title: Film memorabilia

abstract: Film memorabilia are objects considered of value because of their connection to the cinema. These include costumes, props, advertising posters, and scripts, among other things. Fans have always coveted memorabilia, but in recent years, what was once a hobby has mushroomed into big business, with millions of dollars changing hands in auctions held by such firms as Christie's and Sotheby's. In addition, many popular films have their collectible items sold via independent, online movie memorabilia stores, web auctions, and at film studio charity events.

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# Film memorabilia

**Film memorabilia** are objects considered of value because of their connection to the cinema. These include costumes, props, advertising posters, and scripts, among other things. Fans have always coveted memorabilia, but in recent years, what was once a hobby has mushroomed into big business, with millions of dollars changing hands in auctions held by such firms as Christie's and Sotheby's. In addition, many popular films have their collectible items sold via independent, online movie memorabilia stores, web auctions, and at film studio charity events.

## History of collecting

In the early days, most people sought autographs or original photographs or posters. Collectors had to rely on a handful of news magazines that were full of various sellers offering mail order catalogues or asking to buy bulk lots, or particular items of interest. Occasionally, events would be organized which were structured around a live auction  these, while fewer in number today, still occur, and one can still buy memorabilia in person from trusted sellers on-site. The community was also fairly fragmented, with collectors and dealers spread out across the globe and no real consistent and reliable way to communicate with one another.

Movie studios were slow to recognize the value of their property, "generally viewing the material as junk taking up precious backlot real estate." Often, workers would just take souvenirs or sell items without permission, aware that their employers did not particularly care. One of the more notorious of these was costumer Kent Warner, who amassed a large private collection and made money selling to interested buyers. One of his friends claimed that Warner rescued Humphrey Bogart's *Casablanca* trench coat, which had been slated for burning.

### 1970 MGM auction

The turning point came in 1970. Kirk Kerkorian had bought MGM the year before and installed James Thomas Aubrey, Jr. as president. As part of his cost-cutting measures, Aubrey decided to auction off hundreds of thousands of items. The success of this mammoth event made people take notice.

MGM sold the contents of seven sound stages "for a mere $1.5 million" to auctioneer David Weisz. There were over 350,000 costumes alone. Weisz hired Kent Warner to help catalog and prepare for the auction. In the course of his work, Warner found several pairs of the ruby slippers from *The Wizard of Oz* (it is common practice to make multiple copies of important props). One pair became the centerpiece of the event and sold for a then-unheard-of $15,000. Warner kept or sold an unknown number of other pairs.

Actress Debbie Reynolds spent $180,000 and "purchased thousands of items", the beginning of her large collection. Weisz "recouped eight times" what he paid "from eager nostalgia enthusiasts."

Among the items sold were:

The unsold items, "... truckloads of costume sketches, movie stills and other memorabilia were sent to the MGM Grand Hotel in Las Vegas to be sold in the gift shop and used as hotel decorations." The auction catalogs have now themselves become sought-after collectibles.

### 2011 Debbie Reynolds auctions

Debbie Reynolds' collection was sold by Profiles in History in two auctions in June and December 2011. The items put up for bid in the first of these auctions included:

On June 18, 2011, the subway dress sold for $4.6 million, far in excess of pre-auction estimates of $1–2 million. Another Monroe dress, worn in *Gentlemen Prefer Blondes*, fetched $1.2 million; it had been expected to go for $200,000 to $300,000. Estimated at $60,000 to $80,000, a blue cotton dress Judy Garland used in test shots for *The Wizard of Oz* went for $910,000. In total, the auction grossed $22.8 million.

In the second Reynolds auction, on December 3, 2011, a still-functioning Panavision PSR 35mm camera used to film *Star Wars* went for $625,000, breaking records for *Star Wars* memorabilia and vintage cameras.

## Influence of the internet

In the early days of the internet, the larger community began to get in touch with one another through UseNet newsgroups (for example, alt.binaries.pictures.movie-posters). As the internet grew, collectors began communicating in ways never thought possible. In 1995, popular on-line email group MoPo was formed, creating a central place for people to keep in touch about things and events important to the community. This group continues to provide information to new and old collectors alike.

By 1997, the community had changed forever. eBay was quickly becoming the alternative marketplace after two years of steady growth. Professional sellers took notice, causing many to close their bricks-and-mortar businesses and focus their attention completely on internet sites and the future of the on-line marketplace.

In the early days of internet selling, prices varied widely. One could find posters normally valued in the hundreds of dollars selling for twenty dollars, or, alternatively, find posters normally valued at twenty dollars going for a hundred or more. Today, the market place for film memorabilia has mostly stabilised. While one can see a rare film poster go for large amounts, it is far more common to find that items are priced either at or near market value, or are bid up to that point.

The Internet has clearly been an important influence on the business of memorabilia, but just as it has given large access to the purchase of legitimate goods, this has also given the opportunity for fakes be them replicas being sold as originals or even fraudulent signatures. Many fall for these scams online making even stars like *Star Wars*'s Mark Hamill choose to raise awareness.

As such the internet has also given access to places that assure you legitimacy with known auction houses and even something as small as certifications of authenticity like the JSA, and the PSA that grant acquired items some proof as reassurance for buyers.

## Types

* Film posters
* Lobby cards
* Still photos
* Autographs
* Film props
* Costumes
* Pressbooks and presskits
* Programmes
* Heralds
* Glass slides
* Industry magazines and related material
* Scripts, storyboards, and original concept art
* Promotional material of any kind
* Commercial collectibles

## Notable examples

* Several pairs of the ruby slippers from *The Wizard of Oz* are known to exist. One pair is on permanent display at the National Museum of American History, several others are in the hands of private collectors, and one pair was stolen in 2005. The last auction price, in 2000, was $666,000. Also, the black hat belonging to the Wicked Witch of the West sold for $33,000 in 1988 and $197,400 in 2008.
* There were several statuettes made for the 1941 *The Maltese Falcon* — two lead figures weighing 47 pounds (21 kg) each, and a seven-pound (3.2 kg), more finely crafted, resin model — all handled by Humphrey Bogart. Christie's auctioned one of the lead figures, part of the estate of actor William Conrad, on December 6, 1994; it was purchased for $398,500 by Ronald Winston, president of Harry Winston, Inc. Within two years, Winston had resold the prop "at an enormous profit" — for as much as $1 million — to an unknown European collector. On November 25, 2013, Bonhams, in association with TCM, sold the other lead figure, the only one confirmed to have appeared in the movie, for over $4 million, including the buyers fee. This version has a prop number WB 90067. (See also *The Maltese Falcon*.)
* On November 24, 2014, the piano on which Sam plays "As Time Goes By" in Rick's Café Américain (and in which Rick hides the letters of transit) in *Casablanca* was sold for $2,900,000 (the buyer's premium bringing the total to $3,413,000) by Bonhams in New York City. In the same auction, the only known surviving copy of the transit papers, though apparently not used onscreen, went for $118,750 (including buyer's premium).
* Audrey Hepburn was not only a celebrated actress, but also a fashion icon. In 2006, her "little black dress" from *Breakfast at Tiffany's* (plus a few other minor items) fetched £467,200 ($923,187) for the City of Joy Foundation.
* Steven Spielberg paid $60,500 (including 10% commission) in June 1982 for a "Rosebud" sled from *Citizen Kane*. Orson Welles stated in a telephone interview that there were three made of balsa (as is Spielberg's purchase) that were intended to be burned in the final scene, and one made of hardwood for the beginning of the film. On December 15, 1996, the hardwood sled was sold to an anonymous bidder in Los Angeles for $233,500.
* The white suit worn by John Travolta in *Saturday Night Fever* was purchased by film critic Gene Siskel in a charity auction. In June 1995 it was auctioned at Christie's for $145,500.


abstract: Film locations in Sonoma County, California are a diverse set of sites throughout this California county, where all or parts of notable motion pictures have been produced. Due to the scenic and varied aspects of Sonoma County, a large number of films have been made within this County. Some of the earliest U.S. filmmaking occurred in Sonoma County such as the 1914 production 1914 Salomy Jane and Bronco Billy Anderson produced in 1915. Many of these films are classics in American cinematography such as the 1947 film The Farmer's Daughter, starring Joseph Cotten and Loretta Young, and Alfred Hitchcock's The Birds produced in 1963, which was also partially filmed in adjacent Marin County. Many other more modern classics have used Sonoma County as a filming venue, including the 1990 production of the Flatliners and the 1992 film Basic Instinct. A few of the other representative films produced partially in Sonoma County are:

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# Film locations in Sonoma County, California

**Film locations in Sonoma County, California** are a diverse set of sites throughout this California county, where all or parts of notable motion pictures have been produced. Due to the scenic and varied aspects of Sonoma County, a large number of films have been made within this County. Some of the earliest U.S. filmmaking occurred in Sonoma County such as the 1914 production 1914 *Salomy Jane* and *Bronco Billy Anderson* produced in 1915. Many of these films are classics in American cinematography such as the 1947 film *The Farmer's Daughter*, starring Joseph Cotten and Loretta Young, and Alfred Hitchcock's *The Birds* produced in 1963, which was also partially filmed in adjacent Marin County. Many other more modern classics have used Sonoma County as a filming venue, including the 1990 production of the *Flatliners* and the 1992 film *Basic Instinct*. A few of the other representative films produced partially in Sonoma County are:

## Representative film locations


title: Fin Taylor

abstract: Fin Taylor is an English stand-up comedian.

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# Fin Taylor

**Fin Taylor** (born July 1990) is an English stand-up comedian.

## Early life

Taylor grew up in Oxford, England, and attended Abingdon School.

## Career

Taylor began gigging in 2008. He first took a solo show to the Edinburgh Fringe in 2014. His three shows in successive years, "Whitey McWhiteface", "Lefty Tighty Righty Loosey" and "When Harassy Met Sally", led *The Scotsman* to call him "one of the most discussed, and critically lauded comedian of recent Edinburgh Fringes". His comedic style is often described as "provocative" and antagonistic, though he has earned praise for his ability to "be both edgy and woke within the same joke."

## InfoBox

| Fin Taylor | |
| --- | --- |
| Born | 1990 (age 3334) |
| Occupation | comedian |
| Years active | 2008–present |
| Website | fintaylor.com |


# Finswimming at the 2001 World Games – Men's 400 m surface

The men's 400 m surface competition in finswimming at the 2001 World Games took place on 24 August 2001 at the Akita Prefectural Pool in Akita, Japan.

## Competition format

A total of 15 athletes entered the competition. The best eight athletes from preliminary round qualifies to the final.

## Results

### Preliminary

| Rank | Athlete | Nation | Time | Note |
| --- | --- | --- | --- | --- |
| 1 | Sven Gallasch | Germany | 3:18.16 | Q |
| 2 | Gergely Juhos | Hungary | 3:19.40 | Q |
| 3 | Wojciech Dorożyński | Poland | 3:20.39 | Q |
| 4 | Lukáš Rada | Czech Republic | 3:20.43 | Q |
| 5 | Sven Kaiser | Germany | 3:24.65 | Q |
| 6 | Hu Hailong | China | 3:24.98 | Q |
| 7 | Ilya Somov | Russia | 3:25.32 | Q |
| 8 | Daniel Guevara | Colombia | 3:25.51 | Q |
| 9 | Di Qing | China | 3:25.54 |  |
| 10 | Makoto Oyama | Japan | 3:25.81 |  |
| 11 | Leonidas Romero | Colombia | 3:27.65 |  |
| 12 | Jan Kamprle | Czech Republic | 3:30.10 |  |
| 13 | Jose Miguel Iniesta | Spain | 3:32.55 |  |
| 14 | Fernando Gonzalez Illan | Spain | 3:34.43 |  |
| 15 | Loic Abouzit | France | 3:42.42 |  |

### Final

| Rank | Athlete | Nation | Time |
| --- | --- | --- | --- |
|  | Sven Gallasch | Germany | 3:14.19 |
|  | Gergely Juhos | Hungary | 3:15.32 |
|  | Ilya Somov | Russia | 3:18.33 |
| 4 | Lukáš Rada | Czech Republic | 3:19.83 |
| 5 | Hu Hailong | China | 3:20.14 |
| 6 | Wojciech Dorożyński | Poland | 3:22.94 |
| 7 | Sven Kaiser | Germany | 3:23.57 |
| 8 | Daniel Guevara | Colombia | 3:26.23 |

## InfoBox

| Finswimming – men's 400 m surface <br>at the 2001 World Games | |
| --- | --- |
| Venue | Akita Prefectural Pool, Akita, Japan |
| Date | 24 August 2001 |
| Competitors | 15 from 10 nations |
| Medalists | |
|  | |
|


title: Final Fight 2

abstract: Final Fight 2 is a 1993 side-scrolling beat 'em up video game released by Capcom for the Super Nintendo Entertainment System. It is the direct sequel to the 1989 coin-operated arcade game Final Fight, which was previously also released for the SNES. Final Fight 2 was developed by Capcom's consumer division with no preceding coin-op version. The game was re-released onto Wii's Virtual Console service in 2009 worldwide. Unlike the SNES version of the first game, Final Fight 2 supports two-player simultaneous play and has a total of three playable characters. The only playable character from the first game to return is Mike Haggar. Two new player characters were introduced: Carlos Miyamoto and Maki Genryusai. In the game's plot, the three battle the resurgent Mad Gear gang at various locations around Asia and Europe to rescue Maki's sister and father, who are also the fiancée and teacher respectively of Guy from the first Final Fight. Capcom followed up the game with another SNES-exclusive sequel, Final Fight 3, which saw the return of Guy to the series. None of the new characters from Final Fight 2 returned, although Maki made appearances in various Capcom fighting games years later.

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# Final Fight 2

***Final Fight 2*** (ファイナルファイト2, *Fainaru Faito Tsū*) is a 1993 side-scrolling beat 'em up video game released by Capcom for the Super Nintendo Entertainment System (known as the Super Famicom in Japan). It is the direct sequel to the 1989 coin-operated arcade game *Final Fight*, which was previously also released for the SNES. *Final Fight 2* was developed by Capcom's consumer division with no preceding coin-op version. The game was re-released onto Wii's Virtual Console service in 2009 worldwide.

Unlike the SNES version of the first game, *Final Fight 2* supports two-player simultaneous play and has a total of three playable characters. The only playable character from the first game to return is Mike Haggar. Two new player characters were introduced: Carlos Miyamoto and Maki Genryusai. In the game's plot, the three battle the resurgent Mad Gear gang at various locations around Asia and Europe to rescue Maki's sister and father, who are also the fiancée and teacher respectively of Guy from the first *Final Fight.*

Capcom followed up the game with another SNES-exclusive sequel, *Final Fight 3*, which saw the return of Guy to the series. None of the new characters from *Final Fight 2* returned, although Maki made appearances in various Capcom fighting games years later.

## Gameplay

*Final Fight 2* does not deviate much from the original *Final Fight* in terms of gameplay, although unlike the SNES version of the first game (and the alternate version *Final Fight Guy*), *Final Fight 2* features a two-player cooperative mode in addition to the single-player mode. The player has a choice between three characters: Haggar, who uses professional wrestling techniques; Maki, a female master of the fictional ninjutsu school of Bushin-ryū Ninpō, similar to Guy from the first game; and Carlos, a South American martial artist of Japanese descent who uses a sword for his Special Move. Through use of a code, two players can select the same character. Like in the original game, each character has their own set of fighting techniques and abilities unique to each character.

The gameplay remains the same as in the original game. The player has two main action buttons (Attack and Jump), which when pressed together, makes the player's character perform their Special Move (a third button can also be assigned for this purpose). The player proceed through levels fighting against hordes of underlings before reaching a boss character at the end of each stage. Health-restoring food items and other bonus point items are hidden away in breakable drums and barrels. There are also three retrievable weapons in the game, a tonfa, a piece of lumber and a knife. There is also a "Genryusai Doll" which makes the player invulnerable for a limited period and a "Guy Doll" which gives the player an extra life.

There is a total of six stages in the game, each set in a distinct Eurasian location: Hong Kong, France, Holland, England, Italy and Japan. As in the original game, the player will be pitted against numerous types of recurring enemy characters thorough the game. The only returning enemy characters from the original SNES game are the Andore family. Rolento, a boss character who was in the first *Final Fight* but omitted from the SNES port, appears as a boss character in this game (with his name spelled "Rolent").

| Stage | Location | Time | Boss |
| --- | --- | --- | --- |
| 1 | Hong Kong | 12:00pm | Won Won |
| 2 | France | 5:00pm | Freddie |
| Bonus | Break Car | | |
| 3 | Holland | 4:00pm | Bratken |
| 4 | England | 8:00pm | Philippe |
| Bonus | Break Drum | | |
| 5 | Italy | 12:00pm | Rolento |
| 6 | Japan | 11:30pm | Retu |

The player can adjust the difficulty (along with other settings) of the game in the options menu. Like in *Final Fight Guy*, each difficulty setting reveals only a certain portion of the ending, with the full ending being shown only by completing the game on the Expert setting.

The Japanese version of *Final Fight 2* features two enemy characters named Mary and Eliza, who are knife-wielding female enemies with acrobatic techniques. Mary and Eliza were replaced by two substitute characters named Leon and Robert in the international versions of the game. Additionally, the first stage boss Won Won, wields a meat cleaver in the Japanese version, which was also removed in the overseas versions.

## Plot

Taking place between both *Final Fight* (1989) and *Final Fight Revenge* (1999), the next chapter of Mike Haggar leaves off on sometime after the defeat of the Mad Gear gang, he and his young allies and best friends, Cody and Guy, have returned to their normal lives; Cody goes on vacation with his girlfriend Jessica, Guy departs on a training journey, and Haggar continues to run Metro City as Mayor. However, the surviving Mad Gear members have secretly regrouped under a new leader to seek their revenge. They begin by kidnapping Guy's fiancée Rena in Japan, along with her father, Guy's former sensei Genryusai.

Rena's younger sister, Maki Genryusai, calls Haggar and informs him of the situation. Accompanied by his friend Carlos Miyamoto, Haggar travels to Eurasia and meets up with Maki, and the three of them join forces to take on the newly revived Mad Gear. After a series of fights in several countries, the trail leads to Japan where they fight Retu, the new leader of the Mad Gear. The three defeat Retu and rescue Genryusai and Rena. Guy then writes a letter to his friends from abroad thanking them for all they have done.

## Reception

In Japan, the game topped the *Famitsu* sales charts in May 1993. Worldwide, the game sold over one million copies.

Power Unlimited gave the game a score of 75% writing: "Final Fight 2 is such a kind of game that is actually no longer made these days. The number of moves is very limited, just like the number of different enemies and levels. So you get through it quickly." Super Gamer gave an overall review score of 79% summarizing: "Simultaneous two-player and great sprite graphics. Unfortunately, gameplay is dated with just one attack move."

Lucas M. Thomas of IGN, in the review of the 2009 Virtual Console release, called it "decent brawler experience" even as "pretty straightforward" and "a bit bland", although wondering why Guy was not included when his fiancée was kidnapped in the story.

Nevertheless, the staff of GamesRadar ranked it as the 31st best SNES game: "We were afraid the sequel might see similar limitations, but this one was built from the ground up for Nintendo’s super console, so everything we’d want from an arcade *Final Fight 2* made its way to the cartridge. This was the *Final Fight* we always wanted." In 2018, Complex listed it 76th on their "The Best Super Nintendo Games of All Time" saying the game is better than its predecessor in every way.

## InfoBox

| Final Fight 2 | |
| --- | --- |
| Japanese cover art | |
| Developer(s) | Capcom |
| Publisher(s) | Capcom |
| Producer(s) | Tokuro Fujiwara |
| Designer(s) | Tatsuya Minami
Hyper Bengie
Ichiro Mihara |
| Series | *Final Fight* |
| Platform(s) | Super Famicom/SNES, Wii Virtual Console |
| Release | **Super Nintendo Entertainment System/Super Famicon (SNES)**
* JP: May 22, 1993 * NA: August 15, 1993 * EU: December 1993 **Wii Virtual Console**
* WW: 2009 |
| Genre(s) | Beat 'em up |
| Mode(s) | Single-player, 2-player co-op |


abstract: Fire Escape in the Sky: The Godlike Genius of Scott Walker is a compilation album of material by singer Scott Walker, compiled by musician Julian Cope and released by independent Zoo Records in August 1981. The material on the album was drawn from Walker's orchestral pop solo albums released between 1967–70, and focuses on songs that the singer had written himself. After Walker's popularity declined in the 1970s and his albums became out-of-print, Cope conceived the album to rescue Walker from obscurity and present his material to a new audience. Whereas he had previously appealed to middle-of-the-road fans, the compilation was created to help promote Walker to a post-punk audience. The album's title, Fire Escape in the Sky, is taken from the lyrics of the song "Big Louise" from Walker's album Scott 3, while according to Cope in the 30 Century Man documentary, the album's plain, neutral grey sleeve was designed to allow people to enjoy Walker's music without feeling they were buying into "some dodgy '60s MOR icon". The compilation reached number 14 in the UK Independent Chart and helped find Walker a new audience, and ultimately contributed to a reappraisal of the singer's material. Walker, who had retired in 1978, resurfaced with new material in 1984.

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# Fire Escape in the Sky: The Godlike Genius of Scott Walker

***Fire Escape in the Sky: The Godlike Genius of Scott Walker*** is a compilation album of material by singer Scott Walker, compiled by musician Julian Cope and released by independent Zoo Records (catalogue no. Zoo Two) in August 1981. The material on the album was drawn from Walker's orchestral pop solo albums released between 1967–70, and focuses on songs that the singer had written himself. After Walker's popularity declined in the 1970s and his albums became out-of-print, Cope conceived the album to rescue Walker from obscurity and present his material to a new audience. Whereas he had previously appealed to middle-of-the-road fans, the compilation was created to help promote Walker to a post-punk audience.

The album's title, *Fire Escape in the Sky*, is taken from the lyrics of the song "Big Louise" from Walker's album *Scott 3*, while according to Cope in the *30 Century Man* documentary, the album's plain, neutral grey sleeve was designed to allow people to enjoy Walker's music without feeling they were buying into "some dodgy '60s MOR icon". The compilation reached number 14 in the UK Independent Chart and helped find Walker a new audience, and ultimately contributed to a reappraisal of the singer's material. Walker, who had retired in 1978, resurfaced with new material in 1984.

## Background

After achieving commercial success as a member of pop group The Walker Brothers in the 1960s, Walker continued to be successful in the United Kingdom when launching his solo career in the late 1960s, which was defined by the singer's unusual blend of morose, idiosyncratic lyrics and orchestrated arrangements which helped him appeal to MOR audiences. His earliest albums, which largely combined original songs with cover versions, reached the top three of the UK Albums Chart, although his fourth eponymous album–the first comprising entirely original compositions–was a commercial disappointment which saw the decline of the singer's success, and in the first half of the 1970s, his label Philips demanded Walker release only "commercial" albums comprising show tunes and film and television themes in failed attempts to restore his commercial momentum. The singer then reunited with the Walker Brothers, with whom he released his first new compositions for eight years on *Nite Flights* (1978), which saw him move into a more experimental direction, but by the time of *Fire Escape in the Sky*, the singer's final public appearance was on the Walker Brothers' final tour in 1978.

By 1981, Walker's solo material was out of print and unavailable, and had become obscure and overlooked; Bob Stanley wrote that Walker's solo work "was remembered, if at all, as a brief postscript to the Walker Brothers' hit run." The record label trend of re-issuing previously released material was in its infancy at the turn of the 1980s, with hits compilations gaining popularity but groundbreaking compilations of material by such bands as the Action, Merseybeats, Big Three and Creation only having just been released.

Musician and singer Julian Cope, front man of the popular post-punk band the Teardrop Explodes, conceived and compiled *Fire Escape in the Sky: The Godlike Genius of Scott Walker*. After his band scored hits with "Reward" and "Treason", Cope had developed a tendency to champion his favourite neglected or long-overlooked performers to the music press, including obscure psychedelia and krautrock bands as well as solo singers such as Don Covay, with Walker fitting into the latter category. Cope was introduced to Walker's music by Teardrop Explodes keyboardist Paul Simpson, who went on to front his own Walker-indebted band, The Wild Swans. Over the preceding years when Walker's albums were out-of-print, Cope had repeatedly purchased them in Liverpool and Birmingham for prices between 80p and £1.20, and gave them to "friends and/or anyone who would listen."

To realise the compilation, Cope talked Zoo Records, a Liverpool-based independent label run by his friend Bill Drummond, into licensing a number of original compositions from the unavailable Scott Walker albums released by Philips. He felt that, by 1981, Walker had become "utterly lost in terms of culture" due to him including "MOR slop" on his first three albums, culminating with *Scott 3* (1969), and felt potential consumers may have been discouraged by the middle-of-the-road material, also noting that Walker's subsequent compilations "pushed his 'housewife' appeal and totally ignored the really great compositions." It was with *Fire Escape in the Sky* that he hoped to alter Walker's image and introduce his 1960s music to a new audience.

## Content

Focusing on Walker's orchestral pop material, the songs on *Fire Escape in the Sky* are all written by Walker and arranged by Angela Morley, and are drawn from the records *Scott* (1967), *Scott 2* (1968), *Scott 3* (1969), *Scott 4* (originally released under the name Scott Engel, 1969) and *'Til the Band Comes In* (1970). Bob Stanley of *The Guardian* described the songs chosen for the album as "12 tales of broken affairs inspired by and aspiring to the great European cinema of the 50s and 60s." According to Walker biographier Paul Woods, "\[i\]t was as if a forgotten and almost forbidden part of pop music's golden sixties era had been preserved only in this one slightly shabby artefact." The title *Fire Escape in the Sky* refers to a lyric from the *Scott 3* song "Big Louise". Walker later admitted to being embarrassed by the subtitle, *The Godlike Genius of Scott Walker*.

The obscure album cover, which resembled felt, was plain grey in colour, and featured nothing else besides the album title rendered in small, ornate, olive-green typography. The simplicity of the cover, complete with its "almost illegible text", made the compilation seem unappealing to several purchasers. Cope, who described the cover as a "grey post-punk photograph-free design," explained that it was intended to allow listeners to enjoy the album "without feeling they were buying into some dodgy 60s MOR icon." The sleeve contained no photographs of Walker, and the back cover instead features an empty space in place of a photograph which never appeared in time for printing, although this and the minimal cover served to "underline the sense of mystery and absence now surrounding the artist." The sleeve also contained very little information, with a complete absence of sleeve notes. Stanley noticed how "Cope was smart enough to unlock the door and walk away – after that you were on your own."

## Release and reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *The Encyclopedia of Popular Music* |  |

Zoo Records released *Fire Escape in the Sky* on 28 August 1981, and it reached number 14 in the UK Independent Chart. Walker, who had a noted dislike of listening to his early material, was sent the compilation, and later told the *NME* that he was impressed by "this young guy singin'." He felt the music was "not bad" but also felt that one play "was enough". *Fire Escape in the Sky* was ultimately one of only two albums that Zoo Records released, the other being a compilation of the label's singles entitled *To the Shores of Lake Placid*. By focusing on singles and releasing few albums, Zoo established its catalogue as "a micro-regional representation of the local talent," as was Drummond's intention. The compilation was nonetheless deleted early in its run after Zoo had failed to pay royalties to Philips and Polygram.

According to biographer Rob Young, *Fire Escape in the Sky* was critically acclaimed upon release. Among retrospective reviews, *Stuff* wrote that the compilation "made plain, in its notoriously obscure sleeve (no picture, precious little information), just why Scott was such a big deal." In *The Rough Guide to Rock*, Alan Clayson recommends the compilation to those trying to familiarise themselves to Walker's material. In 2017, Martin Aston of *The Vinyl Factory* included the compilation in his list "An introduction to Scott Walker in 10 records." He felt that Cope's selections were "immaculate", and wrote that "when \[Walker's\] greatest songs were aligned, the godlike genius of Scott Walker – his sad, strange, complex and lonely genius – was plain to hear."

## Legacy

The first introduction to Walker's material in the aftermath of punk rock, *Fire Escape in the Sky* initiated a revival of interest for the singer, and his work became reappraised. It won him a new audience, including a younger generation of music journalists who discovered his 1960s solo albums and reappraised them as underrated. Martin Aston of *The Vinyl Factory* wrote that the album "chimed more with the post-punk, Bowie-influenced" audience than it did to Walker's previous fan base. Regarding the album's attempt to reintroduce Walker to music fans, Cope explained that he felt "the job was done" and was pleased that Walker's solo career "was reclaimed to such an extent," telling Stephen Kijak, director of the *30 Century Man* documentary, that he was also pleased that *Fire Escape in the Sky* had been recognised as the album which "started the deluge."

Donald Clarke of *The Irish Times* described the compilation—compiling material from Walker's then-deleted "greatest records"—as one of Cope's "gifts to the world". Biographer Rob Young wrote that Cope had rescued Walker "from the mists of critical oblivion". *Les Inrockuptibles* founder J. D. Beauvallet, who proved pivotal in helping spread interest in Walker's music in the 1990s, wrote that the interest placed on Walker by "punk generation" figures like Julian Cope and Echo & the Bunnymen helped pique his own interest in the singer.

To keep up the momentum of Walker's legacy, Phonogram released the compilation *Scott Walker Sings Jacques Brel*, consisting of cover versions of Jacques Brel songs that also appeared on Walker's late 1960s solo albums. Within two years of the release of *Fire Escape in the Sky*, Walker signed a deal with Virgin Records, and in 1984 he resurfaced with the experimental album *Climate of Hunter*, containing his first material since the compilation. Furthering Walker's appeal into the CD era, the compilation *Boy Child: The Best of Scott Walker 1967–1970*, which was in a similar vein to *Fire Escape in the Sky*, was released in 1990 with sleeve notes by Marc Almond.

Musician and writer Bob Stanley discovered *Fire Escape in the Sky* as a 16-year-old and, writing for *The Guardian*, called it his favourite album. He felt the compilation was "an act of extraordinary generosity and selflessness" on Cope's part, and wrote that "\[t\]he scope of this new pop – presented by Cope just as new pop was starting to dominate the charts – is ridiculous, unprecedented." He called the album "an artefact that is a distinctive blend of pop fandom, mystique and skyscraping ambition." Stanley once again mentioned the compilation in a list of his favourite albums for *The Quietus*, where he wrote that the idea of a compilation of a similar impetus would be "unthinkable now". He said of the "quite life-changing" compilation: "\[Angela Morley's\] arrangements have never been beaten, the lyrics were so filmic, and Scott's voice was beautiful, of course. Hearing songs like 'Montague Terrace' and 'Angels Of Ashes' for the first time, imagine that."

## Track listing

All tracks are written by Scott Engel, except where noted

Side one
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Such a Small Love" |  | 4:53 |
| 2. | "Big Louise" |  | 3:07 |
| 3. | "Little Things (That Keep Us Together)" | Scott Walker, Ady Semel | 2:18 |
| 4. | "Plastic Palace People" |  | 6:06 |
| 5. | "Girls From the Streets" |  | 4:10 |
| 6. | "It's Raining Today" |  | 3:55 |

Side two
| No. | Title | Length |
| --- | --- | --- |
| 7. | "Seventh Seal" | 4:55 |
| 8. | "The Amorous Humphrey Plugg" | 4:29 |
| 9. | "Angels of Ashes" | 4:18 |
| 10. | "Boychild" | 3:35 |
| 11. | "Montague Terrace (In Blue)" | 3:28 |
| 12. | "Always Coming Back to You" | 2:40 |

* "Such a Small Love", "Montague Terrace (in Blue)" and "Always Coming Back to You" are from *Scott* (1967).
* "Plastic Palace People", "Girls From the Streets" and "The Amorous Humphrey Plugg" are from *Scott 2* (1968).
* "Big Louise" and "It's Raining Today" are from *Scott 3* (1969).
* "Seventh Seal", "Angels of Ashes" and "Boychild" are from *Scott 4* (1969).
* "Little Things" is from *'Til the Band Comes In* (1970).

## Release details

| Country | Date | Label | Format | Catalog |
| --- | --- | --- | --- | --- |
| United Kingdom | 1981 | Zoo Records | Vinyl | Zoo Two |
|

## Charts

| Chart | Position |
| --- | --- |
| UK Independent Chart | 14 |
|

## Personnel

Adapted from the liner notes of *Fire Escape in the Sky*

* Julian Cope – compiler
* Martyn Atkins – typography

## InfoBox

| Fire Escape in the Sky: The Godlike Genius of Scott Walker | |
| --- | --- |
|  | |
| Compilation album by Scott Walker | |
| Released | 28 August 1981 |
| Recorded | 1967–1970 |
| Genre | Orchestral pop |
| Length | 47:58 |
| Label | Zoo Records |
| Producer | John Franz
with Peter Olliff (tracks 4, 5 and 8) |
| Scott Walker chronology | |
| *We Had It All*
(1974) ***Fire Escape in the Sky: The Godlike Genius of Scott Walker***
(1981) *Scott Walker Sings Jacques Brel*
(1981) | |


title: First Brazilian Workers' Congress

abstract: The First Brazilian Workers' Congress was a meeting of workers that took place between 15 and 22 April 1906 at the headquarters of Centro Galego, in Rio de Janeiro, then the Federal Capital of Brazil. The Congress was the first initiative in the sense of organizing the working class at a national level in Brazil, and was attended by 43 delegates representing 28 workers unions from different parts of the country, but mainly from the states of Rio de Janeiro and São Paulo. The congressional resolutions showed an evident influence of revolutionary syndicalism among the delegates present, who endorsed the political neutrality of the unions, federalism, direct action and the general strike. The Congress also laid the foundations for the agreement of the Brazilian Workers' Confederation, the first union institution of national scope, but which would only begin its activities in 1908.

text:
# First Brazilian Workers' Congress

The **First Brazilian Workers' Congress** was a meeting of workers that took place between 15 and 22 April 1906 at the headquarters of Centro Galego, in Rio de Janeiro, then the Federal Capital of Brazil. The Congress was the first initiative in the sense of organizing the working class at a national level in Brazil, and was attended by 43 delegates representing 28 workers unions from different parts of the country, but mainly from the states of Rio de Janeiro and São Paulo. The congressional resolutions showed an evident influence of revolutionary syndicalism among the delegates present, who endorsed the political neutrality of the unions, federalism, direct action and the general strike. The Congress also laid the foundations for the agreement of the Brazilian Workers' Confederation, the first union institution of national scope, but which would only begin its activities in 1908.

## Background

The period comprised by the First Brazilian Republic was marked by the consolidation of the working class in Brazil, started in the mid-nineteenth century from common experiences lived by enslaved and free workers. The abolition of slavery, in 1888, and the Proclamation of the Republic, in 1889, opened a horizon of expectations for the nascent working class, but the following years made clear the limitations of the republican regime, fostering new ideas and perspectives of organization and struggle. Thus, workers initially involved in the republican movement adhered to other political projects, such as anarchism and socialism. According to John W. F. Dulles, anarchists and socialists "advocated shoulder to shoulder in the main mission of persuading workers to join labor associations", but held divergent perspectives on workers' organization and struggle. The anarchists proposed a direct action unionism, rejecting the party organization and the participation of the working class in institutional politics, defending the strike as the main form of struggle and denying the intermediation of the State in the conflicts between capital and work. The socialists, in turn, supported an openly reformist perspective: they classified the strike as a form of struggle valid only in extreme cases and defended the consolidation of the gains obtained by the labor movement through the approval of laws. Unlike the anarchists, they did not refuse the authorities to mediate in labor conflicts and encouraged the participation of workers in institutional politics, supporting or presenting candidates for legislative elections.

The awareness of the limits of the republican order and the emergence of new ideologies in the working class added to the increase in strike agitation. According to historian Claudio Batalha, the early years of the 20th century brought together favorable conditions for the emergence of movements to demand the working class in Brazil: the expansion of the economy that began in 1903 created a more favorable conjuncture for obtaining gains and there was a growth of the workers and unions organization. Initially, most strikes were quite circumscribed, often limited to a single company or workshop. However, larger movements soon took place, involving entire sectors or even several different categories, such as the general strike of 1903 in Rio de Janeiro, initiated by textiles workers and which had the adhesion of thousands of workers from other branches. Despite the growth of strike movements, Dulles noted that the successes achieved before the 1908 economic recession "were hard to achieve", with a large number of unsuccessful strikes indicating "the need for better organization". Thus, workers' leaders spent the years 1904 and 1905 fighting for the formation of new class entities and "educating the workers in meetings". The 1903 general strike itself was harshly repressed and none of its demands were met, but it ended up laying the foundations for a unionism more based on direct action in Rio de Janeiro. A month after that strike, the Federation of Class Associations was founded, succeeded by the Brazilian Regional Workers Federation (FORB) in 1905. Also in 1905, the São Paulo Workers' Federation (FOSP) was founded in São Paulo, after a series of labor mobilizations that had already taken place since 1901. The increase in the number of workers' associations and federations ended up motivating an initiative to try to articulate the working class at the national level, culminating in the organization of the First Brazilian Workers' Congress. At the time, the division between reformists (socialists) and revolutionaries (anarchists) was also already consolidated, and since its convening the meeting was marked by the clash between these two conceptions.

## Call and organization

The idea of organizing a congress that would bring together union representatives from all over the country seems to have come from Antônio Pinto Machado, leader of the Workers' Union of Engenho de Dentro. A Union circular signed by him was published in the newspaper *Correio da Manhã* in December 1905, calling for a workers' congress. According to the circular, the congress should discuss "whether the worker should be a politician or not, and which policy to accept", and only the presence of socialists would be admitted, "revolutionary elements being prohibited". Considering that the call for the Union took the side of a specific political tendency, FORB began to organize its own congress, arguing that it would be necessary to hold a workers' meeting to deal with exclusively economic issues. In April 1906, a circular signed by Alfredo Vasques, secretary of the Federation, called on workers to attend the "1st Brazilian Regional Workers' Congress":

> Interpreting the famous maxim that the emancipation of workers will be the work of the workers themselves, this Federation decided to celebrate the "1st Brazilian Regional Workers' Congress", whose sessions will start on the 15th of this current \[month\], at 8 am, in the halls of the "Centro Galego" , at Rua da Constituição, 30 and 32.
>
> This Congress will discuss the means that the organized working class should adopt to achieve the improvements it so desperately needs, and which no one is more interested in achieving than the working class itself; because no one can do it for them.
>
> The workers who organized the current congress, convinced that only with the cooperation of the greatest number, through the efforts of those interested, can the resolutions taken therein be put into practice, invite the workers to participate, en masse, in its sessions, so that they are aware of the deliberations taken by the delegates who are all workers and, therefore, guided solely by the aspiration to free labor from the capitalist monopoly.
>
> Comrades, do not deny your solidarity! Attend the "1st Brazilian Regional Labor Congress".

Pinto Machado initially accused the Federation of imitating his initiative, but his call had few adhesions and he ended up accrediting the Union to participate in the congress organized by FORB.

## Delegates sent to the congress

The First Brazilian Workers' Congress took place between the 15 and 22 April 1906 at the headquarters of Centro Galego, in Rio de Janeiro, then Federal Capital of Brazil, and was attended by 43 delegates representing 28 associations from different parts of the country, but mainly from Rio de Janeiro and São Paulo. The organizations represented and their delegates were the following: Quarry Workers Union, Antônio da Silva Barão and Marcelino da Costa Ramos; Artistic Center of Ceará, Antônio Pinto Machado and Benjamin Prins; Union of Graphic Workers of São Paulo, Eduardo Vassimon and Augusto dos Santos Altro; Protective Center for Workers of Pernambuco, José Hermes de Olinda Costa; Association of Coal and Mineral Workers, Belisário Pereira de Sousa and Firmino Rodrigues Alonso; Marmorist Workers Center, José de Sousa Azevedo and João Arzua dos Santos; Union of Longshoremen, Manuel dos Santos Valença and Manuel Inácio de Araújo; Workers Union of Engenho de Dentro, Benjamin Moisés Prins and José Roberto Vieira de Melo; Railway Employees Center, Domingos Gomes Sobrinho and Francisco Camilo Soares; Hatters Union, José Arnaldo de Carvalho and Antônio Pires G. Sola; Couriers and Correlative Arts Union, Félix Alesandre Pinho and Auto Navarro Negreiros; Italian Workers' League, Pietro Bernarducci and Silvio Pazzagia; Workers' Federation of São Paulo, representing six unions, Fernanco Frejeiro, Manuel Domingues de Almeida, Giulio Sorelli, Edgard Leuenroth, Ulysses Martins, Caralampio Trillas, Carlos Dias, Manuel Moscoso, Fernando Bondad and José Sarmento; Tailor Artists League, Cândido Costa and Alfredo Vasques; Union of Carpenters and Correlative Arts, João Benvenuto and Manuel dos Passos do Nascimento Bahia; Union of Tobacco Handlers, Melchior Pereira Cardoso and Mariano Garcia; Association of Workers in Trapiche and Café, Francisco Guilherme Chaves and Anselmo Rosa; Botanical Garden Workers Center, Albino Moreira and Antônio Domingues; Labor Union of Ribeirão Preto, Manuel Ferreira Moreira and Arnaldo José Carvalho; Campinas Workers' League, Alfredo Vasques and Antônio Augusto do Amaral Chaves; Graphic Arts League, Luigi Magrassi and Mota Assunção; Union of Artists Shoemakers, Célio de Brito and Vitorino Pereira; Campos Workers Center, Damazio Gomes da Silva.

## Themes and resolutions

### Guidance

The first topic discussed by the Congress was the one that most polarized reformers and revolutionaries: "Should working-class society adhere to a party policy or maintain its neutrality? Should it exercise political action?" Discussions were dominated by FOSP delegates, who energetically fought the reformists' proposals. Anarchist Carlos Dias stated that the political struggle should not be accepted by the workers' movement, "because it is not in agreement with the working class in general. The workers' conquest \[...\] must be the worker's own. There can be no barrier between capital and labor. \[...\] No political struggle. No parliament. Only the economic issue". Pinto Machado, on the other hand, took a position in favor of the participation of workers in politics, stating that it "could provide great services to the class", citing the example of the União Operária do Engenho de Dentro, which achieved a reduction in working hours through negotiations involving the government — represented by deputy Ricardo de Albuquerque — and the board of the Central do Brasil Railway. After the debate, Edgard Leuenroth made the following motion, which was eventually passed:

> Considering that the working class is extremely divided by its political and religious opinions;
>
> That the only solid basis for agreement and action are the economic interests common to the entire working class, those of the clearest and most readily understood;
>
> That all workers, taught by experience and disillusioned with salvation coming from outside their will and action, recognize the unavoidable need for direct economic action of pressure and resistance, without which, even for the most legalists, there is no law that is valid;
>
> The Workers' Congress advises the proletariat to organize itself into societies of economic resistance, an essential grouping, and, without abandoning the defense of the rudimentary political rights needed by economic organizations through direct action, to put outside the union the special political struggle of a party and the rivalries that would result from the adoption, by the resistance association, of a political or religious doctrine, or an electoral program.

According to historian Tiago Bernardon de Oliveira, this resolution was a victory for the anarchists, "insofar as it attacked the pretensions of influential militant reformists in the Brazilian labor movement". The defense of the political and religious neutrality of the unions appeared to anarchists as "an adequate tactical solution to prevent their instrumentalization by opponents", which allowed the action and participation of libertarian militants in the associative life of workers, contributing to making the unions "revolutionary means".

In the discussion on how Workers' Day, on 1 May, should be celebrated, the delegates present stated that it should be a day of mourning, not a day of celebration. The resolution passed by the Congress recalled the historical origins of the date, "which was born from the demand, by direct action, of eight hours of work in North America and the sacrifice of the innocent victims from Chicago", condemning "indignantly the antics made on the 1st of May with the concurrence and complacency of the gentlemen" and urging the working class "to restore to the 1st of May the character it deserves, of serene, but fearless protest, and of energetic demand for offended or ignored rights". The resolution also recommended "strongly workers' organizations to propagate claims to assert the 1st of May" and welcomed the French labor movement, considered a "model of activity and initiative for workers in Brazil". By mentioning the martyrs of Chicago and the working class of France, the workers gathered in Congress revealed that they felt part of an international trade union movement.

### Organization

When discussing the model to be adopted by the workers' organization, the first question posed was whether the unions should have resistance as their sole purpose or whether they should jointly accept unemployment, illness or mutual aid allowances. Mutualism was generally opposed, but found supporters among the reformist delegates. João Benvenuto considered it "reasonable to have a charity fund, for first aid"; Cândido Costa understood that it was "more plausible to benefit one's comrades than to resort to the bourgeoisie, who exploit everything", but that resistance societies should be "mutual and against capital"; Pinto Machado declared himself against subsidies, but proposed that "a more expedited means of providing emergency services to the unfortunate who, driven by overwork or something similar, found themselves in the impotence of the struggle for life" be discussed. The anarchists Eduardo Vassimon and Luigi Magrassi argued that charitable works should be excluded from the unions, above all "for attacking the effects instead of attacking the cause", generating expenses in "large sums of aid to the sick and victims of disaster" but without trying to "improve the hygienic conditions of the workshops and oblige the bosses to help their workers, who generally contract diseases and become useless at work". The Congress decided that "resistance to employers is the essential action, and that, without it, any work of charity, mutualism, or cooperativism would be entirely the responsibility of the working class, making it easier even for the boss to impose his conditions", also stating that "These secondary works, although bringing to the union a large number of adherents, almost always without initiative and without a spirit of resistance, often serve to embarrass the action of society that completely lacks the purpose for which it was constituted - resistance", recommending that workers' associations should have resistance as their sole purpose.

In deciding whether unions should be organized by profession, industries, or varied professions, the Congress took into account the diverse conditions of the working class and industry and advised:

> The union covering all professions, in large industries or companies – when these are directly linked together under the same administration;
>
> The trade union, in isolated and independent professions;
>
> The industry union, when several professions are closely linked or annexed in the same industry;
>
> The union of various professions, only as a last resort and with the aim of facilitating and provoking the formation of other resistance associations.

Without further controversy, the delegates present expressed their preference for federalism, the "only method of organization compatible with the irrepressible spirit of freedom and with the imperious needs of action and workers' education", guaranteeing "the widest autonomy of the individual in the union, of the union in the federation and of the federation in the confederation" and admitting only "simple delegations of function without authority". Thus, the Congress decided that the unions should replace the directors with administrative committees and avoid the existence of paid employees, "except in cases where the large accumulation of service requires that a worker be entirely devoted to it, and should not, however, receive a salary higher than the normal salary for the profession to which he belongs". Considering that "workers' issues can only be frankly resolved by the interested parties themselves, free from the influence of alien interests and the suggestions of strangers", the delegates also decided that employers, foremen and non-workers could not participate in the unions.

### Workers' action

When discussing what would be the means of struggle that the working class should adopt, the Congress witnessed new clashes between revolutionaries and reformists. The anarchists evoked constant references to the French labor movement, emphatically defending the use of strikes and direct action. Vassimon recommended the adoption of the "partial strike, which demonstrates good results, citing \[...\] the Lièges strike" and the "general strike, if conditions require", although he recognized that repression became more justified in these cases, he recognized that the strike, boycott and sabotage were "the consequence of the struggle, provoked by the bosses". In the same vein, Manuel Moscoso stated that the working class should employ "the partial strike, which, depending on the leadership of the struggle and the needs of the moment, could become general; the boycott, which consists in the workers and the general public do not buy products from the bosses against whom the workers are fighting; sabotage, which consists in destroying the work tools of the bosses who do not accede to the workers' petitions". Reformists took more cautious positions. Pinto Machado stated that the strike was "a double-edged sword", recognizing that "in the last cases, it is the only thing that the worker has in his favor", but he also saw it as potentially harmful, insofar as it could bring unhappiness to workers' homes. The resolution passed was in line with the anarchist positions, arguing that "the economically organized proletariat independent of political parties" could only "make use of the means of action that are its own" and advising "a general or partial strike, boycott, sabotage, public demonstrations, etc." As means of union action propaganda and organization, the Congress recommended the "newspaper, pamphlets, posters, manifestos, stamps, conferences, propaganda tours, theatrical performances and the creation of libraries".

The fight for salary raises was passed over in favor of reducing the working day, on the grounds that "the reduction of hours \[...\] influences the need for well-being, increasing consumption and hence production". Delegates argued that by "reducing daily work, unemployment will decrease and wages will tend to rise", stating that "the salary increase is yet another consequence, an effect of the reduction of working hours, less unemployment and better be relative rather than a cause of them". The struggle to reduce working hours was reiterated in another resolution of the Congress, which recommended organizations "to undertake an active propaganda in favor of eight hours, without reducing wages, following the salutary example of the proletariat of other countries, today in agitation ". The same resolution also urged "the proletariat to propagandize and protest against war, as well as militarism and against the intervention of the armed forces in disputes between workers and employers; as well as to send, in accordance with the method followed by the French comrades, the greater efforts so that the working class of Brazil, on 1 May 1907, impose eight hours of work".

Congress also recommended that workers not be subject to fines; in the event of restrictions on assembly rights, it advised the working class to put in place "the most effective means" to force the government "to respect these rights, acting, in extreme cases, even with the greatest violence"; it maintained that the unions should maintain secular schools, since "official education is intended to instill in students ideas and feelings aimed at strengthening bourgeois institutions" and "contrary to the aspirations of workers' emancipation"; that in the case of accidents at work, the union should arbitrate compensation and force the employer to pay, "forcing him to do so by direct action"; that workers should demand weekly payment and that in the event of company bankruptcy, they should "use all means, including the courts"; that unions should undertake a "strong campaign against alcoholism", considered "one of the most ingrained vices within the working classes, and which has been an obstacle to their organization"; that it was necessary to organize working women, making them "companions in the struggle"; advised workers not to send their children to workshops or factories; stated that workers should fight to stop rents from rising and reject piecework, "which is always detrimental to the general interests of all workers".

### Accessory or supplementary issues

The delegates present also approved specific resolutions on the situation of rural workers and settlers, miners and civil servants, as well as a resolution on industry federations and another on the use of honorary titles and distinctions within workers' associations. Regarding rural workers and settlers, the Congress stated that urban workers should promote propaganda and make "every effort to organize farm workers into a resistance union, promoting among them the widest emancipatory propaganda", also initiating an "active campaign against the arrogance of which the settlers are victims". Regarding the miners, a resolution was approved recognizing the "sad misery in which the Morro Velho miners find themselves, whose association, Junta Auxiliar dos Operários, is not based on resistance", so that the delegates present recommended the organization of these workers in a union. Regarding civil servants, it was stated "that the law that establishes the maximum working hours of eight hours a day for workers dependent on the State is only partially complied with", recommending that State workers proceed in accordance with the other resolutions adopted by the Congress. The delegates present also considered necessary "the immediate organization of a maritime federation among seafarers" and a federation of civil construction workers, and advised the workers' organizations "not to allow any sort of honorary distinction within their midst, seeking to make evident and practical its ideal of social equality".

### Basis of agreement for the Brazilian Workers' Confederation

The Congress also laid the foundations for the Brazilian Workers' Confederation (COB), a national union institution that should promote "the union of wage workers to defend their moral and material, economic and professional interests"; to strengthen "the bonds of solidarity between the organized proletariat, giving strength and cohesion to their efforts and demands"; to study and propagate "the means of emancipation of the proletariat and to defend in public the economic demands of the workers" and to gather and publish "statistical data and accurate information on the labor movement and working conditions throughout the country". In line with the resolutions passed in Congress, the COB would adopt a federalist organizational model and would be formed by national industry or craft federations, local or state unions of unions and isolated unions in places where there were no local, state, industry or craft federations. Each adhering organization would have "one delegate for each union in the Confederal Commission". Only unions "exclusively formed by wage workers and whose main basis is resistance" could be part of the Confederation, which would not belong "to any political school or religious doctrine". COB would also be responsible for publishing the newspaper *A Voz do Trabalhador* and its Confederal Commission would be in charge of organizing future congresses. Although the creation of the COB was decided in Congress, it was effectively structured only in 1908.

### Citations

### Bibliography

* Batalha, Claudio (2000). *O movimento operário na Primeira República* (in Portuguese). Rio de Janeiro: Jorge Zahar. ISBN 8571105413. OCLC 45084973.
* Dulles, John W. F. (1980) \[1973\]. *Anarquistas e Comunistas no Brasil, 1900-1935* (in Portuguese) (2nd ed.). Rio de Janeiro: Nova Fronteira. OCLC 760667226.
* Gomes, Angela de Castro (2005). *A Invenção do Trabalhismo* (in Portuguese) (3rd ed.). Rio de Janeiro: FGV Editora. ISBN 852250508X. OCLC 60706120.
* Knevitz, Maurício Moroso (2020). "O movimento operário entre a reforma e a revolução: Debates no Primeiro Congresso Operário Brasileiro (1906)". *Ars Historica* (in Portuguese). **19** (2): 86–106. ISSN 2178-244X. OCLC 1340858060.
* Oliveira, Tiago Bernardon (2010). "A neutralidade política no sindicalismo anarquista brasileiro (1906-1913)". In Queirós, César Augusto Bulboz; Aravanis, Evangelia (eds.). *Cultura operária: trabalho e resistências* (in Portuguese). Brasília: Ex Libris. ISBN 8590287661. OCLC 782983875.
* Pinheiro, Paulo Sérgio (1979). *A Classe Operária no Brasil* (in Portuguese). São Paulo: Alfa Omega. OCLC 1123342268.
* Rodrigues, Edgar (1979). *Alvorada Operária* (in Portuguese). Rio de Janeiro: Mundo Livre. OCLC 5680590.
* Toledo, Edilene (2015). "Primeiro Congresso Operário Brasileiro" (PDF). *FGV Brasília*. Dicionário histórico-biográfico da Primeira República (1889-1930) (in Portuguese). CPDOC. Retrieved 30 July 2021.

## InfoBox

First Brazilian Workers' Congress
| Delegates gathered during one of the Congress sessions | |
| --- | --- |
| Native name | Primeiro Congresso Operário Brasileiro |
| Date | 15–22 April 1906 (1906-04-15 1906-04-22) |
| Venue | Centro Galego Headquarters |
| Location | Federal Capital, Brazil |
| Type | Congress |
| Motive | Syndicalism |
| Participants | Brazilian trade unions |
| Outcome | Foundation of the Brazilian Workers' Confederation |


abstract: First Methodist Episcopal Church of McKeesport, known since 1968 as the First United Methodist Church, is a historic church in McKeesport, Allegheny County, Pennsylvania. The Late Gothic Revival style church has been in use for religious services and community events since its dedication. It was added to the National Register of Historic Places in 2014.

text:
# First Methodist Episcopal Church of McKeesport

**First Methodist Episcopal Church of McKeesport**, known since 1968 as the First United Methodist Church, is a historic church in McKeesport, Allegheny County, Pennsylvania. The Late Gothic Revival style church has been in use for religious services and community events since its dedication. It was added to the National Register of Historic Places in 2014.

## History

The First Methodist Episcopal Church grew from circuit riding preachers in the Ohio valley area in 1787. Methodists met in a combined church built in 1819, with Presbyterians and Baptists, in the area that became Mckeesport. The First Methodist Episcopal Church congregation was incorporated in 1841. Growth had moved the congregation to a third church by 1876.

That church, at the corner of Walnut Street and Penny Avenue was destroyed by fire on July 11, 1924. Planning for a new building began soon after. Land was purchased along Fourteenth Avenue, now Cornell Street. Ground breaking was on Sunday, June 14, 1925, the completed church was dedicated on Sunday, November 21, 1926.

## Architecture

The church is built in three main sections, a Nave, a Chapel, and the Community building. The northern section, the Nave, with its north and south transepts form a cross when viewed from overhead. A bell tower is situated at the center of that cross.

The sandstone building is built on a steel-reinforced concrete foundation. No major changes have been made to the building since its construction.

## InfoBox

|  | |
| --- | --- |
| First Methodist Episcopal Church of McKeesport | |
| U.S. National Register of Historic Places | |
| Pittsburgh Landmark – PHLF | |
|  | |
| The church in November 2014, now named First United Methodist Church | |
|  | |
| Location | 1406 Cornell Street, McKeesport, Pennsylvania |
| Coordinates | 40°20′47″N 79°51′30″W / 40.34639°N 79.85833°W / 40.34639; -79.85833 |
| Area | 2 acres (0.81 ha) |
| Built | 1926 |
| Built by | Edward Wehr |
| Architect | Charles Webber Bolton |
| Architectural style | Late Gothic Revival |
| NRHP reference No. | 14000814 |
| Significant dates | |
| Added to NRHP | September 30, 2014 |
| Designated PHLF | 2012 |


title: Finstadbru

abstract: Finstadbru is a village in Aurskog-Høland, Akershus, Norway.

text:
# Finstadbru

**Finstadbru** is a village in Aurskog-Høland, Akershus, Norway.

## InfoBox

| Finstadbru | |
| --- | --- |
| Village | |
| FinstadbruLocation in Akershus | |
| Coordinates: 59°57′N 11°26′E / 59.950°N 11.433°E / 59.950; 11.433 | |
| Country | Norway |
| Region | Østlandet |
| County | Akershus |
| Municipality | Aurskog-Høland |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |


title: Fiske, Saskatchewan

abstract: Fiske is a hamlet in Pleasant Valley Rural Municipality No. 288, Saskatchewan, Canada. Listed as a designated place by Statistics Canada, the hamlet had a population of 65 in the Canada 2016 Census. Fiske is located approximately 53.7 kilometres (33.4 mi) east of Kindersley and 30.6 kilometres (19.0 mi) west of Rosetown on Highway 7.

text:
# Fiske, Saskatchewan

**Fiske** is a hamlet in Pleasant Valley Rural Municipality No. 288, Saskatchewan, Canada. Listed as a designated place by Statistics Canada, the hamlet had a population of 65 in the Canada 2016 Census. Fiske is located approximately 53.7 kilometres (33.4 mi) east of Kindersley and 30.6 kilometres (19.0 mi) west of Rosetown on Highway 7.

## Demographics

In the 2021 Census of Population conducted by Statistics Canada, Fiske had a population of 74 living in 30 of its 36 total private dwellings, a change of 13.8% from its 2016 population of 65. With a land area of 0.54 km2 (0.21 sq mi), it had a population density of 137.0/km2 (354.9/sq mi) in 2021.

Canada census – Fiske, Saskatchewan community profile

|  | 2016 |
| --- | --- |
| Population | 65 (- 40.9% from 2011) |
| Land area | 0.51 km2 (0.20 sq mi) |
| Population density | 128.5/km2 (333/sq mi) |
| Median age | 40.7 (M: 40.4, F: 41.5) |
| Private dwellings | 39 (total) |
| Median household income | $N/A |

References: 2016 earlier

## Economy

Grain farming, ranching, and trades are the main sectors in which Fiskinites are employed. Oil and gas is another source of income that has recently opened up in the area. Fiske hosts an ice arena, community hall, and a few home businesses. Many residents travel to nearby Rosetown 30.6 kilometres (19.0 mi) east of Fiske, for all other services.

51°29′11″N 108°24′15″W / 51.48639°N 108.40417°W / 51.48639; -108.40417

## InfoBox

| Fiske | |
| --- | --- |
| Organized Hamlet | |
| Former Saskatchewan Wheat Pool grain elevator in Fiske. | |
| Fiske | |
| Coordinates: 51°29′11″N 108°24′15″W / 51.48639°N 108.40417°W / 51.48639; -108.40417 | |
| Country | Canada |
| Province | Saskatchewan |
| Region | West Central Saskatchewan |
| Census division | 12 |
| Rural Municipality | Pleasant Valley |
| Government | |
| Governing body | Fiske Council |
| Population (2016) | |
| Total | 65 |
| Density | 128.5/km2 (333/sq mi) |
| Time zone | CST |
| Area code | 306 |
| Highways | Highway 7 & Highway 656 |
| Railways | Canadian National Railway |
|  | |


title: Fiske Brown

abstract: John Fiske Brown was an American athlete who participated in American football, wrestling and track and field. He was a competitor in all three sports at Harvard University and a consensus All-American in football. Brown was raised in Plymouth, Massachusetts, and attended preparatory school at Andover where he was a member of the football, wrestling and track teams. As a guard for the Harvard Crimson football team, Browne was a consensus first-team selection for the 1921 College Football All-America Team. He was also captain of Harvard's wrestling team and a competitor in the heavyweight class. He was also the captain of the track and field team and a competitor in the shot put and hammer throw events. He set a record in the hammer throw for international meets between Yale, Harvard, Oxford and Cambridge with a distance of 159 feet, 4-3/4 inches.

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# Fiske Brown

**John Fiske Brown** (June 13, 1901 – May 30, 1978) was an American athlete who participated in American football, wrestling and track and field. He was a competitor in all three sports at Harvard University and a consensus All-American in football.

Brown was raised in Plymouth, Massachusetts, and attended preparatory school at Andover where he was a member of the football, wrestling and track teams.

As a guard for the Harvard Crimson football team, Browne was a consensus first-team selection for the 1921 College Football All-America Team. He was also captain of Harvard's wrestling team and a competitor in the heavyweight class. He was also the captain of the track and field team and a competitor in the shot put and hammer throw events. He set a record in the hammer throw for international meets between Yale, Harvard, Oxford and Cambridge with a distance of 159 feet, 4-3/4 inches.

## InfoBox

Fiske Brown
| Date of birth | (1901-06-13)June 13, 1901 |
| --- | --- |
| Place of birth | Plymouth, Massachusetts, U.S. |
| Date of death | May 30, 1978(1978-05-30) (aged 76) |
| Place of death | Brockton, Massachusetts, U.S. |
| Career information | |
| Position(s) | Guard |
| US college | Harvard College |
| Career history | |
| As player | |
| 1920–1921 | Harvard |
|  | |
| Career highlights and awards | |
|  | |


title: Part-Time Work Convention, 1994

abstract:
Part-Time Work Convention, 1994 is an International Labour Organization Convention for protection of part-time workers including the rights to equal pay for equal work. It was established in 1994, with the preamble stating:
Recognizing the importance of productive and freely chosen employment for all workers, the economic importance of part-time work, the need for employment policies to take into account the role of part-time work in facilitating additional employment opportunities, and the need to ensure protection for part-time workers in the areas of access to employment, working conditions and social security, and Having decided upon the adoption of certain proposals with regard to part-time work,...

text:
# Part-Time Work Convention, 1994

**Part-Time Work Convention, 1994** is an International Labour Organization Convention for protection of part-time workers including the rights to equal pay for equal work.

It was established in 1994, with the preamble stating:

> Recognizing the importance of productive and freely chosen employment for all workers, the economic importance of part-time work, the need for employment policies to take into account the role of part-time work in facilitating additional employment opportunities, and the need to ensure protection for part-time workers in the areas of access to employment, working conditions and social security, and

> Having decided upon the adoption of certain proposals with regard to part-time work,...

## Ratifications

As of February 2023, the convention has been ratified by 20 states.

| Country | Date | Status |
| --- | --- | --- |
| Albania | 03 Mar 2003 | In Force |
| Australia | 10 Aug 2011 | In Force |
| Belgium | 08 Jun 2016 | In Force |
| Bosnia and Herzegovina | 18 Jan 2010 | In Force |
| Cyprus | 28 Feb 1997 | In Force |
| Finland | 25 May 1999 | In Force |
| Guatemala | 28 Feb 2017 | In Force |
| Guyana | 03 Sep 1997 | In Force |
| Hungary | 09 Apr 2010 | In Force |
| Italy | 13 Apr 2000 | In Force |
| Kazakhstan | 25 May 2022 | Will enter into force on 25 May 2023 |
| Luxembourg | 21 Mar 2001 | In Force |
| Mauritius | 14 Jun 1996 | In Force |
| Netherlands | 05 Feb 2001 | In Force |
| Paraguay | 29 Nov 2021 | In Force |
| Portugal | 02 Jun 2006 | In Force |
| Russian Federation | 29 Apr 2016 | In Force |
| Slovenia | 8 May 2001 | In Force |
| Sudan | 04 Oct 2019 | In Force |
| Sweden | 10 Jun 2002 | In Force |
|

## InfoBox

Part-Time Work Convention, 1994
| C175 | |
| --- | --- |
| ILO Convention | |
| Date of adoption | June 24, 1994 |
| Date in force | February 28, 1998 |
| Classification | Arrangement of Working Time |
| Subject | Part-time Working |
| Previous | Prevention of Major Industrial Accidents Convention, 1993 |
| Next | Safety and Health in Mines Convention, 1995 |


title: 1942–43 Ranji Trophy

abstract: The 1942–43 Ranji Trophy was the ninth season of the Ranji Trophy. Baroda won their first title defeating Hyderabad in the final. Only 13 teams took part, the lowest in the history of the Ranji Trophy. Teams like Bombay and Madras skipped the competition.

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# 1942–43 Ranji Trophy

The **1942–43 Ranji Trophy** was the ninth season of the Ranji Trophy. Baroda won their first title defeating Hyderabad in the final. Only 13 teams took part, the lowest in the history of the Ranji Trophy. Teams like Bombay and Madras skipped the competition.

## Highlights

* Alimuddin who made his debut for Rajputana in the semifinal against Baroda was officially only 12 years and 43 days old. This makes him one of the youngest first-class cricketers.
* Vijay Hazare took his 100th Ranji wicket in the final. He had already completed 1000 runs in the 1939–40 final.

## Zonal Matches

### North Zone

### West Zone

### East Zone

### South Zone

## Inter-Zonal Knockout Matches

## Final

* Baroda won the toss and elected to bat

## Scorecards and averages

## InfoBox

1942–43 Ranji Trophy
| The Ranji Trophy | |
| --- | --- |
| Administrator(s) | BCCI |
| Cricket format | First-class |
| Tournament format(s) | Knockout |
| Champions | Baroda (1st title) |
| Participants | 13 |
| Matches | 12 |
| Most runs | Vijay Hazare (Baroda) (398) |
| Most wickets | C. S. Nayudu (Baroda) (40) |
|


title: Naviair

abstract: Naviair is a state-owned company in Denmark under the Ministry of Transport that provides air traffic service, including area control service for the Danish airspace and approach control for airports in Copenhagen, Roskilde, Aalborg, Billund, Esbjerg, and Ronne. It provides flight information service in the lower airspace of Greenland and the Faroe Islands. It provides flight information service for visual flight rules and for helicopters. Naviair was created on 1 January 2001 through a split of the Danish Civil Aviation Administration into a regulator (SLV) and an ANS provider (Naviair). The chief executive officer was Carsten Fich from May 2018 until July 2022. Currently, the CEO is Anders Rex.

text:
# Naviair

**Naviair** (Navigation Via Air) is a state-owned company in Denmark under the Ministry of Transport that provides air traffic service, including area control service for the Danish airspace and approach control for airports in Copenhagen, Roskilde, Aalborg, Billund, Esbjerg, and Ronne. It provides flight information service in the lower airspace of Greenland and the Faroe Islands. It provides flight information service for visual flight rules and for helicopters.

Naviair was created on 1 January 2001 through a split of the Danish Civil Aviation Administration (Statens Luftfartsvæsen) into a regulator (SLV) and an ANS provider (Naviair).

The chief executive officer was Carsten Fich from May 2018 until July 2022. Currently, the CEO is Anders Rex.

## Referencens

## InfoBox

NAVIAIR
|
|  |
| Company type | State owned |
| Industry | Air Navigation Service Provider |
| Founded | 2001 |
| Headquarters | Copenhagen, Denmark |
| Area served | Denmark
Faroe Islands
Greenland |
| Key people | Mads Kvist Eriksen (CEO) |
| Parent | Danish Ministry of Transport |
| Website | www.naviair.dk |