chunk_id
stringlengths 3
8
| chunk
stringlengths 1
1k
|
|---|---|
1915_6
|
Hungryalists and Krittibas
There is a misconception that the Hungryalists and the Krittibas group were the same and that the Krittibas magazine was a Hungryalist platform. This is incorrect as the Krittibas was a group from the fifties. The Hungryalist movement was a sixties decade phenomenon. Krittibas magazine in its editorial had openly declared that they have no relations with the movement and that they do not approve of the philosophy of the movement.
See also
List of underground newspapers of the 1960s counterculture
References
|
1915_7
|
Sources
The autobiography of Malay Roy Choudhury is available in Vol 215 of "Contemporary Authors" published by Thomas Gale. ()
There are Hungry Generation Archives in Northwestern University in Illinois as well as Bangla Academy in Dhaka, Bangladesh. At Kolkata the Little Magazine Library and Research Centre run by Sandip Dutta has a separate section on the Hungryalist publications as well as trial papers of the famous Hungry generation case in which some of the colleagues of Malay turned against the movement and gave undertakings to have withdrawn from the movement. Trial papers are archived in Bankshall Court, Kolkata (9th Court of Presidency Magistrate), Case No. GR. 579 of 1965; State of West Bengal Vs Malay Roy Choudhury
Hungry Kimbadanti written by Malay Roy Choudhury and published by De Books, Kolkata (1997)
Hungry Andolon issue of Haowa 49 magazine (2003) edited by Samir Roychoudhury and Murshid A. M.
|
1915_8
|
Hungry Andolon O Drohopurush Kotha written by Dr. Bishnu Chandra Dey and published by Sahayatri, Kolkata 700 009 (2013)
Chandragrahan Hungry Andolon Special issue edited by Pranabkumar Chattopadhyay2, Dumdum, Kolkata 700 030 (October 2014)
|
1915_9
|
External links
BBC Documentary on Hungryalist movement
The Hungry Generation (TIME 1964)
Hungryalist Movement: A Photo-Text Album
Hungry Generation (blog)
Culture of Kolkata
Bengali-language literature
Bengali language
Indian literary movements
|
1916_0
|
The phrase "the disciple whom Jesus loved" (, ) or, in John 20:2; "the disciple beloved of Jesus" (, ), is used six times in the Gospel of John, but in no other New Testament accounts of Jesus. states that the Gospel of John is based on the written testimony of this disciple.
Since the end of the first century, the Beloved Disciple has been commonly identified with John the Evangelist. Scholars have debated the authorship of Johannine literature (the Gospel of John, Epistles of John, and the Book of Revelation) since at least the third century, but especially since the Enlightenment. The authorship by John the Apostle is rejected by many modern scholars, but not entirely. There is a consensus among Johannine scholars that the Beloved Disciple was a real historical person, but there is no consensus on who the beloved disciple was.
Sources
|
1916_1
|
The disciple whom Jesus loved is referred to, specifically, six times in the Gospel of John:
It is this disciple who, while reclining beside Jesus at the Last Supper, asks Jesus who it is that will betray him, after being requested by Peter to do so.
Later at the crucifixion, Jesus tells his mother, "Woman, here is your son", and to the Beloved Disciple he says, "Here is your mother."
When Mary Magdalene discovers the empty tomb, she runs to tell the Beloved Disciple and Peter. The two men rush to the empty tomb and the Beloved Disciple is the first to reach it. However, Peter is the first to enter.
In John 21, the last chapter of the Gospel of John, the Beloved Disciple is one of seven fishermen involved in the miraculous catch of 153 fish.
|
1916_2
|
Also in the book's final chapter, after Jesus implies the manner in which Peter will die, Peter sees the Beloved Disciple following them and asks, "What about him?" Jesus answers, "If I want him to remain until I come, what is that to you? You follow Me."
Again in the Gospel's last chapter, it states that the very book itself is based on the written testimony of the disciple whom Jesus loved.
|
1916_3
|
The other Gospels do not mention anyone in parallel circumstances who could be directly linked to the Beloved Disciple. For example, in Luke 24:12, Peter runs to the tomb. Matthew, Mark, and Luke do not mention any one of the 12 disciples having witnessed the crucifixion.
Also, the New Testament makes two references to an unnamed "other disciple" in John 1:35-40 and John 18:15-16, which may be to the same person based on the wording in John 20:2.
Identity
John the Apostle
The closing words of the Gospel of John state explicitly concerning the Beloved Disciple that "It is this disciple who testifies to these things and has written them, and we know that his testimony is true."
|
1916_4
|
Eusebius, writing in the fourth century, recorded in his Church History a letter which he believed to have been written by Polycrates of Ephesus () in the second century. Polycrates believed that John was the one "who reclined upon the bosom of the Lord"; suggesting an identification with the Beloved Disciple:
Augustine of Hippo (354 – 430 AD) also believed that John was the Beloved Disciple, in his Tractates on the Gospel of John.
The assumption that the Beloved Disciple was one of the Apostles is based on the observation that he was apparently present at the Last Supper, and Matthew and Mark state that Jesus ate with the Twelve. Thus, the most frequent identification is with John the Apostle, who would then be the same as John the Evangelist. Merril F. Unger presents a case for this by a process of elimination.
|
1916_5
|
Nevertheless, while some modern academics continue to share the view of Augustine and Polycrates, a growing number do not believe that John the Apostle wrote the Gospel of John or indeed any of the other New Testament works traditionally ascribed to him, making this linkage of a 'John' to the beloved disciple difficult to sustain.
Some scholars have additionally suggested a homoerotic interpretation of Christ's relationship with the Beloved Disciple, although such a scriptural reading is disputed by others. Tilborg suggests that the portrait in the Gospel of John is "positively attuned to the development of possibly homosexual behaviour". However, he cautions that "in the code ... such imaginary homosexual behaviour is not an expression of homosexuality." Meanwhile, theologian Ismo Dunderberg has also explored the issue and argues that the absence of accepted Greek terms for "lover" and "beloved" discounts an erotic reading.
|
1916_6
|
The relationship between Christ and John was certainly interpreted by some as being of a physical erotic nature as early as the 16th century (albeit in a heretical context) - documented, for example, in the trial for blasphemy of Christopher Marlowe, who was accused of claiming that "St. John the Evangelist was bedfellow to Christ and leaned always in his bosom, that he used him as the sinners of Sodoma". In accusing Marlowe of the "sinful nature" of homosexual acts, James I of England inevitably invited comparisons to his own erotic relationship with the Duke of Buckingham which he also compared to that of the Beloved Disciple. Finally, Francesco Calcagno, a friar of Venice faced trial and was executed in 1550 for claiming that "St. John was Christ's catamite".
|
1916_7
|
Dynes also makes a link to the modern day where in 1970s New York a popular religious group was established called the "Church of the Beloved Disciple", with the intention of giving a positive reading of the relationship to support respect for same-sex love.
Lazarus
The Beloved Disciple has also been identified with Lazarus of Bethany, based on : "Now Jesus loved Martha and her sister and Lazarus", and "Therefore his sisters sent unto him, saying, Lord, behold, he whom thou lovest is sick."
Also relevant according to Ben Witherington III is the fact that the character of the Beloved Disciple is not mentioned before the raising of Lazarus (Lazarus being raised in John 11, while the Beloved Disciple is first mentioned in John 13).
|
1916_8
|
Frederick Baltz asserts that the Lazarus identification, the evidence suggesting that the Beloved Disciple was a priest, and the ancient John tradition are all correct. Baltz says the family of the children of Boethus, known from Josephus and rabbinic literature, is the same family we meet in the 11th chapter of the Gospel: Lazarus, Martha, and Mary of Bethany. This is a beloved family, according to . The historical Lazarus was Eleazar son of Boethus, who was once Israel's high priest, and from a clan that produced several high priests. The Gospel's author, John, was not a member of the Twelve, but the son of Martha (Sukkah 52b). He closely matches the description given by Bishop Polycrates in his letter, a sacrificing priest who wore the petalon (i.e., emblem of the high priest). This John "the Elder" was a follower of Jesus referred to by Papias of Hierapolis, and an eyewitness to his ministry. He was the right age to have lived until the time of Trajan (according to Irenaeus).
|
1916_9
|
Baltz says John is probably the disciple ον ηγαπα ο Ιησους, and Eleazar is the disciple ον εφιλει ο Ιησους in the Gospel.
|
1916_10
|
Mary Magdalene
Ramon K. Jusino (1998) proposed that the Beloved Disciple in the Gospel of John really was originally Mary Magdalene. But as Matkin and others note Mary and the Beloved Disciple appear in the same scene in John 20.
|
1916_11
|
To make this claim and maintain consistency with scripture, the theory is suggested that Mary's separate existence in the two common scenes with the Beloved Disciple and is due to later modifications, hastily done to authorize the Gospel in the late 2nd century ( in particular, as the Beloved Disciple's presence at the foot of the cross is mentioned only immediately after Mary Magdalene is named among the list of women also present and not prior, nor is he listed accompanying Jesus's mother at the cross prior to the listed women; only upon being acknowledged and commissioned by Jesus to look after his mother is the Beloved Disciple's presence established). Both scenes are claimed to have inconsistencies both internally and in reference to the synoptic Gospels. So, then, this rough editing might have been done to make Mary Magdalene and the Beloved Disciple appear as different persons.
|
1916_12
|
In the Gospel of Mary, part of the New Testament apocrypha — specifically the Nag Hammadi library — a certain Mary who is commonly identified as Mary Magdalene is constantly referred to as being loved by Jesus more than the others. In the Gospel of Philip, another Gnostic Nag Hammadi text, the same is specifically said about Mary Magdalene.
Unknown priest or disciple
|
1916_13
|
Brian J. Capper argues that the Beloved Disciple was a priestly member of a quasimonastic, mystical, and ascetic Jewish aristocracy, located on Jerusalem's prestigious southwest hill, who had hosted Jesus' last supper in that location, citing the scholar D.E.H. Whiteley, who deduced that the Beloved Disciple was the host at the last supper. Capper suggests, to explain the largely distinctive designation of the Beloved Disciple as one loved by Jesus, that the language of 'love' was particularly related to Jewish groups which revealed the distinctive social characteristics of 'virtuoso religion' in ascetic communities. The British scholar Richard Bauckham reaches the similar conclusion that the beloved disciple, who also authored the gospel attributed to John, was probably a literarily sophisticated member of the surprisingly extensive high priestly family clan.
Gerd Theissen and Annette Merz suggest the testimony may have come from a lesser known disciple, perhaps from Jerusalem.
|
1916_14
|
James, brother of Jesus
James D. Tabor argues that the Beloved Disciple is James, brother of Jesus (the type of relative to Jesus, brother or cousin, depends on how one translates the word). One of several pieces of evidence Tabor offers is a literal interpretation of , "Then when Jesus saw His mother and the disciple whom He loved standing by, He said to His mother, Woman, behold your son." However, elsewhere in that gospel, the beloved disciple refers to the risen Jesus as "the Lord" rather than as "my brother".
|
1916_15
|
Tabor also cites a passage of Jesus referring to James as "my beloved" (twice) in the apocryphal Second Apocalypse of James as indicating James to be the Beloved Disciple. This passage reads:
And Jesus kissed my mouth. He took hold of me saying: 'My beloved! Behold, I shall reveal to you those things that the heavens nor the angels have known. Behold, I shall reveal to you everything, my beloved. Behold, I shall reveal to you what is hidden. But now, stretch out your hand. Now, take hold of me'.
Reasons for concealing the identity by name
Theories about the reference usually include an attempt to explain why this anonymizing idiom is used at all, rather than stating an identity.
|
1916_16
|
Suggestions accounting for this are numerous. One common proposal is that the author concealed his name due simply to modesty. Another is that concealment served political or security reasons, made necessary by the threat of persecution or embarrassment during the time of the gospel's publication. The author may have been a highly placed person in Jerusalem who was hiding his affiliation with Christianity, or the anonymity may have been appropriate for one living the withdrawn life of an ascetic, and one of the many unnamed disciples in the Gospel may have been either the Beloved Disciple himself or others under his guidance, who out of the humility of their ascetic commitment hid their identity or subsumed their witness under that of their spiritual master.
|
1916_17
|
Martin L. Smith, a member of the Society of St. John the Evangelist, writes that the author of the Gospel of John may have deliberately obscured the identity of the Beloved Disciple so readers of the gospel may better identify with the disciple's relationship with Jesus:
Art
In art, the Beloved Disciple is often portrayed as a beardless youth, usually as one of the Twelve Apostles at the Last Supper or with Mary at the crucifixion. In some medieval art, the Beloved Disciple is portrayed with his head in Christ's lap. Many artists have given different interpretations of which has the disciple whom Jesus loved "reclining next to Jesus" (v. 23; more literally, "on/at his breast/bosom," en to kolpo).
References
|
1916_18
|
Further reading
Baltz, Frederick W. The Mystery of the Beloved Disciple: New Evidence, Complete Answer. Infinity Publishing, 2010. .
Charlesworth, James H. The Beloved Disciple: Whose Witness Validates the Gospel of John?. Trinity Press, 1995. .
Smith, Edward R. The Disciple Whom Jesus Loved: Unveiling the Author of John's Gospel. Steiner Books/Anthroposophic Press, 2000. .
Sayings of Jesus
Followers of Jesus
New Testament words and phrases
Biblical phrases
Gospel of John
John the Apostle
Unnamed people of the Bible
James, brother of Jesus
Mary Magdalene
|
1917_0
|
"Drivers License" (stylized in all lowercase) is the debut single by American singer-songwriter Olivia Rodrigo. It was released on January 8, 2021, through Geffen and Interscope Records, as the lead single from her debut studio album, Sour (2021). She co-wrote the song with its producer Dan Nigro. Containing poignant lyrics detailing heartache, "Drivers License" is a power ballad blending bedroom pop, indie pop, and power pop styles. It is characterized by a minimalist, piano-led production, incorporating kick drums, harmonies, syncopated hand-claps, and a dreamy bridge. One of 2021's most successful songs, "Drivers License" launched Rodrigo's music career.
|
1917_1
|
The song documents the "multifaceted" emotions Rodrigo endured after a heartbreak. She teased the song on her social media for many months in 2020, before announcing it on January 4, 2021. The official music video was posted to YouTube alongside the song's release, in which Rodrigo drives around a suburban area after receiving her driver's license and reminisces about her memories of the song's subject, who encouraged her to obtain the license. "Drivers License" was met with widespread critical acclaim; praise centered on Rodrigo's cathartic songwriting, emotional vocals, and the song's stirring production, with many underscoring its Taylor Swift and Lorde influences. The song received nominations for Record of the Year, Song of the Year and Best Pop Solo Performance at the 2022 Grammy Awards.
|
1917_2
|
"Drivers License" broke a string of records, including the Spotify record for the most single-day streams for a non-holiday song (achieved on its fourth day of release), the biggest first-week for a song on Spotify and Amazon Music. The song topped the US Billboard Hot 100 and made Rodrigo the youngest artist ever to debut atop the chart. The song spent eight consecutive weeks at number one. It has been certified quadruple platinum by the Recording Industry Association of America (RIAA). Elsewhere, "Drivers License" reached number one in 25 countries, as well as spending multiple weeks atop the charts in Australia, Canada, Ireland, New Zealand, and the United Kingdom. It also peaked within the top ten in Brazil, France, Germany, Italy, Spain, and various others. As of August 11, 2021, the song has over 1 billion streams on Spotify, ranking amongst the 100 most streamed songs of the platform.
|
1917_3
|
Background and release
American singer-songwriter Olivia Rodrigo currently stars in the 2019 Disney+ mockumentary series, High School Musical: The Musical: The Series. She contributed a self-written song called "All I Want" to the soundtrack, which was certified Gold by the Recording Industry Association of America (RIAA), for earning over 500,000 units in the United States. The series was renewed for a second season in 2021. Rodrigo signed to Geffen Records, a subsidiary of Interscope Records, intending to release her debut EP in 2021.
|
1917_4
|
She teased the song for many months in 2020, including some lyrics on Instagram. She posted a snippet, captioned "Wrote dis the other day. vv close to my heart. gonna call it drivers license I think lol", where she plays the song on a piano. The song was announced on January 4. The song was released to all digital music and streaming platforms four days later, alongside a music video on YouTube. It is the lead single to her debut studio album Sour, which Rodrigo had originally planned to be an EP. "Drivers License" impacted US contemporary hit radio on January 19.
Composition and lyrics
|
1917_5
|
Steered by piano, "Drivers License" is an atmospheric power ballad, that has been described as a bedroom pop, indie pop, and power pop song, with elements of folk and indie rock. It was inspired by the disorienting emotions Rodrigo felt after a recent breakup. She wrote the song with its producer, Daniel Nigro. The song is written in the key of B major and has a fast tempo of 144 beats per minute, with double time kick drum and claps on the second verse and lead-in. Rodrigo's vocal range on the song spans from the low note of G3 to the high note of F5. Lyrically, the song has Rodrigo drive through a suburban area, upset and angry, pondering whether any of the subject's feelings were ever true.
|
1917_6
|
The song begins with the sound of Rodrigo's mother's car engine starting, followed by a "door ajar" chime that fades into a pulsing piano key. Rodrigo delivers soprano vocals that grow into "cathartic howls of pain" as the song progresses, along with a swelling crescendo followed by an emotional chorus. The minimalist instrumentation also consists of syncopated hand-claps and stomping harmonies, and reaches its peak in a rich bridge of layered vocals with the catchphrase "I still fuckin' love you". As stated by Rodrigo, the song has Lorde and Taylor Swift influences, which was also noted by critics. Rodrigo also stated that the EP Minor (2020) by American singer-songwriter Gracie Abrams inspired the musical style of "Drivers License".
In an interview with Vogue magazine, Rodrigo acknowledged the song had grammatical errors, including the lack of an apostrophe ("Drivers License" vs "Driver's License") and the contradictory double negative: "I've never felt this way for no one".
|
1917_7
|
Critical reception
"Drivers License" received universal acclaim from critics upon its release. Clash critic Robin Murray dubbed the song a "sensational pop statement, an impeccable melodic moment right from the off". He praised its firm songwriting and atmospheric production. Matthew Kent, writing for The Line of Best Fit, complimented the song's euphoric sound and poignant lyricism, and asserted that the single is packed with "emotional punch after emotional punch". They dubbed the song a "stunning" and "stirring" debut single. Kelsie Gibson of PopSugar opined that the song gives off "major Lorde and Taylor Swift" influences, who are two of Rodrigo's musical inspirations. Stereogum critic Chris DeVille described "Drivers License" as a cinematic and old-fashioned power ballad, a "prime Spotify-core sadgirl fare" that starts "as a trembling Phoebe Bridgers song" and concludes as a "resplendent Folklore track".
|
1917_8
|
Listing it amongst best new music, Teen Vogue's Claire Dodson commented that Rodrigo employs soaring vocals, and capture "small details" in the song. Dodson thought the song channels "the songwriting prowess she already brings to the table". Naming it one of the "10 Cool New Pop Songs to Get You Through The Week", Billboard writers Gab Linsberg and Jason Lipshutz branded "Drivers License" the type of debut single "that aspiring artists dream of", where Rodrigo perfects her heartbreak's "fragility and heightened emotion". They commended the singer's range in the song, swinging between the crescendo's "stomp-clap harmonies" and the bridge's "choked-up balladry". Ellise Shafer of Variety found the song relatable and vulnerable, and complimented its production and vocal performance. Shafer noted it as "a must-hear for any pop enthusiast".
|
1917_9
|
Calling the song an "early contender for song of the year", Rolling Stone critic Brittany Spanos noted that the production of "Drivers License" is reminiscent of Lorde's Melodrama (2017), while the lyrics and "detailed" storytelling channel Swift's Fearless (2008). Spanos lauded Rodrigo's songwriting skills and emotional potency at age 17, and added that "she could likely become pop's next great raconteur". Justin Curto of Vulture opined that "Drivers License" mixes "the intimate arrangements of Folklore and Evermore with the high stakes pop of Lover, tying it all together with a dramatic, Swiftian bridge". He also added that Rodrigo's calm vocals sound like Billie Eilish, while her anthemic moments recall Lorde, with hints of Alessia Cara. Jared Richards of Junkee stated that the song has "an irreducible quality, capturing a very specific heartbreak", blending "the slow-build piano-belters and bridge breakdowns of Lorde's Melodrama with Swiftian songwriting", and regarded it 2021's
|
1917_10
|
"Big Pop Moment".
|
1917_11
|
In May 2021, Billboard ranked "Drivers License" third on their ranking of the "100 Greatest Song Bridges of the 21st Century", and in June 2021, they ranked the song as the best song of 2021 so far, with Rania Aniftos calling the song "the start of Rodrigo's reign as pop's most captivating new storyteller".
Accolades
Commercial performance
"Drivers License" was met with widespread commercial success worldwide, with publications calling it the year's biggest hit in early 2021. Upon release, the song reached number one on international Spotify, Apple Music and Amazon Music songs charts. Billboard reported that, in its first three days in the US, the song sold over 16,000 digital downloads and received more than 21 million streams. Compared to its release day, the song's total streams increased by 122% on its second day, and rose another 32% in its third day.
|
1917_12
|
The song broke the Spotify record for most one-day streams for a non-holiday song, with over 15 million global streams on its fourth day (January 11, 2021). The next day, it extended its record with over 17 million streams. It also broke the record for fastest song to reach 100 million streams on Spotify. "Drivers License" went on to break the Spotify record for most streams of a song in a single week, with over 65 million streams in the week ending January 14, 2021. It also broke the record for the biggest global first-week streams for a song in Amazon Music history, and became the most requested song of a single day on Alexa.
|
1917_13
|
"Drivers License" also reached number one on both Billboard Global and Billboard Global Excl. U.S. charts, generating 130 million streams and 49,000 sales with the former, and 54.5 million streams and 12,000 sales on the latter. It marked the highest weekly streaming total in the world for a song by a female artist, with 130.06 million streams, surpassing the 130.042 million sum for Mariah Carey's "All I Want for Christmas Is You". The song topped both the global charts for three consecutive weeks, becoming the first song by a female artist to do so ever since the charts' inauguration, and the second overall after "Dákiti" (2020) by Bad Bunny and Jhay Cortez. It stayed atop both the charts for eight consecutive weeks.
|
1917_14
|
United States
|
1917_15
|
"Drivers License" debuted atop the Billboard Hot 100, giving Rodrigo her first number-one single in the United States, and making her the first female artist since Carrie Underwood to have their first single debut at number-one on the chart. It marked her second entry on the chart, after "All I Want". It collected 76.1 million streams, 38,000 digital downloads, and 8.1 million airplay impressions in its opening week. Surpassing Jawsh 685, who topped the chart with "Savage Love (Laxed - Siren Beat)" (2020), Rodrigo became the most-recently-born artist to top the Hot 100, and the youngest since Billie Eilish, who achieved it with "Bad Guy" (2019), and is the youngest artist ever to debut atop the Hot 100. "Drivers License" topped the Billboard Streaming Songs and Digital Song Sales charts as well, staying atop both for three consecutive weeks. Billboard noted the song as one of the most dominant number-one hits of all time, garnering more than double the Hot 100 units of its closest
|
1917_16
|
competitor, "Mood" (2020). "Drivers License" spent eight consecutive weeks atop the Hot 100; it became the seventh single in the chart's history to have debuted at number one and spend at least its first eight weeks at the spot.
|
1917_17
|
As of July 2021, "Drivers License" was the most streamed song of 2021 so far, with 582.8 million on-demand streams. It is also the most streamed audio track (460.2 million), the most watched video (122.6 million views), the sixth best-selling digital song (199,000 downloads), and the eighth biggest song across all formats of radio (1.227 billion audience impressions).
|
1917_18
|
Other markets
In the United Kingdom, "Drivers License" debuted at the top of the UK Singles Chart dated January 21, 2021, earning 2.407 million total streams on January 12, 2021, alone. The song broke the record for highest single-day streams in British history for a non-Christmas song, surpassing the previous record held by Ed Sheeran's "Shape of You" (2017). With 95,000 units moved in its first week, "Drivers License" also had the biggest opening week for a number one debut single on the UK Singles Chart since Zayn Malik's "Pillowtalk" (2016). "Drivers License" spent nine weeks at the top of the UK Singles Chart, becoming the longest run at the top for a solo female artist since Tones and I' s "Dance Monkey" spent eleven consecutive weeks at the top in 2019. Spurred by "Drivers License", "All I Want" reached number 32, marking her second top-40 entry in the UK.
|
1917_19
|
In Ireland, "Drivers License" debuted at the top of the Irish Singles Chart. It was the country's most downloaded and streamed song its first two weeks, outperforming the rest of the top five combined. It has so far remained at number one for nine consecutive weeks; "All I Want" charted simultaneously, reaching a new peak of number 16.
In Australia, "Drivers License" debuted at the top of the ARIA Singles Chart dated January 24, 2021, scoring Rodrigo her first number one song in Australia. In doing so, the song became the first debut single to top the ARIA Singles Chart since Harry Styles' "Sign of the Times" in 2017. "Drivers License" spent six consecutive weeks atop the chart.
Music video
|
1917_20
|
The video, directed by Matthew Dillon Cohen, adopts a vignette aesthetic and depicts Rodrigo's healing from heartbreak. She receives her driver's license in the video, but instead of going to her old lover's house like she used to dream of, she finds herself aimlessly cruising suburban side streets. Rodrigo reminisces about moments from her brief relationship. At the beginning of the video, she is embraced by the happy memories only, but eventually, all the toxic traits of her ex-partner confront her. The video received positive comments from critics for its visuals.
As of January 2022, the song has 335 million views on YouTube.
Impact
|
1917_21
|
"Drivers License" has been credited with launching Rodrigo's music career. The instant commercial success of the song upon its release has been attributed to the rise of niche market for bedroom pop, the song's emotional lyricism and appeal, TikTok, the tabloid journalism and social media speculation surrounding the song, and Rodrigo's Disney career. The Indian Express opined that song is a part of the DIY movement in the music industry, where young artists (mostly post-millennials), such as Rodrigo, Billie Eilish, and Tate McRae, are capable of making music of "near-studio quality" without leaving the house. Commenting on the song's unprecedented success, Spotify's Becky Bass stated that "We've never seen anything like this, where you do have a newer artist that just comes out of the gate in such a dominant way, and just continues to grow".
|
1917_22
|
Paper remarked that the song is a "product of years of pop trends" that resonates with millions of listeners, similar to the rise of Eilish in 2019, Lorde in 2013, or Taylor Swift in the late 2000s, but occurred instantly in Rodrigo's case, because of recent technological innovations like TikTok that has altered the course of the music industry. The TikTok hashtag "#driverslicense" amassed over 888.5 million views in one week. Paper also highlighted consumers' interest in the song's romantic background (a phenomenon of listeners being invested in the drama between Disney co-stars) as a factor for the song's success. The New York Times writer Joe Coscarelli wrote that the song was spurred not only by its quality, but also the gossips surrounding it, paired with the label's marketing plan, and support from celebrities like Swift. He noted the autobiographical song bolstered tabloids and listeners to "piece together its real-life parallels", while TikTok videos led to social media posts,
|
1917_23
|
"which led to streams, which led to news articles, and back around again", generating an "unbeatable" feedback loop. Coscarelli added that, similar to Britney Spears, Justin Timberlake, Christina Aguilera, Miley Cyrus, Demi Lovato, and Selena Gomez, Rodrigo took "her experiences within the Disney machine and attempted to translate them for a broader, more adult audience".
|
1917_24
|
Stereogums Chris DeVille found Rodrigo to be an example of "actor-turned-pop stars" who profit off their best-known roles, such as her Bizaardvark and High School Musical: The Musical: The Series, which "created a massive built-in audience for a prospective Rodrigo music career"; "Drivers License" maximized this interest by referencing the "behind-the-scenes drama" involving Joshua Bassett, who co-stars with Rodrigo in High School Musical: The Musical: The Series, and Sabrina Carpenter. DeVille added that the song "will have ripple effects" that affect the industry in 2021 and beyond, as its bedroom pop sound is challenging hip-hop's dominance on streaming platforms. Douglas Greenwood, writing for I-D, asserted that "Drivers License" contains "all of the old-school ingredients of a hit".
|
1917_25
|
Insider dubbed the song an "early 2021 cultural touchstone", citing its "sad girl appeal" echoing Generation Z (similar to Lorde and Eilish), the celebrity romance associated with its lyrics (like that of Swift), the song's cinematic bridge, its TikTok popularity, and radio friendliness as contributing factors to the song's success. Music journalist Laura Snapes, writing for The Guardian, wrote "Drivers License" is the "epitome of new-school pop songwriting", in which power ballads are sonically intimate and subdued, rather than bombastic, with lyrics delving into specific and complex emotions. The February 20, 2021 episode of Saturday Night Live included a skit in which English actor Regé-Jean Page and six other male cast members recited the song's lyrics. Responding to the tabloid speculation around the song's subjects, Rodrigo stated: "I put it out not knowing that it would get that reaction, so it was really strange [when] it did. I just remember [everyone being] so weird and
|
1917_26
|
speculative about stuff they had no idea about. I don't really subscribe to hating other women because of boys. I think that's so stupid, and I really resent that narrative that was being tossed around."
|
1917_27
|
"Drivers License" was featured as the main music for Google's Year in Search commercial for 2021.
Track listing
CD single
"Drivers License" – 4:04
"Drivers License" (radio edit) – 3:48
"Drivers License" (instrumental) – 4:02
Credits and personnel
Credits adapted from the liner notes of Sour.
Studio locations
Recorded at Amusement Studios (Los Angeles)
Mixed at SOTA Studios (Los Angeles)
Mastered at Sterling Sound (New York)
Personnel
Olivia Rodrigo – vocals, backing vocals, songwriting
Daniel Nigro – songwriting, production, recording, piano, bass, percussion, drum programming, synthesizer, backing vocals
Dan Viafore – assistant engineering
Mitch McCarthy – mixing
Randy Merrill – mastering
Charts
Weekly charts
Monthly charts
Year-end charts
Certifications
Release history
See also
|
1917_28
|
List of most-streamed songs on Spotify
List of Billboard Global 200 number ones of 2021
List of Billboard Hot 100 chart achievements and milestones
List of number-one singles of 2021 (Australia)
List of top 10 singles for 2021 in Australia
List of number-one hits of 2021 (Austria)
List of Ultratop 50 number-one singles of 2021
List of Canadian Hot 100 number-one singles of 2021
List of number-one digital songs of 2021 (Canada)
List of number-one hits of 2021 (Denmark)
List of number-one singles of 2021 (Finland)
List of number-one singles of 2021 (Ireland)
List of top 10 singles in 2021 (Ireland)
List of number-one songs of 2021 (Malaysia)
List of Dutch Top 40 number-one singles of 2021
List of number-one singles from the 2020s (New Zealand)
List of number-one songs in Norway
List of number-one singles of 2021 (Portugal)
List of number-one songs of 2021 (Singapore)
List of number-one singles of the 2020s (Sweden)
List of UK Singles Chart number ones of the 2020s
|
1917_29
|
List of UK top-ten singles in 2021
List of UK Singles Downloads Chart number ones of the 2020s
List of Billboard Hot 100 number ones of 2021
List of Billboard Hot 100 number-one singles of the 2020s
List of Billboard Hot 100 top-ten singles in 2021
List of Billboard Adult Top 40 number-one songs of the 2020s
List of Billboard Digital Song Sales number ones of 2021
List of Radio Songs number ones of the 2020s
List of Billboard Streaming Songs number ones of 2021
List of Rolling Stone Top 100 number-one songs of 2021
|
1917_30
|
References
2020s ballads
Geffen Records singles
Interscope Records singles
2021 debut singles
2021 songs
Billboard Hot 100 number-one singles
Canadian Hot 100 number-one singles
Dutch Top 40 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Denmark
Number-one singles in Finland
Number-one singles in Greece
Number-one singles in Israel
Number-one singles in Malaysia
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Portugal
Number-one singles in Singapore
Number-one singles in Sweden
Olivia Rodrigo songs
Pop ballads
Song recordings produced by Dan Nigro
Songs composed in B-flat major
Songs written by Dan Nigro
Songs written by Olivia Rodrigo
Torch songs
Ultratop 50 Singles (Flanders) number-one singles
UK Singles Chart number-one singles
Billboard Global 200 number-one singles
Billboard Global Excl. U.S. number-one singles
|
1918_0
|
Auxonne ( or ) is a commune in the Côte-d'Or department in the Bourgogne-Franche-Comté region of eastern France. The inhabitants of the commune are known as Auxonnais or Auxonnaises.
Auxonne is one of the sites of the defensive structures of Vauban, clearly seen from the train bridge as it enters the train station on the Dijon–Vallorbe line railway line. It also was home to the Artillery School where Napoleon Bonaparte was stationed as a lieutenant and audited classes from 1788 to 1791.
The commune has been awarded one flower by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom.
|
1918_1
|
Pronunciation
Due to an exception in the French language, the name is pronounced [osɔn] (In Aussonne the "x" is pronounced "ss"). The current spelling of the name comes from a habit of copyists of the Middle Ages who replaced the double "s" by a cross which does not change the pronunciation. This cross, equated with "x" in ancient Greek, was pronounced "ks" in French only from the 18th century but this modification does not change the usage. In practice, however, the pronunciation of Auxonne is debatable, the inhabitants themselves being divided between a pronunciation of "ks" and "ss": local elected officials as well as SNCF announcements retain the pronunciation "ks". This pronunciation has the merit of avoiding a homophone with the Upper Garonne commune of Aussonne.
|
1918_2
|
Geography
The city of Auxonne is located at the edge of Côte-d'Or department along the boundary between Burgundy and Franche-Comté some 30 km south-east of Dijon and 45 km west by south-west of Besançon. Access to the commune is by road D905 from Genlis in the north-west which passes through the town and continues south-east to Sampans. The D24 road goes south from the town to Labergement-lès-Auxonne, the D110A goes south-east to Rainans, the D208 goes east to Peintre, and the D20 goes north-east to Flammerans. There are very large forests along the western side of the commune and Auxonne town has a large urban area with the rest of the commune farmland.
The western border of the commune is the Saône river as it flows south to eventually join the Rhône at Lyon. The commune is at an altitude ranging between 181 m and 211 m which makes it virtually immune to floods that envelop the region during major floods.
|
1918_3
|
Geology
Auxonne belongs to a region called the plain of Saône. The plain, with Bresse, is a geo-morphological unit of the Bressan depression: an extensive collapsed formation dating from the Miocene extending from the Upper Rhine Plain and the Rhone basin. The plain of Saône is limited in the north by the Upper Saône plateau, to the west by the Burgundian limestone ridge, to the east by the plateaux of the Jura then by the Bresse, and finally to the south by the Beaujolais vineyards. The plain of Saône drops from 250 m altitude in the north to 175 m in the south-east is traversed by the river from north to south for over 150 km.
The city of Auxonne is specifically in the alluvial ribbon called the Val de Saône – a band a few kilometres wide that follows the river. Its immediate limit in the Auxonne area is ten kilometres to the east where there is a rise of the Massif de la Serre to an altitude of about 400 metres.
|
1918_4
|
Climate
The climate of the Val de Saône has several conflicting influences but is still a dominant continental climate. It is marked, however, by an oceanic influence that is strongly attenuated by the hills of Morvan which acts as a barrier. There is also a meridional influence in summer which allows the Saône valley, an extension of the Rhone valley, to enjoy good sunshine which is also seen in late spring and early autumn thereby lengthening the summer. Finally there is the continental influence on the Saône valley climate with cold winters and sometimes late frosts. Fog is common from October to March (65 to 70 days per year). The summers are hot enough. Rainfall is well distributed throughout the year with summer and winter relatively less than autumn and spring.
History
|
1918_5
|
Origins
Modern historians agree on doubting the veracity of the assertions contained in the Chronicle of Saint-Pierre de Bèze (the name of the monastery founded by Amalgaire who is referred to as Amauger in the History of Burgundy) in the first half of the 7th century concerning the term Assona to refer to Auxonne in the first half of the 7th century.
The first three authentic instruments where the name Auxonne appears date from 1172, 1173 and 1178.
The first two are associated with Count Stephen II of Auxonne (died 1173) and the third is in a bull of Pope Alexander III. The act of 1173 was a donation made by the Count to the monastery of Saint-Vivant de Vergy. The pontifical act of 1178 was a confirmation of all the possessions of the priory of Saint-Vivant which included the town of Auxonne.
|
1918_6
|
Religious rights of Auxonne date back to around 870, the date of establishment of their monastery in the pagus (County) of Amous (or Amaous) in the Jura of Burgundy (later called the County of Burgundy then Franche-Comté), six miles from the Saône on land belonging to Agilmar, bishop of Clermont. The place took the name which it still has today: Saint-Vivant-en-Amous (between Auxonne and Dole). The monks remained in Amous for more than twenty years; the Normans from Hastings destroyed the monastery when they invaded Burgundy. Count Manassès built them a new monastery (circa 895–896) in Frankish Burgundy in the County of Beaune on the slopes of Mount Vergy. While they were in Amous they cleared the area and installed fishermen's huts along the Saône. According to a hypothesis by some historians, these huts became the germ of the future town of Auxonne. Installed in their remote region of Vergy, far from their difficult to defend lands, the monks of Saint-Vivant felt the need to
|
1918_7
|
subordinate (undoubtedly to William IV, Count of Vienne and Mâcon (died 1155)) their lands in Amous to remove the covetousness and retain their rights and properties. According to a second hypothesis, the feudal lord established a new town along Saône which took the name of Auxonne. Auxonne therefore was in the pagus of Amous.
|
1918_8
|
The division of the Treaty of Verdun of 843 placed Amous in the prize of Lothair I and, despite the complicated divisions that followed, this county was Holy Roman Empire land and fell within the sphere of influence of the Count of Burgundy – i.e. the future Franche-Comté.
The attachment to the Duchy of Burgundy
|
1918_9
|
In 1172 the city had grown in importance: Count Stephen I of Auxonne, the younger branch of Burgundy County and son of William (died 1157), had settled there. His successor Stephen II, Count of Auxonne (died 1241) and son of the previous head of the younger branch of Burgundy County, was master of rich domains, ambitious, powerful, and supported by the premier families of the country, nourished some pretensions to supplant the elder branch. He worked conspicuously. In 1197, taking advantage of unrest in Germany, Stephen III, renounced loyalty to Otto I (died 14 January 1201), and took the Auxonne tribute to the Duke of Burgundy, Odo III, while guaranteeing the rights of Saint-Vivant de Vergy. In return, Odo III promised to help him in his fight against the Palatinate. Auxonne escaped the county movement.
|
1918_10
|
In 1237 the head of the County was Otto III (died 19 June 1248), son and successor of Otto I, Duke of Merania (died 6 May 1234). On June 15 of that year, under an exchange agreement concluded at Saint-Jean-de-Losne between John, Count of Chalon (1190-30 September 1267) (the main character of the agreement and son of Stephen III, long associated with his father's business and heir of Beatrice de Chalon (1170-7 April 1227) his mother and Stephen III himself) and Hugh IV, Duke of Burgundy, the town of Auxonne and all the possessions of Stephen III in the basin of the Saône were transferred to the Duke of Burgundy in exchange for the Barony of Salins and ten strategic positions of the first importance in the County. In coming under the rule of the Dukes of Burgundy, Auxonne became a bridgehead of the duchy on the eastern bank of the Saône, on Holy Roman Empire soil, and escaped the Germanic influence.
|
1918_11
|
The attachment of Auxonne to the Duchy of Burgundy gave it the status as of a border town between the Duchy of Burgundy and the County of Burgundy, between French and Germanic influence that would determine the fate of the town in the following centuries.
|
1918_12
|
Auxonne under the Dukes of Valois
|
1918_13
|
Sheltered behind its ramparts that it continued to fortify, the fortress was a major base for launching military operations: it was from Auxonne that Odo IV in 1336 dismissed the threat of dissenting county barons entering as he was their lawful sovereign since his marriage with Jeanne de France (1308–1349), heir to the County. Between 1364 and 1369 there was fighting at the castle of Philip the Bold from Auxonne against the county barons and free companies. At the beginning of the 15th century, with the civil war that ravaged France, war was constant around the walls which forced the city to remain constantly alert. Between 1434 and 1444 there was a new threat: bands of idle soldiers called Écorcheurs because they took all. The people of Auxonne kept watch on the ramparts while the formidable soldiery ravaged the countryside. As if their misfortune were not enough there were two fires five years apart on 7 March 1419 and 15 September 1424 which devastated the city.
|
1918_14
|
It was not until 1444 that there was a period of peace that lasted until the advent of Charles the Bold in 1467.
In 1468, following the Treaty of Peronne, tension revived between the king of France and the Duke of Burgundy – Charles the Bold. The town soon looked to put its defenses in order. In 1471 it made a contribution to the fight against the army of the Dauphiné which was sent by Louis XI and which penetrated the duchy. The adventurous policy of the fiery Duke finally led his dynasty to ruin. On the death of the Duke on 5 January 1477 Louis XI seized the duchy without delay with virtually no resistance. The royal army returned to Dijon on 1 February 1477.
|
1918_15
|
The attachment to the kingdom of France
The special status of Outer Saône lands, which were not a domain of the crown given prerogatives, did not stop Louis XI from his conquest. But the Comtois people revolted followed by those from Auxonne. After two years of resistance to the invader and after the carnage of Dole at the Chateau of Dole on 25 May 1479 they were left without support by Mary of Burgundy. Auxonne held out for 12 days in the siege by the royal army commanded by Charles d'Amboise before opening its doors on 4 June 1477 to the French invader. The town, attached to the crown of France, would share the fate of the monarchy.
The Duchy of Burgundy and the County of Burgundy were always united but this time under the crown of France had changed masters and for another 14 years had a common destiny.
|
1918_16
|
For political ends Louis XI, while he solemnly confirmed the maintenance of all the privileges of the town to ensure the loyalty of his new subjects, hastened to build a mighty fortress, the Chateau d'Auxonne, at Auxonne at the province's expense, which still dominates Iliote square, to guard against any attempt of rebellion.
Charles VIII challenged Louis XI as, while he was engaged to Marguerite, daughter of Mary of Burgundy and Maximilian I of Habsburg, heiress of the Duchy of Burgundy, and after the dowry of his future wife arrived in the County, he preferred to marry Anne, heiress of Brittany, and thus took the important Duchy of Brittany from the kingdom of France.
|
1918_17
|
Auxonne becomes a border town
The Treaty of Senlis (23 May 1493), signed between Charles VIII and Maximilian again separated the two Burgundies. Auxonne again became a French bridgehead on the Imperial Bank and its walls had to protect the kingdom of France against attempts by Habsburg to resolve by force the "question of Burgundy" and the Habsburg claims on Burgundy.
There were soon tensions on the Empire side. From 1494 the Italian wars were rekindled. Again the walls were consolidated and the County door was built in 1503.
|
1918_18
|
Auxonne repulses the Imperials
On 14 January 1526 the Treaty of Madrid was signed, after the Battle of Pavia, between François I and Charles V. The King of France was forced to abandon Burgundy and the County of Auxonne, among other territories. The States of Burgundy combined on 8 June 1526 and refused to separate from the crown of France. In response the Emperor tried to conquer the County of Auxonne. In front of the walls of the city Lannoy, commander of the imperial armies, found such strong resistance on the part of all the people he had to give up.
|
1918_19
|
Henri III declares the Auxonne people guilty of lèse-majesté
In 1574 Charles of Lorraine, the younger brother of Henri I of Guise and Charles, Duke of Mayenne, whom history remembers simply under the name Mayenne, became Duke and governor of Burgundy. A champion of the Catholic cause, he extended the religious wars to political wars. He worked to establish his own government and attached the neighbouring land of Lorraine under the Guise government to the Burgundian province. The death of the Duke of Anjou, brother of Henry III, in 1584 made Henry of Navarre, a Protestant, the presumptive heir to the crown gave the Catholic League a new activity. Civil war began again. Mayenne sought to retain the strongholds of Burgundy for his County. On 2 April 1585 the people of Auxonne received a letter from King Henry III recommending them to ensure the safety of their town and especially "in not receiving the Duke of Mayenne".
|
1918_20
|
The people of Auxonne, loyal to the king, hastened to execute orders. Jean de Saulx-Tavannes, governor of the city and the Chateau of Auxonne at first took the measures imposed then secretly strengthened the garrison of the castle as he suspected that the inhabitants of conspiring with Mayenne to deliver it to him instead. Counselled by Joachim de Rochefort, Baron of Pluvault, the magistrates decided to seize the governor. They arrested him on Saints' Day in 1585 when it was making his devotions in the church. The Count of Charny, a close relative of Jean de Saulx, Lieutenant General in Burgundy, approved this act of loyalty to the Crown by the people of Auxonne. When the King was informed he praised the people for their loyalty but concessions to Leaguers which were formalised by the signing of the Treaty of Nemours on 7 July 1585 forced Henry III to equivocate. He asked the people to deliver Tavannes into the hands of Charny and named Claude de Bauffremont, Baron of Sennecey known
|
1918_21
|
for his Mayenne sympathies, as governor of the town and Chateau of Auxonne.
|
1918_22
|
In complete defiance and sniffing betrayal, the people of Auxonne handed Tavannes to the County of Charny who shut him up in his castle at Pagny, refused Sennecey as governor, and continued to claim in his place the Baron of Pluvault. In January 1586 new orders from the king expressed his dissatisfaction with these repeated refusals. The situation was difficult for the people but they received encouragement in their resistance from the future Henri IV who was at Montauban and sent them a letter of encouragement on 25 January 1586. Meanwhile, Tavannes had escaped from his prison at Pagny. The first use he made of his new-found freedom was an attempt to retake Auxonne by surprise. On 10 February 1586 he appeared before the walls with two hundred men at arms. His attempt was unsuccessful.
|
1918_23
|
Despite orders and injunctions that the people receive Sennecey as governor, they still held to Pluvault. His patience tired, Henry III, by letters patent of 1 May 1586, declared the Auxonne people guilty of Lèse-majesté and ordered action by force so arrangements were made accordingly. The Auxonne people were obstinate in their refusal, but loyal to the crown, and were ready for a showdown. They refused to open the gates of the city to the Count of Charny who was obliged to find housing in Tillenay. They did consent to open the gate for President Jeannin who came to mediate with the Squire of Pluvault to save Auxonne from ruin. Jean Delacroix (or John of the Cross), a countryman of Auxonnais and private secretary to Catherine de' Medici arrived with his deputation to the king with Letters of credence for Sir Charny giving him full powers to deal with the people .
|
1918_24
|
The negotiations resulted in an accord reached and signed on 15 August 1586 at Tillenay. The Treaty revoked letters that declared the people of Auxonne guilty of lese majeste, exempted them from contribution for nine years, and granted a gratuity of 90,000 francs to the Baron of Pluvault. This treaty was approved by letters patent of 19 August 1586 and on the 25th of the same month the Baron of Sennecey was received and installed as governor of the town and Chateau of Auxonne. Received by the people with the greatest distrust, Sennecey showed himself as the man for the job.
The Treaty of Nijmegen
The town finally lost its designation as a border town with the conquest of the County by Louis XIV but it still remained an important place as indicated by the stationing there of the 511th logistics regiment.
|
1918_25
|
The city of Auxonne remained famous because of two visits that were made by a young second lieutenant in the regiment of La Fere named Napoleon Bonaparte who was later to make his name known across Europe. The Bonaparte district preserves the room he occupied during one of his stays. There is also a small museum in a tower of the Chateau of Auxonne, his set square, his fencing foil, and objects he offered during his stay, as well as one of his hats.
Contemporary era
During the Second World War Auxonne was liberated on 10 September 1944 by troops who landed in Provence.
Heraldry
{{Blazon-arms
|img1=Blason de la ville d'Auxonne (21).svg
|legend1=Arms of Auxonne
|text=
Blazon:
Party per pale, at 1 party per fesse, Azure, Semé-de-lis of Or bordure compony of Argent and Gules first and bendy of Or and Azure bordure of Giules second; at 2 Azure a demi-cross moline Argent sinister mouvant per pale.
The earlier arms of Auxonne were blazoned:
Azure, a cross moline of Argent
|
1918_26
|
|img2=Blason_Auxonne.svg
|legend2=
}}
Administration
List of Successive Mayors
Mayors from 1935
The Canton of Auxonne
Auxonne is the seat of the canton of Auxonne, which covers 35 communes. Auxonne is the most populous commune in the canton.
Twinning
Auxonne has twinning associations with:
Heidesheim am Rhein (Germany) since 1964.
Demography
In 2017 the commune had 7,622 inhabitants.
Economy
The town has a branch of the Chamber of Commerce and Industry of Dijon.
Transportation
The commune has a railway station, , on the Dijon–Vallorbe line.
Culture and heritage
|
1918_27
|
Civil heritage
The commune has a number of buildings and structures that are registered as historical monuments:
A House in parts of wood and brick (15th century)
A House at 6 Rue du Bourg (1548)
The Hotel Jean de la Croix (15th century)
The Civil and military Hospital (17th century). The Hospital contains a very large number of items that are registered as historical objects.
The Hospice Saint-Anne (18th century)
The Covered Market (17th century)
|
1918_28
|
Other sites of interest
A Farmhouse at Louzerolle has a Group Sculpture: Virgin of Pity with base (15th century) that is registered as an historical object.
The Railway station has a Platform Railway Wagon (1913) that is registered as an historical object.
A House at Granges d'Auxonne has a Statue: Christ on the Cross (17th century) that is registered as an historical object.
A House at Rue Boileau has a Bas-relief with the Arms of the Bossuet family (17th century) that is registered as an historical object.
The Bonaparte Museum in the tower of the Chateau d'Auxonne has 2 Columns (16th century) that are registered as an historical object.
A Barrage dam on the Saône was built in 1840 and operated for 170 years until April 2011 when a modern dam (with inflatable mechanical shutters) of a Needle dam type took over. It is over 200 metres long and is divided into four sections of 50 metres each with a total of 1,040 needles to manoeuvre depending on the fluctuating water levels.
|
1918_29
|
Religious heritage
The commune has one religious building that is registered as an historical monument:
|
1918_30
|
The Church of Notre-Dame (13th century). The construction of the main part lasted all through the 13th century, first the nave in 1200, then the choir, apse, and the chapels between 1200 and 1250. The construction of the door started in the 14th century. The side chapels were raised in the 14th and 15th centuries. In 1516, under the direction of Master Loys – the architect of the church of Saint-Michel de Dijon – the construction of the portal surmounted by two towers of unequal heights began. In 1525 the Jacquemart (now disappeared) was installed in the tower. In 1858 a campaign of rehabilitation was organized under the auspices of the municipality and executed by Phal Blando, an architect in the town. This campaign included two side portals, implementation of a slender, octagonal, pyramidal, and slightly twisted tower called a Crooked spire. Its spire. which is made from slate, rises 33 metres above its platform – 11 metres higher than the previous one. The church is also noteworthy
|
1918_31
|
for the gargoyles and statues (including prophets) that adorn the outside. The Church contains many items that are registered as historical objects:
|
1918_32
|
A Platform Organ (17th century)
The instrumental part of the Organ (1789)
The sideboard of the Organ (1614)
A Collection Plate (16th century)
A Painting: the Crucifixion (17th century)
A Painting: Virgin and Child (15th century)
A Statue: Unidentified Saint (16th century)
A Tombstone for Pierre Morel (15th century)
A Tombstone for Hugues Morel (15th century)
A Statue: Saint Antoine (16th century)
A Statue: Christ of Pity (16th century)
A Statue: Virgin and Child (15th century)
A Pulpit (1556)
A Lectern (1562)
Stalls (17th century)
|
1918_33
|
The '''Church of the Nativity contains many items that are registered as historical objects:
A Monumental Painting: Christ in Glory (13th century)
A Monumental Painting: The Crucifixion (16th century)
A Monumental Painting: Arms and Funeral Inscriptions (17th century)
A Monumental Painting: Saint Eveque (15th century)
A Monumental Painting: A Scene (16th century)
A Monumental Painting: The hunt of Saint Herbert (15th century)
The Furniture in the Church
A Monumental Painting: Fleur-de-lis and false apparatus (16th century)
A Mural Painting: Saint Eveque (1) (16th century)
Military heritage
|
1918_34
|
There are several military structures that are registered as historical monuments:
|
1918_35
|
The Chateau of Auxonne (17th century) was one of the three castles (with the castles of Dijon and Beaune) built under King Louis XI following the defeat of Duke Charles the Bold and completed by his successors after the conquest of the Duchy of Burgundy and is the only one still standing despite subsequent transformations. Built in the south-west corner of the city, the castle has a body for barracks dating from Louis XII and François I which is perhaps the oldest barracks building built for this purpose in France. The castle has five corner towers at the corners connected by thick curtain walls: The Two contiguous towers of Moulins, Beauregard tower, Pied de Biche tower, Chesne tower (now demolished), and the tower of Notre-Dame. The latter is the most massive with three vaulted levels, 20 metres in diameter, 22 metres high, and 6 metre thick walls at the base. (Coordinates: ) The Chateau contains an item that is registered as an historical object:
A Chimney (16th century)
|
1918_36
|
The Port Royale (Royal Gate) or Tour du Cygne (Swan Tower) (1775). The Royal Gate dates to the 17th century (1667–1717). During the medieval period the northern entrance to the city was controlled by the Flammerans Portal. When the fortifications were strengthened starting from 1673, the Count of Apremont, who was the engineer, built the Royal Gate to replace the Flammerans Portal. He entrusted the work to Philippe Anglart "architect and contractor for Royal buildings" before having to leave. Upon his return the Count of Apremont was not satisfied with the work and started again. On the Count's death in 1678 the work halted and it was Vauban who completed it in 1699. The central pavilion was added on top in 1717. On the city side the central body is flanked by two perfectly identical houses, covered with a Mansart roof. The opening to the countryside is surmounted by a trophy of arms.
|
1918_37
|
The Port of Comté (15th century) is located east of the city. This superb example of military architecture dates from the reign of Louis XII and had decorations comparable to that on the emergency door in the Chateau of Dijon which has now disappeared. The exterior face of the gate there is a shield of France supported by two angels and porcupines which are royal symbols.
The Arsenal (1674) was originally used to provide gun carriages. It was built by Vauban between 1689 and 1693. It has preserved its original plan which is now three buildings, one of which serves as a covered market.
|
1918_38
|
Other military sites of interest
|
1918_39
|
The Ramparts were mentioned in the charter of 1229: at that time there were simple earthen ramparts bordered by a ditch and surmounted by piles of thorns. In the first half of the 14th century, at great sacrifice for the population, the city was surrounded with a wall which lasted comfortably until the intervention of the Count of Apremont in 1673. This medieval walls covering a perimeter of 2600 metres and included 23 towers, turrets, and a fortified bridge. The front overlooking the Saône was very difficult to build and was undertaken from 1411. The wall was the pride of the Duke of Burgundy, Philip the Good, who stated in letters patent of 23 December 1424: "The place of our city Auxonne is beautiful, strong, and well closed with walls and ditches". In 1479, on becoming master of Burgundy, Louis XI built a fortified chateau adapted to the progress of artillery with the appearance of a metallic ball. Auxonne was in a strategic position as a border town and had to endure continual
|
1918_40
|
wars with the County becoming Imperial Land after the Treaty of Senlis in 1493. The medieval ramparts were the subject of care and continual reinforcement in the 16th century under Louis XII and François I. With Louis XIV and the wars of conquest by the County, the strategic interest of the town brought the king to put the city "in a state not to fear the attacks of the enemy". In 1673 it was François de la Motte-Villebret, Count of Apremont, from Tours who was responsible. He destroyed almost all of the medieval walls to establish a defence system by Vauban, part of which still exists today. Apremont died in 1678 and it was Vauban who succeeded him to ensure completion of the works. He raised a magnificent project that complemented the work of Count Apremont but on the signing of the Treaty of Nijmegen in 1678 he lost interest and the project was never completed.
|
1918_41
|
The Belvoir Tower (or Tour Belvoir). Of the 23 towers of the medieval walls, there remains today only three and of these Belvoir tower is the only one that has not been subject to significant changes.
The Sign tower (Tour de Signe) on which there is a salamander, the emblem of François I.
The Statue of Lieutenant Napoleon Bonaparte in bronze by François Jouffroy was opened in December 1857 in the centre of the Place d'Armes. Bonaparte is shown with a youthful face in the uniform of an artillery officer. The base is decorated with four different reliefs (Bonaparte in the Chapel of the Levée, Bonaparte at the Battle of Arcole, the coronation ceremony of Napoleon, and a meeting of the Council of State).
The Barracks, made of pink Moissey stone where Bonaparte occupied successively two bedrooms. They are now occupied by the 511th Logistics Regiment.
|
1918_42
|
Notable people linked to the commune
|
1918_43
|
Governors of the Town and the Château of Auxonne
|
1918_44
|
Jean de Saulx-Tavannes, born in 1555. Third of five children of Marshal of Tavannes Gaspard de Saulx and Françoise de la Baume his wife. He was born after Henri-Charles-Antoine de Saulx who died at the siege of Rouen in 1562 and also after William of Saulx, Count of Tavannes, bailiff of Dijon and lieutenant-general in the government of Burgundy. Jean de Saulx was first known as the Viscount of Ligny (today Ligny-le-Châtel) and took the title of Viscount of Tavannes in 1563 after the death of his older brother Henri de Saulx. He returned to France in 1575 from his travels which took him first to Poland, where he followed the Duke of Anjou, then to the Middle East. He threw himself into the Guises party and the Catholic League. He was appointed Governor of Auxonne and Lieutenant of Burgundy for the Duke of Mayenne. He lost the government of the town and Chateau of Auxonne in 1585 following a rebellion by the Auxonne population who were loyal to the crown and refused to see the city
|
1918_45
|
come under the Duke of Mayenne who represented the League in Burgundy. He was married twice. The first wife was Catherine Chabot, daughter of François Chabot, Marquis de Miribel with whom he had three children. He married his second wife Gabrielle Desprez with whom he had eight children.
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.