
References
Footnotes
Sources
External links
Media related to Thomomys bulbivorus at Wikimedia Commons
Data related to Thomomys bulbivorus at Wikispecies
UniProt. "Thomomys bulbivorus". Retrieved 5 August 2016.
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Commons category
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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place of birth
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{
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64
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"Cuba"
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}
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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country of citizenship
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{
"answer_start": [
64
],
"text": [
"Cuba"
]
}
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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given name
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{
"answer_start": [
0
],
"text": [
"Pedro"
]
}
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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occupation
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{
"answer_start": [
130
],
"text": [
"sprinter"
]
}
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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sport
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{
"answer_start": [
153
],
"text": [
"baseball"
]
}
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Pedro Ferrer may refer to:
Pedro Ferrer (footballer) (1908–?), Cuban footballer
Pedro Ferrer (athlete) (born 1954), Puerto Rican sprinter
Pedro Ferrer (baseball) (1903–?), Cuban second baseman
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family name
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{
"answer_start": [
6
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"text": [
"Ferrer"
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Vadamarachchi lagoon (Tamil: வடமராட்சி கடல்நீரேரி) is a lagoon in Jaffna District, northern Sri Lanka. The lagoon is sometimes referred to as Thondamannar lagoon. The lagoon separates the Vadamarachchi region from the Valikamam and Thenmarachchi regions.
The lagoon is connected to the Indian Ocean by a narrow channel to the north, near the town of Thondamannar. The lagoon's water is brackish to saline. There is a sluice gate at Thondamannar to prevent sea water entering the lagoon.The lagoon is surrounded by a densely populated region containing palmyra palms, coconut palm, grassland, rice paddies, arid scrubland and open forest.
The lagoon has extensive mudflats, seagrass beds and mangrove swamps, particularly Avicennia. The lagoon attracts a wide variety of water birds including American flamingoes, ducks, gulls, terns and other shorebirds.
References
S.W. Kotagama, Leonard Pinto and Jayampathi L. Samarakoon. "Sri Lanka" (PDF). Wetlands International. Archived from the original (PDF) on 18 April 2012. Retrieved 23 May 2009.
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country
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92
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"Sri Lanka"
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
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occupation
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{
"answer_start": [
63
],
"text": [
"coxswain"
]
}
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
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sport
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{
"answer_start": [
56
],
"text": [
"rowing"
]
}
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
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family name
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{
"answer_start": [
8
],
"text": [
"Gregor"
]
}
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
|
given name
|
{
"answer_start": [
0
],
"text": [
"Andreas"
]
}
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
|
languages spoken, written or signed
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{
"answer_start": [
49
],
"text": [
"German"
]
}
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Andreas Gregor (born 27 April 1955) is a retired German rowing coxswain who had his best achievements in the coxed fours. In this event he won a gold medal at the 1980 Olympics as well as three world titles in 1977, 1978 and 1982. He won another world title in 1983, in coxed pairs. For his Olympic achievement Gregor was awarded the Patriotic Order of Merit in 1980.
References
External links
Andreas Gregor at World Rowing
Andreas Gregor at the International Olympic Committee
Andreas Gregor at Olympedia
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name in native language
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{
"answer_start": [
0
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"Andreas Gregor"
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Dr. Stan's Prescription, Volume 2 is a limited edition, live archival recording by the American rock band moe. Chosen by band archivist Dr. Stan Lobitz, it chronicles the first night of the second annual moe.down in Turin, New York on August 31, 2001. It was released on February 10, 2009.
Track listing
Disc one"Intro"
"Moth"
"Lazarus"
"Bring You Down"
"Brent Black"Disc two"Bass Jam"
"St. Augustine"
"Time Ed"
"Moth"
"Banter"
"(Don't Fear) The Reaper"
Personnel
moe.Vinnie Amico – drums
Rob Derhak – bass, vocals
Chuck Garvey – guitar, vocals
Jim Loughlin – percussion
Al Schnier – guitar, keyboards, vocalsProductionProduced by moe.
Archived by Dr. Stan Lobitz
== References ==
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performer
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{
"answer_start": [
106
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"moe."
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Alderman Rowe Nicholas Lesmond (born 7 July 1978) is an American Virgin Islander sportsman who has played both cricket and soccer for his country. He was born in Saint Lucia.
A wicket-keeper and left-handed batsman, Lesmond made his first-class cricket debut for the Leeward Islands against Jamaica in the 2005–06 Carib Beer Cup. He made three further first-class appearances for the team, the last of which came against Barbados in the same season. In his four first-class matches, he scored 38 runs at an average of 7.60, with a high score of 13 not out. He also played List A cricket for the Leeward Islands, making his debut in that format against Jamaica in the 2005–06 KFC Cup. He made five further List A appearances for the team, the last of which came against Guyana in the same tournament. In six List A appearances, he scored 11 with a high score of 10 not out.In February 2006, Lesmond played for the United States Virgin Islands in the 2006 Stanford 20/20, whose matches held official Twenty20 status. He made two appearances in the tournament, in a preliminary round victory against Sint Maarten and in a first-round defeat against St Vincent and the Grenadines. He later played for the United States Virgin Islands in their second appearance in the Stanford 20/20 in 2008, making two appearances in a preliminary round victory against St Kitts and in a first-round defeat against Antigua and Barbuda. In his four appearances, he scored a total of 26 runs at an average of 6.50 and a high score of 14. Behind the stumps he took three catches and made two stumping.Lesmond has also played for the United States Virgin Islands soccer team, as well as club soccer for the Helenites. He made his international soccer debut in a 19 June 2011 friendly match against Anguilla. Lesmond scored a goal in the U.S. Virgin Islands' 2014 World Cup Qualification win against the British Virgin Islands in July 2011. It was the team's first win in thirteen years.
References
External links
Alderman Lesmond at ESPNcricinfo
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member of sports team
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{
"answer_start": [
1683
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"text": [
"Helenites"
]
}
|
Alderman Rowe Nicholas Lesmond (born 7 July 1978) is an American Virgin Islander sportsman who has played both cricket and soccer for his country. He was born in Saint Lucia.
A wicket-keeper and left-handed batsman, Lesmond made his first-class cricket debut for the Leeward Islands against Jamaica in the 2005–06 Carib Beer Cup. He made three further first-class appearances for the team, the last of which came against Barbados in the same season. In his four first-class matches, he scored 38 runs at an average of 7.60, with a high score of 13 not out. He also played List A cricket for the Leeward Islands, making his debut in that format against Jamaica in the 2005–06 KFC Cup. He made five further List A appearances for the team, the last of which came against Guyana in the same tournament. In six List A appearances, he scored 11 with a high score of 10 not out.In February 2006, Lesmond played for the United States Virgin Islands in the 2006 Stanford 20/20, whose matches held official Twenty20 status. He made two appearances in the tournament, in a preliminary round victory against Sint Maarten and in a first-round defeat against St Vincent and the Grenadines. He later played for the United States Virgin Islands in their second appearance in the Stanford 20/20 in 2008, making two appearances in a preliminary round victory against St Kitts and in a first-round defeat against Antigua and Barbuda. In his four appearances, he scored a total of 26 runs at an average of 6.50 and a high score of 14. Behind the stumps he took three catches and made two stumping.Lesmond has also played for the United States Virgin Islands soccer team, as well as club soccer for the Helenites. He made his international soccer debut in a 19 June 2011 friendly match against Anguilla. Lesmond scored a goal in the U.S. Virgin Islands' 2014 World Cup Qualification win against the British Virgin Islands in July 2011. It was the team's first win in thirteen years.
References
External links
Alderman Lesmond at ESPNcricinfo
|
sport
|
{
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111
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"text": [
"cricket"
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|
Alderman Rowe Nicholas Lesmond (born 7 July 1978) is an American Virgin Islander sportsman who has played both cricket and soccer for his country. He was born in Saint Lucia.
A wicket-keeper and left-handed batsman, Lesmond made his first-class cricket debut for the Leeward Islands against Jamaica in the 2005–06 Carib Beer Cup. He made three further first-class appearances for the team, the last of which came against Barbados in the same season. In his four first-class matches, he scored 38 runs at an average of 7.60, with a high score of 13 not out. He also played List A cricket for the Leeward Islands, making his debut in that format against Jamaica in the 2005–06 KFC Cup. He made five further List A appearances for the team, the last of which came against Guyana in the same tournament. In six List A appearances, he scored 11 with a high score of 10 not out.In February 2006, Lesmond played for the United States Virgin Islands in the 2006 Stanford 20/20, whose matches held official Twenty20 status. He made two appearances in the tournament, in a preliminary round victory against Sint Maarten and in a first-round defeat against St Vincent and the Grenadines. He later played for the United States Virgin Islands in their second appearance in the Stanford 20/20 in 2008, making two appearances in a preliminary round victory against St Kitts and in a first-round defeat against Antigua and Barbuda. In his four appearances, he scored a total of 26 runs at an average of 6.50 and a high score of 14. Behind the stumps he took three catches and made two stumping.Lesmond has also played for the United States Virgin Islands soccer team, as well as club soccer for the Helenites. He made his international soccer debut in a 19 June 2011 friendly match against Anguilla. Lesmond scored a goal in the U.S. Virgin Islands' 2014 World Cup Qualification win against the British Virgin Islands in July 2011. It was the team's first win in thirteen years.
References
External links
Alderman Lesmond at ESPNcricinfo
|
country for sport
|
{
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913
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"United States Virgin Islands"
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|
Willingen (official name: Willingen (Upland)) is a municipality in Waldeck-Frankenberg in northern Hesse, Germany, some 80 km west of Kassel.
Geography
Location
Willingen is found in Waldeck-Frankenberg district in the Upland. Its main town stretches between two river valleys, the Hoppecke in the west and the Itter in the east. The ski resort Skigebiet Willingen is near. It is located 60 km west of Kassel. Mühlenkopfschanze ski jump is also located here.
Neighbouring communities
Willingen borders in the north on the community of Diemelsee, in the east on the town of Korbach, in the south on the community of Medebach, and in the west on the towns of Winterberg, Olsberg and Brilon (all three in the Hochsauerlandkreis in North Rhine-Westphalia).
Constituent communities
Willingen consists of the following centres:
Bömighausen, 300 inhabitants (as of 1 September 2003)
Eimelrod, 582 inhabitants (as of 31. December 2006)
Hemmighausen, 100 inhabitants
Neerdar, 100 inhabitants
Rattlar, 400 inhabitants
Schwalefeld, 900 inhabitants
Usseln, 2,100 inhabitants
Welleringhausen, 100 inhabitants
Willingen, 3,500 inhabitants
History
Willingen was founded in 1874 in the second municipal reform by uniting the villages of Bömighausen, Eimelrod, Hemmighausen, Neerdar, Rattlar, Schwalefeld, Welleringhausen and the climatic spas of Usseln and Willingen. Until 1929, Willingen belonged to the Free State of Waldeck, after which it passed to Prussia.
Politics
Municipal council
Willingen's council is made up of 31 councillors, with seats apportioned thus, in accordance with municipal elections held on 6 March 2016:
Note: FWG is a citizens' coalition.
Coat of arms
The field is parted horizontally, below the middle, by a row of interlocking arrows between the gold above and the green below. It is meant, of course, to look like treetops, and refers to the Upland's extensive woods. There are two charges, one inside the other. The eight-pointed black star is the ubiquitous – in terms of the local civic heraldry – Star of Waldeck, borne centuries ago by the Counts of Waldeck when they held sway over the area. The snowflake is included as a charge within the star and is representative of the community's status as a winter resort.
The community was granted this coat of arms on 12 June 1974.
Culture and sightseeing
Willingen's landmark is the great railway bridge, "Das Viadukt", built about 1918. The community thrives mainly on tourism. There were 1.3 million overnight stays in 2003, and attractions include winter sports and bowling clubs.
Regular events
Among Willingen's sports events are the International Ski Federation's annual FIS Ski Jumping World Cup competition at the Mühlenkopfschanze, and the annual Mountainbike-Event at the Ettelsberg. Nearby lie the trails of Bike Arena Sauerland.
Transport
Willingen lies on the Uplandbahn railway line between Korbach and Brilon-Wald.
Gallery
Notable people
Stephan Leyhe (born 1992), ski jumperJochen Behle (born 1960), former cross-country skier and trainer in the cross-country skiing, lives in the district Schwalefeld and started for the SC Willingen
Tobias Lindner (born 1961), former biathlete, grew up in Willingen and started for SC Willingen
Klaus Huber (born 1968), former ski jumping, ski jumping trainer at the SC Willingen
Petra Behle (born 1969), former biathlete, started for SC Willingen
Anna Häfele (born 1989), ski jumping champion, started for SC Willingen
See also
Heringhausen (Diemelsee)
References
External links
Willingen (Upland) at Curlie
http://sites.google.com/site/photowithkalirajan/home/trip/germany/20090330
|
Commons category
|
{
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0
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"text": [
"Willingen"
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|
Willingen (official name: Willingen (Upland)) is a municipality in Waldeck-Frankenberg in northern Hesse, Germany, some 80 km west of Kassel.
Geography
Location
Willingen is found in Waldeck-Frankenberg district in the Upland. Its main town stretches between two river valleys, the Hoppecke in the west and the Itter in the east. The ski resort Skigebiet Willingen is near. It is located 60 km west of Kassel. Mühlenkopfschanze ski jump is also located here.
Neighbouring communities
Willingen borders in the north on the community of Diemelsee, in the east on the town of Korbach, in the south on the community of Medebach, and in the west on the towns of Winterberg, Olsberg and Brilon (all three in the Hochsauerlandkreis in North Rhine-Westphalia).
Constituent communities
Willingen consists of the following centres:
Bömighausen, 300 inhabitants (as of 1 September 2003)
Eimelrod, 582 inhabitants (as of 31. December 2006)
Hemmighausen, 100 inhabitants
Neerdar, 100 inhabitants
Rattlar, 400 inhabitants
Schwalefeld, 900 inhabitants
Usseln, 2,100 inhabitants
Welleringhausen, 100 inhabitants
Willingen, 3,500 inhabitants
History
Willingen was founded in 1874 in the second municipal reform by uniting the villages of Bömighausen, Eimelrod, Hemmighausen, Neerdar, Rattlar, Schwalefeld, Welleringhausen and the climatic spas of Usseln and Willingen. Until 1929, Willingen belonged to the Free State of Waldeck, after which it passed to Prussia.
Politics
Municipal council
Willingen's council is made up of 31 councillors, with seats apportioned thus, in accordance with municipal elections held on 6 March 2016:
Note: FWG is a citizens' coalition.
Coat of arms
The field is parted horizontally, below the middle, by a row of interlocking arrows between the gold above and the green below. It is meant, of course, to look like treetops, and refers to the Upland's extensive woods. There are two charges, one inside the other. The eight-pointed black star is the ubiquitous – in terms of the local civic heraldry – Star of Waldeck, borne centuries ago by the Counts of Waldeck when they held sway over the area. The snowflake is included as a charge within the star and is representative of the community's status as a winter resort.
The community was granted this coat of arms on 12 June 1974.
Culture and sightseeing
Willingen's landmark is the great railway bridge, "Das Viadukt", built about 1918. The community thrives mainly on tourism. There were 1.3 million overnight stays in 2003, and attractions include winter sports and bowling clubs.
Regular events
Among Willingen's sports events are the International Ski Federation's annual FIS Ski Jumping World Cup competition at the Mühlenkopfschanze, and the annual Mountainbike-Event at the Ettelsberg. Nearby lie the trails of Bike Arena Sauerland.
Transport
Willingen lies on the Uplandbahn railway line between Korbach and Brilon-Wald.
Gallery
Notable people
Stephan Leyhe (born 1992), ski jumperJochen Behle (born 1960), former cross-country skier and trainer in the cross-country skiing, lives in the district Schwalefeld and started for the SC Willingen
Tobias Lindner (born 1961), former biathlete, grew up in Willingen and started for SC Willingen
Klaus Huber (born 1968), former ski jumping, ski jumping trainer at the SC Willingen
Petra Behle (born 1969), former biathlete, started for SC Willingen
Anna Häfele (born 1989), ski jumping champion, started for SC Willingen
See also
Heringhausen (Diemelsee)
References
External links
Willingen (Upland) at Curlie
http://sites.google.com/site/photowithkalirajan/home/trip/germany/20090330
|
country
|
{
"answer_start": [
106
],
"text": [
"Germany"
]
}
|
Willingen (official name: Willingen (Upland)) is a municipality in Waldeck-Frankenberg in northern Hesse, Germany, some 80 km west of Kassel.
Geography
Location
Willingen is found in Waldeck-Frankenberg district in the Upland. Its main town stretches between two river valleys, the Hoppecke in the west and the Itter in the east. The ski resort Skigebiet Willingen is near. It is located 60 km west of Kassel. Mühlenkopfschanze ski jump is also located here.
Neighbouring communities
Willingen borders in the north on the community of Diemelsee, in the east on the town of Korbach, in the south on the community of Medebach, and in the west on the towns of Winterberg, Olsberg and Brilon (all three in the Hochsauerlandkreis in North Rhine-Westphalia).
Constituent communities
Willingen consists of the following centres:
Bömighausen, 300 inhabitants (as of 1 September 2003)
Eimelrod, 582 inhabitants (as of 31. December 2006)
Hemmighausen, 100 inhabitants
Neerdar, 100 inhabitants
Rattlar, 400 inhabitants
Schwalefeld, 900 inhabitants
Usseln, 2,100 inhabitants
Welleringhausen, 100 inhabitants
Willingen, 3,500 inhabitants
History
Willingen was founded in 1874 in the second municipal reform by uniting the villages of Bömighausen, Eimelrod, Hemmighausen, Neerdar, Rattlar, Schwalefeld, Welleringhausen and the climatic spas of Usseln and Willingen. Until 1929, Willingen belonged to the Free State of Waldeck, after which it passed to Prussia.
Politics
Municipal council
Willingen's council is made up of 31 councillors, with seats apportioned thus, in accordance with municipal elections held on 6 March 2016:
Note: FWG is a citizens' coalition.
Coat of arms
The field is parted horizontally, below the middle, by a row of interlocking arrows between the gold above and the green below. It is meant, of course, to look like treetops, and refers to the Upland's extensive woods. There are two charges, one inside the other. The eight-pointed black star is the ubiquitous – in terms of the local civic heraldry – Star of Waldeck, borne centuries ago by the Counts of Waldeck when they held sway over the area. The snowflake is included as a charge within the star and is representative of the community's status as a winter resort.
The community was granted this coat of arms on 12 June 1974.
Culture and sightseeing
Willingen's landmark is the great railway bridge, "Das Viadukt", built about 1918. The community thrives mainly on tourism. There were 1.3 million overnight stays in 2003, and attractions include winter sports and bowling clubs.
Regular events
Among Willingen's sports events are the International Ski Federation's annual FIS Ski Jumping World Cup competition at the Mühlenkopfschanze, and the annual Mountainbike-Event at the Ettelsberg. Nearby lie the trails of Bike Arena Sauerland.
Transport
Willingen lies on the Uplandbahn railway line between Korbach and Brilon-Wald.
Gallery
Notable people
Stephan Leyhe (born 1992), ski jumperJochen Behle (born 1960), former cross-country skier and trainer in the cross-country skiing, lives in the district Schwalefeld and started for the SC Willingen
Tobias Lindner (born 1961), former biathlete, grew up in Willingen and started for SC Willingen
Klaus Huber (born 1968), former ski jumping, ski jumping trainer at the SC Willingen
Petra Behle (born 1969), former biathlete, started for SC Willingen
Anna Häfele (born 1989), ski jumping champion, started for SC Willingen
See also
Heringhausen (Diemelsee)
References
External links
Willingen (Upland) at Curlie
http://sites.google.com/site/photowithkalirajan/home/trip/germany/20090330
|
different from
|
{
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0
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Mamatin-e Sofla (Persian: ماماتين سفلي, also Romanized as Māmātīn-e Soflá; also known as Māmātain, Māmātain-e Pā’īn, Māmātayn-e Pā’īn, Māmātīn, Māmā Tīn-e Pā’īn, and Mamatīnī) is a village in Howmeh-ye Sharqi Rural District, in the Central District of Ramhormoz County, Khuzestan Province, Iran. At the 2006 census, its population was 172, in 32 families.
== References ==
|
country
|
{
"answer_start": [
290
],
"text": [
"Iran"
]
}
|
Mamatin-e Sofla (Persian: ماماتين سفلي, also Romanized as Māmātīn-e Soflá; also known as Māmātain, Māmātain-e Pā’īn, Māmātayn-e Pā’īn, Māmātīn, Māmā Tīn-e Pā’īn, and Mamatīnī) is a village in Howmeh-ye Sharqi Rural District, in the Central District of Ramhormoz County, Khuzestan Province, Iran. At the 2006 census, its population was 172, in 32 families.
== References ==
|
instance of
|
{
"answer_start": [
181
],
"text": [
"village"
]
}
|
Mamatin-e Sofla (Persian: ماماتين سفلي, also Romanized as Māmātīn-e Soflá; also known as Māmātain, Māmātain-e Pā’īn, Māmātayn-e Pā’īn, Māmātīn, Māmā Tīn-e Pā’īn, and Mamatīnī) is a village in Howmeh-ye Sharqi Rural District, in the Central District of Ramhormoz County, Khuzestan Province, Iran. At the 2006 census, its population was 172, in 32 families.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
192
],
"text": [
"Howmeh-ye Sharqi Rural District"
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|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
family name
|
{
"answer_start": [
19
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"text": [
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|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
given name
|
{
"answer_start": [
14
],
"text": [
"Ted"
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|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
place of birth
|
{
"answer_start": [
201
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"text": [
"Launceston"
]
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|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
country of citizenship
|
{
"answer_start": [
126
],
"text": [
"Australia"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
member of sports team
|
{
"answer_start": [
227
],
"text": [
"Essendon Football Club"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
occupation
|
{
"answer_start": [
66
],
"text": [
"cricketer"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
award received
|
{
"answer_start": [
1676
],
"text": [
"Wisden Cricketer of the Year"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
Commons category
|
{
"answer_start": [
562
],
"text": [
"Ted McDonald"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
sport
|
{
"answer_start": [
66
],
"text": [
"cricket"
]
}
|
Edgar Arthur "Ted" McDonald (6 January 1891 – 22 July 1937) was a cricketer who played for Tasmania, Victoria, Lancashire and Australia, as well as being an Australian rules footballer who played with Launceston Football Club, Essendon Football Club, and Fitzroy Football Club before totally concentrating in cricket.Despite a short international career,he was considered by many cricketers as well as commentators to be one of the best fast bowler of his generation.
Cricket career
A very fast bowler with the ability to cause problems even on docile pitches, Ted McDonald was the unexpected bowling sensation of the 1921 Australian tour to England. He and Jack Gregory caused something approaching panic among the England batsmen: John Evans' knees were allegedly knocking together when he went out to bat, and Andy Ducat was bowled when part of his bat, broken by McDonald's pace, hit the wicket. Where Gregory was able to swing the ball both ways, McDonald imparted vicious movement off the wicket. Like later fast bowling pairs, they were devastating in combination, taking 46 wickets in the series.
McDonald played a few matches for Victoria before the First World War, but came to prominence immediately after it with eight wickets in an innings in a state match. He was picked for three Test matches in the 1920–21 series against England, which Australia won 5–0, but had little success, his six wickets costing 65 runs each. In England the following summer, though, he was an instant success, taking eight wickets in the first Test at Trent Bridge and contributing significantly to the victories at Lord's and Headingley that won the series.
McDonald was named as a Wisden Cricketer of the Year in 1922 for his exploits of the previous summer.
After the England tour, McDonald played in three Tests against South Africa in the 1921–22 series in South Africa. Those, however, were his last Tests – all of his Test cricket was contained within the calendar year of 1921 – as he then took up an engagement as a professional with the Lancashire League club Nelson.
By 1924, McDonald had qualified to play for Lancashire, initially, because of his League commitments, in midweek games only. Again, he was a sensation. In his first full season, 1925, he took 205 wickets, and in the five seasons from 1926 to 1930, Lancashire won the County Championship four times, the most successful period in the county's history. In all, he took 1053 wickets for Lancashire. His value to the county was recognised in the award of a benefit in 1929, an unusually fast reward, for he had been playing county cricket for only five seasons.
McDonald's first-class career ended fairly suddenly. His form dipped in 1930, though he still took more than 100 wickets, but in 1931, he lost form almost entirely, taking just 26 wickets all season and being left out of the county team for half the matches. At the end of the season, he went back to the Lancashire League with Bacup.
Australian rules football
McDonald also played Australian rules football for Launceston, and for Essendon Football Club (two matches in 1912) and Fitzroy Football Club (46 matches from 1913 to 1919).
Death
McDonald died at the age of 46, when his car collided with another near Bolton, England, on the morning of 22 July 1937.
References
Further reading
Maplestone, M., Flying Higher: History of the Essendon Football Club 1872–1996, Essendon Football Club, (Melbourne), 1996. ISBN 0-9591740-2-8
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", pp.pp 249–250 in Australian Dictionary of Biography, Vol.10, Melbourne University Press, (Melbourne), 1986.
External links
Media related to Ted McDonald at Wikimedia Commons
Ted McDonald's playing statistics from AFL Tables
Ted McDonald at ESPNcricinfo
Peter Pierce, "McDonald, Edgar Arthur (Ted) (1891–1937)", Australian Dictionary of Biography, Online Edition
|
country for sport
|
{
"answer_start": [
126
],
"text": [
"Australia"
]
}
|
Marauna punctatissima is a species of beetle in the family Cerambycidae. It was described by Martins and Galileo in 2006.
== References ==
|
taxon rank
|
{
"answer_start": [
27
],
"text": [
"species"
]
}
|
Marauna punctatissima is a species of beetle in the family Cerambycidae. It was described by Martins and Galileo in 2006.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Marauna"
]
}
|
Marauna punctatissima is a species of beetle in the family Cerambycidae. It was described by Martins and Galileo in 2006.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Marauna punctatissima"
]
}
|
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