Most Popular British Baby Names : Baby Phat Nursing Uniforms : Song My Baby You

Most Popular British Baby Names

most popular british baby names
    most popular
  • Cited most often as being surveyors' favorite among all chains in a particular category.
  • Lois Weeks married '56 graduate Hector Black in 1959 and started Castle Uniforms. She has two children and four grandchildren. Ronald Hendrix and his wife, Charlotte, live in Florence, S.C. He is an administrator at a nursing home.
    baby names
  • The most popular given names vary nationally, regionally, and culturally. Lists of widely used given names can consist of those most often bestowed upon infants born within the last year, thus reflecting the current naming trends, or else be composed of the personal names occurring most within
  • Of the British Commonwealth or (formerly) the British Empire
  • the people of Great Britain
  • Of or relating to Great Britain or the United Kingdom, or to its people or language
  • The Britons (sometimes Brythons or British) were the Celtic people living in Great Britain from the Iron Age through the Early Middle Ages.Koch, pp. 291–292. They spoke the Insular Celtic language known as British or Brythonic.
  • The British (also known as Britons, informally Brits, or archaically Britishers) are citizens of the United Kingdom, of the Isle of Man, one of the Channel Islands, or of one of the British overseas territories, and their descendants.
most popular british baby names - The Turtles
The Turtles - 20 Greatest Hits
The Turtles - 20 Greatest Hits

Though they may not have possessed the hip cachet of The Beach Boys or The Byrds, this California combo (led by vocalists Howard Kaylan and Mark Volman, a.k.a. Flo and Eddie) were one of the most consistently satisfying, inventive and subversive American pop acts of the '60s. Shimmering and infectious hits like "Happy Together," "Elenore," "You Baby," "She'd Rather Be with Me," and their impassioned rendering of Bob Dylan's, "It Ain't Me, Babe," remain some of the era's loveliest pop-rock tunes, embodying a good-humored sense of optimism that still sounds fresh more than two decades later. Rhino and Sundazed have done a fine job of keeping the Turtles' extensive catalogue in circulation in the CD era, but this generous single-disc best-of is an excellent place to start. --Scott Schinder

75% (18)
Jessie Matthews
Jessie Matthews
British postcard in the Film-Kurier series, London, nr. 138a. Sent by mail in Great-Britain in 1937. Photo: Gaumont British. Saucer-eyed, long-legged Jessie Matthews (1907-1981) was a gamine, graceful dancer, with a sweet, pure-toned singing voice, and waif-like sex appeal, who embodied 1930’s style. For most of the decade, she was the most popular musical star in England, and ranked on a par with Fred Astaire, Ruby Keeler, and Ginger Rogers. She was a favourite of Irving Berlin and Richard Rodgers & Lorenz Hart, all of whom gave her some of their very best work. Her personal life was blighted by relationship breakdowns and her struggles against ill-health and insecurity. Jessie Margaret Matthews was born in Soho, London, in 1907, in relative poverty. She was the seventh of sixteen children (of whom eleven survived) of a fruit-and-vegetable seller. Matthews enjoyed dancing from an early age, and elocution lessons created her distinctive ‘plummy’ accent. Aged 12, she debuted on stage as a child dancer in Bluebell in Fairyland (1919), by Seymour Hicks, at the Metropolitan Music Hall in London. She made her West End debut at 16 in Berlin's Music Box Revue. Her first film appearance was in the silent film The Beloved Vagabond (1923, Fred LeRoy Granville). More fleeting dancing roles in silent films followed. Matthews was in the chorus in the show Charlot Review (1926) in London, and went with the show to New York, where she was also understudy to the star, Gertrude Lawrence. When Lawrence fell ill, she took over the role and was given great reviews. Matthews was acclaimed in the United Kingdom as a dancer and as the first performer of numerous popular songs of the 1920’s and 1930’s, including A Room with a View and London Calling! by Noel Coward and Let's Do It, Let's Fall in Love by Cole Porter. In London, she was in Ever Green (1930), featuring the hit song Dancing on the Ceiling, co-starring with Sonnie Hale (then husband of Evelyn Laye) which led to a scandalous divorce action, Matthews cited as the ‘other woman’. The scandal should have kept Matthews off the screen but the talkies needed musical stars and Matthews clicked big-time in films like Out of the Blue (1931, Gene Gerrard, J.O.C. Orton), There Goes the Bride (1932, Albert de Courville) opposite Owen Nares, and The Man from Toronto (1933, Sinclair Hill). Jessie Matthews’ fame reached its initial height with her lead role in the 1932 stage production of Ever Green, a musical by Rodgers and Hart that was partly inspired by the life of music hall star Marie Lloyd. At its time Ever Green was the most expensive musical ever mounted on a London stage. Her breakthrough film performance was as Susie Dean, dancing with airy grace and fluidity, in the film of J.B. Priestley's novel, The Good Companions (1933), for Victor Saville, her most sympathetic director. The film is about three musicians (including John Gielgud (in his first film) and Edmund Gwenn) joining together to save a failing concert party, the Dinky Doos. At IMDb, Bensonj reviews: “Jessie Matthews' ability and magnetism are so evident there's just no question that when the right person finally sees her perform her star quality will be instantly recognized. This was never more true than in The Good Companions, where Matthews' vitality, youth, sex appeal and talent absolutely light up the film! Like every aspect of this film, the romance between Gielgud and Matthews is remarkable to behold. She's so strong willed, so incandescent, Gielgud seems almost afraid to burn his fingers, yet dares to hold his own. As with only the finest fairy tale fantasies, this is absolutely grounded in the real world, filled with sharp, rich characterizations and the details of its time and place.” She then appeared in Friday the Thirteenth (1933, Victor Saville) opposite Sonnie Hale, and the flop Waltzes from Vienna (1934, Alfred Hitchcock) about the lives of Johann Strauss the elder (Edmund Gwenn) and younger (Esmond Knight). That same year followed Jessie Matthews’ biggest film triumph: the film version of Evergreen (1934, Victor Saville) with Sonnie Hale and Betty Balfour. At IMDb, reviewer bbrntwist writes: “This is an utterly charming and delightful film, derived from the London production of a Rodgers and Hart musical. (...) Matthews is a sheer delight, reminding me of Joan Collins, Julie Andrews, Jane Wyatt and Jennifer Jones, all rolled into one.” The film opened in the USA at Radio City Music Hall, New York, and Matthews was labelled ‘The Dancing Divinity’, although attempts to co-star her and Fred Astaire in a film never materialised. Her British studio (Gaumont British) was reluctant to let go of its biggest name, which resulted in offers for her to work in Hollywood being repeatedly rejected. Evergreen (1934) featured the newly composed song Over My Shoulder which was to go on to become Matthews' personal theme song, later giving its title to her 1974 autobiography and to a 21st-century
Jallianwala Bagh Remembered - A Heinous Racist Act
Jallianwala Bagh Remembered - A Heinous Racist Act
photo wkipedia The Jallianwala Bagh Massacre, also known as the Amritsar Massacre, was named after the Jallianwala Bagh (Garden) in the northern Indian city of Amritsar, where, on April 13,1919, British Indian Army soldiers under the command of Brigadier Reginald Dyer opened fire on an unarmed gathering of men, women and children. The firing lasted about 10 minutes and 1650 rounds were fired, or 33 rounds per soldier. Official (Raj) sources placed the casualties at 379. According to private sources, the number was over 1000, with more than 2000 wounded, [1] and Civil Surgeon Dr. Smith indicated that they were over 1800.[2] After World War I had ended in 1918 Britain and other imperial powers were weakened. The costs of the protracted war in both money and manpower were staggering. In India, long the jewel in the crown of the British Empire, Indians were restless for independence, having contributed heavily to the war efforts in both money and men. Over 74,000 Indian soldiers had died, more than the men lost from either Australia or Canada; both former colonies enjoying greater rights. Indians were expecting, if not freedom, at least more say in their governance, so the Indian Nationalist movement was marked by a clear domination of the more extreme rather than the moderate. In this charged atmosphere, Britain chose not to reward India for her service, but rather to demonstrate that they still commanded authority over India and that they were ready to use force to preserve their rule. On April 10,1919, a protest was held at the residence of the Deputy Commissioner of Amritsar, a city in Punjab, a large province in the north-western part of the then undivided India. The demonstration was held to demand the release of two popular leaders of the Indian Independence Movement, Satya Pal and Saifuddin Kitchlew, who had been earlier arrested on account of their protests against the controversial Rowlatt Act that had been then imposed by the British government. The crowd was fired on by a military picket. The firing set off a chain of violence. Later in the day, several banks and other government buildings, including the Town Hall and the railway station were attacked and set on fire. The violence continued to escalate, culminating in the deaths of at least 5 Europeans, including government employees and civilians. There was retaliatory firing on the crowd from the military several times during the day, and between 8 and 20 people were killed. For the next two days the city of Amritsar was quiet, but violence continued in other parts of the Punjab. Railway lines were cut, telegraph posts destroyed, government buildings burnt, and three Europeans were killed. By April 13, the British government had decided to place most of the Punjab under martial law. The legislation placed restrictions on a number of freedoms, including freedom of assembly, banning gatherings of more than four people [3] On April 13, thousands of people gathered in the Jallianwala Bagh near Golden Temple in Amritsar, on Baisakhi, both a harvest and Sikh religious new year. It was in 1699 during this festival that the last Sikh Guru, Guru Gobind Singh created the Khalsa adding the name Singh or Kaur to every Sikh's name. So for more than two hundred years this annual festival had drawn thousands from all over India. People had traveled for days, before the ban on assembly. A group of 90 Indian Army soldiers marched to the park accompanied by two armoured cars. The vehicles were unable to enter the Bagh through the narrow entrance. The Jallianwala Bagh, or garden, was bounded on all sides by houses and buildings and had few narrow entrances, most of which were kept permanently locked. Since there was only one open exit except for the one already blocked by the troops, people desperately tried to climb the walls of the park. Many jumped into a well inside the compound to escape from the bullets. A plaque in the monument says that 120 bodies were plucked out of the well. As a result of the firing, hundreds of people were killed and thousands were injured. Official records put the figures at 379 killed (337 men,41 boys and a six week old baby) and 200 injured, though the actual figure is hotly disputed to this day. The wounded could not be moved from where they had fallen, as a curfew had been declared. Back in his headquarters Dyer reported to his superiors that he had been 'confronted by a revolutionary army, ' and had been obliged 'to teach a moral lesson to the Punjab.' In a telegram sent to Dyer, British Lieutenant-Governor of Punjab, Sir Michael O'Dwyer wrote: 'Your action is correct. Lieutenant Governor approves.'[4] Many Englishmen in India, as well as the British press, defended Dyer as the man who had saved British pride and honour. The Morning Post opened a fund for Dyer, and contributions poured in. An American woman donated 100 pounds, adding 'I fear for the British women there now that Dyer has been dismissed.' O'Dwyer requested that mart

most popular british baby names
most popular british baby names
Introducing Joss Stone
Joss Stone Photos

More from Joss Stone

Mind, Body, & Soul
The Soul Sessions
Mind, Body, & Soul Sessions [DVD]

In the run-up to this, her third album, Joss Stone told a phalanx of glossy magazines that the difference between this disc and the two that preceded it was a newfound clarity of vision. Whereas the other records--their gold status notwithstanding--represented the fumblings of a huge-voiced kid being bossed around by experienced music-biz types, this one, she promised, would reveal the real her. Thus, the titular "introduction." To which anybody who spins the 14 groovy and fully unbuttoned tracks herein will wish to reply not "nice to meet you"--far too lame a sentiment for so fully realized a disc--but "Where have you been all my life?" As good as Joss Stone's previous efforts are, Introducing Joss Stone represents a giant step forward: there's a freshness to these songs that suits her age (19 as of the album's release) and a funkiness that suits modern pop sensibilities. There's also a cross-hatching of visions with artists like Lauryn Hill and Common that will rightly advance her reputation as an artist who can sling disco, R&B, and rock almost as convincingly as soul. Splicing girl-group harmonies with blaxploitation-style funk with Joplin-esque and, at times, Shelby Lynne-reminiscent vocals, Stone works these Raphael Saadiq-produced beats with the stealth and steadiness of a '70s-era legend who's still going strong. "Girl They Won't Believe It," she wails against the tight hoo-hoo harmonizing of talented backup singers on the opening track; get a load of how much she's accomplished in the space of three albums, and you won't believe it, either. --Tammy La Gorce

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