Quickie

Quickie may refer to:

  • Quickie (sex), a brief or spontaneous episode of sexual activity.
  • Quickie (joke), a short joke that is used between segments on the children's television series, Garfield and Friends
  • Daily Quickie, a former column on ESPN.com
  • Quickie (divorce), a divorce obtained by an American in Mexico
  • Quickie Aircraft, an aircraft manufacturer of the United States
  • Rutan Quickie, a light single seat homebuilt aircraft
  • The Quickie, a novel by James Patterson
  • The 8TV Quickie, a 15-minute variety show
  • Vincent Van Quickenborne, a Belgian politician with that nickname
  • Quickie Convenience Stores, an Ottawa-based grocery chain
  • "Quickie", a song by Miguel
  • "Quickie", common nickname of Donald Driver (born February 2, 1975), American football player
  • Mexican divorce

    In the 1960s, some New Yorkers traveled to Mexico to obtain a "Mexican divorce". A divorce in Mexico was easier, quicker, and less expensive than a divorce in most U.S. states. Celebrities who obtained a Mexican divorce include Johnny Carson, Katharine Hepburn, Richard Burton, Lisa Marie Presley, Elizabeth Taylor, Marilyn Monroe, Don Hewitt, Bernie Sanders, and Charlie Chaplin. It is also mentioned in the Jack Kerouac book On the Road. It was often referred to as a quickie (or quicky) Mexican divorce.

    Mexico does not require spouses to be present at a divorce hearing: they can send a lawyer to represent them. This "fast-track" process is in contrast to American divorce procedures, which involve additional bureaucracy and added expense.

    In 1970, in accordance with a Mexican federal law recommendation, many courts stopped accepting divorce petitions from non-residents. Accordingly, petitioners must be selective in their choice of court. With the advent of no-fault divorce in the United States, Mexican divorces are not as popular as they once were.

    Garfield and Friends

    Garfield and Friends is an American animated television series based on the comic strip Garfield by Jim Davis. The show was produced by Film Roman, in association with United Media in Season 1, United Media/Mendelson in Season 2 and 3, United Media/Lee Mendelson Productions in Season 4–6, Lee Mendelson Productions in Season 7, and Paws, Inc., and ran on CBS Saturday mornings from September 17, 1988 to December 10, 1994, with reruns airing until October 7, 1995. Seven seasons of the series were produced.

    In addition to the cartoons featuring Garfield, the series also included cartoons featuring the characters from U.S. Acres, a comic strip Davis was drawing concurrently with Garfield when Garfield and Friends premiered on television. Like the comic strip these were based on, the shorts were retitled Orson's Farm for viewers outside of the United States (taking the name of their main character, Orson Pig). Although Davis stopped drawing U.S. Acres/Orson's Farm seven months after Garfield and Friends debuted, the characters continued to appear on the series until it ceased production.

    Hippolytus (play)

    Hippolytus (Ancient Greek: Ἱππόλυτος, Hippolytos) is an Ancient Greek tragedy by Euripides, based on the myth of Hippolytus, son of Theseus. The play was first produced for the City Dionysia of Athens in 428 BC and won first prize as part of a trilogy.

    Euripides first treated the myth in a previous play, Hippolytos Kalyptomenos (Ἱππόλυτος καλυπτόμενοςHippolytus Veiled), which is now lost; what is known of it is based on echoes found in other ancient writings. The earlier play, and the one that has survived are both titled Hippolytus, but in order to distinguish the two they have traditionally been given the names, Hippolytus Kalyptomeos (“Hippolytus veiled”) and Hippolytus Stephanophoros (“Hippolytus the wreath bearer”). It is thought that the contents to the missing Hippolytos Kalyptomenos portrayed a shamelessly lustful Phaedra who directly propositioned Hippolytus, which apparently offended the play's audience.

    Euripides revisits the myth in Hippolytos Stephanophoros (Ἱππόλυτος στεφανοφόρος – "Hippolytus who wears a crown"), its title refers to the crown of garlands Hippolytus wears as a worshipper of Artemis. In this version Phaedra fights against her own sexual desires, which have been incited by Aphrodite.

    Phaedra (mythology)

    In Greek mythology, Phaedra /ˈfdrə, ˈfɛdrə/ (Ancient Greek: Φαίδρα, Phaidra) is the daughter of Minos and Pasiphaë, wife of Theseus, sister of Ariadne, and the mother of Demophon of Athens and Acamas. Phaedra's name derives from the Greek word φαιδρός (phaidros), which meant "bright".

    Though married to Theseus, Phaedra fell in love with Hippolytus, Theseus's son born by either Hippolyta, queen of the Amazons, or Antiope, her sister. Euripides placed this story twice on the Athenian stage, of which one version survives. According to some sources, Hippolytus had spurned Aphrodite to remain a steadfast and virginal devotee of Artemis, and Aphrodite made Phaedra fall in love with him as a punishment. He rejected her.

    In one version, Phaedra's nurse told Hippolytus of her love, and he swore he would not reveal her as a source of information. In revenge, Phaedra wrote Theseus a letter that claimed Hippolytus raped her. Theseus believed her and cursed Hippolytus with one of the three curses he had received from Poseidon. As a result, Hippolytus's horses were frightened by a sea monster and dragged their rider to his death.

    Phaedra (opera)

    Phaedra is a 'concert opera' in two-acts by Hans Werner Henze. Its first performance was given at the Berlin State Opera on 6 September 2007. The work is a co-commission and co-production with the Berliner Festspiele, Théâtre de la Monnaie, Brussels, Alte Oper Frankfurt and the Vienna Festival.

    Although Henze announced in 2003 that L'Upupa und der Triumph der Sohnesliebe would be his last opera, it became known during 2006 that in spite of serious illness, he was preparing a new opera based on the classical myth of Phaedra.

    Preparation of the libretto

    The libretto is by Christian Lehnert and deals in a highly innovative way with the story of Phaedra, whose love for her stepson Hippolytus triggers catastrophe. The first part of the opera tells this legend much as previously retold by Euripides, Racine and Sarah Kane. The second part, however, follows a mythological tradition alluded to by Ovid. Hippolytus, fatally wounded, is brought back to life by the goddess Artemis, and is given a new life under the name of Virbius. In this new existence, however, he is only able to experience his own consciousness in a fragmentary, kaleidoscopic way.

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