"Mary's Boy Child" is a 1956 Christmas song, written by Jester Hairston. It is performed as a Christmas carol; the song had its genesis. The friend asked him to write a song for a birthday party. Hairston wrote the song with a calypso rhythm because the people at the party would be West Indians; the song's original title was "Chocolate Tea", pone being a type of corn bread. It was never recorded in this form; some time Walter Schumann, at the time conducting Schumann's Hollywood Choir, asked Hairston to write a new Christmas song for his choir. Hairston wrote new lyrics for it. Harry Belafonte heard the song being sought permission to record it, it was recorded in 1956 for his album An Evening with Belafonte. A different, shorter take was used for a corresponding single. However, the longer version was released in the UK as a single, where it became the first UK number one to have a playing time of over four minutes, it reached No. 1 on the UK Singles Chart in November 1957, has since sold over 1.19 million copies there.
In 1962, the full-length version was added to a re-issue of Belafonte's released album To Wish You a Merry Christmas. One of the best-known cover versions of the song is from the German-based disco-group Boney M. from 1978, "Mary's Boy Child – Oh My Lord." This version returned the song to the top of the UK chart. It is one of the best-selling singles of all time in the UK, has sold 1.87 million copies as of November 2015. When Hairston found out how well the Boney M version had done, he said: "God bless my soul. That's tremendous for an old fogey like me", he was 78 at the time. The song has been recorded twice by Andy Williams, it has been recorded by The Four Lads in 1956 and Mahalia Jackson in the late 1950s, both under the title Mary's Little Boy Chile. Other recordings include The Gospel Clefs in, Anne Murray, The Brothers Four, Charlotte Church, Greg MacDonald, The Lettermen, The Merrymen, Jim Reeves, Rolf Harris, Roger Whittaker, The Little River Band, The Three Degrees, The Pete King Chorale, Nina & Frederik, Vikingarna, Kiri Te Kanawa, José Mari Chan, Al Bano and Romina Power, De Nattergale, Tom Jones, Jose Feliciano, John Denver, the cast of Glee, RJ Jacinto, Harry Connick Jr, Bryn Terfel, Connie Talbot and many others.
The Bee Gees recorded the song as part of a medley with "Silent Night" for their 1968 album Horizontal, although it was only released as a bonus track in 2006. The track is erroneously titled "Silent Night/Hark the Herald Angels Sing."The song was included on the 1991 live concert A Carnegie Hall Christmas Concert, featuring Kathleen Battle, Frederica von Stade and Wynton Marsalis. Additional covers include The Wiggles on their 2004 album Santa's Rockin'. In 2012, the Portuguese priest António Cartageno made a choral arrangement for the song. Translated versions include "Hankien Joulu" recorded by Georg Malmstén, "Kauan Sitten Beetlehem" recorded by Petri Laaksonen, "Marian Poika" by Tarja Turunen, "Varje människa har ett ljus" recorded by Jan Malmsjö, "...und Frieden für die Welt" by Rolf Zuckowski, "Maria's Kind" by La Esterella, "Bethlehem" by Rob de Nijs, "Det hände sig för länge sen" recorded by Kikki Danielsson on her 1987 Christmas album Min barndoms jular, "Det hände sig för länge sen" recorded by Stefan Borsch on his 1981 Christmas album I kväll jag tänder ett ljus, "Himlens hemlighet" recorded by Tommy Körberg and "Du är som en sommardag" by dance band Schytts.
The Schytts version was in the Swedish chart Svensktoppen for 10 weeks in 1979, where it peaked at No. 1. "Ang Batang Hesus" by mayor_junneil. The Sinhala translation is "Kalakata Pera e Bethleheme" Sinhala: "කලකට පෙර ඒ බෙත්ලෙහෙමේ"; the words and music featured on a miniature sheet issued with the 1983 Christmas stamps of the Caribbean island of St Kitts, while the adjacent island of Nevis issued a complementary sheet featuring the "Calypso Carol"
Antonietta Brandeis, was a Czech-born Italian landscape and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 1848, in Miskovice in Bohemia, Austria-Hungary; the first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague. After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective.
During her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”, it includes numerous mentions of prizes and high honours won by Brandeis in Art History, Life Drawing and Anatomical Drawing, Drawing of Sculpture, “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition, she is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes.
In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work. During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina; the first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second a genre painting, is entitled “Buon dì!” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”; the biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism.
As well as in Venice and Florence, she exhibited in Turin and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, replicated her most popular subjects with only slight variations, she was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa.
In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro; the couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 an
Eric Johnstone is an English former footballer who scored 12 goals in 41 appearances in the Football League playing as a Winger for Carlisle United and Darlington in the 1960s. He played non-league football for Tow Law Town and South Shields. Johnstone was a member of the Darlington team that beat a Blackpool team containing four England internationals, including full-back Jimmy Armfield, in the third round of the 1965–66 League Cup away from home; the next day's report in the Northern Echo told how Johnstone had "time and again led Armfield a merry dance". That same season, he contributed to Darlington's first promotion since the 1920s as they finished runners-up in the Fourth Division
Beau McDonald is a former Australian rules footballer in the Australian Football League. He was recruited as the number 73 draft pick in the 1997 AFL Draft from Swan Districts, he made his debut for the Brisbane Lions in Round 1998 against North Melbourne. Beau McDonald played 91 senior games for the Brisbane Lions including the 2001 and 2002 Grand Final victories however a string of injuries, a dislocated shoulder in the 2002 AFL Grand Final and an ACL knee injury the following year would limit his output to 27 games over the following 5 seasons. In February 2008, McDonald announced his retirement, citing the fact that his body was no longer able to withstand the rigours of AFL football. On 28 October 2008, Beau McDonald replaces Clark Keating as ruck coach. Hamilton, Andrew. "Injuries end it for Big Beau". The Courier Mail. Beau McDonald's playing statistics from AFL Tables
The Letters Patent establishing the Province of South Australia, dated 19 February 1836 and formally titled "Letters Patent under the Great Seal of the United Kingdom erecting and establishing the Province of South Australia and fixing the boundaries thereof", was presented to King William IV to formally seek the approval to establish the Province of South Australia. It defined the boundaries of the new colony, but significantly and unlike the South Australia Act 1834, included recognition of the rights of the Aboriginal peoples of South Australia, it is sometimes referred to as Letters Patent 1836. The South Australia Act 1834 legislated for the establishment of a settlement in South Australia, but did not provide specific directions with regard to how the Province of South Australia was to be founded, which these Letters Patent, formulated by the Colonisation Commissioners for South Australia, supplied; the main change to the 1834 Act was to amend the wording referring to the land as "unoccupied", offer recognition of the rights of the "Aboriginal Natives" to live unhindered within the lands of the Province of South Australia.
These Letters Patent, dated 19 February 1836, were presented to King William IV to formally seek the approval to establish the Province of South Australia, on 23 February 1836, an Order-in-Council provided authority for the establishment of government in the Province of South Australia. The Order-in-Council provided for a governing Council comprising the Governor, the Judge or Chief Justice, the Colonial Secretary, the Advocate-General and the Resident Commissioner, with broad legislative and executive powers including the imposition of rates and taxes. However, laws could only be proposed by the Governor and were subject to approval or disallowance by the King as advised by the Imperial Government; the Order-in-Council again expressly protected the rights of "Aboriginal natives". The Letters Patent, long title "Letters Patent under the Great Seal of the United Kingdom erecting and establishing the Province of South Australia and fixing the boundaries thereof", defined the boundaries of the Province of South Australia: On the North the twenty sixth Degree of South Latitude — On the South the Southern Ocean — On the West the one hundred and thirty second Degree of East Longitude — And on the East the one hundred and forty first Degree of East Longitude including therein all and every the Bays and Gulfs thereof together with the Island called Kangaroo Island and all and every the Islands adjacent to the said last mentioned Island or to that part of the main Land of the said Province.
The Letters Patent included a recognition of the rights of the "Aboriginal Natives" to live within the lands of the Province of South Australia: Provided Always that nothing in those our Letters Patent contained shall affect or be construed to affect the rights of any Aboriginal Natives of the said Province to the actual occupation or enjoyment in their own Persons or in the Persons of their Descendants of any Lands therein now occupied or enjoyed by such Natives. This differed from the statements of the South Australia Act 1834, which described the lands as "waste" and "unoccupied". An amendment to the 1834 Act incorporated the changes; the first migrant ship, the John Pirie, set sail for the colony three days later. On 28 December 1836, Governor Hindmarsh issued a Proclamation of the new Province at Glenelg. On 31 July 1838, the changes were brought into law by "An act to amend an act of the fourth and fifth years of his late majesty empowering his majesty to erect South Australia into a British province or provinces", 1 & 2 Vic, c.
60. As colonisation proceeded, no heed was paid to the words of the Letters Patent about Aboriginal rights to land: there were no treaties signed. In 1996, Premier Don Dunstan passed the Aboriginal Lands Trust Act 1966 on the basis of the unfulfilled Letters Patent, which gave rights to Aboriginal people over their land. From the early 21st century, research focused on the potential legal implications of this disregard of the Letters, the document again became a source of debate. On Proclamation Day in 2006, the SA Minister for Aboriginal Affairs, Jay Weatherill, acknowledged publicly that the failure of the state to have met the Letters' promise 170 years has "been the cause of much loss and suffering for Aboriginal people". On on 24 April 2007 the Australian Democrats MLC, Sandra Kanck, Greens MLC, Mark Parnell, on the occasion of the Sesquicentenary of Responsible Government in South Australia referred to the Letters Patent when they read a statement authorised by the Aboriginal Alliance Coalition Movement in Parliament, "asking you to acknowledge that your enjoyment, if not the spirit, of your commemorative congratulations, blindly overlooks the denial of our English land rights within our own country in establishing your parliament on the land of the traditional owners and on the country of their unacknowledged descendants".
The 175th anniversary of the Letters Patent was commemorated at the Living Kaurna Cultural Centre at Warriparinga on 19 February 2011, as a document which preserves the rights of the Aboriginal inhabitants. The 2014 film King's Seal tells of the struggle for recognition of rights that were granted by the Letters Patent. Aboriginal land rights in Australia Aboriginal Lands Trust Act 1966 British colonisation of South Australia Native title in Australia South Australia–Victoria border dispute Berg, Shaun, ed.. Co