Harry Green

Harry Green

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Harold (Harry) Green was born in West Bromwich in 1860. The West Bromwich Strollers club was formed in 1879 by a group of young men from the Salter's Spring Factory. Initially they played cricket at Dartmouth Park but in 1882 they decided to form the West Bromwich Albion football club. Green, who worked at the factory, joined the club.

In the 1885-86 season WBA beat Wolverhampton Wanderers (3-1), Old Carthusians (1-0), Old Westminsters (6-0) and Small Heath Alliance (4-0) to reach the final of the competition to be played at the Kennington Oval. Green played at right-back. Their opponents were Blackburn Rovers, who were appearing in their third successive final. Four of the players, Fergie Suter, Hugh McIntyre, Jimmy Brown and Jimmy Douglas were playing in their fourth final in five season. WBA dominated the match but Herbie Arthur, the Blackburn goalkeeper, made several good saves and the game ended in a 0-0 draw.

The replay took place at the Racecourse Ground, Derby. A goal by Joe Sowerbutts gave Blackburn Rovers an early lead. In the second-half James Brown collected the ball in his own area, took the ball past several WBA players, ran the length of the field and scored one of the best goals scored in a FA Cup final. Blackburn now joined the Wanderers in achieving three successive cup final victories.

This was a magnificent achievement for a team of amateurs. Seven members of the team that reached the 1886 FA Cup Final still worked at Salter's Spring Factory. This included Bob Roberts, Charlie Perry, George Woodhall, George Timmins, Ezra Horton George Bell, and Harry Bell. All eleven players were born within a six-mile radius of West Bromwich. At the time the town had a population of 56,000 people.

In the 1886-87 season they beat Burton Wanderers (6-0), Derby Junction (2-1), Mitchell's St George (1-0), Lockwood Brothers (2-1), Notts County (4-1), Preston North End (3-1) to reach the final against Aston Villa. For the second successive year WBA lost the final 2-0 and Green was denied a second cup-winning medal.

WBA was in great form in the 1887-88 season, scoring 195 goals in 58 first-team matches. WBA also enjoyed another good run in the FA Cup beating Stoke City (4-1), Old Carthusians (4-2) and Derby Junction (3-0) to reach the final against Preston North End. A crowd of nearly 20,000 watched the final at the Kennington Oval on 24th March, 1888. The 19-year-old Billy Bassett was the star of the game and after one long dribble he passed to Jem Bayliss who scored the opening goal. Fred Dewhurst scored an equalizer early in the second-half but WBA gradually got the upper-hand. According to Philip Gibbons in Association Football in Victorian England: "Bassett tormented their defence". He eventually provided the cross for George Woodhall to score the winning-goal ten minutes from time. Harry Green had finally won a cup-winning medal.

The first season of the Football League began in September, 1888. WBA's professional players received 10 shillings a week, with no bonuses or expenses. Preston North End won the first championship without losing a single match and acquired the name the "invincibles". West Bromwich Albion finished in 6th place with Billy Bassett ending up as the club's top scorer with 14 goals in 25 games. Green only played in 13 of the games. However, he won back his place and played in 19 games the following season.

Green left West Bromwich Albion in 1890 and joined local side, Old Hill Wanderers.

Harry Green died in 1900.

Numatic International were established in 1969 in the South West county of Somerset. They have been a privately owned organisation ever since their inception and their factory continues to produce the entire Henry range, including the Henry, Hetty and Harry, at the factory that is located on the same grounds where production began all those years ago. Employing over 700 staff and producing 4,500 units a day, this company have enjoyed enormous success with the Henry vacuum range, dominating the UK market and competing in foreign markets too.

Owning a pet can truly be one of the single most rewarding experiences in life and a pet cat, dog or other animal can bring a great deal of happiness into our homes. However, as well as bringing joy with them, they also tend to leave a great deal of hair on our furniture and carpets, as well as unpleasant odours in the air. Regular vacuum cleaners are not equipped to tackle such things, which is where the Harry vacuum comes in, with a bunch of features that have been specifically designed to do just that.


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Plunket Greene was born in Dublin, the son of Richard Jonas Greene, a barrister, and Louisa Lilias Plunket, granddaughter of William Conyngham Plunket, Lord Chancellor of Ireland. [1] He was educated at Clifton College [2] and initially expected to follow Law at Oxford. However, after he was 'smashed up' in a football accident he had a year's convalescence. Discovering his musical calling he studied under Arthur Barraclough in Dublin before attending the Stuttgart Conservatory for two years under Hromada in the early 1880s. He also studied in Florence with Luigi Vannuccini (a pupil of Francesco Lamperti), and in London with J. B. Welsh and Alfred Blume. [3]

He made his debut in London (at the People's Palace, Mile End) in 1888, in Handel's Messiah, [3] and in the next year appeared in Gounod's Redemption. In 1890 he made operatic debuts as Commendatore in Don Giovanni and as the Duke of Verona in Romeo et Juliette, at Covent Garden. Thereafter he elected to make his career in recital.

In oratorio, his first Festival appearance was at Worcester in 1890. Plunket Greene created the title part in Parry's Job, at the Gloucester Festival in 1892. This includes the Lamentation of Job, an extremely long (28-page) and sustained oratorio scena. David Bispham said of his performances that he 'created the part and rendered it many times with superb dramatic feeling.' [4] In this, as in most of Parry's songs, Plunket Greene recognised the perfect declamation of Parry's writing, the accent upon word-values falling naturally and correctly in the music. As a result, he became the original exponent or dedicatee of many of the lyrical works of Parry, [3] and also of Battison Haynes ("Off to Philadelphia"), and of Charles Villiers Stanford. Stanford wrote Songs of the Sea for him, and the singer also greatly admired Stanford's Cushendall and Irish Idyll cycles and the Three Cavalier Songs set to Browning's words. Although his voice was not exceptionally powerful he used it with great style, musicianship and intelligence.

In 1891 George Bernard Shaw found him 'fairly equal to the occasion in the wonderful duet' from Bach's Whitsuntide Canatata, O, Ewiges Feuer, with the Bach Choir. In April 1892 (sharing the platform with Joseph Joachim and Franz Xaver Neruda, Fanny Davies, Alfredo Piatti and Agnes Zimmermann (piano)) he sang admirably in his first set (Jean-Baptiste Lully, Peter Cornelius and Robert Schumann) in a Monday Popular Concert, but made little of his second group. In November 1893 at the first of George Henschel's London Symphony Orchestra concerts for the season he performed Stanford's new song, "Prince Madoc's Farewell", so patriotically 'that he once or twice almost burst into the next key.' Shaw's strictures on his diction were no doubt taken very seriously by the singer, who studied to make absolute clarity and naturalness of diction a central point of his teaching and example. [5]

From early in his career Plunket Greene became a champion of ballad and song in the English language, including traditional Irish and English song, into the concert repertoire. Through his connections with Stanford, Parry, Vaughan Williams, Gervase Elwes, and through the imitations or arrangements of Irish songs by Hamilton Harty, Arthur Somervell or Charles Wood he was very active in promoting this movement in English and Anglo-Irish art-song. He did this not by succumbing to the imitation of country singing, but by investing whatever he sang with all the principles of good singing - of long and intelligent phrasing, clean, natural attack and diction, lively faithfulness to rhythm and timing, and the powerful engagement of imagination in interpretation. These values were explained in his 1912 book Interpretation in Song which ran through many editions and rapidly became a classic. His advocacy of art-song was indefatigable. His early accompanist Henry Bird gained an appointment as accompanist to the Chappell Ballad Concerts after his very successful partnership with Plunket Greene in the Hungarian Songs of Francis Korbay. [6]

During the 1890s (from 1893) Plunket Greene became one of the foremost British performers and interpreters of the German Lieder, especially of Schubert, Schumann and Brahms. This he did in association with the English pianist Leonard Borwick (the brother of a schoolfriend), a Frankfurt pupil of Clara Schumann's noted for his powerful rhythmic delivery, and who (like his fellow-pupil Fanny Davies) was closely involved in the London work of Joseph Joachim. Plunket Greene and Borwick formed a musical friendship which lasted until Borwick's death.

Plunket Greene was touring in America in spring 1893 and wrote to Borwick suggesting they should deliver a song and pianoforte recital in London, unlike the more usual form of miscellaneous concert with a mixed company. The first recital was in St James's Hall in December 1893, followed by a tour throughout the country, and this pattern was repeated for ten years. Borwick played his own programme as well as accompanying, but after a couple of seasons Samuel Liddle came in as accompanist. Pioneering this model of the recital, they gave a lead to that movement in London. Their rules were to maintain musicianship, avoid the glare of publicity, and never to take care of hands or voice.

On 11 January 1895 at St James's Hall, Borwick and Greene gave the first complete public performance of Robert Schumann's Dichterliebe to be heard in London. Their musical partnership was still active in 1913, but the demands of their separate tours became so great by the early 1900s that they agreed not to continue their former recital programme unless it could be done whole-heartedly. Plunket Greene toured especially in the United States, where he considered the audiences especially attentive and appreciative, and in Germany. He also liked northern English audiences better than southern ones, and liked singing to audiences of public schoolboys. [7]

Plunket Greene was a friend of Edward Elgar's, and appeared in his Malvern Concert Club events. [8] He was the original baritone in the first (October 1900) performance (Birmingham Festival) of Elgar's The Dream of Gerontius, alongside Marie Brema (angel) and Edward Lloyd (soul), under Hans Richter. In June 1900 Elgar had written to August Jaeger, "he sings both bass bits and won't they suit him. Gosh." [9] Although his recordings, and some commentators, suggest the voice was not a large one, [10] it must have been capable of sustaining and projecting a considerable tone at this time, for both the Gerontius baritone solos require this. Moreover, for this most personal of his works, Elgar must have felt some real aptness in the choice.

Arthur Somervell's song-cycle, on Tennyson's 'Maud' was originally produced (with twelve songs) in 1898 and was championed by Plunket Greene. In 1899 he married Gwendolen Maud, the youngest daughter of Hubert Parry, [3] and their first son was born in 1901. He also gave the first performance of Arthur Somervell's A Shropshire Lad cycle, at the Aeolian Hall on 3 February 1904, and so had the distinction of being the first to sing settings of A. E. Housman's lyrics, which afterwards became so fundamental an inspiration to the composers associated with the English song revival of that period.

Plunket Greene included a selection from the Songs of Travel by Ralph Vaughan Williams in recital in February 1905. Then (or soon afterwards) the composer heard him and dedicated the songs to him, and Greene afterwards quoted from them, and from Silent Noon (from the House of Life cycle), in his work on Interpretation in Song. Greene was responsible for establishing these songs in the English concert repertoire, where he was constantly attempting to raise the standard and quality of appreciation of English song through his programming. [11]

He supported Gervase Elwes from the start of his professional career and was his lifelong friend. At Elwes' audition for the Royal College of Music in 1903 Greene wrote to encourage him with the favourable reactions of Parry and Stanford, [12] and soon afterwards put him up for the Savile Club in London. [13] In 1906, he joined the party at Brigg to sing in the second festival there organised by Elwes and Percy Grainger, and declared his wish to be in many more of them. [14] When Elwes died in 1921, Greene wrote "I always felt he was the man I most looked up to." [15] 'In the St Matthew Passion, (he) made us feel that he of all men was best fitted to tell us the greatest story in the world.' [16]

Plunkett Greene's recordings were made first for the Gramophone Company, in 1904–1906. He included folk-songs in his recitals, according to them the same values of diction, phrasing, rhythm, and interpretative sincerity which he brought to art-songs. In later years, as he moved into the field of song-lecturing, he did great service to the cause of British folk-music. [3] His last recordings were made by the electric process for Columbia Records: his late recording of 'Poor old horse' is an affecting example.

On 24 January 1910 he appeared in the memorial concert at Queen's Hall for August Jaeger (Elgar's 'Nimrod'), singing a group of songs by Walford Davies, and Hans Sachs's monologue from Die Meistersinger. [17] He made his first appearance in Henry Wood's Promenade Concerts at the Queen's Hall in October 1914 singing Stanford's Songs of the Sea with the Alexandra Palace Choral Society. [18] He had declined to fulfil an engagement to sing them there for the Stock Exchange Orchestral Society in 1907 on hearing that they still used the high English Concert pitch. [19]

In his later years Plunket Greene was busily involved in the organisation of music events and in teaching and administration. In 1923 he made his fifteenth voyage across the Atlantic (the first had been in 1893), on this occasion to act as a judge in Musical Competitions throughout Canada. From New York he went to Toronto by train to join Granville Bantock. This was to be at the five Festivals of Ontario, Manitoba, Saskatchewan, Alberta and British Columbia. This was the first Ontario Festival (Toronto) (with Robert Watkin-Mills and Boris Hambourg also in attendance), the 6th in Winnipeg (with Herbert Witherspoon and Cecil Forsyth assisting), where the Earl Grey trophy was competed for, the 16th in Edmonton (Alberta), with choirs from Lethbridge and Calgary, and in Prince Albert they were with Herbert Howells. The promotion and encouragement of these events provided not only a great spectacle and opportunity for music-making, but also infused a competitive spirit into the works of choirs, singers and instrumentalists in the award of prizes (in the tradition begun at Kendal, UK in c.1889), tending to the encouragement of excellence. Plunket Greene repeated the experience in Saskatchewan in 1931, together with Harold Samuel, Maurice Jacobson and Hugh Roberton. [20]

Among those to profit from his teaching was Sir Keith Falkner, whom Plunket Greene coached in his famous interpretation of the Lamentation of Job in Parry's oratorio Job. [21]

Plunkett Greene married Gwendolen Maud Parry, Hubert Parry’s younger daughter, in 1899. The couple had three children: Richard Plunket Greene (born 1901), David Plunket Greene (born 1904) and Olivia Plunket Greene (born 1907). The marriage was an unhappy one, however, and they separated in 1920. Plunket Greene died on 19 August 1936, aged 71. He was buried in the churchyard of Hurstbourne Priors, near the graves of his two sons. [22]

His grandson Alexander Plunkett Greene married fashion designer Mary Quant and had a son Orlando.

  • Interpretation in Song (London: Macmillan, 1912)
  • Pilot and other stories (London: Macmillan, 1916)
  • Where the Bright Waters Meet (London: Philip Allan, 1924)
  • From Blue Danube to Shannon (London: Philip Allan, 1935)
  • Charles Villiers Stanford (London: Edward Arnold, 1935)

Harry Plunket Greene recorded songs both for the Gramophone Company and Columbia Records.

Published recordings for the Gramophone Company (1904–08):

  • 2-42776 Abschied (Schubert). 22 January 1904 matrix 4891b
  • 3-2016 Off to Philadelphia (Battison Haynes). 22 January 1904 matrix 4892b
  • 3-2017 a) Mary (Goodheart) b) Quick, we have but a second (Stanford). 22 January 1904 matrix 4894b
  • 3-2018 Father O'Flynn (arr Stanford). 22 January 1904 matrix 4894b
  • 3-2059 (a) Eva Toole (b) Trottin' to the fair (Stanford). 14 February 1904 matrix 5065b
  • 3-2060 The Donovans (Needham). 14 February 1904 matrix 5067b
  • 3-2089 Over here (Wood). 4 January 1904 matrix 4779b
  • 3-2333 a) The happy farmer (Somervell) b) Black Sheila of the silver eye (Harty). 30 May 1905 matrix 2114e
  • 3-2334 The gentle maiden. 30 May 1905 matrix 2116e
  • 3-2335 Little red fox (arr. Somervell). 30 May 1905 matrix 2113e
  • 3-2336 Little Mary Cassidy. 30 May 1905 matrix 2121e
  • 3-2337 Johneen (Stanford). 30 May 1905 matrix 2120e
  • 4-2017 Molly Brannigan (arr Stanford). 14 December 1908 matrix 9282e
  • 02174 Off to Philadelphia (Battison Haynes). 14 December 1908 matrix 2741f (12")

Columbia (electric) recordings:

  • DB 1321 Poor Old Horse (Trad). 13 November 1933 matrix CA14156-1
  • DB 1321 The Garden Where The Praties Grow (Trad). 10 January 1934 matrix CA 14157-2
  • DB 1377 Trottin' to the Fair (Stanford). 10 January 1934 matrix CA14158-3
  • DB 1377 The Hurdy-Gurdy Man (Schubert). 10 January 1934 matrix CA14259-1 wav available [Dec 2009] from [1]

In addition to recordings of songs, he also recorded a Lecture 'On The Art of Singing' for the Columbia Records International Educational Society series (Lecture 75), on four sides, Disc numbers D40149-40150. [23]


New Zealand Birth Registration [database online], 1865/19254, Harry Corbett Green. Parents: Henry and Agnes. Accessed 21 Oct 2020. (

New Zealand Marriage Registration [database online], 1890/1994, Harry Corbett Green & Jessie Allan, Dunedin, New Zealand. Accessed: 21 Oct 2020. (

New Zealand Death Registration [database online], 1948/32414, Harry Corbett Green. Accessed: 21 Oct 2020 (

New Zealand Cemetery Records (1800-2007) for Harry Corbett Green. [database online] Accessed: 21 Oct 2020 Green, Harry Corbett. (class 2), Lot 2-4. Block 108. Died 12 August 1948. Aged 82 years. Retired. Resident of 2 Clifford Street. Born Dunedin. Buried 4 Aug. Informant. Thorn & Co.

Soul singer Al Green is attacked in his own bathtub

There can be no question that anyone would have been shaken by the events that transpired in the Memphis, Tennessee, home of singer Al Green in the early morning hours of October 18, 1974, when an ex-girlfriend burst in on him in the bath and poured a pot of scalding-hot grits on his back before retreating to a bedroom and shooting herself dead with Green&aposs own gun. Not everyone, however, would have processed the meaning of the incident quite the way that Green did. Believing that he had strayed from the righteous musical and spiritual course intended for him, Al Green had become a born-again Christian one year earlier. But after the attack by Mary Woodson on this day in 1974, he began a process that would eventually lead him to renounce pop superstardom and all that it stood for.

Al Green, widely renowned as one of the greatest voices in soul-music history, was at the absolute height of his powers in 1974. He had seven critically and commercially successful major-label albums behind him that included such timeless hits as "Tired Of Being Alone" (1971), "Let&aposs Stay Together" (1971) and "I&aposm Still In Love With You" (1972). He also, in the words of Davin Seay, who collaborated with Green on his 2000 autobiography, Take Me To The River, had a "basic animal appeal to women" that attracted many admirers, including Mary Woodson.

Mary Woodson first made Green&aposs acquaintance after leaving her husband and children behind in New Jersey and attending one of his concerts in upstate New York. On the night of the attack, Woodson had shown up unexpectedly at Green&aposs Memphis home after he returned from a concert appearance in San Francisco. What exactly prompted her to act is unclear, but her actions not only left Al Green with severe burns that would require months of hospitalization, they also left him severely shaken emotionally and spiritually. "He likes to distance the facts of his [religious] conversion from the terrible events of that night," says Seay, "but I think the Woodson incident kind of crystallized his need to move on, to sort of shut down one part of his life and open up another.&apos&apos

The Amazing Spider-Man 3

Dane DeHaan was confirmed to reprise his role as Harry Osborn/Green Goblin in future films of the series, namely The Sinister Six and The Amazing Spider-Man 3, the latter of which he would've been the primary antagonist. However, these plans were subsequently cancelled after Marvel Studios and Sony made a deal to put Spider-Man in the Marvel Cinematic Universe. However, while all sequels to The Amazing Spider-Man 2 have been cancelled, both The Sinister Six and Venom: Carnage have been potentially discussed to be spin-offs to the reboot Spider-Man film.


Harry Osborn was the son of wealthy industrialist, Norman Osborn, the original Green Goblin. He went to the same college as Peter Parker, aka Spider-Man. They were roommates for a time, during which Harry encountered occasional problems with drugs. When his father died, Harry found the body and removed the costume.

After learning that Peter was Spider-Man he donned his father's costume and proclaimed himself the Green Goblin. After destroying Peter's apartment in a battle with Spider-Man, he began seeing a psychiatrist who tied him up and became himself the Green Goblin.

Harry later suffered from amnesia, forgetting the identity of Spider-Man and both his and his father's roles as the Green Goblin. Harry later married Liz Allen, an old high school friend of Peter's and had a son, Norman.

Once again, he remembered being the Green Goblin - and his irrational hatred of Spider-Man. Harry had convinced himself that Peter resented the Osborns' "stable family life" due to never having been wanted by his own parents or guardians, when in fact the complete opposite was true.

His sanity was shattered, he declared that their next confrontation would be their final one, and only one of them would be alive at the end. To ensure that he was the victor, Harry researched his father's chemical notes, hoping to recreate the original Goblin's superhuman strength. Harry made his own modifications to the formula, and upon ingesting it, it proved better than he had dreamed.

The formula had made him stronger than both Spider-Man and his father. Now a physical match for Spider-Man, Harry planned his final revenge.

Harry took to stalking Peter Parker on his Goblin Glider, claiming that there was no law against just soaring around town in a colorful costume, and taunting Peter that someday he would destroy him, but he relished keeping Peter in suspense in the meantime.

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Early Life

Harry Osborn was Born on February 22, 1984  he was born to a wealthy family his mother apparently died soon after his birth.

He had flunked out of the many private schools his father had sent him to public school and wished to have his wealth and privilege downplayed to his new classmates. He constantly tries to impress his father Norman, a rich industrialist, who is very invested in his work having little time for his son

Harry grows jealous of Peter's relationship with him as Norman admired Peter's intelligence and work ethic. Harry starts a relationship with Mary Jane Watson whom he finds attractive. He is aware Peter does as well and after he finds out attempts to justify himself saying that Peter never made a move, though she eventually falls for Peter. Harry eventually manages to somewhat mend the relationship he has with his father.

Promising Revenge on Spider-Man

In 2002, After Norman's death as The Green Goblin, Harry believes that his father was murdered by Spider-Man, and seeks revenge, unaware that Spider-Man had in fact tried to save Norman's life, and went to great lengths to keep secret the billionaire's alter-ego as The Green Goblin.

Joining Oscorp

After Norman's death Harry takes over Oscorp, and invests huge amounts of money in a proposed sustainable fusion energy reactor invented by Dr. Otto Octavius.

Finding Out Who Spider-Man Is

Otto's experiment failed and the company loses millions as a result. Harry was saved by Spider-Man in the disaster but still continues his vendetta. Ever the more bitter, Harry lashes out on Peter, for being the 'son' Norman wanted, defending Spider-Man, and stealing Mary Jane. Later, he forms an alliance with Doctor Octopus to get his revenge, providing Octopus with a rare element, tritium, that he needs to complete his fusion reactor in exchange for Octopus capturing Spider-Man.

Doctor Octopus brings Spider-Man back to Harry, who unmasks him in preparation to kill/assassinate him. He is shocked to see that Peter is in fact Spider-Man, but nevertheless tells him where Doctor Octopus is hiding. Afterwards, he begins to hallucinate, seeing his father's image in a mirror who demands that Harry avenge his death. He refuses to do so and, after being chastised for his weakness, smashes the mirror only to find a hidden room concealed behind it. The room contained all of Norman's Green Goblin equipment and serum, which Peter had hidden when he brought his body back after his death. This discovery led Harry to realize that his father was the infamous Green Goblin.

Becoming the New Goblin

Harry as The New Goblin on his jet glider.

Around six months after he discovered Peter was in fact Spider-Man thanks to his capture by Doctor Octopus. Encouraged by another hallucination of his father in a mirror he attempts to take revenge, attacks Peter during a fight wearing a modified version of Norman's Green Goblin suit and jet glider. Peter tries telling Harry that he wasn't responsible for his father's death, but Harry refuses to listen. As a result of the head injury he suffered in their subsequent battle, he briefly sustains a case of immediate amnesia.

While in this state, he reverted back to how he was before his father's death. After regaining his memory, due to the efforts of his father's ghost, he attempts to destroy Peter by sabotaging his relationship with Mary Jane and then claiming that she left Peter for him, only for Peter — falling increasingly under the influence of the black suit — to viciously attack Harry in his penthouse, throwing one of his own pumpkin bombs back at him and scarring the right side of his face.

Saving Peter Parker from Venom and Sandman

Later Mary Jane is captured by Venom and Peter, free of the black suit's influence, returns and asks Harry to help him for Mary Jane's sake. Harry refuses and Peter leaves. However, after learning the truth, that his father's death was his own doing and not Peter's, from his butler Bernard, he decides to help Spider-Man save Mary Jane from Venom and The Sandman.


In the ensuing fight Harry ultimately sacrifices himself to save Peter during the ensuing fight/battle, Harry is stabbed to death by his own glider on the stomach by Venom. Harry ultimately forgives Peter for what happened to his father and the two reconcile. Harry dies after the pair's defeat with both Peter and Mary Jane by his side, not before declaring that he and Peter are best friends. Peter and Mary Jane, both heartbroken by their friend's death, attend Harry's funeral together along with Bernard the Butler, Gwen Stacy, Aunt May and Flash Thompson.


Harry seems to be a good-natured and intelligent man, hoping to follow in his mother's footsteps as an environmental attorney. Harry's recordings in his laboratories indicate that he is a kind individual with a strong sense of social conscience, sincere in his desire to continue his mother's legacy by cleaning up New York and making it a better place for his fellow man. He seems to have traits of the "lonely rich kid" trope, as Mary Jane recalls that in their childhood, Harry was noticeably more content watching cartoons in Aunt May's apartment than in his family's penthouse on an advanced TV.

Watch the video: Harry Green - Busy On Beats Official Music Video Shot by: Jordan4visuals (August 2022).

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