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Dixieland
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This article is about a style of jazz music. For the 2015 film, see Dixieland (film). For the nickname for the US South, see Dixie. For other uses, see Dixieland (disambiguation).
Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century.
One of the first uses of the term "Dixieland" with reference to music was in the name of the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to "Original Dixieland Jazz Band"). Their 1917 recordings fostered popular awareness of this new style of music. At that time, there was no issue of subgenres of jazz, so "Dixieland" referred to the band and not the music. A revival movement for traditional jazz, formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds of the 1940s (referred to as "Chinese music" by Louis Armstrong), pulled "Dixieland" out from the somewhat forgotten band's name for the music they championed. The revival movement included elements of the Chicago style that developed during the 1920s, such as the use of a string bass instead of a tuba, and chordal instruments, in addition to the original format of the New Orleans style. That reflected the fact that virtually all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. "Dixieland" may in that sense be regarded as denoting the jazz revival movement of the late 1930s to the 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the traditional front lines consisting of trumpets, trombones, and clarinets, and ensemble improvisation over a 2-beat rhythm.
Contents
[hide]
1 Revival
2 History
3 Etymology
4 Modern Dixieland
4.1 Chicago style
4.2 West Coast revival
4.3 Dutch "Old-style jazz"
5 Styles influenced by traditional jazz
6 Partial list of Dixieland musicians
7 Festivals
8 Periodicals
9 Quotations
10 See also
11 References
12 External links
Revival[edit]
The Dixieland revival renewed the audience for musicians who had continued to play in traditional jazz styles and revived the careers of New Orleans musicians who had become lost in the shuffle of musical styles that had occurred over the preceding years. Younger black musicians largely shunned the revival, largely because of a distaste for tailoring their music to what they saw as nostalgia entertainment for white audiences with whom they did not share such nostalgia.[1][2] The Jim Crow associations of the name "Dixieland" also did little to attract younger black musicians to the revival.
The Dixieland revival music during the 1940s and 1950s gained a broad audience that established traditional jazz as an enduring part of the American cultural landscape, and spawned revival movements in Europe. Well-known jazz standard tunes such as "Basin Street Blues" and "When the Saints Go Marching In" are known even to non-jazz fans thanks to the enduring popularity of traditional jazz. The Vietnam-era protest song "Feel Like I'm Fixin' to Die Rag" is based on tonal centers and the "B" refrain from the New Orleans standard "Muskrat Ramble". Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman.
New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. The "standard" band consists of a "front line" of trumpet (or cornet), trombone, and clarinet, with a "rhythm section" of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums. The Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more polyphonic sound than the heavily arranged big band sound of the 1930s or the straight melodies (with or without harmonizing) of bebop in the 1940s.
The "West Coast revival," which used banjo and tuba, began in the late 1930s in San Francisco. The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard.
History[edit]
A traditionalist jazz band plays at a party in New Orleans in 2005. Shown here are Chris Clifton, on trumpet; Brian O'Connell, on clarinet; Les Muscutt, on banjo; Chuck Badie, on string bass; and Tom Ebert, on trombone.
Dixieland is the name given to early jazz by traditional jazz revivalists, starting in the 1940s and 1950s. The name is a reference to the "Old South", specifically anything south of the Mason-Dixon line. The term encompasses earlier brass band marches, French Quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. While instrumentation and size of bands can be very flexible, the "standard" band consists of a "front line" of trumpet (or cornet), trombone, and clarinet, with a "rhythm section" of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums. Louis Armstrong's All-Stars was the band most popularly identified with Dixieland during the 1940s, although Armstrong's own influence was to move the music beyond the traditional New Orleans style.
The definitive Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight "head" melodies of bebop.
During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in the older style. Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations.
The Dixieland revival in the late 1940s and 1950s brought many semi-retired musicians a measure of fame late in their lives as well as bringing retired musicians back onto the jazz circuit after years of not playing (e.g., Kid Ory and Red Nichols). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes. For example, in the 1950s a style called "Progressive Dixieland" sought to blend polyphonic improvisation with bebop-style rhythm. Spike Jones & His New Band and Steve Lacy played with such bands. This style is sometimes called "Dixie-bop". Lacy went on to apply that approach to the music of Thelonious Monk, Charles Mingus, Duke Ellington, and Herbie Nichols.
Etymology[edit]
While the term Dixieland is still in wide use, the term's appropriateness is a hotly debated topic in some circles. For some it is the preferred label (especially bands on the USA's West coast and those influenced by the 1940s revival bands), while others would rather use terms like Classic jazz or Traditional jazz. Some of the latter consider Dixieland a derogatory term implying superficial hokum played without passion or deep understanding of the music and because "Dixie" is a reference to pre Civil War Southern States. Many black musicians have traditionally rejected the term as a style distinctive from traditional jazz, characterized by the staccatic playing in all-white groups such as The Original Dixieland Jazz Band in contrast to the slower, syncopated back-beat style of playing characterized by musicians like King Oliver or Kid Ory.
Dixieland is often today applied to bands playing in a traditional style. Bands such as those of Eddie Condon and Muggsy Spanier were tagged with the Dixieland label.
Modern Dixieland[edit]
Today there are three main active streams of Dixieland jazz:
Chicago style[edit]
Further information: Music of Chicago
"Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland, Eddie Condon, Muggsy Spanier, and Bud Freeman. The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo. Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style dixieland also differs from its southern origin by being faster paced, resembling the hustle-bustle of city life. Chicago-style bands play a wide variety of tunes, including most of those of the more traditional bands plus many of the Great American Songbook selections from the 1930s by George Gershwin, Jerome Kern, Cole Porter, and Irving Berlin. Non-Chicagoans such as Pee Wee Russell and Bobby Hackett are often thought of as playing in this style. This modernized style came to be called Nicksieland, after Nick's Greenwich Village night club, where it was popular, though the term was not limited to that club.
West Coast revival[edit]
The "West Coast revival" is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy. It started out as a backlash to the Chicago style, which is closer in development towards swing. The repertoire of these bands is based on the music of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong, and W.C. Handy. Bands playing in the West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style.
Famous traditional Dixieland tunes include: "When the Saints Go Marching In", "Muskrat Ramble", "Struttin' with Some Barbecue", "Tiger Rag", "Dippermouth Blues", "Milenberg Joys", "Basin Street Blues", "Tin Roof Blues", "At the Jazz Band Ball", "Panama", "I Found a New Baby", "Royal Garden Blues" and many others. All of these tunes were widely played by jazz bands of the pre-WWII era, especially Louis Armstrong. They came to be grouped as Dixieland standards beginning in the 1950s.
Dutch "Old-style jazz"[edit]
Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries. However, most Dutch jazz bands (such as The Ramblers) had long since evolved into the Swing-era while the few remaining traditional jazz bands (such as the Dutch Swing College Band) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in a new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch.
Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium, the "harmonie" and the "fanfare", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo. They include multiple trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard.
The music played by Dutch jazz bands includes both the original New Orleans tunes, as well as the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing. With the average band containing up to 15-players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music.
Styles influenced by traditional jazz[edit]
Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues, and early rock and roll. Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino. The New Orleans drummer Idris Muhammad adapted second-line drumming to modern jazz styles and gained crossover influence on the R&B style of James Brown. Charles Mingus paid homage to traditional jazz styles with compositions such as Eat Dat Chicken and My Jellyroll Soul. The contemporary New Orleans Brass Band styles, such as the Dirty Dozen Brass Band, The Primate Fiasco, the Hot Tamale Brass Band and the Rebirth Brass Band have combined traditional New Orleans brass band jazz with such influences as contemporary jazz, funk, hip hop, and rap. The M-BASE (Multi-Basic Array of Synchronous Extemporization) improvisational concept used by ensembles including Cassandra Wilson, Geri Allen, Greg Osby, Steve Coleman, Graham Haynes, Kevin Eubanks and others is an extension of the polyphonic improvisation of New Orleans jazz.
Partial list of Dixieland musicians[edit]
Some of the artists historically identified with Dixieland are mentioned in List of jazz musicians. Some of the best-selling and famous Dixieland artists of the post-WWII era:
Louis Armstrong All-Stars, organized in the late 1940s, featured at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Barrett Deems and Danny Barcelona.
Kenny Ball, who had a top-40 hit with "Midnight in Moscow" in the early 1960s, is a leader of the British Trad movement.
Eddie Condon, guitarist who led bands and ran a series of nightclubs in New York City and had a popular radio series. Successor bands played until the 1970s, and their mainstream style is still heard today, especially in touring bands led by cornetist Ed Polcer who was a co-owner of Condon's last nightclub in New York.
Jim Cullum Jazz Band, led by cornetist Jim Cullum, based in San Antonio, Texas. Founded in 1962 in partnership with his late father, was originally known as the Happy Jazz Band. The Jim Cullum Jazz Band is currently featured on the long-running USA public radio series, Riverwalk Jazz. Cullum's Landing Jazz Club has been in continuous operation on the San Antonio Riverwalk since 1963.
The Mission City Hot Rhythm Cats, co-led by cornetist David Jellema and former Jim Cullum Jazz Band trombonist Mike Pittsley, is a relatively new 6-piece San Antonio-based traditional jazz band composed of many former JCJB members.
Steamboat Willie, a veteran musician of Dixieland, jazz and ragtime music still playing at the Cafe Beignet in New Orleans today.
The Dukes of Dixieland, the Assunto family band of New Orleans. A successor band continues on in New Orleans today.
Pete Fountain, late clarinetist who led popular bands in New Orleans.
Al Hirt, trumpeter who had a string of top-40 hits in the 1960s, led bands in New Orleans until his death.
Ward Kimball, leader of the Firehouse Five Plus Two based in Los Angeles.
George Lewis was a New Orleans clarinetist featured at Preservation Hall in the 1960s, also led his own band.
Turk Murphy, trombonist who led a band at Earthquake McGoons and other San Francisco venues from the late 1940s through the 1970s.
Chris Tyle, cornetist, trumpeter, drummer, clarinetist, saxophonist, leader of the Silver Leaf Jazz Band. Also known as a jazz writer and educator. A member of the Jazz Journalists Association.
Chris Barber, trombonist and bandleader, influential figure in the European dixieland and traditional jazz revival after world war II
Festivals[edit]
The International Dixieland Festival in Dresden
In the United States, the largest traditional jazz festival, the Sacramento Jazz Jubilee, was held in Sacramento, California annually on Memorial Day weekend, with about 100,000 visitors and about 150 bands from all over the world. It ended in 2017 after 44 years. Other smaller festivals and jazz parties arose in the late 1960s as the rock revolution displaced many of the jazz nightclubs.
The New Orleans Jazz & Heritage Festival in New Orleans, Louisiana features jazz and many other genres by local, national, and internationally known artists.
In Tarragona, Catalonia, the Tarragona International Dixieland Festival (Catalan: Festival Internacional Dixieland de Tarragona), Spain's only dixieland festival, has been held annually the week before Easter, since 1994, with 25 bands from all over the world and 100 performances in streets, theatres, cafés and hotels.[3]
In Dresden, Germany, a week-long international Dixieland festival has been held every year since 1970, the Internationales Dixieland Festival Dresden. The event culminates in a parade with floats.
In Davenport, Iowa, the Bix Beiderbecke Memorial Jazz Festival is held on the Mississippi River waterfront each summer celebrating Dixieland music and the life of cornetist Bix Beiderbecke, a 1920s musician from Davenport. It is combined with a prestigious road race, the "Bix 7".
In Ghent, Belgium, every year during the second week of July there is an international Jazz festival, the Gent Jazz Festival.
Periodicals[edit]
There are several active periodicals devoted to traditional jazz: The Mississippi Rag, the Jazz Rambler, and the American Rag published in the US; and to an extent Jazz Journal published in Europe.
Quotations[edit]
Arguably the happiest of all music is Dixieland jazz. The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful.
—  Scott Yanow[4]
By the mid-1930s the word 'Dixieland' was being applied freely to certain circles of white musicians. First by the trade press, then by the public. By the end of the decade it all but lost any direct 'Southern' association.
—  Richard Sudhalter[5]
See also[edit]
Jazz portal
List of Dixieland standards
Music of Chicago
Second Line
Trad jazz
References[edit]
Jump up ^ Baraka, Amiri (1999). Blues People: Negro Music in White America. Harper Perennial. ISBN 978-0688184742.
Jump up ^ Davis, Miles & Troupe, Quincy (1990). Miles: The Autobiography. Simon & Schuster. ISBN 0-671-63504-2.
Jump up ^ "Festival Internacional de Dixieland — Ajuntament de Tarragona". tarragona.cat.
Jump up ^ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 124. ISBN 1-904041-96-5.
Jump up ^ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 132. ISBN 1-904041-96-5.
External links[edit]
Jazz History Database
Dixieland Jazz – John P. Birchall
Listen to Australian Graeme Bell's 'Swanston St Shamble' and 'Two Day Jag' on australianscreen online
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Occupation of the Ruhr
From Wikipedia, the free encyclopedia
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French soldiers in the Ruhr in 1923
The Occupation of the Ruhr (German: Ruhrbesetzung) was a period of military occupation of the German Ruhr valley by France and Belgium between 1923 and 1925 in response to the Weimar Republic's failure to continue its reparation payments in the aftermath of World War I.
Contents
[hide]
1 Background
2 Occupation
3 Passive resistance
3.1 Sympathy for Germany
3.2 Poincaré
4 British perspective
5 Aftermath
5.1 Dawes Plan
5.2 German politics
6 See also
7 References
8 Sources
8.1 French and German
Background[edit]
Map of the occupation of the Rhineland (1918–1919)
The Ruhr region had been occupied by Allied troops in the immediate aftermath of the First World War, during the Allied occupation of the Rhineland (1918–1919). Under the terms of the Treaty of Versailles (1919), which formally ended the war, Germany accepted responsibility for the damages caused in the war and was obliged to pay war reparations to the various Allies, principally France. The total sum of reparations demanded from Germany—around 226 billion gold marks (US $878 billion in 2018)—was decided by an Inter-Allied Reparations Commission. In 1921, the amount was reduced to 132 billion (at that time, $31.4 billion (US $442 billion in 2018), or £6.6 billion (UK £284 billion in 2018)).[1] Even with the reduction, the debt was huge. As some of the payments were in raw materials, German factories were unable to function, and the German economy suffered, further damaging the country's ability to pay.[2]
By late 1922, the German defaults on payments had grown so regular that a crisis engulfed the Reparations Commission; the French and Belgian delegates urged occupying the Ruhr as a way of forcing Germany to pay more, while the British delegate urged a lowering of the payments.[3] As a consequence of a German default on timber deliveries in December 1922, the Reparations Commission declared Germany in default, which led to the Franco-Belgian occupation of the Ruhr in January 1923.[4] Particularly galling to the French was that the timber quota the Germans defaulted on was based on an assessment of their capacity the Germans made themselves and subsequently lowered.[5] The Allies believed that the government of Chancellor Wilhelm Cuno had defaulted on the timber deliveries deliberately as a way of testing the will of the Allies to enforce the treaty.[5] The entire conflict was further exacerbated by a German default on coal deliveries in early January 1923, which was the thirty-fourth coal default in the previous thirty-six months.[6] The French Premier Raymond Poincaré was deeply reluctant to order the Ruhr occupation and took this step only after the British had rejected his proposals for non-military sanctions against Germany.[7] Frustrated at Germany not paying reparations, Poincaré hoped for joint Anglo-French economic sanctions against Germany in 1922 and opposed military action. However, by December 1922 he was faced with Anglo-American-German opposition and saw coal for French steel production and payments in money as laid out in the Treaty of Versailles draining away. Poincaré was exasperated with British opposition, and wrote to the French ambassador in London:
Judging others by themselves, the English, who are blinded by their loyalty, have always thought that the Germans did not abide by their pledges inscribed in the Versailles Treaty because they had not frankly agreed to them. ... We, on the contrary, believe that if Germany, far from making the slightest effort to carry out the treaty of peace, has always tried to escape her obligations, it is because until now she has not been convinced of her defeat. ... We are also certain that Germany, as a nation, resigns herself to keep her pledged word only under the impact of necessity.[8]
Occupation[edit]
French Chasseurs Alpins in Buer
Poincaré decided to occupy the Ruhr on 11 January 1923 to extract the reparations himself. The real issue during the Ruhrkampf (Ruhr struggle), as the Germans labelled the battle against the French occupation, was not the German defaults on coal and timber deliveries but the sanctity of the Versailles Treaty.[9] Poincaré often argued to the British that letting the Germans defy Versailles in regards to the reparations would create a precedent that would lead to the Germans dismantling the rest of the Versailles treaty.[10] Finally, Poincaré argued that once the chains that had bound Germany in Versailles were destroyed, it was inevitable that Germany would plunge the world into another world war.[10]
Initiated by French Prime Minister Raymond Poincaré, the invasion took place on 11 January 1923. General Alphonse Caron’s 32nd infantry corps under the supervision of General Jean-Marie Degoutte carried out the operation.[11] Some theories state that the French aimed to occupy the centre of German coal, iron, and steel production in the Ruhr area valley simply to get the money. Some others state that France did it to ensure that the reparations were paid in goods, because the Mark was practically worthless because of hyperinflation that already existed at the end of 1922. France had the iron ore and Germany had the coal. Each state wanted free access to the resource it was short of, as together these resources had far more value than separately. (Eventually this problem was resolved in the post-World War II European Coal and Steel community.)
Following France's decision to invade the Ruhr,[12] the Inter-Allied Mission for Control of Factories and Mines (MICUM)[13] was set up as a means of ensuring coal repayments from Germany.[14]
Passive resistance[edit]
Protests by gymnasts from the Ruhr at the 1923 Munich Gymnastics Festival (The sign on the left reads "The Ruhr remains German"; the sign on the right reads "We never want to be vassals".)
The occupation was greeted by a campaign of passive resistance. Approximately 130 German civilians were killed by the French occupation army during the events, including during civil disobedience protests, e.g. against dismissal of German officials.[15][16] Some theories assert that to pay for passive resistance in the Ruhr, the German government began the hyperinflation that destroyed the German economy in 1923.[9] Others state that the road to hyperinflation was well established before with the reparation payments that started on November 1921,[17] see 1920s German inflation. In the face of economic collapse, with high unemployment and hyperinflation, the strikes were eventually called off in September 1923 by the new Gustav Stresemann coalition government, which was followed by a state of emergency. Despite this, civil unrest grew into riots and coup attempts targeted at the government of the Weimar Republic, including the Beer Hall Putsch. The Rhenish Republic was proclaimed at Aachen (Aix-la-Chapelle) in October 1923.
Though the French did succeed in making their occupation of the Ruhr pay, the Germans through their passive resistance in the Ruhr and the hyperinflation that wrecked their economy, won the world's sympathy, and under heavy Anglo-American financial pressure (the simultaneous decline in the value of the franc made the French very open to pressure from Wall Street and the City), the French were forced to agree to the Dawes Plan of April 1924, which substantially lowered German reparations payments.[18] Under the Dawes Plan, Germany paid only 1 billion marks in 1924, and then increasing amounts for the next three years, until the total rose to 2.25 billion marks by 1927.
Sympathy for Germany[edit]
Front page of Chicago Daily Tribune, 6 March 1923, announcing French troops killing four resisting Germans
Internationally, the French invasion of Germany did much to boost sympathy for the German Republic although no action was taken in the League of Nations since it was technically legal under the Treaty of Versailles.[19] The French, with their own economic problems, eventually accepted the Dawes Plan and withdrew from the occupied areas in July and August 1925. The last French troops evacuated Düsseldorf and Duisburg along with the city's important harbour in Duisburg-Ruhrort, ending French occupation of the Ruhr region on 25 August 1925. According to Sally Marks, the occupation of the Ruhr "was profitable and caused neither the German hyperinflation, which began in 1922 and ballooned because of German responses to the Ruhr occupation, nor the franc's 1924 collapse, which arose from French financial practices and the evaporation of reparations".[20] Marks suggests the profits, after Ruhr-Rhineland occupation costs, were nearly 900 million gold marks.[21]
Poincaré[edit]
Despite his disagreements with Britain, Poincaré desired to preserve the Anglo-French entente and thus moderated his aims to a degree. His major goal was the winning of the extraction of reparations payments from Germany. His inflexible methods and authoritarian personality led to the failure of his diplomacy.[22]
British perspective[edit]
When on 12 July 1922, Germany demanded a moratorium on reparation payments, tension developed between the French government of Raymond Poincaré and the Coalition government of David Lloyd George. The British Labour Party demanded peace and denounced Lloyd George as a troublemaker. It saw Germany as the martyr of the postwar period and France as vengeful and the principal threat to peace in Europe. The tension between France and Britain peaked during a conference in Paris in early 1923, by which time the coalition led by Lloyd George had been replaced by the Conservatives. The Labour Party opposed the occupation of the Ruhr throughout 1923, which it rejected as French imperialism. The British Labour Party believed it had won when Poincaré accepted the Dawes Plan in 1924.[23]
Aftermath[edit]
French troops leaving Dortmund
Dawes Plan[edit]
To deal with the implementation of the Dawes Plan, a conference took place in London in July–August 1924.[24] The British Labour Prime Minister Ramsay MacDonald, who viewed reparations as impossible to pay, successfully pressured the French Premier Édouard Herriot into a whole series of concessions to Germany.[24] The British diplomat Sir Eric Phipps commented that “The London Conference was for the French 'man in the street' one long Calvary as he saw M. Herriot abandoning one by one the cherished possessions of French preponderance on the Reparations Commission, the right of sanctions in the event of German default, the economic occupation of the Ruhr, the French-Belgian railroad Régie, and finally, the military occupation of the Ruhr within a year”.[25] The Dawes Plan was significant in European history as it marked the first time that Germany had succeeded in defying Versailles, and revised an aspect of the treaty in its favour.
The Saar region remained under French control until 1935.
German politics[edit]
In German politics, the French occupation of the Rhineland accelerated the formation of right-wing parties. Disoriented by the defeat in the war, conservatives in 1922 founded a consortium of nationalist associations, the "Vereinigten Vaterländischen Verbände Deutschlands" (VVVD, United Patriotic Associations of Germany). The goal was to forge a united front of the right. In the climate of national resistance against the French Ruhr invasion, the VVVD reached its peak strength. It advocated policies of uncompromising monarchism, corporatism and opposition to the Versailles settlement. However, it lacked internal unity and money and so it never managed to unite the right before it had faded away by the late 1920s, as the Nazis emerged.[26]
See also[edit]
NRW portal
History of the Ruhr
Allied occupation of the Rhineland
Remilitarization of the Rhineland
References[edit]
Jump up ^ Timothy W. Guinnane (January 2004). "Vergangenheitsbewältigung: the 1953 London Debt Agreement" (PDF). Center Discussion Paper no. 880. Economic Growth Center, Yale University. Retrieved 6 December 2008.
Jump up ^ The extent to which payment defaults were genuine or artificial is controversial, see World War I reparations.
Jump up ^ Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 pp. 239–240.
Jump up ^ Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 pp. 240–241.
^ Jump up to: a b Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 p. 240.
Jump up ^ Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 p. 241.
Jump up ^ Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 p. 244.
Jump up ^ Leopold Schwarzschild, World in Trance (London: Hamish Hamilton, 1943), p. 140.
^ Jump up to: a b Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 p. 245.
^ Jump up to: a b Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 pp. 244–245.
Jump up ^ Mordacq, Henri. Die deutsche Mentalitat. Funf Jahre B. am Rhein. p. 165.
Jump up ^ Fischer, p. 28
Jump up ^ Fischer, p. 42
Jump up ^ Fischer, p. 51
Jump up ^ "Anaconda Standard". 1923-02-10. Twenty Germans were said to have been killed and several French soldiers wounded when a mob at Rapoch attempted to prevent the expulsion of one hundred officials. Picture shows French guard being doubled outside the station at Bochum following a collision between German mob and the French
Jump up ^ "Hanover Evening Sun". 1923-03-15. Three Germans killed in Ruhr by French sentries
Jump up ^ Ferguson, Adam; When Money Dies: The Nightmare of Deficit Spending, Devaluation and Hyperinflation in Weimar Germany p. 38. ISBN 1-58648-994-1
Jump up ^ Marks, Sally "The Myths of Reparations" pp. 231–255 from Central European History, Volume 11, Issue #3, September 1978 pp. 245–246.
Jump up ^ Walsh, p. 142
Jump up ^ Sally Marks, '1918 and After. The Postwar Era', in Gordon Martel (ed.), The Origins of the Second World War Reconsidered. Second Edition (London: Routledge, 1999), p. 26.
Jump up ^ Marks, p. 35, no. 57.
Jump up ^ Hines H. Hall, III, "Poincare and Interwar Foreign Policy: 'L'Oublie de la Diplomatie' in Anglo-French Relations, 1922–1924," Proceedings of the Western Society for French History (1982), Vol. 10, pp. 485–494.
Jump up ^ Aude Dupré de Boulois, "Les Travaillistes, la France et la Question Allemande (1922–1924)," Revue d'Histoire Diplomatique (1999) 113 #1 pp. 75–100.
^ Jump up to: a b Marks, "The Myths of Reparations" p. 248.
Jump up ^ Marks, "The Myths of Reparations" p. 249.
Jump up ^ James M. Diehl, "Von Der 'Vaterlandspartei' zur 'Nationalen Revolution': Die 'Vereinigten Vaterländischen Verbände Deutschlands (VVVD)' 1922–1932," [From "party for the fatherland" to "national revolution": the United Fatherland Associations of Germany (VVVD), 1922–32] Vierteljahrshefte für Zeitgeschichte (October 1985) 33 #4 pp. 617–639.
Sources[edit]
Fischer, Conan. The Ruhr Crisis, 1923–1924 (Oxford U.P., 2003); online review
Marks, Sally. "The Myths of Reparations," Central European History, Volume 11, Issue #3, September 1978 pp. 231–255.
O'Riordan, Elspeth Y. "British Policy and the Ruhr Crisis 1922–24," Diplomacy & Statecraft (2004) 15 #2 pp. 221–251.
O'Riordan, Elspeth Y. Britain and the Ruhr Crisis (London, 2001);
Walsh, Ben. History in Focus: GCSE Modern World History;
French and German[edit]
Stanislas Jeannesson, Poincaré, la France et la Ruhr 1922–1924. Histoire d'une occupation (Strasbourg, 1998);
Michael Ruck, Die Freien Gewerkschaften im Ruhrkampf 1923 (Frankfurt am Main, 1886);
Barbara Müller, Passiver Widerstand im Ruhrkampf. Eine Fallstudie zur gewaltlosen zwischenstaatlichen Konfliktaustragung und ihren Erfolgsbedingungen (Münster, 1995);
Gerd Krüger, Das "Unternehmen Wesel" im Ruhrkampf von 1923. Rekonstruktion eines misslungenen Anschlags auf den Frieden, in Horst Schroeder, Gerd Krüger, Realschule und Ruhrkampf. Beiträge zur Stadtgeschichte des 19. und 20. Jahrhunderts (Wesel, 2002), pp. 90–150 (Studien und Quellen zur Geschichte von Wesel, 24) [esp. on the background of so-called 'active' resistance];
Gerd Krumeich, Joachim Schröder (eds.), Der Schatten des Weltkriegs: Die Ruhrbesetzung 1923 (Essen, 2004) (Düsseldorfer Schriften zur Neueren Landesgeschichte und zur Geschichte Nordrhein-Westfalens, 69);
Gerd Krüger, "Aktiver" und passiver Widerstand im Ruhrkampf 1923, in Günther Kronenbitter, Markus Pöhlmann, Dierk Walter (eds.), Besatzung. Funktion und Gestalt militärischer Fremdherrschaft von der Antike bis zum 20. Jahrhundert (Paderborn / Munich / Vienna / Zurich, 2006), pp. 119–30 (Krieg in der Geschichte, 28);
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text:
Goodbye, Mr. Chips
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Goodbye, Mr. Chips (disambiguation).
"Mr. Chips" redirects here. For other uses, see Mr. Chips (disambiguation).
Goodbye, Mr. Chips
Cover of the UK first edition
Author
James Hilton
Illustrator
Ethel 'Bip' Pares
Genre
Psychological fiction
Publisher
Little, Brown (USA)
Hodder & Stoughton (UK)
Publication date
June 1934 (1934-06) (USA)
October 1934 (1934-10) (UK)
OCLC
8462789
Goodbye, Mr. Chips is a novella about the life of a schoolteacher, Mr. Chipping, written by the English writer James Hilton and first published by Hodder & Stoughton in October 1934. It has been adapted into two cinema films and two television presentations. The novella has remained an essential part of the English subject syllabus taught at Pakistan's higher secondary school level for the past 30 years, although its choice has received some criticism in the recent past due to perceived lack of relevance to the local society and education system.[1][2]
Contents
[hide]
1 History
2 Plot summary
3 Inspiration
4 Adaptations
4.1 1936 radio
4.2 1938 stage
4.3 1939 film
4.4 1939 radio
4.5 1969 film
4.6 1982 stage musical
4.7 1984 serial
4.8 2002 TV film
4.9 Parodies
5 See also
6 References
7 External links
History[edit]
The story was originally issued in 1933, as a supplement to the British Weekly, an evangelical newspaper. It came to prominence when it was reprinted as the lead piece of the April 1934 issue of The Atlantic. The success of the Atlantic Monthly publication prompted a book deal between the author and the US publisher Little, Brown and Company, who published the story in book form for the first time in June 1934. The Great Depression had elevated business risks for most publishing houses, and Little, Brown were no exception. They cautiously released a small first print run. Public demand for more was immediate, and Little, Brown went into an almost immediate reprinting the same month. Public demand remained strong, and Little, Brown continued to reprint the book in cautious lots for many months, with at least two reprintings per month.
The first British edition went to press in October 1934. The publishers were Hodder & Stoughton, who had observed the success of the book in the United States, and they released a much larger first print run. It sold 15,000 copies on the day of publication,[3] and they quickly found themselves going into reprints as the reading public's demand for the book proved insatiable. With the huge success of this book, James Hilton became a best-selling author.[4]
Plot summary[edit]
The novella tells the story of a beloved school teacher, Mr Chipping, and his long tenure at Brookfield School, a fictional minor British boys' public boarding school located in the fictional village of Brookfield, in the Fenlands. Mr Chips, as the boys call him, is conventional in his beliefs and exercises firm discipline in the classroom. His views broaden, and his pedagogical manner loosens after he marries Katherine, a young woman whom he meets on holiday in the Lake District. Katherine charms the Brookfield teachers and headmaster, and quickly wins the favour of Brookfield's pupils. Despite Chipping's mediocre credentials and his view that Greek and Latin (his academic subjects) are dead languages, he is an effective teacher who becomes highly regarded by students and the school's governors. In his later years, he develops an arch sense of humour that pleases everyone.
Although the book is unabashedly sentimental, it depicts the sweeping social changes that Chips experiences throughout his life: he begins his tenure at Brookfield in September 1870, at the age of 22, as the Franco-Prussian War was breaking out; he dies in November 1933, at the age of 85, shortly after Adolf Hitler's rise to power.
Inspiration[edit]
The setting for Goodbye, Mr. Chips is probably based on The Leys School, Cambridge, where James Hilton was a pupil (1915–18). Hilton is reported to have said that the inspiration for the protagonist, Mr. Chips, came from many sources, including his father, who was the headmaster of Chapel End School. Mr. Chips is also likely to have been based on W. H. Balgarnie, a master at The Leys (1900–30), who was in charge of the Leys Fortnightly (in which Hilton's first short stories and essays were published). Over the years, old boys wrote to Geoffery Houghton, a master at The Leys and a historian of the school, confirming the links between Chipping and Balgarnie, who eventually died at Porthmadog at the age of 82.[5] Balgarnie had been linked with the school for 51 years and spent his last years in modest lodgings nearby. Like Mr. Chips, Balgarnie was a strict disciplinarian, but would also invite boys to visit him for tea and biscuits.[6]
Hilton wrote upon Balgarnie's death that "Balgarnie was, I suppose, the chief model for my story. When I read so many other stories about public school life, I am struck by the fact that I suffered no such purgatory as their authors apparently did, and much of this miracle was due to Balgarnie."[6] The mutton chop side whiskers of one of the masters at The Leys earned him the nickname "Chops", a likely inspiration for Mr Chips' name.[6]
In Hilton's final novel, Time and Time Again (1953), protagonist Charles Anderson bears clear biographical similarities to Hilton himself.[citation needed] Early in the novel, Anderson briefly reminisces about attending Brookfield and knowing "Chips".
Adaptations[edit]
1936 radio[edit]
A 50-minute adaptation by James Hilton and Barbara Burnham was broadcast on the BBC National Programme at 20:00 on 23 July 1936, with Richard Goolden in the title part and a cast that included Norman Shelley, Ronald Simpson, Lewis Shaw and Hermione Hannen.[7] There was a repeat broadcast the following evening.[8]
1938 stage[edit]
Barbara Burnham adapted the book for a stage production in three acts, which was first performed at the Shaftesbury Theatre on 23 September 1938, with Leslie Banks as Mr. Chips and Constance Cummings as his wife Katherine.[9] It ran for over 100 performances[10] until 14 January 1939.[11]
1939 film[edit]
Main article: Goodbye, Mr. Chips (1939 film)
This version stars Robert Donat, Greer Garson, Terry Kilburn, John Mills, and Paul Henreid. Donat won an Academy Award for Best Actor for his performance in the lead role, beating Clark Gable, James Stewart, Laurence Olivier, and Mickey Rooney.
While some of the incidents depicted in the various screen adaptations do not appear in the book, this film is generally faithful to the original story.
The exteriors of the buildings of the fictional Brookfield School were filmed at Repton School,[12][13] an independent school (at the time of filming, for boys only), located in the village of Repton, in Derbyshire, in the Midlands area of England, whilst the interiors, school courtyards and annexes, including the supposedly exterior shots of the Austrian Tyrol Mountains, were filmed at Denham Film Studios,[14] near the village of Denham in Buckinghamshire. Around 200 boys from Repton School stayed on during the school holidays so that they could appear in the film.[15]
1939 radio[edit]
A radio adaptation by the Lux Radio Theatre starring Laurence Olivier and Edna Best and presented by Cecil B. DeMille was first broadcast on November 20, 1939.
1969 film[edit]
Main article: Goodbye, Mr. Chips (1969 film)
In 1969 a musical film version appeared, starring Peter O’Toole and Petula Clark, with songs by Leslie Bricusse and an underscore by John Williams. In this version the character of Katherine is greatly expanded, and the time setting of the story is moved forward several decades, with Chips’ career beginning in the early 20th century and later career covering World War II, rather than World War I. O’Toole and Clark's performances were widely praised. At the 42nd Academy Awards, O’Toole was nominated for the Academy Award for Best Actor, and he won the Golden Globe Award for Best Actor in a Musical or Comedy.
1982 stage musical[edit]
A stage musical based on the original novel, but using most of the Leslie Bricusse vocal score of the 1969 film, was mounted at the Chichester Festival and opened on 11 August 1982. The book was by Roland Starke and the production was directed by Patrick Garland and Christopher Selbie. Among the Chichester Festival cast were John Mills as Mr. Chips, Colette Gleeson as Kathie, Nigel Stock as Max, Michael Sadler and Robert Meadmore in supporting roles, and 20 local school boys, including Kevin Farrar who was selected by Bricusse to sing the final verse of the iconic "School Song", which features on the original cast album which was recorded on 'That's Entertainment Records' label TER 1025 at Abbey Roads Studios in London on 17/18 August 1982. JAY-jay Records also have a release of it.
1984 serial[edit]
In 1984 it was adapted as a television serial by the BBC. It starred Roy Marsden and Jill Meager and ran for six half-hour episodes. Many scenes were filmed at Repton School, Derbyshire, in an effort to remain faithful to the original film.[16]
2002 TV film[edit]
A television film adaptation was produced by STV Productions (then known as "SMG TV Productions") in 2002. It aired on the ITV Network in Britain and on PBS's Masterpiece Theatre in the United States. It starred Martin Clunes and Victoria Hamilton with Henry Cavill, William Moseley, Oliver Rokison and Harry Lloyd.[17]
Parodies[edit]
Goodbye, Mr. Chips was parodied in the British sketch comedy programmes Hale and Pace (as Piss Off, Mr. Chips) and Big Train.
See also[edit]
1934 in literature
References[edit]
Jump up ^ "Goodbye Mr Chips!". Dawn.com. Dawn. Retrieved 22 April 2018.
Jump up ^ "A REJOINDER TO THE CRITICISM ON 'GOOD-BYE MR. CHIPS'". humsub.com.pk. HumSub. Retrieved 22 April 2018.
Jump up ^ "Among The Fiction – Outstanding Sales". Reviews. The Times (46928). London. 4 December 1934. p. 20.
Jump up ^ "''Atlantic'' on education". The Atlantic. Retrieved 11 April 2011. .
Jump up ^ "Milestones". Time. 30 July 1951. Retrieved 27 September 2009.
^ Jump up to: a b c Timothy Carroll (9 December 2002). "Who was the real Mr Chips?". The Daily Telegraph. Retrieved 11 April 2011.
Jump up ^ "Broadcasting – Mr. Goolden in a School Play". Arts and Entertainment. The Times (47434). London. 23 July 1936. p. 21.
Jump up ^ "Broadcasting". Arts and Entertainment. The Times (47435). London. 24 July 1936. p. 12.
Jump up ^ "Shaftesbury Theatre". Reviews. The Times (48108). London. 24 September 1938. p. 8.
Jump up ^ "The Theatres". Reviews. The Times (48189). London. 29 December 1938. p. 6.
Jump up ^ "Art Exhibitions". Classified Advertising. The Times (48203). London. 14 January 1939. p. 10.
Jump up ^ "Movies made in the Midlands". Sunday Mercury. Retrieved 22 April 2018.
Jump up ^ "Repton, Derbyshire". greatbritishlife.co.uk. Retrieved 22 April 2018.
Jump up ^ Goodbye, Mr. Chips (1939) on IMDb. Retrieved 11 April 2011
Jump up ^ "1930s: A year of tragedy and war worries". youandyesterday.com. Retrieved 14 March 2011. [dead link]
Jump up ^ Other scenes were filmed at Christ College, Brecon; with many of the school's pupils taking roles in the production. BBC Derby
Jump up ^ Goodbye, Mr. Chips (2002 TV) on IMDb. Retrieved 11 April 2011
External links[edit]
Goodbye, Mr. Chips at Faded Page (Canada)
Authority control
WorldCat Identities
VIAF: 182507999
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text:
Figure skating at the 2018 Winter Olympics – Men's singles
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Men's singles
at the XXIII Olympic Winter Games
Venue
Gangneung Ice Arena
Gangneung, South Korea
Dates
16–17 February
Competitors
30 from 21 nations
Winning score
317.85
Medalists
01 !
Yuzuru Hanyu Japan
02 !
Shoma Uno Japan
03 !
Javier Fernández Spain
← 2014
2022 →
Figure skating at the
2018 Winter Olympics
Qualification
Singles
men ladies
Pairs
mixed
Ice dancing
mixed
Team event
mixed
v
t
e
The men's single figure skating competition of the 2018 Winter Olympics was held on 16 and 17 February 2018 at the Gangneung Ice Arena in Gangneung, South Korea.[1][2] The short program was held on 16 February and the free skating was held on 17 February.[3]
This medal event was the 1000th medal event in the history of the Winter Olympic Games.[4]
Contents
[hide]
1 Summary
2 Qualification
3 Schedule
4 Results
4.1 Short program
4.2 Free skating
4.3 Overall
5 References
Summary[edit]
With his victory at the 2018 Winter Olympics, Yuzuru Hanyu became the first male figure skater to win two consecutive gold medals after Dick Button, who did so in 1952. Fellow countryman Shoma Uno won the silver medal, and Spain's Javier Fernández won the bronze medal. Fernández won Spain's first figure skating medal and fourth medal at the Winter Olympics.
After the short program, Hanyu, Fernández, Uno, and Jin Boyang were first, second, third, and fourth respectively. Nathan Chen, originally one of the favorites for the podium, skated an uncharacteristically poor short program that placed him at 17th, but fought back to win the free skating with a score of 215.08--8.91 points above the second place free skating by Hanyu. He ended up fifth overall. In the free program, Jin Boyang overtook Chen by less than a point overall, and placed fourth.
In the victory ceremony, the medals were presented by Tsunekazu Takeda, member of the International Olympic Committee, accompanied by Alexander Lakernik, ISU Figure Skating Vice President.
Vincent Zhou landed the first quadruple lutz at the Olympics. Nathan Chen became the first to ever land six quads, five clean. He also landed the first quadruple flip at the Olympics. [5] With these jumps he holds the new record for highest free skating technical score.[6] For complete list of figure skating records, see list of highest scores in figure skating.
Qualification[edit]
Main article: Figure skating at the 2018 Winter Olympics – Qualification
A total of 30 skaters qualified to compete for the event, with each country allowed to only enter a maximum of three. 24 quotas were handed out during the 2017 World Figure Skating Championships and the remaining six were given out at the 2017 CS Nebelhorn Trophy. Each country decided the entry of its teams, and athletes winning the quota were not necessarily granted the right to compete.[7] All athletes competing must have met the minimum total elements score, which does not include component scores. For the short program this was 25.00 and the free skating 45.00.[8]
Schedule[edit]
All times are (UTC+9).
Date
Time
Round
16 February 10:00[3] Short program
17 February 10:00[3] Free skating
Results[edit]
Short program[edit]
The short program was held on 16 February 2018.[3][9]
Pl.
Name
Nation
TSS
TES
PCS
SS
TR
PE
CH
IN
Ded
StN
1
Yuzuru Hanyu Japan 111.68 63.18 48.50 9.71 9.43 9.86 9.75 9.75 0.00 25
2
Javier Fernández Spain 107.58 59.79 47.79 9.36 9.36 9.71 9.68 9.68 0.00 29
3
Shoma Uno Japan 104.17 58.13 46.04 9.29 9.00 9.25 9.29 9.21 0.00 28
4
Jin Boyang China 103.32 60.27 43.05 8.79 8.29 8.82 8.54 8.61 0.00 30
5
Dmitri Aliev Olympic Athletes from Russia 98.98 56.98 42.00 8.43 8.11 8.50 8.50 8.46 0.00 20
6
Patrick Chan Canada 90.01 45.08 45.93 9.36 9.07 9.00 9.29 9.21 –1.00 21
7
Adam Rippon United States 87.95 44.48 43.47 8.57 8.43 8.86 8.68 8.93 0.00 19
8
Mikhail Kolyada Olympic Athletes from Russia 86.69 43.84 43.85 8.96 8.54 8.64 8.82 8.89 –1.00 27
9
Michal Březina Czech Republic 85.15 44.34 40.81 8.25 7.89 8.25 8.21 8.21 0.00 13
10
Keegan Messing Canada 85.11 45.50 40.61 8.04 7.96 8.07 8.29 8.25 −1.00 12
11
Jorik Hendrickx Belgium 84.74 44.17 40.57 7.96 7.89 8.25 8.18 8.29 0.00 17
12
Vincent Zhou United States 84.53 48.50 36.03 7.39 6.96 7.11 7.32 7.25 0.00 3
13
Oleksii Bychenko Israel 84.13 43.63 40.50 7.93 7.71 8.36 8.18 8.32 0.00 23
14
Misha Ge Uzbekistan 83.90 41.75 42.15 8.18 8.18 8.54 8.46 8.79 0.00 16
15
Cha Jun-hwan South Korea 83.43 43.79 39.64 7.93 7.68 8.07 8.00 7.96 0.00 14
16
Brendan Kerry Australia 83.06 45.49 37.57 7.57 7.36 7.61 7.57 7.46 0.00 10
17
Nathan Chen United States 82.27 41.39 41.88 8.46 8.32 8.14 8.57 8.39 –1.00 26
18
Daniel Samohin Israel 80.69 43.29 38.40 7.79 7.29 7.79 7.71 7.82 –1.00 18
19
Yan Han China 80.63 40.99 40.64 8.46 8.07 7.86 8.18 8.07 −1.00 8
20
Keiji Tanaka Japan 80.05 40.30 40.75 8.36 7.86 8.07 8.21 8.25 –1.00 22
21
Deniss Vasiļjevs Latvia 79.52 39.34 41.18 8.25 8.00 8.18 8.39 8.36 –1.00 24
22
Moris Kvitelashvili Georgia 76.56 40.88 36.68 7.46 7.11 7.32 7.43 7.36 −1.00 11
23
Matteo Rizzo Italy 75.63 39.23 36.40 7.29 7.11 7.29 7.39 7.32 0.00 5
24
Paul Fentz Germany 74.73 37.71 37.02 7.46 7.25 7.46 7.46 7.39 0.00 15
Did not advance to free skating
25
Julian Yee Malaysia 73.58 38.37 35.21 7.07 6.82 7.11 7.14 7.07 0.00 9
26
Chafik Besseghier France 72.10 38.41 33.69 6.79 6.29 6.89 6.86 6.86 0.00 2
27
Denis Ten Kazakhstan 70.12 30.77 39.35 8.11 7.82 7.46 8.07 7.89 0.00 4
28
Michael Christian Martinez Philippines 55.56 26.04 29.52 5.96 5.64 5.96 6.00 5.96 0.00 6
29
Felipe Montoya Spain 52.41 22.59 30.82 6.25 6.07 6.00 6.25 6.25 −1.00 1
30
Yaroslav Paniot Ukraine 46.58 18.68 29.90 6.43 5.79 5.61 6.21 5.86 −2.00 7
Notes:
WR - World record
TSS - Total Segment Score; TES - Technical Element Score; PCS - Program Component Score
SS - Skating Skills; TR - Transitions; PE - Performance/Execution
CH - Choreography; IN - Interpretation; Ded - Deduction; StN - Starting Number
Free skating[edit]
The free skating was held on 17 February 2018.[3][10]
Pl.
Name
Nation
TSS
TES
PCS
SS
TR
PE
CH
IN
Ded
StN
1
Nathan Chen United States 215.08 127.64 87.44 8.82 8.32 9.04 8.79 8.75 0.00 9
2
Yuzuru Hanyu Japan 206.17 109.55 96.62 9.71 9.50 9.64 9.71 9.75 0.00 22
3
Shoma Uno Japan 202.73 111.01 92.72 9.36 9.07 9.25 9.32 9.36 –1.00 24
4
Javier Fernández Spain 197.66 101.52 96.14 9.46 9.43 9.64 9.79 9.75 0.00 23
5
Jin Boyang China 194.45 109.69 85.76 8.71 8.21 8.64 8.68 8.64 –1.00 20
6
Vincent Zhou United States 192.16 112.24 79.92 8.04 7.71 8.25 7.96 8.00 0.00 15
7
Mikhail Kolyada Olympic Athletes from Russia 177.56 91.62 87.94 9.00 8.64 8.68 8.86 8.72 –2.00 16
8
Patrick Chan Canada 173.42 81.56 91.86 9.32 9.14 8.66 9.29 9.32 0.00 21
9
Oleksii Bychenko Israel 172.88 89.08 83.80 8.39 8.04 8.61 8.43 8.43 0.00 7
10
Adam Rippon United States 171.41 84.47 86.94 8.75 8.54 8.68 8.71 8.79 0.00 18
11
Daniel Samohin Israel 170.75 89.03 81.72 8.32 7.75 8.32 8.18 8.29 0.00 8
12
Keegan Messing Canada 170.32 84.88 85.44 8.50 8.29 8.61 8.61 8.71 0.00 14
13
Dmitri Aliev Olympic Athletes from Russia 168.53 85.39 85.13 8.64 8.39 8.32 8.61 8.61 –2.00 19
14
Cha Jun-hwan South Korea 165.16 84.94 81.22 8.21 7.86 8.25 8.11 8.18 –1.00 13
15
Keiji Tanaka Japan 164.78 85.64 81.14 8.36 7.89 8.00 8.18 8.14 –2.00 5
16
Jorik Hendrickx Belgium 164.21 81.79 82.42 8.25 7.96 8.36 8.25 8.39 0.00 13
17
Misha Ge Uzbekistan 161.04 74.96 86.08 8.46 8.36 8.54 8.75 8.93 0.00 10
18
Michal Březina Czech Republic 160.92 76.58 84.34 8.57 8.21 8.39 8.57 8.43 0.00 17
19
Matteo Rizzo Italy 156.78 80.86 75.92 7.64 7.32 7.79 7.64 7.57 0.00 2
20
Deniss Vasiļjevs Latvia 155.06 76.42 80.64 8.14 7.86 7.96 8.18 8.18 –2.00 1
21
Brendan Kerry Australia 150.75 73.33 77.42 7.96 7.54 7.68 7.82 7.71 0.00 12
22
Paul Fentz Germany 139.82 66.98 72.84 7.50 7.14 7.14 7.39 7.25 0.00 3
23
Yan Han China 132.38 53.80 79.58 8.56 7.82 7.57 8.04 8.00 –1.00 4
24
Moris Kvitelashvili Georgia 128.01 63.35 70.66 7.34 6.86 6.68 7.32 7.04 –6.00 6
Notes:
TSS - Total Segment Score; TES - Technical Element Score; PCS - Program Component Score
SS - Skating Skills; TR - Transitions; PE - Performance/Execution
CH - Choreography; IN - Interpretation; Ded - Deduction; StN - Starting Number
Overall[edit]
The skaters were ranked according to their overall score.[11]
Rank
Name
Nation
TP
SP
FS
01 !
Yuzuru Hanyu Japan 317.85 111.68 1 206.17 2
02 !
Shoma Uno Japan 306.90 104.17 3 202.73 3
03 !
Javier Fernández Spain 305.24 107.58 2 197.66 4
4
Jin Boyang China 297.77 103.32 4 194.45 5
5
Nathan Chen United States 297.35 82.27 17 215.08 1
6
Vincent Zhou United States 276.69 84.53 12 192.16 6
7
Dmitri Aliev Olympic Athletes from Russia 267.51 98.98 5 168.53 13
8
Mikhail Kolyada Olympic Athletes from Russia 264.25 86.69 8 177.56 7
9
Patrick Chan Canada 263.43 90.01 6 173.42 8
10
Adam Rippon United States 259.36 87.95 7 171.41 10
11
Oleksii Bychenko Israel 257.01 84.13 13 172.88 9
12
Keegan Messing Canada 255.43 85.11 10 170.32 12
13
Daniel Samohin Israel 251.44 80.69 18 170.75 11
14
Jorik Hendrickx Belgium 248.95 84.74 11 164.21 16
15
Cha Jun-hwan South Korea 248.59 83.43 15 165.16 14
16
Michal Březina Czech Republic 246.07 85.15 9 160.92 18
17
Misha Ge Uzbekistan 244.94 83.90 14 161.04 17
18
Keiji Tanaka Japan 244.83 80.05 20 164.78 15
19
Deniss Vasiļjevs Latvia 234.58 79.52 21 155.06 20
20
Brendan Kerry Australia 233.81 83.06 16 150.75 21
21
Matteo Rizzo Italy 232.41 75.63 23 156.78 19
22
Paul Fentz Germany 214.55 74.73 24 139.82 22
23
Yan Han China 213.01 80.63 19 132.38 23
24
Moris Kvitelashvili Georgia 204.57 76.56 22 128.01 24
Did not advance to free skating
25
Julian Yee Malaysia 73.58 25
26
Chafik Besseghier France 72.10 26
27
Denis Ten Kazakhstan 70.12 27
28
Michael Christian Martinez Philippines 55.56 28
29
Felipe Montoya Spain 52.41 29
30
Yaroslav Paniot Ukraine 46.58 30
TP - Total points; SP - Short program; FS - Free skating
References[edit]
Jump up ^ "Venues". www.pyeongchang2018.com/. Pyeongchang 2018 Olympic Organizing Committee for the 2018 Winter Olympics. Retrieved 26 December 2017.
Jump up ^ Start list
^ Jump up to: a b c d e "Schedule". Retrieved 6 January 2018.
Jump up ^ "Hanyu edges out YOG star for skating gold". olympic.org. 17 February 2018. Retrieved 17 February 2018.
Jump up ^ "Nathan Chen Makes Olympic History With 6 Quad Jumps". Time. Retrieved 2018-02-24.
Jump up ^ "Personal Bests". www.isuresults.com. Retrieved 2018-02-24.
Jump up ^ "Qualification Systems for XXIII Olympic Winter Games, PyeongChang 2018, Figure skating". International Skating Union (ISU). 17 May 2016. Retrieved 20 January 2018.
Jump up ^ "Extract from ISU Communication 2097". www.iceskating.org.uk/. National Ice Skating Association (UK). Retrieved 20 January 2018.
Jump up ^ "Judges Details Per Skater: Figure Skating Men's Short Program Results" (PDF). International Skating Union (PDF). Retrieved 16 February 2018.
Jump up ^ "Judges Details Per Skater: Figure Skating Men's Free Skating Results" (PDF). International Skating Union (PDF). Retrieved 17 February 2018.
Jump up ^ "Judges Details Per Skater: Figure Skating Men's Total Results". International Skating Union. Retrieved 17 February 2018.
[show]
v
t
e
Olympic champions in figure skating – Men's singles
1908: Ulrich Salchow (SWE)
1920: Gillis Grafström (SWE)
1924: Gillis Grafström (SWE)
1928: Gillis Grafström (SWE)
1932: Karl Schäfer (AUT)
1936: Karl Schäfer (AUT)
1948: Dick Button (USA)
1952: Dick Button (USA)
1956: Hayes Alan Jenkins (USA)
1960: David Jenkins (USA)
1964: Manfred Schnelldorfer (EUA)
1968: Wolfgang Schwarz (AUT)
1972: Ondrej Nepela (TCH)
1976: John Curry (GBR)
1980: Robin Cousins (GBR)
1984: Scott Hamilton (USA)
1988: Brian Boitano (USA)
1992: Viktor Petrenko (EUN)
1994: Alexei Urmanov (RUS)
1998: Ilia Kulik (RUS)
2002: Alexei Yagudin (RUS)
2006: Evgeni Plushenko (RUS)
2010: Evan Lysacek (USA)
2014: Yuzuru Hanyu (JPN)
2018: Yuzuru Hanyu (JPN)
[show]
v
t
e
Record scores in figure skating
Combined total (Total)
Short program (SP)
Free skating (FS)
Short dance (SD)
Free dance (FD)
Juniors (J)
Men
Total: Yuzuru Hanyu 330.43
SP: Yuzuru Hanyu 112.72
FS: Yuzuru Hanyu 223.20
Total (J): Vincent Zhou 258.11
SP (J): Shoma Uno 84.87
FS (J): Vincent Zhou 179.24
Ladies
Total: Evgenia Medvedeva 241.31
SP: Alina Zagitova 82.92
FS: Evgenia Medvedeva 160.46
Total (J): Alexandra Trusova 225.52
SP (J): Alexandra Trusova 73.25
FS (J): Alexandra Trusova 153.49
Pairs
Total: Aliona Savchenko / Bruno Massot 245.84
SP: Tatiana Volosozhar / Maxim Trankov 84.17
FS: Savchenko / Massot 162.86
Total (J): Anna Dušková / Martin Bidař 181.82
SP (J): Amina Atakhanova / Ilia Spiridonov 64.79
FS (J): Sui Wenjing / Han Cong 118.54
Ice dance
Total: Gabriella Papadakis / Guillaume Cizeron 207.20
SD: Papadakis / Cizeron 83.73
FD: Papadakis / Cizeron 123.47
Total (J): Rachel Parsons / Michael Parsons 164.83
SD (J): R. Parsons / M. Parsons 67.88
FD (J): R. Parsons / M. Parsons 97.54
See also
Progression of record scores
Record technical and component scores
Highest technical element scores
Highest program component scores
See also (J)
Record junior scores
Progression of record scores (J)
Record technical and component scores (J)
Highest technical element scores (J)
Highest program component scores (J)
[show]
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Canada
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