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operatic soprano Montserrat Caballé

Maria de Montserrat Viviana Concepción Caballé i Folch (Catalan: [munsəˈrat kəβəˈʎe]; 12 April 1933 – 6 October 2018), was a Spanish operatic soprano. She sang a wide variety of roles, but is best known as an exponent of the works of Verdi and of the bel canto repertoire, notably the works of Rossini, Bellini, and Donizetti. She was noticed internationally when she stepped in for a performance of Donizetti's Lucrezia Borgia at Carnegie Hall in 1965, and then appeared at leading opera houses. Her voice was described as pure but powerful, with superb control of vocal shadings and exquisite pianissimo.

Caballé became popular to non-classical music audiences in 1987, when she recorded, at the request of the IOC, "Barcelona", a duet with Freddie Mercury, which became an official theme song for the 1992 Olympic Games. She received several international awards, and also Grammy Awards for several of her recordings.

Caballé was born in Barcelona on 12 April 1933.[1] Her family was of humble financial circumstances.[1] She studied music at the Liceu Conservatory, and singing technique with Napoleone Annovazzi, Eugenia Kemény and Conchita Badía. She graduated with a gold medal in 1954. She subsequently moved to Basel, Switzerland, where she made her professional debut in 1956 as Mimì in Puccini's La bohème. She became part of the Basel Opera company between 1957 and 1959, singing a repertoire that included Mozart (Erste Dame in Die Zauberflöte) and Strauss (Salome) in German, unusual for Spanish singers, but which proved useful for her next engagement at the Bremen Opera (1959–1962). In 1961, she starred as Iphigénie, in Gluck's Iphigénie en Tauride, at the National Theatre of S. Carlos, in Lisbon, alongside Raymond Wolansky (de), Jean Cox, Paul Schöffler and others.[2]

In 1962, Caballé returned to Barcelona and debuted at the Liceu, singing the title role in Strauss's Arabella. From the fall of 1962 through the spring of 1963 she toured Mexico, at one point singing the title role in Massenet's Manon at the Palacio de Bellas Artes. This was followed by several more successful appearances at the Liceu in 1963.[3]

Caballé's international breakthrough came in 1965 when she replaced an indisposed Marilyn Horne in a semi-staged performance of Donizetti's Lucrezia Borgia at New York's Carnegie Hall, which earned her a 25-minute standing ovation. While this was her first engagement in a bel canto opera and she had to learn the role in less than one month, her performance made her famous throughout the opera world. Later that year, Caballé made her debut at the Glyndebourne Festival singing
her first Marschallin in Richard Strauss' Der Rosenkavalier and portraying the role of Countess Almaviva in Mozart's Le nozze di Figaro.[3]
In December 1965, she returned to Carnegie Hall for her second bel canto opera, singing the role of Queen Elizabeth I in Donizetti's recently rediscovered Roberto Devereux. Caballé closed out the year with her Metropolitan Opera debut on 22 December 1965, appearing as Marguerite in Gounod's Faust alongside John Alexander in the title role, Justino Díaz as Méphistophélès, and Sherrill Milnes as Valentin in his debut at the Met.[4]

In 1966, Caballé made her first appearance with the Philadelphia Lyric Opera Company as Maddalena di Coigny in Giordano's Andrea Chénier[5] and her Italian debut at the Maggio Musicale Fiorentino as Leonora in Verdi's Il trovatore, followed by Bellini's Il pirata in 1967. She returned to Philadelphia in 1967 to sing the title roles in Puccini's Tosca and Madama Butterfly,[5] and to the Met to sing three Verdi heroines: Leonora alongside Richard Tucker as Manrico, Desdemona in Otello with James McCracken in the title role, and Violetta in La traviata, with Tucker and George Shirley alternating as Alfredo.[4] The last role in particular garnered her further acclaim among American critics and audiences.[3] She returned to the Met the following year in the title role in Verdi's Luisa Miller, and in 1969 for the role of Liù in Puccini's Turandot, with Birgit Nilsson in the title role and James King as Calàf.[4] She also returned to Philadelphia as Imogene in Bellini's Il pirata (1968) and Lucrezia Borgia (1969).[5]

In 1969, Caballé appeared at the Arena di Verona in a Jean Vilar production of Verdi's Don Carlo. She was Elisabetta of Valois in an all-star cast including Plácido Domingo and Piero Cappuccilli. Her high B on the final "ciel" at the end of the opera lasted more than 20 bars up to the final chord from the orchestra. In these performances she had to act on crutches because of an accident earlier that year in New York City. In the same period she also appeared in recital at the Teatro Corallo in Verona. In 1970, Caballé made her official debut at La Scala in the title role of Lucrezia Borgia. She appeared as Leonora in Philadelphia,[5] and returned to the Met as Amelia in a critically acclaimed production of Verdi's Un ballo in maschera with Domingo as Riccardo, and Reri Grist as Oscar.[4]

In 1972, she made her first appearances at Covent Garden and the Lyric Opera of Chicago, both in the role of Violetta.[3] That same year she returned to the Met as Elisabetta in Don Carlo with Franco Corelli in the title role, and sang the title role of Bellini's Norma in Philadelphia.[5] In 1973 she returned to Chicago to perform the title role in Donizetti's Maria Stuarda with Viorica Cortez, appeared as Violetta in Philadelphia.[5] She performed at the Met as Bellini's Norma, opposite Carlo Cossutta in his Met debut as Pollione and Fiorenza Cossotto as Adalgisa.[4]
[Image: 220px-Montserrat_Caball%C3%A9_1975.jpg]
Caballé in 1975

In 1974, Caballé appeared in the title role of Verdi's Aida at the Liceu in January, in Verdi's I vespri siciliani at the Met in March,[4] in Parisina d'Este at Carnegie Hall also in March. She appeared as Norma at the Bolshoi Theatre in Moscow, in in Adriana Lecouvreur at La Scala in April. She was filmed as Norma in Orange in July, by Pierre Jourdain). She recorded Aida with Riccardo Muti in July, and made a recording of duets with Giuseppe Di Stefano in August. In September 1974, she underwent major surgery to remove a large benign mass from her abdomen. She recovered and was performing again on stage by early 1975. In 1976 Caballé appeared at the Met once again as Norma, sang her first Aida in that house, alongside Robert Nagy as Radamès and Marilyn Horne as Amneris. She appeared in the title role of Ariadne auf Naxos by Richard Strauss, and sang Mimì in Puccini's La bohème alongside Luciano Pavarotti as Rodolfo.[4]

In 1977 Caballé made her debut with the San Francisco Opera in the title role of Puccini's Turandot. She returned to that house ten more times over the next decade in such roles as Elvira in Verdi's Ernani and the title roles in Ponchielli's La Gioconda, Rossini's Semiramide, and Puccini's Tosca, among others.[6]

Having lost some of her earlier brilliance and purity of voice, Caballé offered more dramatic expressive singing in roles that demanded it. In 1978, she was Tosca in San Francisco with Pavarotti, Norma in Madrid, and Adriana Lecouvreur at the Met opposite Carreras. She continued to appear often at the Met during the 1980s, in roles such as Tosca (1980, 1985) and Elisabetta (1985), also sann concerts in 1981 and 1983. Her final performance at the Met was on 10 October 1985 Tosca with Pavarotti as Cavaradossi and Cornell MacNeil as Scarpia.[4]

Her voice was noted for its purity, precise control, and power. She was admired less for her dramatic instincts and acting skills than for her superb technique, vocal shadings, and exquisite pianissimos, which were inspired by Miguel Fleta.[7][8][9][10][11]

in Bellini's Norma, Caballé recorded both the title role (for RCA Red Seal in 1972, with Domingo as Pollione) and later the role of Adalgisa, to Joan Sutherland's Norma in a 1984 Decca recording conducted by Richard Bonynge. Although Bellini conceived the role of Adalgisa originally for a soprano, it is usually now sung by a mezzo-soprano. Caballé was one of few sopranos to have recorded the role, although she was over 50 years old at the time of the recording in 1984.[12]
[Image: 170px-Montserrat_Caball%C3%A9.jpg]
As Rossini's Semiramide at the 1980 Aix-en-Provence Festival

In 1987, Caballé made a rare excursion into the world of pop music when she released a duet with Freddie Mercury, the lead singer of the rock band Queen, which was titled "Barcelona".[13] The song was inspired by Caballé's home city and later used as one of the two official theme songs for the 1992 Olympic Games.[13] Mercury was a great admirer of Caballé, considering her voice to be "the best in the world".[14] The single was followed by an album of the same name which was released the following year and featured further collaborations between the two performers. The title track later became the anthem of the 1992 Summer Olympics which was hosted by Caballé's native city, and appeared again in the pop music charts throughout Europe. Caballé also performed the song live, accompanied by a recording by Mercury, who had died in 1991, before the 1999 UEFA Champions League football final in Barcelona's Camp Nou stadium.[15][16]

In 1994, writing for The Independent, Fiammetta Rocco said: "Caballe is one of the last of the true divas. Callas is dead, Kiri Te Kanawa is busy making commercials for Sainsbury's, and Mirella Freni has never really risen out of the narrow confines of being an opera lover's opera-singer. Caballe, on the other hand, has always had an enormous following, and it's still with her today."[17]

In 1995 she worked with Vangelis for his album El Greco, dedicated to the Greek painter. In 1997, Mike Moran produced the album Friends For Life, which includes duets with Caballé and such singers as Bruce Dickinson, Johnny Hallyday, Johnny Logan, Gino Vannelli, and Helmut Lotti.[18]

Caballé dedicated herself to various charities. She was a UNESCO Goodwill Ambassador and established a foundation for needy children in Barcelona. In 2003, she starred in her own documentary film Caballé: Beyond Music, which featured many well-known opera singers, including Domingo, Pavarotti, Carreras, and Renée Fleming.[19]

In 2002, she appeared as Catherine of Aragon in Henri VIII by Saint-Saëns, and in 2004 in the title role of Massenet's Cléopâtre, both at the Liceu. She appeared as The Duchess of Crakenthorp in Donizetti's La fille du régiment at the Vienna State Opera in April 2007.[20]
In 2003, Patrick O'Connor wrote in Gramophone that

Quote:no diva in memory has sung such an all-encompassing amount of the soprano repertory, progressing through virtually the entire range of Italian light lyric, Lirico-spinto and dramatic roles, including all the pinnacles of the bel canto, Verdi and verismo repertories, whilst simultaneously being a remarkable interpreter of Salome, Sieglinde and Isolde.[21]

On 6 June 2013, Caballé was declared persona non grata in Azerbaijan after visiting, despite official warnings issued by the Azerbaijani
embassy in Spain, the de facto independent state Nagorno-Karabakh and meeting with local leaders.[22]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

actor Scott Wilson

Scott Wilson (born William Delano Wilson; March 29, 1942 – October 6, 2018) was an American actor. He had more than 50 film credits, including In the Heat of the Night, In Cold Blood, The Great Gatsby, Dead Man Walking, Pearl Harbor, and Junebug.[2] In 1980, Wilson received a Golden Globe nomination for Best Supporting Actor – Motion Picture for his role in The Ninth Configuration.[3][4] He played veterinarian Hershel Greene on the AMC television series The Walking Dead from 2011 to 2014.[5] In addition, he also had a recurring role on CSI: Crime Scene Investigation as casino mogul Sam Braun, as well as a lead role on the Netflix series The OA as Abel Johnson.[6]

On October 6, 2018, Wilson died from complications of leukemia.[7]

Wilson was born in the small Southern town of Thomasville, Georgia. He made his screen debut portraying characters suspected of murder in his first three films. In his debut film, Wilson played a murder suspect in In the Heat of the Night (1967).[3] His follow-up role, in the same year, was In Cold Blood, based on the book of the same name by Truman Capote.[4] Wilson portrayed real-life murderer Richard Hickock, while Robert Blake played his partner, Perry Smith.

Director Richard Brooks cast Wilson and Blake in the starring roles specifically because they were unknown at the time.[4] The director passed over better-known actors, including Steve McQueen and Paul Newman, for the parts.[4] Wilson later explained Brooks' casting motivations: "Brooks hired two 'unknowns' and he wanted to keep it that way. We were treated like two killers he had somehow run across."[4] Wilson appeared in Sparta on March 15, 2014 to celebrate the city's 175th anniversary in reference to his debut appearance in the film.

The film earned Wilson an appearance on the cover of Life Magazine, published on May 12, 1967.[4] Wilson was just 25 years old at the time.[4] The cover features Truman Capote standing between Wilson and Blake on an empty highway in Kansas.[4] The caption, Nightmare Revisited, appears with them on the cover.[4] Wilson appeared in The Great Gatsby in 1974 opposite Robert Redford.[3] He received a 1980 Golden Globe nomination for Best Supporting Actor for his performance in The Ninth Configuration by director and friend William Peter Blatty.[3][4] He lost the Golden Globe to Timothy Hutton. In 1995 Wilson got attention for his role as a prison chaplain in Dead Man Walking, starring Susan Sarandon and Sean Penn, based on the book of the same name by Sister Helen Prejean.[3][4]
Wilson's long filmography also includes The Gypsy Moths, The Right Stuff, A Year of the Quiet Sun, Malone, The Grass Harp, Junebug, The Host, Monster, Young Guns II, Pearl Harbor, Big Stan, Judge Dredd, the Shiloh film series and Behind the Mask: The Rise of Leslie Vernon. Wilson has filmed on location in South Korea, Japan and Spain.[3] Wilson had a recurring role in several episodes of CSI: Crime Scene Investigation as Sam Braun, father of crime-scene investigator Catherine Willows (portrayed by Marg Helgenberger).[8] Braun was killed off in the episode "Built to Kill, Part 2". In the fall of 2011 he also made an appearance opposite Laura Dern in the HBO series, Enlightened.
Wilson was cast as veterinarian, Hershel Greene in the second season of The Walking Dead in June 2011.[5] The role has earned him positive reviews, including a "cheer" from TV Guide, which wrote that he had contributed "subtle shades of humanity to the character of Hershel Greene."[8] Wilson was offered the opportunity to join the show while visiting his 97-year-old mother in Georgia.[3] He has described his mother as "a fan of the show."[3] Wilson left the show in December 2013 after his character was killed off in the Season 4 mid-season finale "Too Far Gone". However, he has made two appearances since his character's death and was slated to appear in the ninth season.[9]

Wilson reflected on his career in a 2011 interview with Access Atlanta's Rodney Ho: "It's been up and down. It's always been. You have dry spells. At different times, you are starting over. If you love it, you stay with it. That's what I'm doing. I've accomplished more than I would have hoped to have accomplished. I don't want to be a big movie star. I can be someone who walks the streets and not get mobbed. I want to be as fine an actor as I can be. I am still striving to be as good as I can be."[3] Wilson was filming scenes for The Walking Dead in Senoia, Georgia, at the time the interview took place.[3] In 2014, Wilson was cast in a recurring role as Dr. Guyot in the Amazon original series Bosch. In 2016, he appeared in the Netflix series The OA.[10]
On October 6, 2018 it was reported that Wilson had died at the age of 76.[9]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Funny thing is, I have never heard of this particular actor before. Must have been out of the limelight for a very long time.
(10-07-2018, 01:32 PM)beechnut79 Wrote: Funny thing is, I have never heard of this particular actor before. Must have been out of the limelight for a very long time.

I am guessing that he strung out his career in bit parts, which is good for keeping out of the poorhouse. The role for which he might be best known is as a murderer in In Cold Blood.
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

South African politician Pik Botha

Roelof Frederik "Pik" Botha, DMS (27 April 1932 – 12 October 2018) was a South African politician who served as the country's foreign minister in the last years of the apartheid era.[1] He was considered a liberal – at least in comparison to others in the ruling National Party and among the Afrikaner community – but the bulk of his career was spent defending South Africa's apartheid system of racial segregation against foreign criticism.

Botha was nicknamed 'Pik' (short for pikkewyn, Afrikaans for 'penguin') because of a perceived likeness to a penguin in his stance, accentuated when he wore a suit.[2] He has two sons, the rock musician Piet Botha and the economist, Roelof Botha, and two daughters, Anna Hertzog and artist Lien Botha. His grandson is Roelof Botha, former CFO of PayPal. He was not related to the past South African president P. W. Botha under whom he served as South Africa's foreign minister.

In 1970, Botha was elected to the House of Assembly as MP for Wonderboom in the Transvaal, leaving it in 1974. In 1975, Botha was appointed South Africa's Ambassador to the United States, in addition to his UN post. In 1977, he re-entered Parliament as MP for Westdene, and was appointed Minister for Foreign Affairs by Prime Minister B. J. Vorster.

Botha entered the contest to be the leader of the National Party in 1978. He was allegedly considered Vorster's favourite and received superior public support among whites (We want Pik!) but withdrew after criticism concerning his young age, lack of experience (having spent 16 months as foreign minister) and alleged liberal beliefs as opposed to the ultra-conservative NP machinery (in which he lacked a significant position), instead giving support for P. W. Botha, who was ultimately elected.[4]

In 1985, Pik Botha helped to draft a speech that would have announced common decision-making on all levels in a single constitutional unit and a formula for bringing about the release of Nelson Mandela, but this draft was rejected by P. W. Botha.[5]

The next year, he stated publicly (during a press conference in Parliament, asked by German journalist Thomas Knemeyer) that it would be possible for South Africa to be ruled by a black president provided that there were guarantees for minority rights, but was quickly forced to acknowledge that this position did not reflect government policy.[6]

Throughout 1988 Pik Botha was instrumental in lengthy peace talks between South Africa, Cuba, and the People's Republic of Angola aimed at ending the South African Border War. In December of that year Botha and Defence Minister Magnus Malan ratified the Brazzaville Protocol, which led to the effective cessation of hostilities in that conflict.[7]
Namibian independence

On 22 December 1988, Pik Botha signed the tripartite agreement involving Angola, Cuba and South Africa at United Nations headquarters in New York City which led to the implementation of Security Council Resolution 435, and to South Africa's granting of independence to Namibia.[7]

On 21 December 1988, Botha, with a 22-strong South African delegation from Johannesburg, was initially booked to travel to the Namibian independence ratification ceremony in New York on Pan Am Flight 103 from London. Instead, the booking was cancelled as he and six delegates took an earlier flight, thereby avoiding the fatal PA 103 bombing at Lockerbie, Scotland.[8]

Botha subsequently served as Minister of Mineral and Energy Affairs in South Africa's first post-apartheid government from 1994 to 1996 under President Nelson Mandela.

Botha became deputy leader of the National Party in the Transvaal from 1987 to 1996. He retired from politics in 1996 when F. W. de Klerk withdrew the National Party from the government of national unity.
In 2000, Botha declared his support for President Thabo Mbeki. Botha expressed criticism for the government's affirmative action policies saying that the then South African government would never have reached a constitutional settlement with the ANC in 1994 had it insisted on its current affirmative action programme.[9]

In an interview on affirmative action, Botha publicly declared that he has never been a member of the ANC, and will not join under its current policies.[10]

On 12 December 2013, Botha appeared on the BBC's Question Time, hosted in Johannesburg, discussing the life and legacy of Nelson Mandela.[11]

Botha died at his home in Pretoria on 12 October 2018 at the age of 86.[12][13]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Jim Taylor Green Bay Packers & New Orleans Saints

"You got to enjoy punishment because you are going to deliver so much of it, and you are going to get so much of it…If you are prepared you don’t really feel the punishment during the game.”

When Vince Lombardi took over the Green Bay coaching reins in 1959, fullback Jim Taylor became the Packers' bread-and-butter guy. Lombardi depended upon him to get the needed short yardage whether it was for a first down or a touchdown.

As the Packers’ dynasty grew, so too did Taylor become the symbol of power in the awesome Green Bay attack. Jim was a throwback to an earlier era, who ran with a fierceness no one could match. He caught the short swing passes and blocked with rugged determination.

Thousand-yard seasons became a specialty for Taylor. He went over 1,000 yards five straight seasons beginning in 1960 but reached his zenith in 1962, when he had a career-high 1,474 yards and was named the NFL Player of the Year.

Jim was living testimony to the popular football adage "When the going gets tough, the tough get going." Nowhere was this more evident than in the 1962 NFL title game. Playing on a bitter-cold day, Taylor engaged in a personal duel with the New York Giants' outstanding defense, led by All-Pro linebacker Sam Huff. Jim carried 31 times for 85 yards and scored Green Bay's only touchdown in a 16-7 victory. He took a fearful pounding both from the hard-hitting Giants and the frozen ground. He suffered an elbow gash that took seven stitches to close at halftime and a badly cut tongue. At the end, he could scarcely see and he couldn't talk.

Taylor was often compared with Jim Brown, the Cleveland fullback, who played at the same time. There were many different viewpoints but Lombard's summation was most succinct. "Jim Brown will give you that leg and then take it away from you. Jim Taylor will give it to you and then ram it through your chest!"

James Charles Taylor (September 20, 1935 – October 13, 2018) was an American football fullback who played professionally in the National Football League (NFL) for ten seasons, with the Green Bay Packers from 1958 to 1966 and with the expansion New Orleans Saints in 1967. With the Packers, Taylor was invited to five straight Pro Bowls and won four NFL championships, as well as a victory in the first Super Bowl. He was recognized as the NFL Most Valuable Player after winning the rushing title in 1962, beating out Jim Brown. An aggressive player and fluent trash talker, Taylor developed several personal rivalries throughout his career, most notably with New York Giants linebacker Sam Huff. This confrontational attitude, combined with his tenacious running style, a penchant for contact, and ability to both withstand and deliver blows, earned him a reputation as one of the league's toughest players.

Green Bay Packers


Taylor was selected by the Packers in the second round of the 1958 NFL draft, the 15th overall pick,[12] taken in December 1957 while Lisle Blackbourn was still the head coach. His rookie contract was worth $9,500.[13] That draft for the Packers included future stars Dan Currie (3rd), Ray Nitschke (36th), and Jerry Kramer (39th), but the 1958 team finished with the worst record in the league (and the franchise's worst ever, through 2016), under first-year NFL head coach Ray "Scooter" McLean.[14] Taylor was used sparingly as a rookie, but in the penultimate game at Kezar Stadium, he gained 137 yards on 22 carries in a 48–21 loss to the San Francisco 49ers, and his running style brought cheers from the San Francisco fans.[15][16] With a one-year contract that was not to be renewed, McLean resigned days after the season and was replaced by Vince Lombardi in January 1959.[17]

When Lombardi took over, Taylor became the feature back for the Packers, especially in short yardage situations.[18] Taylor teamed with backfield mate, halfback Paul Hornung, to form a tandem that Green Bay fans affectionately called "Thunder and Lightning", due to Taylor's power and Hornung's agility.[19] In 1960, Taylor rushed for 1,101 yards on a league-high 230 carries and scored 11 touchdowns.[1] The Packers finished with an 8–4 record and met the Philadelphia Eagles in the 1960 NFL Championship Game. They were defeated 17–13, despite 24 carries for 105 yards and six catches for 46 yards from Taylor.[20] Following the season, Taylor was invited to his first Pro Bowl, where he tied a Pro Bowl record by scoring three touchdowns in the Western Conference's 35–31 victory over the East.[21]

In the 1960s, Lombardi implemented the "Packers sweep" play in which guards Jerry Kramer and Fuzzy Thurston rapidly pulled out from their normal positions and led blocking for Hornung and Taylor. It became an integral part of the Packers' offense throughout the decade.[22] In 1961, Taylor carried 243 times for 1,307 yards and led the league with 15 rushing touchdowns. For the second year in a row, his rushing yards total was second to Jim Brown of the Cleveland Browns. Taylor was selected as the second-team fullback behind Brown on the United Press International (UPI) All-Pro team,[23] and finished second in voting behind Brown for the Associated Press (AP) team.[24] The Packers again reached the NFL title game, this time defeating the New York Giants with a 37–0 shutout. Taylor had 69 yards on 14 attempts while playing despite badly damaged ribs, as Hornung carried most of the load for Green Bay.[25]
Taylor's most productive season was 1962.[18] With Hornung missing most of the season due to injury, Taylor picked up the slack.[26] He set a league record by scoring 19 touchdowns and won the NFL rushing title with 1,474 yards, notable for being the only season in which Jim Brown did not lead the league during his nine-year career.[27] He became the third player in NFL history to lead the league in both rushing yards and total points scored, following Steve Van Buren and Brown.[28] He was named the "Player of the Year" by the AP,[29] and was also awarded the Jim Thorpe Trophy by the Newspaper Enterprise Association (NEA) as the NFL's players' choice for league MVP.[30] He earned first-team All-Pro honors from the AP, UPI, and NEA.[1]
1962 championship game

Taylor's performance in Green Bay's 16–7 win over the Giants in the 1962 NFL Championship Game came to define his mental and physical toughness.[31][18] In frigid conditions at Yankee Stadium, Taylor carried 31 times for 85 yards and scored the Packers' only touchdown against what was considered the league's best defense, both statistically and by reputation.[32] Lombardi entrusted Taylor with the ball, as he was confident his fullback would be able to move the offense and not turn it over.[33] The game was highlighted by the fierce rivalry between Taylor and Giants linebacker Sam Huff.[26] The two clashed on nearly every play and engaged in trash talk throughout the game. Steve Sabol, who filmed the game with his father for NFL Films, described it as such:

Quote:The lasting image of that game in my mind is the ferocity and anger of Jim Taylor ... his barely restrained rage as he ran with the ball. Taylor just got the shit kicked out of him all day long ... There was all this trash-talking between him and especially Sam Huff ... Tons of profanity when they tackled him. I had never experienced anything like that.[26]

Taylor withstood a tremendous amount of punishment throughout the game.[34] At one point in the first quarter, he bit his tongue while being tackled by Huff, causing him to swallow blood for the rest of the game. He also required six stitches at halftime to close a gash on his elbow.[35] Some players wondered if he could even play in the second half. "Taylor isn't human," said Huff. "No human being could have taken the punishment he got today."[36][33][34] Taylor described the contest in the locker room after the game, saying, "I never took a worse beating on a football field. The Giants hit me hard, and then I hit the ground hard. I got it both ways. This was the toughest game I've ever played ... I just rammed it down their throats by letting my running do my talking. They couldn't rattle me ... I think Huff hit me with his elbow after a tackle. Anyway, I cut my tongue of all things."[26] Additionally, Taylor was playing while sick; two weeks later, he learned he had hepatitis,[33][36] which contributed to his 15-pound weight loss prior to the game.[26]

The animosity between Taylor and the Giants carried over into the 1963 preseason, as the second quarter of an exhibition game between Green Bay and New York began with Taylor drawing a personal foul penalty for roughing up Giants defensive end Andy Robustelli.[37] Taylor had a slow start to the 1963 season as he recovered from numerous injuries and his bout of hepatitis,[38] but still managed another 1,000-yard season. He again eclipsed 1,000 yards in 1964, becoming the first player to record five straight 1,000-yard rushing seasons.[5] He also began to see more use as a receiver out of the backfield during his later career. His specialty in the passing game was catching short swing passes from quarterback Bart Starr.[27] His most productive season as a receiver was 1964, as he caught 38 passes for a career-high 354 yards and three touchdowns.[1] That season also included an 84-yard touchdown run in a win over the Detroit Lions, the longest run of his career and the longest of any player in the NFL that year.[39] He made his final Pro Bowl appearance after the 1964 season and the last in a string of five straight. Despite the productivity from Taylor, the Packers missed the postseason in 1963 and 1964. They returned to the postseason in 1965, where Taylor carried 50 times for 156 yards over two games. He gained 96 of those yards during the Packers' 23–12 win over the Browns in the 1965 NFL Championship Game, second to Hornung's 105.[40] Taylor was named the game's most outstanding player by SPORT magazine and received a Chevrolet Corvette.[41]

During his ninth season in 1966, Taylor did not sign a new one-year contract and instead played out his option; he made no secret that it was likely his last season with the Packers.[42][43][44] With the retirement of Jim Brown, he became the active leader in career rushing yards. He caught a career-high 41 passes that year but recorded the fewest rushing yards since his second season.[1] The Packers finished atop the Western Division with a 12–2 record and defeated the Dallas Cowboys in the 1966 NFL Championship Game for their fourth NFL title in six years.[45] In January 1967, Taylor and the Packers played in the first AFL–NFL World Championship Game, known retroactively as Super Bowl I, in Los Angeles Memorial Coliseum. They easily defeated the Kansas City Chiefs 35–10. Taylor was the top rusher of the game with 56 rushing yards and a touchdown on a Packer Sweep play, with his score being the first rushing touchdown in Super Bowl history.[46] "It was just good blocking on a weak-side sweep play," said Taylor of his touchdown run. "It's a cakewalk when you get the blocking. It was just like we had been doing the last five or six years."[47] The game was his final with the Packers.

New Orleans Saints

In July 1967, Taylor left the Packers for the expansion New Orleans Saints to play under head coach Tom Fears, a Hall of Fame receiver and a former assistant coach for five seasons in Green Bay under Lombardi.[48] He was signed to four one-year contracts with the Saints, worth $68,000 for 1968 and $72,000 for each subsequent season. The Saints also signed Hornung, though he retired prior to the 1967 season. Taylor recorded his lowest rushing statistics since his rookie season, but was still relatively productive as a receiver, catching 38 passes. Prior to the 1968 season, he was relegated to special teams duties, and as a result he refused to play in that week's exhibition game.[49] Taylor retired from pro football in September, at the end of training camp.[50][51]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.

Raye Jean Montague (née Jordan; January 21, 1935 – October 10, 2018)[1] was an American naval engineer credited with creating the first computer-generated rough draft of a U.S. naval ship. She was the first female program manager of ships in the United States Navy.[2]

Raye Jordan was born on January 21, 1935 to Rayford Jordan and Flossie Graves Jordan in Little Rock, Arkansas.[3] She was inspired to pursue engineering after seeing a German submarine that had been captured by the Americans and put on tour across the country.[4]

She graduated from Merrill High School in 1952 and Arkansas Agricultural, Mechanical & Normal College (now University of Arkansas at Pine Bluff) in 1956 with a bachelor of science degree in business. At the time, the engineering program at the University of Arkansas did not admit African-American students.[5]

Montague joined the United States Navy in 1956 in Washington, D.C. as a clerk typist. At work, she sat next to a 1950s UNIVAC I computer, watching the engineers operate it until one day, when all the engineers were sick, she jumped in to run the machine.[4] She took computer programming at night school while continuing to work and learn the job.[5] She was appointed as a computer systems analyst at the Naval Ship Engineering Center, and later served as the program director for the Naval Sea Systems Command (NAVSEA) Integrated Design, Manufacturing, and Maintenance Program, the division head for the Computer-Aided Design and Computer-Aided Manufacturing (CAD/CAM) Program, and deputy program manager of the navy's Information Systems Improvement Program.[3]

In the 1970s, her department was allotted one month to create a computer-generated ship design. By modifying existing automated systems, Montague produced the initial draft for the Oliver Hazard Perry-class frigate in around 19 hours.[3] With this accomplishment, she became the first person to design a ship using a computer system.[5] She later worked on ships such as the Seawolf-class submarine and the Nimitz-class aircraft carrier Dwight D. Eisenhower. Montague retired in 1990.[3]

Montague died on October 10, 2018, at Baptist Health Medical Center in Little Rock. No cause of death was given; however, she suffered from congestive heart failure.[6]
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist  but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.


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