florida international university law school ranking us news

The 2017 U.S. News & World Report's "Best Law School Rankings" ranked the FIU College of Law at 100[5] in the United States. This represents an increase of more than 51 spots since 2009.

The Florida International University College of Law is the law school of Florida International University, located in Miami, Florida in the United States. The law school is accredited by the American Bar Association, and is the only public law school in Southern Florida.

Seven times in its history, the FIU College of Law has ranked first in the state of Florida with the state's highest bar-passing rates (February 2005, February 2007, February 2009, July 2011, July 2015, February 2016, and July 2016).[7] In 2007, the school also ranked first in Florida in the Multistate Professional Responsibility Exam with a 96% passage rate.[8][9]

According to FIU's 2014 ABA-required disclosures, 70.1% of the Class of 2014 obtained full-time, long-term, JD-required employment nine months after graduation,[10] with 79% of graduates seeking employment securing full-time, long-term legal jobs.[3]

Florida International University worked towards the creation of a public law school in South Florida for many years, beginning with the 1986 appointment of Modesto A. Maidique as University president. Maidique met resistance from the Florida Board of Regents, which had a number of graduates of other Florida law schools, and opposed the opening of any new public law schools in the state. The establishment of this institution was finally realized in 2000, when Governor Jeb Bush pushed the project through the state legislature, along with the re-establishment of a law school at Florida A&M University.

Shortly thereafter, the College of Law hired Leonard Strickman as its inaugural Dean. Strickman, a Yale Law School graduate, had previously served as Dean of the Northern Illinois University College of Law and the University of Arkansas School of Law, and had been a member of the ABA Accreditation Committee during the 1990s, and had chaired 15 ABA accreditation site visits.

The College of Law is one of the university's 26 schools and colleges and was founded in 2000. It officially opened its doors in August 2002, received provisional accreditation from the American Bar Association in August 2004, and was granted full accreditation on December 1, 2006. The inaugural class graduated on May 22, 2005.

FIU, preparing for only its second graduation in Spring 2006, had passing scores from 19 of 22 students who took the Bar exam in February 2006. The state average — including graduates from all 10 Florida law schools and out-of-state graduates who took the Florida test — was 73.2 percent.

On February 10, 2007, Ruth Bader Ginsburg, an Associate Justice for the United States Supreme Court, headed the Dedication of the new law school building. She formally dedicated the building and delivered a keynote address along with other dignitaries. The Rafael Diaz-Balart Hall Dedication took take place at the then-named FIU Arena and was preceded and followed by tours of the new law school building.

In May 2009, the institution announced that United States Attorney Alexander Acosta had been selected to replace Strickman as Dean, with the latter's retirement from the position. Acosta left in 2017 to become United States Secretary of Labor.

FIU is currently the fourth-highest ranked law school in Florida behind only Florida State University College of Law, University of Florida's Fredric G. Levin College of Law, and the University of Miami School of Law.[11] The magazine also ranked FIU at 53 in the U.S. for its part-time law programs.[12]

In October 2010, the FIU College of Law was ranked Top 10 Best Value school in the nation by The National Jurist.[13]

In April 2007, it was revealed that FIU Law graduates passed the February 2007 Florida bar exam with a 94 percent passing rate, the highest in the state of Florida.[14]

In March 2007, the FIU College of Law received its first national ranking in U.S. News & World Report. FIU was ranked in the third tier of the four tiers of law school, marking the first time in several decades that a new law school has been so highly ranked.[15]

According to FIU's official 2015 ABA-required disclosures, 81.6% of the Class of 2015 obtained full-time, long-term, JD-required employment nine months after graduation.[10] FIU's Law School Transparency under-employment score is 15.0%, indicating the percentage of the Class of 2015 unemployed, pursuing an additional degree, or working in a non-professional, short-term, or part-time job nine months after graduation.[16]

The FIU College of Law has been noted for its consistently high bar passage rates. FIU Law graduates ranked 1st in the state of Florida, in terms of percentage of students who pass the Florida bar exam on their first attempt, nine times in 13 years, including five of the last six administrations (July 2015, February 2016, July 2016, July 2017, and February 2018).

FIU also ranked 1st in Florida in the Multistate Professional Responsibility Exam (MPRE) with a 95.5% passage rate in 2007.[8]

MPRE
passing rates

This table does not account deferred
applications or other unique situations.

The College of Law only admits students during the fall to its full-time day program or its part-time evening program. Admissions is done on a rolling basis.

For Fall 2016, 1,901 students applied for admissions into the FIU College of Law, 545 were accepted, and 130 enrolled for the day program and 16 for the evening program. The Fall 2016 entering class had a median LSAT score of 156 (out of a possible 180 points) and a 3.64 GPA (on a 4.0 scale). 62.9% of students were ethnic minorities, and 52% were women. The average age is 25 for the day program and 28 for the evening program.[20][21][22]

Annual tuition for in-state students in the day program is $21,407 and $14,501 for those in the evening program.[23] Annual tuition for out-of-state students in the day program is $35,650 and $24,150 for those in the evening program.[24]

The FIU College of Law has about 30 full-time faculty members (including the Dean and the Associate Dean for Academics, both of whom teach on an occasional basis), and also has various visiting professors who teach subjects within their areas of expertise.

The founding faculty are the professors who came to the University before it was opened to students. Under Strickman's guidance (and with the added incentive of South Florida's temperate climate), the College of Law recruited a highly experienced founding faculty that included:

In addition, Professor John Stack already a long-time professor of political science at FIU before the foundation of the law school, and director of the Jack D. Gordon Public Policy Institute, became a jointly-appointed faculty member in the College of Law and the Political Science department.

While many members of the College of Law faculty are known and well-published within the legal community, several are particularly notable.

The Florida International University College of Law opened with a class of 67 full-time and 60 part-time students. LSAT and GPA scores placed the inaugural class around the middle of Florida's 11 law schools.[27] The first graduate was Rosann Spiegel,[28] also a previous FIU alumnus, who finished the program a semester ahead of schedule. Spiegel graduated in December 2004 and passed the February 2005 bar examination - briefly making FIU the only law school in the country with a 100% bar passage rate.[29]

In January 2010, FIU College of Law students placed first among the Southeastern States Regional American Bar Association negotiation competition. Students also placed second in the Zehmer Mock Trial Competition and second on the brief at the Skadden Arps International FDI moot competition.[30]

The student body has also formed a Law Review and a Moot Court team, as well as a Student Bar Association and other student organizations, such as a chapter of the Federalist Society, a student newspaper called "Ipsissima Verba", and a Sports and Entertainment Law Society (SELS). Currently, the institution has about 450 students, including part-time and full-time first, second, and third year students. Eventually, the school is projected to have a capacity of about 600 students at a time.

Established in 2004, the FIU Law Review is the law school's official student law review.[31] The FIU Law Review is committed to facilitate FIU Lawâ€™s growth and impact in the legal community.

The Review organizes two symposia and publishes two symposium-based issues annually (Fall and Spring).[32] Articles Editors and Staff Members also write about current changes in the law on the Law Reviewâ€™s blog.[33]

Recently, the Law Review held a symposium on separation of powers.[34] Previously, the Review has held symposia about religion and the law,[35] aviation and space law,[36] layers of law and social order,[37] and immigration law.[38]

The FIU College of Law is unique among American law schools in that it requires all students to take a course entitled An Introduction to International and Comparative Law during their first year. Other required first year courses are more typical - Constitutional law, Torts, and Contracts in the first semester, Criminal law, Civil Procedure, and Property in the second, and legal writing classes (called Legal Skills and Values, or simply LSV) throughout. However, each of the substantive classes also dedicates a portion of its discussion to international and comparative issues in that area of law.

Upper level requirements also include an additional course relating to international law, an additional LSV class, a writing seminar, and a course in Professional Responsibility.

The FIU College of Law offers six in-house clinics:

The Florida International University College of Law operates out of the Rafael DÃaz-Ballart Hall, designed by renowned architect Robert A. M. Stern. A groundbreaking ceremony was held for the law school's building on May 22, 2005 (the same day as the inaugural commencement). $34 million was budgeted for the construction of the facility. The new building is also on the University Park campus, across from the FIU Arena and adjacent to the Recreation Center and a 1,000-car parking garage.

On-campus housing is available for graduate students in the College of Law at the University Park Towers and the University Park Apartments through the graduate housing community.


how much did kobe bryant score in his last game

The number of forty-plus point games players accumulate over their careers is often reported in media. Bryant has played 135 games in which he has scored 40 or more points; of these, 6 were 60-plus point games and 26 were 50-plus point games. He is third behind Wilt Chamberlain and Michael Jordan, who scored 40 or more in 284 and 211 games, respectively.[8] In 2003, Bryant scored 40 points or more in nine consecutive games, tying Jordan, who accomplished the same feat in the 1986–87 season.[9] The only player with longer streaks of 40 or more is Chamberlain, who had 14 consecutive games twice in the 1961–62 season and 10 consecutive games in the 1962–63 season.[9][10] In 2006, Bryant scored a career-high 81 points against the Toronto Raptors. It was the second-highest number of points scored in a game in NBA history,[11] behind only Chamberlain's 100-point performance in 1962.[11] In 2007, Bryant scored 50 points or more in four consecutive games; this accomplishment is fifth in NBA history behind streaks by Chamberlain, who had 50 or more in seven, six and five (twice) consecutive games in the 1961–62 season.[12] Bryant has also played 12 playoff games in which he has scored forty or more points. Out of the 134 games, 21 resulted in Bryant notching a double-double and 42 resulted in losses. Bryant became the oldest player to score 60+ points (60) in his final game on April 13, 2016.

List of 40-plus point games by Kobe Bryant

Kobe Bryant is an American basketball shooting guard who played for the Los Angeles Lakers of the National Basketball Association (NBA). Selected 13th overall by the Charlotte Hornets in the 1996 NBA draft, Bryant was traded to the Lakers for Vlade Divac a month later.[1][2] He led the Lakers to three consecutive NBA championships playing alongside Shaquille O'Neal from 2000 to 2002. After O'Neal was traded to the Miami Heat before the 2004–05 season, Bryant "became the cornerstone" of the Lakers franchise.[3] He led the NBA in scoring during the 2005–06 and 2006–07 seasons.[4] In the 2007–08 season, Bryant won the Most Valuable Player Award (MVP) and led his team to the 2008 NBA Finals, where the Lakers lost to the Boston Celtics.[5] After winning the gold medal in the 2008 Summer Olympics as a member of the U.S. men's basketball team,[6] he led the Lakers to two more championships in 2009 and 2010, defeating the Orlando Magic and the Boston Celtics.[7]


who composed the music for the dark knight

The Dark Knight: Original Motion Picture Soundtrack is the soundtrack album to the 2008 film of the same name, which is a sequel to Christopher Nolan's 2005 film Batman Begins. The soundtrack was released on July 15, 2008, in three editions: CD, limited edition CD digipak, and digital download. The 2-CD Special Edition was released on December 9, 2008, along with the DVD. A limited edition 180-gram vinyl LP was released on August 12, 2008.[1] The soundtrack was composed by Batman Begins collaborators Hans Zimmer and James Newton Howard and recorded in April 2008.

The Dark Knight (soundtrack)

The score won the Grammy Award for Best Score Soundtrack for Visual Media.

Zimmer originally said the main Batman theme was purposely introduced at the end of Batman Begins, and would be fleshed out in the sequel as the character develops.[2] Zimmer and Howard both believed that creating a heroic theme that a viewer could hum would ignore the complexity and darkness of the character. The Batman theme (audible twice early in the film, once towards the end and a final time at the beginning of the end credits) creates what Zimmer described as a "red herring", a kind of musical foreshadowing,[3] which was played by a cello.

The nine-minute suite for the Joker ("Why So Serious") was based around two notes played by Electric cello, solo violin, guitars and a string section. Zimmer compared its style to the band Kraftwerk, who come from his native Germany, as well as his work with bands like The Damned.[3] Throughout the piece, Zimmer used razor blades on string instruments to achieve the tortured, twisted sound to accompany the character on the screen. When Ledger died, Zimmer stated that he felt like scrapping his original material and composing a new theme, but decided that to do so would compromise the "evil [performance] projects".[4] James Newton Howard composed the "elegant and beautiful" themes for Harvey Dent/Two-Face, to work as an aural contrast.[3]

The heroic brass theme which plays when Batman leaves Ra's al Ghul to die in Batman Begins makes a reappearance when Batman hurls the Joker off the building in the film's climax. It also makes its third and final appearance in "The Dark Knight Rises" when Batman fires a missile at Miranda Tate, while her truck driver was killed, sending her and the truck to a crashing halt. The cue was released on the two-disc special edition, and can be found on the track "We Are Tonight's Entertainment". The second disc can also be found for digital download under the album name The Dark Knight (Bonus Digital Release) with artwork featuring the Joker instead of Batman.[5][6]

The soundtrack debuted on the Billboard 200 list at No. 20, with 25,000 copies sold in the first week.[7] During its second week in release, the track fell to No. 23, with an estimated 20,000 copies sold. It dropped out of top 100 on its third week, but held the position of No. 192 selling 2,100. On its fourth week it fell out of the Top 200.

A 2-CD Special Edition of The Dark Knight soundtrack was released on December 9, 2008. In addition to the 14 tracks on the regular release, an additional 10 tracks of score were added to the second disc, along with four remixes by The Crystal Method, Paul van Dyk, Mel Wesson, and Ryeland Allison, packaged as a digibook in a semi-artificial leather slipcase with the Batsign cut out. The Digibook features several movie scenes, production details and a few words from Christopher Nolan on the collaboration with Hans Zimmer and James Newton Howard. The first disc is exactly the same as the original release, with additional tracks and remixes on the latter disc. Between the two of them, the two discs of the special edition form most of the film's score, though the tracks are arranged in an order different from the scenes in the film.

The score received favorable responses. Websites like tracksounds.com and Soundtrack.net have released mostly positive reviews, commending the score's blend of electronic and orchestral elements as well as its continued departure from the tone of Tim Burton's Batman and Batman Returns set by Danny Elfman.[9][10][11] Other sites, like Movie Music UK and especially Filmtracks.com found the score to be bland and uncreative, with many elements borrowed from the previous scores of both composers, especially previous scores by Zimmer. Filmtracks.com reviewer Christian Clemmensen found the track "Why so Serious" unlistenable and referred to it as "nine minutes of your life that you'll never get back". Other complaints were about Batman's new heroic theme, featured most heavily in Like a Dog Chasing Cars, which Clemmensen considered "a murky blend of The Last Samurai, The Thin Red Line, The Da Vinci Code, and Crimson Tide."[12][13]

On February 8, 2009, the soundtrack was awarded the Grammy Award for Best Score Soundtrack for Visual Media.[14] In May 2009, the soundtrack won a Classical BRIT Award for Best Soundtrack.

Disc Two- (Bonus Special Edition)

Tracks not included within the release of the soundtrack:[15]


who sings i got a meeting in the ladies room

"Meeting in the Ladies Room" is a hit single recorded by Klymaxx for the MCA Records label, and was the title track from their fourth album and was written by: Reggie Calloway; Vincent Calloway and Boaz Watson. The single reached number 4 on the Billboard R&B chart, number 59 on the Billboard Hot 100 chart[1] In addition to peaking at number 22 on the Billboard Hot Dance Club Play chart.[2] The success of this song helped their Meeting in the Ladies Room album reach Platinum status.[3] The song's music video was directed by Gerald Casale of Devo[4] and featured an appearance from a then-unknown Vivica A. Fox.[5] The song was also included on the MCA Records motion picture soundtrack for 1985's Secret Admirer.[6] Billboard named the song #85 on their list of 100 Greatest Girl Group Songs of All Time.[7]

Meeting in the Ladies Room (song)


who played howard in last of the summer wine

Robert Fyfe is a Scottish actor, best known for his role as Howard in the long-running British sitcom Last of the Summer Wine from 1985 to 2010.

Robert Fyfe

He appeared in the movies Xtro, The 51st State, Around the World in 80 Days and Babel. In 2012 he appeared in Cloud Atlas. Other credits include guest appearances on Z-Cars, Survivors, The Gentle Touch, The Adventures of Sherlock Holmes and Monarch of the Glen. Fyfe appeared as Malcolm Lagg, a lollipop man, in Coronation Street in December 2012. His character was seen training Dennis Tanner, played by Philip Lowrie, to take over his job.


where does a plane and a line intersect

In analytic geometry, the intersection of a line and a plane in three-dimensional space can be the empty set, a point, or a line. It is the entire line if that line is embedded in the plane, and is the empty set if the line is parallel to the plane but outside it. Otherwise, the line cuts through the plane at a single point.

Line–plane intersection

Distinguishing these cases, and determining equations for the point and line in the latter cases, have use in computer graphics, motion planning, and collision detection.

In vector notation, a plane can be expressed as the set of points

p

{\displaystyle \mathbf {p} }

 for which

where

n

{\displaystyle \mathbf {n} }

 is a normal vector to the plane and

p

0

{\displaystyle \mathbf {p_{0}} }

 is a point on the plane. (The notation

a

⋅

b

{\displaystyle \mathbf {a} \cdot \mathbf {b} }

 denotes the dot product of the vectors

a

{\displaystyle \mathbf {a} }

 and

b

{\displaystyle \mathbf {b} }

.)

The vector equation for a line is

where

l

{\displaystyle \mathbf {l} }

 is a vector in the direction of the line,

l

0

{\displaystyle \mathbf {l_{0}} }

 is a point on the line, and

d

{\displaystyle d}

 is a scalar in the real number domain. Substituting the equation for the line into the equation for the plane gives

And solving for

d

{\displaystyle d}

 gives

If

l

⋅

n

=
0

{\displaystyle \mathbf {l} \cdot \mathbf {n} =0}

 then the line and plane are parallel. There will be two cases: if

(

p

0

−

l

0

)
⋅

n

=
0

{\displaystyle (\mathbf {p_{0}} -\mathbf {l_{0}} )\cdot \mathbf {n} =0}

 then the line is contained in the plane, that is, the line intersects the plane at each point of the line. Otherwise, the line and plane have no intersection.

If

l

⋅

n

≠
0

{\displaystyle \mathbf {l} \cdot \mathbf {n} \neq 0}

 there is a single point of intersection. The value of

d

{\displaystyle d}

 can be calculated and the point of intersection is given by

A line is described by all points that are a given direction from a point. A general point on a line passing through points

l

a

=
(

x

a

,

y

a

,

z

a

)

{\displaystyle \mathbf {l} _{a}=(x_{a},y_{a},z_{a})}

 and

l

b

=
(

x

b

,

y

b

,

z

b

)

{\displaystyle \mathbf {l} _{b}=(x_{b},y_{b},z_{b})}

 can be represented as

where

l

a
b

=

l

b

−

l

a

{\displaystyle \mathbf {l} _{ab}=\mathbf {l} _{b}-\mathbf {l} _{a}}

 is the vector pointing from

l

a

{\displaystyle \mathbf {l} _{a}}

 to

l

b

{\displaystyle \mathbf {l} _{b}}

.

Similarly a general point on a plane determined by the triangle defined by the points

p

0

=
(

x

0

,

y

0

,

z

0

)

{\displaystyle \mathbf {p} _{0}=(x_{0},y_{0},z_{0})}

,

p

1

=
(

x

1

,

y

1

,

z

1

)

{\displaystyle \mathbf {p} _{1}=(x_{1},y_{1},z_{1})}

 and

p

2

=
(

x

2

,

y

2

,

z

2

)

{\displaystyle \mathbf {p} _{2}=(x_{2},y_{2},z_{2})}

 can be represented as

where

p

01

=

p

1

−

p

0

{\displaystyle \mathbf {p} _{01}=\mathbf {p} _{1}-\mathbf {p} _{0}}

 is the vector pointing from

p

0

{\displaystyle \mathbf {p} _{0}}

 to

p

1

{\displaystyle \mathbf {p} _{1}}

, and

p

02

=

p

2

−

p

0

{\displaystyle \mathbf {p} _{02}=\mathbf {p} _{2}-\mathbf {p} _{0}}

 is the vector pointing from

p

0

{\displaystyle \mathbf {p} _{0}}

 to

p

2

{\displaystyle \mathbf {p} _{2}}

.

The point at which the line intersects the plane is therefore described by setting the point on the line equal to the point on the plane, giving the parametric equation:

This can be rewritten as

which can be expressed in matrix form as

where the vectors are written as column vectors.

This produces a system of linear equations which can be solved for

t

{\displaystyle t}

,

u

{\displaystyle u}

 and

v

{\displaystyle v}

. If the solution satisfies the condition

t
∈
[
0
,
1
]
,

{\displaystyle t\in [0,1],}

, then the intersection point is on the line segment between

l

a

{\displaystyle \mathbf {l} _{a}}

 and

l

b

{\displaystyle \mathbf {l} _{b}}

, otherwise it is elsewhere on the line. Likewise, if the solution satisfies

u
,
v
∈
[
0
,
1
]
,

{\displaystyle u,v\in [0,1],}

, then the intersection point is in the parallelogram formed by the point

p

0

{\displaystyle \mathbf {p} _{0}}

 and vectors

p

01

{\displaystyle \mathbf {p} _{01}}

 and

p

02

{\displaystyle \mathbf {p} _{02}}

. If the solution additionally satisfies

(
u
+
v
)
≤
1

{\displaystyle (u+v)\leq 1}

, then the intersection point lies in the triangle formed by the three points

p

0

{\displaystyle \mathbf {p} _{0}}

,

p

1

{\displaystyle \mathbf {p} _{1}}

 and

p

2

{\displaystyle \mathbf {p} _{2}}

.

The determinant of the matrix can be calculated as

If the determinant is zero, then there is no unique solution; the line is either in the plane or parallel to it.

If a unique solution exists (determinant is not 0), then it can be found by inverting the matrix and rearranging:

which expands to

and then to

thus giving the solutions:

The point of intersection is then equal to

In the ray tracing method of computer graphics a surface can be represented as a set of pieces of planes. The intersection of a ray of light with each plane is used to produce an image of the surface. In vision-based 3D reconstruction, a subfield of computer vision, depth values are commonly measured by so-called triangulation method, which finds the intersection between light plane and ray reflected toward camera.

The algorithm can be generalised to cover intersection with other planar figures, in particular, the intersection of a polyhedron with a line.


what is the cuban population in the united states

In the census in 2000 there were 1,241,685 Cuban Americans, and in the 2010 census there were 1,785,547 (both native and foreign born), and represented 3.5% of all Hispanics, and 0.58% of the US population. 983,147 were born abroad in Cuba, 628,331 were U.S born and of the 1.6 million, 415,212 were not U.S citizens.[26] In the 2013 ACS, there were 2,013,155 Cuban Americans. The 2010 US Census shows that 85% report of Cubans that immigrated to the USA from Cuba identify as being white.[27] The most recent 2012 Cuban census has the island population at 64.12% white, 26.62% mulatto, 9.26% black, and 0.1% Asian.[28]

Cuban Americans

Predominantly:
Roman Catholicism

Cuban Americans (Spanish: Cubanoamericanos)[3] are Americans who trace their ancestry to Cuba. The word may refer to someone born in the U.S. of Cuban descent or to someone who has emigrated to the U.S. from Cuba. Cuban Americans are the third-largest Latino group in the United States.

Many communities throughout the United States have significant Cuban American populations.[4] Florida (1.49 million in 2016) has the highest concentration of Cuban Americans in the US,[5][6] standing out in part because of its proximity to Cuba, followed by California (91,438), Texas (90,376), New Jersey (85,935), and New York (70,947).

South Florida is followed by New York City, Tampa, Union County and North Hudson, New Jersey areas, particularly Union City, Elizabeth and West New York.[4] With a population of 141,250, the New York metropolitan area's Cuban community is the largest outside Florida. Nearly 70% of all Cuban Americans live in Florida.[6]

Before the Louisiana Purchase and the Adams–Onís Treaty of 1819, Spanish Florida, and when divided during British occupation, East Florida and West Florida, including what is now Florida and the Gulf Coast west to the Mississippi River were provinces of the Captaincy General of Cuba (Captain General being the Spanish title equivalent to the British colonial Governor). Consequently, Cuban immigration to the U.S. has a long history, beginning in the Spanish colonial period in 1565 when St. Augustine, Florida was established by Pedro Menéndez de Avilés, and hundreds of Spanish-Cuban soldiers and their families moved from Cuba to St. Augustine to establish a new life.

Thousands of Cuban settlers also immigrated to Louisiana between 1778 and 1802 and Texas during the period of Spanish rule.[citation needed] Since 1820, the Cuban presence was more than 1,000 people. In 1870 the number of Cuban immigrants increased to almost 12,000, of which about 4,500 resided in New York City, about 3,000 in New Orleans, and 2,000 in Key West. The causes of these movements were both economic and political, which intensified after 1860, when political factors played the predominant role in emigration, as a result of deteriorating relations with the Spanish metropolis.

The year 1869 marked the beginning of one of the most significant periods of emigration from Cuba to the United States, again centered on Key West. The exodus of hundreds of workers and businessmen was linked to the manufacture of tobacco. The reasons are many: the introduction of more modern techniques of elaboration of snuff, the most direct access to its main market, the United States, the uncertainty about the future of the island, which had suffered years of economic, political and social unrest during the beginning of the Ten Years' War against Spanish rule. It was an exodus of skilled workers, precisely the class in the island that had succeeded in establishing a free labor sector amid a slave economy.

The manufacture of snuff by the Cuban labor force, became the most important source of income for Key West between 1869 and 1900.

Tampa was added to such efforts, with a strong migration of Cubans, which went from 720 inhabitants in 1880 to 5,532 in 1890. However, the second half of the 1890s marked the decline of the Cuban immigrant population, as an important part of it returned to the island to fight for independence. The War accentuated Cuban immigrant integration into American society, whose numbers were significant: more than 12,000 people.[7]

In the mid- to late 19th century, several cigar manufacturers moved their operations to Key West to get away from growing disruptions as Cubans sought independence from Spanish colonial rule. Many Cuban cigar workers followed. The Cuban government had even established a grammar school in Key West to help preserve Cuban culture. There, children learned folk songs and patriotic hymns such as "La Bayamesa", the Cuban national anthem.

In 1885, Vicente Martinez Ybor moved his cigar operations from Key West to the town of Tampa, Florida to escape labor strife. Ybor City was designed as a modified company town, and it quickly attracted thousands of Cuban workers from Key West and Cuba. West Tampa, another new cigar manufacturing community, was founded nearby in 1892 and also grew quickly. Between these communities, the Tampa Bay area's Cuban population grew from almost nothing to the largest in Florida in just over a decade, and the city as a whole grew from a village of approximately 1000 residents in 1885 to over 16,000 by 1900.

Both Ybor City and West Tampa were instrumental in Cuba's eventual independence.[8] Inspired by revolutionaries such as Jose Martí, who visited Florida several times, Tampa-area Cubans and their sympathetic neighbors donated money, equipment, and sometimes their lives to the cause of Cuba Libre.[9] After the Spanish–American War, some Cubans returned to their native land, but many chose to stay in the U.S. due to the physical and economic devastation caused by years of fighting on the island.[10]

Several other small waves of Cuban emigration to the U.S. occurred in the early 20th century (1900â€“1959). Most settled in Florida and the northeast U.S. The majority of an estimated 100,000 Cubans arriving in that time period usually came for economic reasons (the Great Depression of 1929, volatile sugar prices and migrant farm labor contracts),[citation needed] but included anti-Batista refugees fleeing the military dictatorship, which had pro-U.S. diplomatic ties. During the '20s and '30s, emigration from Cuba to U.S. territory, basically comprised workers looking for jobs, mainly in New York and New Jersey. They were classified as labor migrants and workers, much like other immigrants in the area at that time. Thus migrated more than 40,149 in the first decade, encouraged by U.S. immigration facilities at the time and more than 43,400 by the end of the 30s.[citation needed]

Subsequently, the flow of Cubans to the United States fluctuated, due to both the domestic situation in the 40s and 50s in Cuba, and U.S. immigration policies, plus intermittent anti-immigrant sentiment. Cuban Migration in those years included, in addition to workers, a small mass of the population who could afford to leave the country and live abroad. The U.S. was considered a favored destination by the Cuban bourgeoisie and the middle classes of society, to send their children to school, take vacations and bring some of their capital to establish small and medium-sized businesses.[citation needed]

The Cuban population officially registered in the United States for 1958 was around 125,000 people including descendants. Of these, more than 50,000 remained in the United States after the revolution of 1959.[7]

After the Cuban revolution led by Fidel Castro in 1959, a Cuban exodus began as the new government allied itself with the Soviet Union and began to introduce communism. The first Cubans to come to America after the revolution were those affiliated with former dictator Fulgencio Batista, next were Cuba's professionals. Most Cuban Americans that arrived in the United States initially came from Cuba's educated upper and middle classes centered in Cuba's capital Havana. This middle class arose in the period after the Platt Amendment when Cuba became one of the most successful countries in Latin America. Between December 1960 and October 1962 more than 14,000 Cuban children arrived alone in the U.S. Their parents were afraid that their children were going to be sent to some Soviet bloc countries to be educated[citation needed] and they decided to send them to the States as soon as possible.[citation needed]

This program was called Operation Peter Pan (Operacion Pedro Pan). When the children arrived in Miami they were met by representatives of Catholic Charities and they were sent to live with relatives if they had any or were sent to foster homes, orphanages or boarding schools until their parents could leave Cuba. From 1965 to 1973, there was another wave of immigration known as the Freedom Flights. In order to provide aid to recently arrived Cuban immigrants, the United States Congress passed the Cuban Adjustment Act in 1966. The Cuban Refugee Program provided more than $1.3 billion of direct financial assistance. They also were eligible for public assistance, Medicare, free English courses, scholarships, and low-interest college loans.[citation needed]

Some banks pioneered loans for exiles who did not have collateral or credit but received help in getting a business loan. These loans enabled many Cuban Americans to secure funds and start up their own businesses. With their Cuban-owned businesses and low cost of living, Miami, Florida and Union City, New Jersey (dubbed Havana on the Hudson)[11][12] were the preferred destinations for many immigrants and soon became the main centers for Cuban-American culture. According to author Lisandro Perez, Miami was not particularly attractive to Cubans prior to the 1960s.[13]

It was not until the exodus of the Cuban exiles in 1959 that Miami started to become a preferred destination. Westchester within Miami-Dade County, was the area most densely populated by Cubans and Cuban Americans in the United States, followed by Hialeah in second.[14]

Communities like Miami, Tampa, and Union City, which Cuban Americans have made their home, have experienced a profound cultural impact as a result, as seen in such aspects of their local culture as cuisine, fashion, music, entertainment and cigar-making.[15][16]

Another large wave (an estimated 125,000 people) of Cuban immigration occurred in the early 1980s with the Mariel boatlifts. Most of the "Marielitos" were people wanting to escape from communism, and have succeeded in establishing their roots in the US.[citation needed]

Fidel Castro sent some 20,000 criminals directly from Cuban prisons, as well as mentally ill persons from Cuban mental institutions, with the alleged double purpose of cleaning up Cuban society and poisoning the USA. Those people were labeled "unadmissible" by the US government, and with time, through many negotiations, have been returned to Cuba.[citation needed]

Since the mid-1990s, after the implementation of the "Wet feet, dry feet" policy immigration patterns changed. Many Cuban immigrants departed from the southern and western coasts of Cuba and arrived at the Yucatán Peninsula in Mexico; many landed on Isla Mujeres. From there Cuban immigrants traveled to the Texas-Mexico border and found asylum. Many of the Cubans who did not have family in Miami settled in Houston; this has caused Houston's Cuban-American community to increase in size. The term "dusty foot" refers to Cubans emigrating to the U.S. through Mexico. In 2005 the Department of Homeland Security had abandoned the approach of detaining every dry foot Cuban who crosses through Texas and began a policy allowing most Cubans to obtain immediate parole.[17]

Jorge Ferragut, a Cuban immigrant who founded Casa Cuba, an agency that assists Cuban immigrants arriving in Texas, said in a 2008 article that many Cuban immigrants of the first decade of the 21st century left due to economic instead of political issues.[18] By October 2008 Mexico and Cuba created an agreement to prevent immigration of Cubans through Mexico.[19][20]

In recent years,[when?] Puerto Rico has become a major drop-off point for Cubans trying to reach the United States illegally. As a U.S. Commonwealth, Puerto Rico is seen as a stepping stone for Cubans trying to get to the continental U.S., though Puerto Rico itself is home to a number of Cubans.[21]

Before the 1980s, all refugees from Cuba were welcomed into the United States as political refugees. This changed in the 1990s so that only Cubans who reach U.S. soil are granted refuge under the "wet foot, dry foot policy".  While representing a tightening of U.S. immigration policy, the wet foot, dry foot policy still affords Cubans a privileged position relative to other immigrants to the U.S.  This privileged position is the source of a certain friction between Cuban Americans and other Latino citizens and residents in the United States, adding to the tension caused by the divergent foreign policy interests pursued by conservative Cuban Americans. Cuban immigration also continues with an allotted number of Cubans (20,000 per year) provided legal U.S. visas.[citation needed]

According to a U.S. Census 1970 report, Cuban Americans as well as Latinos lived in all fifty states. But as later Census reports demonstrated, the majority of Cuban immigrants settled in south Florida. A new trend in the late 1990s showed that fewer immigrants arrived from Cuba than previously. While U.S.-born Cuban Americans moved out of their enclaves, other nationalities settled there.[22]

In late 1999, U.S. news media focused on the case of Elián González, the six-year-old Cuban boy caught in a custody battle between his relatives in Miami and his father in Cuba, after the boy's mother died trying to bring him to the United States. On April 22, 2000, ICE (now USCIS) agents took Elián González to the Cuban Interests Section in Washington, D.C. From there, his father took him back to Cuba.[citation needed]

On January 12, 2017, President Barack Obama announced the immediate cessation of the wet feet, dry feet policy.[23] The Cuban government agreed to accept the return of Cuban nationals.[24] Beginning with the United States–Cuban Thaw in 2014, anticipation of the end of the policy had led to increased numbers of Cuban immigrants.[25]

The ancestry of Cuban Americans is primarily from Spaniards and Black Africans[29], as well as more distant ancestry from among the indigenous peoples of the Caribbean and those of Florida. During the 18th, 19th and early part of the 20th century, there were waves of Spanish immigration to Cuba (Castilians, Basques, Canarians, Catalans, Andalusians, Asturians and Galicians). Canarians immigrated to many countries along the Caribbean from Louisiana to Venezuela. But Cuba was the Latin American culture most influenced by the emigration of Canary Islanders (they developed the production of sugar in Cuba), and Cuban Spanish is closest to that of the Canary Islands. Canary Islanders were viewed by other Spanish-Cubans as superstitious but also hard-working. Some of Haitiâ€™s white population (French) migrated to Cuba after the Haitian War of Independence in the early 18th century.  Also, minor but significant ethnic influx is derived from diverse peoples from Middle East places such as Lebanon and Palestine.

There was also a significant influx of Jews, especially between the World Wars, from many countries, including Sephardi Jews from Turkey and Ashkenazi Jews from Poland, Germany and Russia. Other Europeans that have contributed slightly include Italians, Germans, Swedes, and Hungarians. Many Chinese also settled Cuba as contract laborers and they formerly boast the largest Chinatown in Western Hemisphere as most Chinese Cubans left for Florida.

The Top 10 US states with the largest Cuban populations are:
[30]

The largest populations of Cubans are situated in the following metropolitan areas (Source: Census 2010):[6]

The top 25 US communities with the highest percentage of people claiming Cuban ancestry are (the top 22 of which are in Miami-Dade County):

For total 101 communities, see the reference given.
Top 20 U.S. communities with the most residents born in Cuba are (all of which are located within Miami):[33]

Many Cuban Americans have assimilated themselves into the American culture, which includes Cuban influences.

Cuban Americans live in all 50 states, Washington, D.C. and Puerto Rico, which received thousands of anti-Castro refugees as well in the 1960s. Since the 1980s, Cuban Americans have moved out of "Little Havana" and "Hialeah" to the suburbs of Miami, such as Kendall, as well in the more affluent Coral Gables and Miami Lakes.[citation needed] Many new South and Central Americans, along with new Cuban refugees, have replaced the Cuban Americans who have relocated elsewhere in Florida (Fort Lauderdale, Orlando, Tampa Bay and West Palm Beach) and dispersed throughout the nation.[citation needed] Nevertheless, Cubans are still heavily concentrated in Florida, which slows assimilation; according to the 2010 Census, 68% of Cuban Americans still live in Florida.

More recently,[when?] there has been substantial growth of new Cuban American communities in places like Louisville, Kentucky, the Research Triangle area of North Carolina,[37] Katy, Texas, and Downey, California; the latter city now has the second-highest percentage of Cubans and Cuban Americans in the Western United States at 1.96% of the population.[14]

Cuban Americans have been very successful in establishing businesses and developing political clout in Miami. Cuban Americans have also contributed to and participated in many areas of American life including academia, business, acting, politics, and literature.[38]
[39]

In the last 15 years,[when?] due to the growth of interest around the world for genealogy, Cuban genealogy has become a major interest for Cuban Americans and a growing segment in the family research industry. This has complemented assimilation by preserving Cuban and colonial roots, while also adopting American culture and value.[40]

Cuban Americans are mostly Roman Catholic, but some Cubans practice African traditional religions (such as Santería or Ifá), which evolved from mixing the Catholic religion with the traditional African religion. Cuban Catholicism was also influenced by the Catholicism practiced by the Canarian people. However, there are many Protestant (primarily Pentecostal) with small numbers of syncretist, nonreligious or tiny communities of Jewish and Muslim Cuban Americans. The Protestant movement in Cuba started after the Spanish–American War when many Americans came to Cuba.

Similar to the 67% of other Hispanics, 69% of Cubans under 18 speak a language other than English at home. For Cubans over the age of 18, the percent speaking a language other than English at home climbs to 89%, which is higher than the 80% among other Hispanic groups.[41]

Only 12% of Cubans under the age of 18 speak English less than very well, which is much lower than the 20% among other Hispanic groups.[41]

Cuban food is varied, though rice is a staple and commonly served at lunch and dinner.  Other common dishes are arroz con pollo (chicken and rice), pan con bistec (steak sandwich), platanos maduros (sweet plantains), lechon asado (pork), yuca (cassava root), flan, batido de mamey (mamey milkshake), papayas, and guava paste.

A common lunch staple is the Cuban sandwich (sometimes called a mixto sandwich), which is built on Cuban bread and was created and standardized among cigar workers who traveled between Cuba and Florida (especially Ybor City) around the turn of the 20th century.[42][43][44]

Cuban versions of pizza contains bread, which is usually soft, and cheese, toppings, and sauce, which is made with spices such as Adobo and Goya onion. Picadillo, ground beef that has been sauteed with tomato, green peppers, green olives, and garlic is another popular Cuban dish. It can be served with black beans and rice, and a side of deep-fried, ripened plantains.

Cuban coffee is popular in the Cuban-American community. Cubans often drink cafe cubano: a small cup of coffee called a cafecito (or a colada), which is traditional espresso coffee, sweetened with sugar, with a little foam on top called espumita. It is also popular to add milk, which is called a cortadito for a small cup or a cafe con leche for a larger cup.

A common soft drink is Materva, a Cuban soda made of yerba mate. Jupiña, Ironbeer and Cawy lemon-lime are soft drinks which originated in Cuba.  Since the Castro era, they are also produced in Miami. Other famous Cuban drinks include guarapo de caña.

A popular drink of Cuban origin is the Cuba Libre, a mix of Cuban rum and cola, usually Coca-Cola and mojitos.

Until the early 2010s, Cuban Americans historically tended to be more Republican than Democratic, thanks to the anti-communist foreign policy platform of Ronald Reagan. The failed Bay of Pigs invasion left many Cubans distrustful of the Democratic Party, blaming John F. Kennedy for his handling of the 1961 Bay of Pigs Invasion.[45] The trauma of this event has led to speculation about possible Cuban-American involvement in the assassination of President Kennedy. Cuban exiles began an alliance with the Republican Party of Florida. In Florida, Cuban-American congressmen have tended to be Republican, beginning with Representative Ileana Ros-Lehtinen (Joe Garcia, a Democrat, is an exception). The presence of Cubans in the Republican Party was highlighted by the 2016 presidential race, which featured U.S. Senators Ted Cruz and Marco Rubio as prominent candidates, both of whom are of Cuban descent. But in New Jersey, another state with many Cuban Americans, Cuban-American congressmen have tended to be Democrats, for example Representative Albio Sires. Ronald Reagan is particularly popular in the Cuban-American community for standing up to Soviet communism and Castro's export of revolution to Central America and Africa (there is a street in Miami named for Reagan),[46][47][48] and George W. Bush received 75 and 78 percent (in 2000 and 2004 respectively) of the Cuban-American vote. The Cuban-American lobby has also lobbied both parties on causes important to Cuban Americans.

In recent years, the Cuban-American vote has become more contested between the parties. In the 2008 presidential election, Democrat Barack Obama received 47% of the Cuban-American vote in Florida.[49] According to Bendixen's exit polls, 84% of Miami-Dade Cuban-American voters 65 or older backed McCain, while 55% of those 29 or younger backed Obama.[50] In 2012, Barack Obama received 49 percent of the Cuban-American vote in Florida, compared to 47 percent for Mitt Romney according to Edison Research exits polls.[51] By spring 2014, this trend increased among Cuban American voters having a preference for Democratic Party candidates increased particularly for younger voters aged 18â€“49, increasing to some 56% for the younger voter demographic, versus Cuban-American voters over 50 years of age having a 39% preference for Democratic candidates.[52] As in the 2012 election, the 2016 presidential election saw Donald Trump garner about the same level support within the community, garnering 50-54 percent of the Floridian Cuban-American vote, as opposed to 41-48 percent for Hillary Clinton.[53][54]

The median household income for U.S.-born Cuban Americans is $57,000, higher than the overall U.S. median household income of $52,000.[55]

However, the median annual personal earnings for foreign born Cuban Americans is $25,000, which is lower than that of US population at $30,000.[55]

Among U.S.-born Cuban Americans, 36% have a college degree or higher, compared to 30% for the overall U.S. population. Of foreign-born Cuban Americans, 27% have a college degree. This is higher than the U.S. Hispanic population (14%) but lower than that of the overall U.S. population.[55]

Eight Cuban Americans currently serve in the United States Congress. There have been seven Cuban-American US representatives elected from Florida, two from New Jersey, and one each from Texas and West Virginia.

Three United States Senators:

Five are United States Representatives:

Former Congressmen:

Cuban Americans have had much success at the state level. In Florida, where Cuban-American legislators hold more seats than anywhere else in the nation, pro-democracy, anti-Castro, and anti-Chavez legislation is often promoted and passed even though states cannot dictate foreign policy. Even in states where Cuban Americans are not concentrated in large numbers they have had successes especially in New Jersey, where albeit a tiny minority concentrated in Union City, Elizabeth, and Newark, they have had enormous political successes.[citation needed]

Governor of New Hampshire Chris Sununu

Lt.Governor of Florida Carlos Lopez-Cantera

Anitere Flores, Florida Senate, Majority Whip

New Hampshire:

New Jersey:

New York:

Eduardo Aguirre (R) served as Vice Chairman of the Export-Import Bank of the United States in the George W. Bush administration and later named Director of Immigration and Naturalization Services under the Department of Homeland Security. In 2006, Eduardo Aguirre was named US ambassador to Spain. Cuban Americans have also served other high-profile government jobs including White House Chief of Staff John H. Sununu (R)
Florida-based businessman and Cuban exile Elviro Sanchez made his multimillion-dollar fortune by investing the proceeds of his family's fruit plantations. He is one of the most low-profile philanthropists in the Southern States.
Cuban Americans also serve in high-ranking judicial positions as well. Danny Boggs is currently a judge on the United States Court of Appeals for the Sixth Circuit and Raoul G. Cantero, III, served as a Florida Supreme Court justice until stepping down in 2008.

José Raúl Capablanca

Maria Teresa, Grand Duchess of Luxembourg

Alfred-Maurice de Zayas

Ambrosio José Gonzales

Luis Walter Alvarez

Ana de Armas

Raúl De Molina

Sammy Davis Jr.

B-Real

Orlando Hernández     "Duque"


who sang for sidney poitier in porgy and bess

Completing the primary creative team were production designer Oliver Smith, who recently had won the Tony Award for Best Scenic Design for My Fair Lady, and André Previn and Ken Darby, who would supervise the music. Because Poitier could not sing and the score was beyond Dandridge's range, their vocals would be dubbed, and Goldwyn insisted only black singers could be hired for the task. Leontyne Price, who had portrayed Bess in the 1952 European tour and the acclaimed 1953 Broadway revival, was invited to sing the role on film but responded, "No body, no voice." Adele Addison and Robert McFerrin eventually were hired, but neither received screen credit.[15][16]

Porgy and Bess (film)

Porgy and Bess is a 1959 American musical film directed by Otto Preminger. It is based on the 1935 opera Porgy and Bess by George Gershwin, DuBose Heyward, and Ira Gershwin, which is in turn based on Heyward's 1925 novel Porgy, as well as Heyward's subsequent 1927 non-musical stage adaptation, co-written with his wife Dorothy. The screenplay for the film, which turned the operatic recitatives into spoken dialogue, was very closely based on the opera and was written by N. Richard Nash.

The project was the last for Samuel Goldwyn. Due to its controversial subject matter, the film was shown only briefly following its initial reserved seat engagements in major cities, where it drew mixed reviews from critics. Two months after its release, Goldwyn grudgingly conceded, "No one is waiting breathlessly for my next picture."[2]

In 2011, the film was chosen for inclusion in the National Film Registry of the Library of Congress.

Set in the early 1900s in the fictional Catfish Row section of Charleston, South Carolina, which serves as home to a black fishing community, the story focuses on the title characters: crippled beggar Porgy, who travels about in a goat-drawn cart, and the drug-addicted Bess, who lives with stevedore Crown, the local bully. While high on cocaine supplied by Sportin' Life, Crown kills Robbins after the latter vanquishes him in a craps game; Bess urges Crown to flee. Sportin' Life suggests she accompany him to New York City, an offer Bess declines. She seeks refuge with her neighbors, all of whom refuse to help her. Porgy finally agrees to let her stay with him.

Bess and Porgy settle into domestic life together and soon fall in love. Just before a church picnic on Kittiwah Island, Sportin' Life once again approaches Bess, but Porgy warns him to leave her alone. Bess wishes to stay with Porgy, since he cannot attend the picnic because of his disability, but he urges her to go. After the picnic ends, and before Bess can leave, Crown, who has been hiding in the woods on the island, confronts her. She initially struggles to resist him but Crown rapes her. The others, not knowing exactly what has happened, leave and return to the mainland.

Two days later, Bess returns to Catfish Row in a state of delirium. When she recovers, she remembers what happened. Feeling that she betrayed Porgy, she begs his forgiveness. She admits she is unable to resist Crown and asks Porgy to protect her from him. Crown eventually returns to claim his woman, and when he draws his knife, Porgy strangles him. He is detained by the police merely to identify the body, but Sportin' Life, who has fed Bess cocaine, convinces her Porgy inadvertently will reveal himself to be the murderer. In her drugged state, she finally accepts his offer to take her to New York. When Porgy returns and discovers she is gone, he sets off to find her.

The original 1935 Broadway production of Porgy and Bess closed after only 124 performances.[3] A 1942 revival,[4] stripped of all recitative, fared slightly better, as did a subsequent national tour and another revival in 1953,[5] but in financial terms the work did not have a very good track record. Still, there were many who thought it had potential as a film. Otto Preminger was one of several producers, including Hal Wallis, Louis B. Mayer, Dore Schary, Anatole Litvak, Joseph L. Mankiewicz, and Harry Cohn, who had tried to secure the film rights without success. Cohn even wanted to cast Fred Astaire, Al Jolson, and Rita Hayworth and have them perform in blackface, something that the Gershwin estate was vehemently opposed to. [notes 1] For 25 years, Ira Gershwin had resisted all offers, certain his brother's work would be "debased" by Hollywood. On May 8, 1957, he sold the rights to Samuel Goldwyn for $600,000 as a down payment against 10% of the film's gross receipts.[6][7][8]

When Langston Hughes, Goldwyn's first choice for screenwriter, proved to be unavailable, the producer approached Paul Osborn, Frances Goodrich and Albert Hackett, Sidney Kingsley, Jerome Lawrence and Robert E. Lee, Clifford Odets, and Rod Serling, all of whom expressed varying degrees of interest but cited prior commitments. Goldwyn finally signed N. Richard Nash, who completed a lengthy first draft by December 1957. For director, Goldwyn sought Elia Kazan, Frank Capra, and King Vidor without success. He finally settled on Rouben Mamoulian, who had directed the original Broadway productions of both the play Porgy and its operatic adaptation.[9][10]

Nash's screenplay changed virtually all of the sung recitative to spoken dialogue, as in the 1942 stage revival. For example, in the original opera Porgy sings the line "If there weren't no Crown, Bess, if there was only just you and Porgy, what then?", upon which Bess launches into the duet I Loves You Porgy. In the film the line is spoken. The recitatives themselves did not have to really be rewritten, because they do not rhyme, while the words in all the songs do.

Because of its themes of fornication, drug addiction, prostitution, violence, and murder, Porgy and Bess proved to be difficult to cast. Many black actors felt the story did nothing but perpetuate negative stereotypes. Harry Belafonte thought the role of Porgy was demeaning and declined it. So many performers refused to participate in the project that Goldwyn actually considered Jackie Robinson, Sugar Ray Robinson and singer Clyde McPhatter for major roles. Only Las Vegas entertainer Sammy Davis Jr. expressed interest in appearing in the film, and arranged to audition for a role during a party at Judy Garland's home. Ira Gershwin's wife Lee was present and, horrified by Davis' vulgarity, implored Goldwyn, "Swear on your life you'll never use him." The producer, who sneeringly called Davis "that monkey," assured her he would not cast him and offered the role of Sportin' Life to Cab Calloway instead. When Calloway declined, Davis had Frank Sinatra and some of his associates pressure Goldwyn, who finally announced to Davis, "The part is yours. Now will you get all these guys off my back?"[11][12]

Goldwyn offered Sidney Poitier $75,000 to portray Porgy. The actor had serious reservations about the role and turned it down, but his agent led Goldwyn to believe she could persuade her client to star in the film. She proved to be unsuccessful, and Goldwyn threatened to sue the actor for breaching an oral contract. When Poitier realized his refusal to star in Porgy might jeopardize his appearance in the Stanley Kramer film The Defiant Ones, he reconsidered and grudgingly accepted, assuring Goldwyn he would "do the part to the best of my ability - under the circumstances."[9][13]

Mezzo Muriel Smith, co-creator (double-cast with soprano Muriel Rahn) of the Broadway title role in Oscar Hammerstein's "Carmen Jones," creator of the role of Bloody Mary in the original London cast of Rodgers and Hammerstein's "South Pacific," whose more important movie ghost-singing assignments included dubbing for Zsa Zsa Gabor in John Huston's original film version of "Moulin Rouge" and for Juanita Hall in 1958's "South Pacific," turned down Samuel Goldwyn's offer to portray Bess, responding, the work ".. Doesn't do right by my people." This statement contradicts another that Samuel Goldwyn's first and only choice for Bess was Dorothy Dandridge, who accepted the role without enthusiasm. Her Carmen Jones co-stars Pearl Bailey, Brock Peters, and Diahann Carroll also accepted roles, but all of them had concerns about how their characters would be portrayed. Bailey warned costume designer Irene Sharaff she would not wear any bandannas because she was unwilling to look like Aunt Jemima.[14][15]

Despite Goldwyn's intention that the music sound as much as it did in the original opera as possible, he did allow Previn and his team to completely rescore and even change the underscoring heard during the fight scenes and at several other moments, as well as in the overture to the film.

A full-cast dress rehearsal was scheduled for July 3, 1958, but slightly after 4:00am a fire destroyed all the sets and costumes, a loss of $2 million. Rumors that the blaze had been started by black arsonists determined to shut down production immediately began to circulate. Goldwyn publicly denounced the story, although studio insiders were certain the fire had been set deliberately. The production was placed on hiatus for six weeks to allow for reconstruction. During this period, director Mamoulian repeatedly clashed with the producer about every aspect of the film, and Goldwyn fired him. William Wyler was willing to step in if Goldwyn could postpone the project for a few months, but the producer opted to replace Mamoulian with Otto Preminger, who had started preparing both Exodus and Anatomy of a Murder but was willing to set them aside for the opportunity to helm Porgy and Bess. Mamoulian was incensed not only that he had been dismissed after eight months of pre-production work, but that he had been replaced by Preminger, who in 1944 had taken over Laura when Mamoulian had ignored all of Preminger's directives as producer of that film. Claiming Goldwyn had fired him for "frivolous, spiteful, or dictatorial reasons not pertinent to the director's skill or obligation," he brought his case to the Directors Guild of America, which notified all its members, including Preminger, they could not enter into a contract with Goldwyn. This prompted the Producers Guild of America to become involved. They insisted Goldwyn had the right to change directors and was not in breach of contract because he had paid Mamoulian in full. When Mamoulian changed tactics and attempted to raise charges of racism against Preminger, he lost any support he had managed to gather, and after three weeks the matter was resolved in favor of Goldwyn.[17][18]

The change of directors was stressful for Dandridge who, according to her manager, had ended an affair with Preminger when she became pregnant and he insisted she have an abortion. According to the director, he had ended his relationship with the actress because he was neither willing to marry her nor deal with her unstable emotions. In any event, Dandridge was unhappy and lacked self-assurance, especially when the director began to criticize her performance.

Preminger objected to the stylized sets and elaborate costumes - "You've got a two-dollar whore in a two-thousand-dollar dress," he admonished Goldwyn[19] - and wanted Previn to provide orchestrations favoring jazz rather than symphony, but the producer wanted the film to look and sound like the original Broadway production he had admired as much as possible. He grudgingly agreed to allow the director to film the picnic sequence on Venice Island near Stockton, but for the most part Preminger felt his creative instincts were stifled. Only in the area of actual filming did he exert complete control by shooting as little extra footage as possible so Goldwyn couldn't tamper with the film once it was completed.[20][21]

Principal photography ended on December 16, 1958. Columbia executives were unhappy with the film, particularly its downbeat ending, and one suggested it be changed to allow Porgy to walk. Goldwyn, however, was determined the film should be faithful to its source, going so far as to insist it be described as an "American folk opera" rather than a "musical" in all advertising. He opened the film on a reserved-seat basis at the Warner Theatre in New York City on June 24, 1959, and the Carthay Circle Theater in Los Angeles on July 5. Shortly after opening in Atlanta in early August, the film's run there was cancelled because it angered some black viewers, and although the Atlanta Journal accused Goldwyn of censoring his own film, he pulled the film from several other areas throughout the country as well.[22][23]

Although the film won one Oscar and one Golden Globe, and its soundtrack album won a Grammy, it was critically and commercially unsuccessful, earning back only half its $7-million cost. It was broadcast on network television only once - Sunday night, March 5, 1967, on ABC-TV (during a week that also saw a rebroadcast of a TV adaptation of Brigadoon, as well as the first telecast of Hal Holbrook's one-man show Mark Twain Tonight!).[24] The 1959 Porgy and Bess has not been seen in its entirety on network TV since, although clips have been shown on some of the American Film Institute specials. The film had multiple presentations during the 1970s on Los Angeles local television, KTLA-TV, Channel 5, an independent station with access to the Goldwyn Studios output, most probably using the special pan and scan 35mm print which was made for the ABC-TV network presentation, as was KTLA-TV's practice.[notes 2]

Goldwyn's lease of the rights was only 15 years, and after they expired, the film could not be shown without the permission of the Gershwin and Heyward estates, and even then only after substantial compensation was paid. Despite repeated requests, the Gershwin estate repeatedly refused to grant permission for the film to be seen.[25] As a consequence, the film has never been officially released on video or DVD in the U.S., however bootleg DVD-Rs, made from a 35mm anamorphic "E-K" release print, circulate among collectors, preserving 115 minutes of the original 138-minute whole.[notes 3]

It has been erroneously reported that there is one 35mm Technicolor dye-transfer print, with 4-track magnetic sound, in the UCLA archive library. This print has apparently had at least two presentations at university-sponsored festivals, and which presentations required special permission from the Gershwin Estate. However, UCLA archive director Jan-Christopher Horak has disputed this, saying they have no such copy.[26] It was long believed that there are no surviving 70mm prints, and that the 65mm negative is "unprintable". Likely, any restoration would have to be effected from the silver separation protection masters, assuming those could be found. A faded 70mm print with faulty 6-track magnetic sound and with German subtitles was recently discovered and was lately screened for the opening of the 22. International Film Festival Innsbruck.

It wasn't until 2007 that it was given a theatrical showing again when, on September 26 and 27, the Ziegfeld Theatre in midtown-Manhattan presented it in its entirety, complete with overture and intermission and exit music, followed by a discussion with Preminger biographer Foster Hirsch.[27]

Bosley Crowther of The New York Times said the "most haunting of American musical dramas has been transmitted on the screen in a way that does justice to its values and almost compensates for the long wait... N. Richard Nash has adapted and Otto Preminger has directed a script that fairly bursts with continuous melodrama and the pregnant pressure of human emotions at absolute peaks... Mr. Preminger, with close and taut direction, keeps you keyed up for disaster all the time. To this structure of pictorial color and dramatic vitality, there is added a musical expression that is possibly the best this fine folk opera has ever had. Under AndrÃ© Previn's direction, the score is magnificently played and sung, with some of the most beautiful communication coming from the choral group... To be sure, there are some flaws in this production... But, for the most part, this is a stunning, exciting and moving film, packed with human emotions and cheerful and mournful melodies. It bids fair to be as much a classic on the screen as it is on the stage."[28]

Time observed, "Porgy and Bess is only a moderate and intermittent success as a musical show; as an attempt to produce a great work of cinematic art, it is a sometimes ponderous failure... On the stage the show has an intimate, itch-and-scratch-it folksiness that makes even the dull spots endearing. On the colossal Todd-AO screen, Catfish Row covers a territory that looks almost as big as a football field, and the action often feels about as intimate as a line play seen from the second tier. What the actors are saying or singing comes blaring out of a dozen stereophonic loudspeakers in such volume that the spectator almost continually feels trapped in the middle of a cheering section. The worst thing about Goldwyn's Porgy, though, is its cinematic monotony. The film is not so much a motion picture as a photographed opera... Still, there are some good things about the show. Sammy Davis Jr., looking like an absurd Harlemization of Chico Marx, makes a wonderfully silly stinker out of Sportin' Life. The singing is generally good â€” particularly the comic bits by Pearl Bailey and the ballads by Adele Addison... And the color photography gains a remarkable lushness through the use of filters, though in time... the spectator may get tired of the sensation that he is watching the picture through amber-colored sunglasses."[29]

Channel 4 noted, "That it stands as an entertaining spectacle and the director's best musical is secondary in interest to the Hollywood politics surrounding it."[30]

André Previn and Ken Darby won the Academy Award for Best Scoring of a Musical Picture. Leon Shamroy was nominated for the Academy Award for Best Cinematography (Color) but lost to Robert Surtees for Ben-Hur. Irene Sharaff was nominated for the Academy Award for Best Costume Design (Color) but lost to Elizabeth Haffenden for Ben-Hur. Gordon Sawyer and Fred Hynes were nominated for the Academy Award for Best Sound but lost to Franklin Milton for Ben-Hur.[31]

The film won the Golden Globe Award for Best Motion Picture - Musical or Comedy. Sidney Poitier and Dorothy Dandridge were nominated in the musical/comedy performance category but lost to Jack Lemmon and Marilyn Monroe, both for Some Like It Hot.

N. Richard Nash was nominated for the Writers Guild of America Award for Best Written American Musical but lost to Robert Smith, Jack Rose, and Melville Shavelson for The Five Pennies.[32]

The film's soundtrack album won the Grammy Award for Best Sound Track Album or Recording of Original Cast From a Motion Picture or Television.

An official CD of the film's soundtrack was released in Germany and most likely also the Netherlands in 1989. The catalog number of this CD is CBS 70007 with sub-number 07-070007-10. The CD label refers to BIEM and STEMRA which are the music copyright organisations in Germany and the Netherlands respectively. It was mastered by DADC Austria. The CD contains 19 tracks and the booklet lists track titles and track timing but no information about the film whatsoever. The sound quality of this CD is outstanding. At the time of writing (2014) this CD is near impossible to find and commands high prices in the collector market. Earlier in the 1970s a stereo 7-1/2 ips reel-to-reel tape of the soundtrack was released. This too has outstanding sound quality, easily surpassing the many vinyl versions available cheaply.

In 2011, Porgy and Bess was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[33] The Registry noted the film's production history, a period when "the civil rights movement gained momentum and a number of African-American actors turned down roles they considered demeaning," but that, over time, it was "now considered an 'overlooked masterpiece' by one contemporary scholar".[33]


how long did it take to put out the fire nicknamed the devils cigarette lighter in algeria

After burning almost six months, the fire was extinguished by well fire expert Red Adair, who used explosives to deprive the flame of oxygen. The exploit made Adair a celebrity.[1] Adair worked the fire with Asger "Boots" Hansen and Ed "Coots" Matthews, who later formed the Boots & Coots well control company.[5][6] Preparations took five months while Adair's team cleared wreckage from near the wellhead with shielded bulldozers, dug wells, and excavated three reservoirs for water supplies. On April 28, 1962, Adair used a modified bulldozer with a 66-foot (20 m) arm to move a metal drum containing a 550-pound (250 kg) nitroglycerin charge to the well. Adair, Matthews, Hansen and Charlie Tolar rode the rig, protected by a metal heat shield and water sprays, with Adair driving and the others on a shielded platform while medical teams and evacuation helicopters stood by. After positioning the explosives, the team ran to a trench about 150 feet (46 m) from the well. The explosion extinguished the fire by displacing oxygen from the area of the ruptured well. Water from the reservoirs was used to flood the area for two days to cool the well.[3][4] Drilling mud was pumped into the hole to control the flow of gas and the well was capped after four days of work.[7]

Devil's Cigarette Lighter

The Devil's Cigarette Lighter was a natural gas well fire at Gassi Touil in the Sahara Desert of Algeria. Ignited when a pipe ruptured on November 6, 1961, the Phillips Petroleum Company-owned well produced more than 6,000 cubic feet (170 m3) of natural gas per second, whose flame rose between 450 feet (140 m) and 800 feet (240 m). The flame was seen from orbit by John Glenn[1][2] during the flight of Friendship 7 on February 20, 1962. The blowout and fire were estimated to have consumed enough gas to supply Paris for three months, burning 550,000,000 cubic feet (16,000,000 m3) per day.[3][4]

The 1968 John Wayne movie Hellfighters was loosely based upon the feats of Adair during the 1962 Sahara Desert fire.


who coaches texas tech men's basketball team

Christopher Michael Beard (born February 18, 1973[2]) is an American basketball coach and the current head coach of the Texas Tech Red Raiders.

Chris Beard (basketball)

He previously coached Little Rock, Angelo State, and McMurry University. Beard graduated from high school from McCullough High School in The Woodlands, Texas. He was a student assistant at Texas under coach Tom Penders graduating from UT in 1995 with a Bachelor of Science degree in Kinesiology. He received a Masters of Education from Abilene Christian University where he served as a graduate assistant in 1998.

After serving as a student assistant at Texas and a graduate assistant at Incarnate Word and Abilene Christian, Beard was an assistant coach at North Texas 1997â€“1999.

From there, he was hired as head coach at Fort Scott Community College where he coached the team to a 19–12 record and its first winning season in 8 years.[3] In 2000, he was hired as the head coach at Seminole State College. In his one-year there he went 25–6 and finished ranked 14th in the country.

Following that season, he was hired as an assistant and later associate head coach at Texas Tech to work under the legendary Bob Knight. During his time at Texas Tech, the Red Raiders made four NCAA Tournament appearances along with a trip to the NIT Final Four. Chris Beard spent 10 years coaching at Texas Tech under Bob Knight and his son Pat Knight, often citing the influence of the two men as his keys to success.[4]

Beard also spent one year as head coach for the South Carolina Warriors of the American Basketball Association, where he led the team to a 29–2 record.[5] In 2012, he was hired as head coach at McMurry University in Abilene, Texas where he spent one season.[6] In March 2013, he was hired as the sixth head coach at Angelo State. In two years with the Rams, he went 47–15.

On April 8, 2015, Beard was named the head coach of Arkansas–Little Rock.

In his first and only season at UALR, the Trojans went 30–5 and won the regular season and Sun Belt tournament titles to clinch an automatic bid to the NCAA Tournament. Little Rock was awarded a 12 seed and knocked off fifth-seeded Purdue 85–83 in double overtime to advance to the Second Round, where they fell to Iowa State.

Beard was named Sun Belt Coach of the Year for his efforts.

On March 27, 2016, Beard accepted the head coaching job at UNLV.[7] When the Texas Tech head coaching job was made vacant by Tubby Smith's departure to Memphis, Beard took the Texas Tech job on April 15, 2016.[8] Chris Beard cited his years as an assistant coach at Texas Tech University for 10 years under Bob Knight and Pat Knight amongst the reasons that he took the job and the proximity to his daughters who live a few hours away from Lubbock. On January 13, 2018, Chris Beard led Texas Tech to upset #2 West Virginia[9] leading the Red Raiders to their first regular-season win over the Mountaineers in program history. His 2017-18 team was also the first Texas Tech team to win at Kansas, snapping a 17-game road losing streak against the Jayhawks. Chris Beard won the Big 12 Co-Coach of the Year in 2018. On March 23, 2018 Beard coached Texas Tech to its first-ever Elite Eight berth in program history with a 78â€“65 win over the Purdue Boilermakers.[10]

Beard has three daughters, Avery, Ella, and Margo.[11]

National champion         Postseason invitational champion
      Conference regular season champion         Conference regular season and conference tournament champion
      Division regular season champion       Division regular season and conference tournament champion
      Conference tournament champion


who is the original singer of almost is never enough

"Almost Is Never Enough" is a song recorded by American singer Ariana Grande and English singer Nathan Sykes. The pop and soul-influenced track was written by Grande, Harmony Samuels, Carmen Reece, Al Sherrod Lambert, Olaniyi-Akinpelu, and its producer, Moses Samuels. Two official versions of the song exist. The soundtrack version is included on the official soundtrack for the 2013 fantasy film The Mortal Instruments: City of Bones and was released August 19, 2013 via Republic Records as a second promotional single from the same, following Colbie Caillat's "When the Darkness Comes" on July 10, and a longer version was remastered for inclusion on Grande's debut studio album, Yours Truly (2013).

Almost Is Never Enough

The song is composed in the key of D Major. The duo's vocal range spans 2 octaves and 2 notes, from F#3 to D6.

The duet received primarily positive reception. Idolator editor Mike Wass called "Almost Is Never Enough" a "glorious" and "soulful" anthem and praised the collaboration between the two artists; "The simple production is timeless and showcases Ariana’s powerful pipes superbly. And who knew Nathan could sing like that? 'Almost Is Never Enough' is a revelation all around and promises very good things for Grande's debut album."[2] Brent Faulkner of Star Pulse found the duet to be a pleasantly surprising blend of modern and classical elements and noted that the song "should be sappy but isn't".[3] This sentiment was mirrored by Popdust's Andrew Unterberger, who observed that the song "manages to mostly stay out of the way of its two talented young vocalists... and lets them carry it with the strength of their voices, and of the song itself. The result is a ballad that’s surprisingly mature and classic sounding." Unterberger also drew comparisons to Mariah Carey, and her Boyz II Men duet "One Sweet Day" also Brandy and Wanya Morris's "Brokenhearted" in particular.[4]


is blue cross blue shield the same as independence blue cross

Independence is an independent licensee of the Blue Cross and Blue Shield Association.

Independence Blue Cross

M. Walter D'Alessio, Chairman

Independence Blue Cross (Independence) is a health insurer based in Philadelphia, Pennsylvania, in the United States.[1] Independence is the largest health insurer in the Philadelphia area, serving more than two million people in the region and seven million nationwide.[2]

Employing more than 7,000 people,[3] the company offers a wide variety of health plans, including managed care, traditional indemnity insurance, Medicare, and Medicaid. Its network of health care providers includes nearly 160 area hospitals and more than 42,000 physicians and other health care professionals.

Independence Blue Cross began in 1938 as the Associated Hospital Service of Philadelphia and offered the first prepaid hospitalization plan in the region. Philadelphia Mayor S. Davis Wilson enrolled as the first member, and Independence Hall became the first employer group to purchase coverage.

By the end of its first year, the company had more than 160,000 members. By 1958, it employed 600 people and contracted with 94 hospitals. In 1964, the company changed its name to Blue Cross of Greater Philadelphia and in 1988, began doing business as Independence Blue Cross.[3]

In October 2011, Independence launched a private, charitable foundation â€” the Independence Blue Cross Foundation.

In addition to health care benefits, Independence Blue Cross offers specialized services and managed care through its affiliates and subsidiaries.


where did the pilgrimage of grace take place

The Pilgrimage of Grace was a popular rising in Yorkshire in October 1536 against Henry VIII's break with the Roman Catholic Church, the Dissolution of the Monasteries and the policies of the King's chief minister, Thomas Cromwell, as well as other specific political, social and economic grievances. It was "the most serious of all Tudor rebellions".[1]

Pilgrimage of Grace

Although sometimes used to refer to other risings in northern England at the time, including the Lincolnshire Rising 12 days before the Pilgrimage of Grace, the term technically refers only to the uprising in Yorkshire. The traditional historical view portrays it as "a spontaneous mass protest of the conservative elements in the North of England angry with the religious upheavals instigated by King Henry VIII". Historians have noted that there were contributing economic issues.[2]

The Lincolnshire Rising was a brief rising by Roman Catholics against the establishment of the Church of England by Henry VIII and the dissolution of the monasteries set in motion by Thomas Cromwell. Both planned to assert the nation's religious autonomy and the king's supremacy over religious matters. The dissolution of the monasteries resulted in much property being transferred to the Crown.[3]

The rising began on 2 October 1536[1] at St James' Church, Louth, after evensong, shortly after the closure of Louth Park Abbey. The stated aim of the uprising was to protest the suppression of Catholic religious houses, not the rule of Henry VIII himself.[3] It quickly gained support in Horncastle, Market Rasen, Caistor and other nearby towns.[3]

Angered by the actions of commissioners, the protesters or rioters demanded the end of the collection of a subsidy, the end of the Ten Articles, an end to the dissolution, an end to taxes in peacetime, a purge of heretics in government and the repeal of the Statute of Uses. With support from local gentry, a force of demonstrators, estimated at up to 40,000, marched on Lincoln, Lincolnshire, and, by 14 October, occupied Lincoln Cathedral. They demanded the freedom to continue worshipping as Catholics and protection for the treasures of Lincolnshire churches. The protest was led by a monk and a shoemaker and involved 22,000 people.[4]:56

The moratorium effectively ended on 4 October 1536, when the King sent word for the occupiers to disperse or face the forces of Charles Brandon, 1st Duke of Suffolk, which had already been mobilised. By 14 October, few remained in Lincoln. Following the rising, the vicar of Louth and Captain Cobbler, two of the main leaders, were captured and hanged at Tyburn.[3]

Most of the other local ringleaders were also executed during the next twelve days, including William Moreland, or Borrowby, one of the former Louth Park Abbey monks.[5] A lawyer from Willingham was hanged, drawn and quartered for his involvement.[3] The Lincolnshire Rising helped inspire the more widespread Pilgrimage of Grace.

The movement broke out on 13 October 1536, immediately following the failure of the Lincolnshire Rising. Only then was the term 'Pilgrimage of Grace' used. Historians have identified several key themes of the revolt:

The northern gentry had concerns over the new Statute of Uses. The poor harvest of 1535 had also led to high food prices, which likely contributed to discontent.

Many people in northern England disliked the way in which Henry VIII had cast off his wife, Catherine of Aragon. Although her successor, Anne Boleyn, had been unpopular as Catherine's replacement, as both a rumoured Protestant and a southerner, her execution in 1536 on trumped-up charges of adultery and treason had done much to undermine the monarchy's prestige and the King's personal reputation. Aristocrats objected to the rise of Thomas Cromwell, who was 'base born'.

The local church was, for many in the north, the centre of community life. Many ordinary peasants were worried that their church plate would be confiscated. There were also popular rumours at the time which hinted that baptisms might be taxed. The recently released Ten Articles and the new order of prayer issued by the government in 1535 had also made official doctrine more reformed, which went against the conservative beliefs of most northerners.

Robert Aske was chosen to lead the insurgents; he was a barrister from London, a resident of the Inns of Court, and the youngest son of Sir Robert Aske of Aughton, near Selby. His family was from Aske Hall, Richmondshire, and had long been in Yorkshire. In 1536, Aske led a band of 9,000 followers, who entered and occupied York. He arranged for expelled monks and nuns to return to their houses; the King's newly installed tenants were driven out, and Catholic observances were resumed.

The rising was so successful that the royalist leaders, Thomas Howard, 3rd Duke of Norfolk, and George Talbot, 4th Earl of Shrewsbury, opened negotiations with the insurgents at Scawsby Leys, near Doncaster, where Aske had assembled between thirty and forty thousand people.[6]

Norfolk promised a general pardon and a Parliament to be held at York within a year, as well as a reprieve for the abbeys until the parliament had met. Naively trusting the king's promises, Aske dismissed his followers.[6]

Jesse Childs (a biographer of the Earl of Surrey, Norfolk's son) specifically notes that Henry VIII did not authorize Thomas Howard, 3rd Duke of Norfolk to grant remedies for the grievances. Norfolk's enemies had whispered into the King's ear that the Howards could put down a rebellion of peasants if they wanted to, suggesting that Norfolk sympathized with the Pilgrimage. Norfolk, seeing their vast numbers (he and the Earl of Shrewsbury were outnumbered: they had 5000 and 7000 respectively but there were 40,000 pilgrims) negotiated and made promises to avoid being massacred.

In February 1537 there was a new rising (not authorised by Aske) in Cumberland and Westmorland, called Bigod's Rebellion, under Sir Francis Bigod, of Settrington in the North Riding of Yorkshire. Because he knew the promises he made on behalf of the King would not be met, Norfolk reacted quickly to the new uprising after the Pilgrims did not disperse as they had promised.

The rebellion failed and King Henry arrested Bigod, Aske and several other rebels, such as Darcy, John Hussey, 1st Baron Hussey of Sleaford, the Chief Butler of England; Sir Thomas Percy and Sir Robert Constable. All were convicted of treason and executed. During 1537 Bigod was hanged at Tyburn; Lords Darcy and Hussey both beheaded; Thomas Moigne, M.P. for Lincoln was hanged, drawn and quartered; Sir Robert Constable hanged in chains at Hull; and Robert Aske hanged in chains at York. In total 216 were executed: several lords and knights (including Sir Thomas Percy, Sir Stephen Hamerton, Sir William Lumley, Sir John Constable and Sir William Constable), 6 abbots (Adam Sedbar, Abbot of Jervaulx, William Trafford, Abbot of Sawley, Matthew Mackarel, Abbot of Barlings and Bishop of Chalcedon, William Thirsk, Abbot of Fountains and the Prior of Bridlington), 38 monks, and 16 parish priests. Sir Nicholas Tempest, Bowbearer of the Forest of Bowland, was hanged at Tyburn, Sir John Bulmer hanged, drawn and quartered and his wife Margaret Stafford burnt at the stake.

In late 1538, Sir Edward Neville, Keeper of the Sewer, was beheaded. The loss of the leaders enabled the Duke of Norfolk to quell the rising,[6] and martial law was imposed upon the demonstrating regions. Norfolk executed some 216 activists (such as Lord Darcy, who tried to implicate Norfolk as a sympathizer): churchmen, monks, commoners.[7]

The details of the trial and execution of major leaders were recorded by the author of Wriothesley's Chronicle:[4]:63-4[8][1]

Also the 16 day of May [1537] there were arraigned at Westminster afore the Kingâ€™s Commissioners, the Lord Chancellor that day being the chief, these persons following: Sir Robert Constable, knight; Sir Thomas Percy, knight, and brother to the Earl of Northumberland; Sir John Bulmer, knight, and Ralph Bulmer, his son and heir; Sir Francis Bigod, knight; Margaret Cheney, after Lady Bulmer by untrue matrimony; George Lumley, esquire;[9] Robert Aske, gentleman, that was captain in the insurrection of the Northern men; and one Hamerton, esquire, all which persons were indicted of high treason against the King, and that day condemned by a jury of knights and esquires for the same, whereupon they had sentence to be drawn, hanged and quartered, but Ralph Bulmer, the son of John Bulmer, was reprieved and had no sentence.

And on the 25 day of May, being the Friday in Whitsun week, Sir John Bulmer, Sir Stephen Hamerton, knights, were hanged and headed; Nicholas Tempest, esquire; Doctor Cockerell, priest;[10] Abbot quondam of Fountains;[11] and Doctor Pickering, friar,[12] were drawn from the Tower of London to Tyburn, and there hanged, bowelled and quartered, and their heads set on London Bridge and divers gates in London.

The Lincolnshire Rising and the Pilgrimage of Grace have traditionally been seen as complete failures for the following reasons:

Their partial successes are less known:

Historians have noted the leaders among the nobility and gentry in the Lincolnshire Rising and the Pilgrimage of Grace and tend to argue that the Risings gained legitimacy only through the involvement of the northern nobility and gentlemen, such as Lord Darcy, Lord Hussey and Robert Aske.[13] However, historians such as M.E. James, C.S.L. Davies and Andy Wood, among others, believe the question of leadership was more complex.

James and Davies look at the Risings of 1536 as the product of common grievances. The lower classes were aggrieved because of the closure of local monasteries by the Act of Suppression. The northern nobility felt their rights were being taken away from them in the Acts of 1535-1536, which made them lose confidence in the royal government. James analysed how the lower classes and the nobility used each other as a legitimizing force in an extremely ordered society.

The nobles hid behind the force of the lower classes with claims of coercion, since they were seen as blameless for their actions because they did not possess political choice. This allowed the nobles an arena to air their grievances while, at the same time, playing the victims of popular violence. The lower classes used the nobility to give their grievance a sense of obedience since the "leaders" of the rebellion were of a higher social class.[14]

Davies considers the leadership of the 1536 Risings as more of a cohesion. Common grievances over evil advisors and religion brought the higher and lower classes together in their fight. Once the nobles had to confront the King's forces and an all-out war, they decided to surrender, thereby ending the cohesion.[15]

Historian Andy Wood, representing social historians of the late 20th century who have found more agency among the lower classes, argues that the commons were the effective force behind the Risings. He argues that this force came from a class group largely left out of history: minor gentlemen and well-off farmers. He believes these groups were the leaders of the Risings because they had more political agency and thought.[16]