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1912 military aircraft family by the Royal Aircraft Factory "B.E.2" and "B.E.1" redirect here. For other uses, see Be-1 (disambiguation) and BE2 (disambiguation). The **Royal Aircraft Factory B.E.2** is a British single-engine tractor two-seat biplane, designed and developed at the Royal Aircraft Factory. Most of the roughly 3,500 built were constructed under contract by private companies, including established aircraft manufacturers and firms new to aircraft construction. Early versions entered squadron service with the Royal Flying Corps in 1912 and the type served throughout the First World War. Initially used as a reconnaissance aircraft and light bomber, as a single-seat night fighter the type destroyed six German airships between September and December 1916. By late 1915, the B.E.2 was proving to be vulnerable to the recently introduced German Fokker *Eindecker* fighters, leading to increased losses during the period known as the Fokker Scourge. Although by now obsolete, it had to remain in front line service while replacement types were brought into service. Following its belated withdrawal from combat, the B.E. continued to serve in training, communications, and coastal anti-submarine patrol roles. The B.E.2 became the subject of controversy. From the B.E.2c variant onward, it had been developed to be inherently stable, which was helpful for artillery observation and aerial photography duties. However this stability was achieved at the expense of manoeuvrability; moreover the observer, in the front seat ahead of the pilot, had a limited field of fire for his gun. Development ----------- ### Background The B.E.2 was one of the first fixed-wing aircraft to be designed at what was then called the Royal Balloon Factory (the organisation was formally renamed as the *Royal Aircraft Factory* on 26 April 1911). The team responsible for its design came under the direction of British engineer Mervyn O'Gorman, the factory's superintendent. The *B.E.2* designation was formulated in accordance with the system devised by O'Gorman, which classified aircraft by their layout: B.E. stood for "Blériot Experimental", and was used for aircraft of tractor configuration (although in practice, all B.E. types were biplanes rather than the monoplanes typical of the Blériot company). At first, the activities of the Factory were limited to aeronautical research and the design and construction of actual aircraft was not officially sanctioned. O'Gorman got around this restriction by using the factory's responsibility for the repair and maintenance of aircraft belonging to the Royal Flying Corps, so that existing aircraft needing major repairs were nominally "reconstructed" but often appeared as new designs, retaining few original components aside from the engine. The first pair of B.E. aircraft were flown within two months of each other and had the same basic design, the work of Geoffrey de Havilland, who was at the time both the chief designer and the test pilot at the Balloon Factory. Its first public appearance was in early January 1912. With the contemporary Avro 500, the B.E.2 helped to establish the tractor biplane as the dominant aircraft layout for a considerable time. ### B.E.1 B.E.1. originally captioned 'The Silent Army Aeroplane'. Note radiator between cabane struts. This was ostensibly a rebuild of a Voisin pusher biplane, powered by a 60 hp (45 kW) water-cooled Wolseley engine; however, the B.E.1 used only the powerplant of the Voisin. It was a two-bay tractor biplane with parallel-chord unstaggered wings with rounded ends and used wing warping for roll control. The wings were of unequal span with the upper wing's span being 36 ft 7+1⁄2 in (11.163 m) and the lower 34 ft 11+1⁄2 in (10.655 m). The fuselage was a rectangular section fabric-covered wire-braced structure, with the pilot seated aft behind the wings, and the observer in front under the centre section. This arrangement allowed the aircraft to be flown "solo" without affecting the aircraft's centre of gravity. Behind the pilot's position, a curved top decking extended aft to the tail, although the forward decking and cowling of later variants was not fitted at this stage. The tail surfaces consisted of a half-oval horizontal stabiliser with a split elevator mounted on top of the upper longerons and an ovoid rudder hinged to the sternpost. There was no fixed vertical fin. The main undercarriage consisted of a pair of skids each carried on an inverted V-strut at their rear and a single raked strut at the front while an axle carrying the wheels was bound to the skids by bungee cords and restrained by radius rods. A similarly sprung tailskid was fitted, while the wings were protected by semicircular bows located beneath the lower wing tips. The radiator being mounted between the front pair of cabane struts It was first flown by de Havilland on 4 December 1911. but was not flown again until 27 December, following the substitution of a Claudel carburettor for the original Wolseley, which had allowed no throttle control. Other minor modifications were made over the following weeks: the undercarriage wheels were moved back 12 in (300 mm), the wings (which originally had no dihedral), were re-rigged to have 1° dihedral, and the propeller was cut down in an attempt to increase the engine speed. Later, the Wolseley engine was replaced by a 60 hp (45 kW) air-cooled Renault which eliminated the need for a radiator. The B.E.1 had a long career as a research aircraft: trialling many of the modifications made to later B.E.2 variants. By the time it was finally struck off charge in 1916 it resembled a contemporary B.E.2b. Among other equipment tested for the first time in this airframe was early radio apparatus. ### B.E.2 The B.E.2 was almost identical to the B.E.1, differing principally in being powered by a 60 hp (45 kW) air-cooled V-8 Renault and in having equal-span wings. Its number was not allocated as a separate type, but numbers allocated to early Royal Aircraft Factory aircraft were the constructor's numbers rather than type designations. Sometimes described as a "rebuild" of either a Bristol Boxkite or a Breguet, it seems to have been the first aeroplane built at the factory without the subterfuge of being a "reconstruction". It first flew on 1 February 1912, again with de Havilland as the test pilot. The Renault proved a much more satisfactory powerplant than the Wolseley fitted to the B.E.1, and performance was further improved when a 70 hp (52 kW) model was fitted that May. The B.E.2 flew extensively at the Military Aeroplane Competition on Salisbury Plain during August 1912. It was barred from competing officially as O'Gorman was one of the judges, but its performance was clearly superior to the other entrants and on 12 August 1912 it achieved a British altitude record of 10,560 ft (3,220 m) while being flown by de Havilland with Major Sykes as a passenger. Other prototypes of the production B.E.2 series were produced, including the *B.E.5* and the *B.E.6*. These mainly differed in the powerplant, initially an ENV liquid cooled engine, and both were eventually fitted with 70 hp (52 kW) Renaults, becoming effectively standard B.E.2.s ### B.E.2a Early production B.E.2a lacking decking between cockpits and with unequal span wings The designation B.E.2a was assigned to the first production aircraft having first appeared on a drawing showing an aircraft with unequal span wings with slight dihedral dated 20 February 1912. These differed from the B.E.1 and B.E.2 in possessing a revised fuel system, in which the streamlined gravity tank below the centre section of the wing was moved to behind the engine although the main fuel tank remained under the observer's seat. B.E.2a in France in 1915 with Union Jack national insignia used before roundels became standard Early production aircraft had unequal span wings, similar to those fitted on the B.E.1, and at first there was no decking between the pilot and observer's seats, although this was added later. Sandbag loading tests revealed that the safety margin of the rear spar was somewhat less than that of the front; to remedy this, a revised wing was designed with a deeper rear spar, and consequently a different aerofoil section. Later production aircraft also had equal-span wings. These modifications were retrofitted to the majority of the remaining earlier production aircraft. The first production order was placed with British manufacturing conglomerate Vickers; shortly afterwards a second order was issued to the Bristol Aeroplane Company. The first contractor-built B.E.2as appeared during the first weeks of 1913; during February of that year, at least two such aeroplanes were delivered to No.2 Squadron of the Royal Flying Corps. These were possibly the first examples of the type to enter service. ### B.E.2b The B.E.2b which followed the original production standard benefitted from various improvements. It had a revised cockpit coamings, which gave better protection from the elements, and revised controls to both the elevator and rudder. Some aircraft ordered as B.E.2bs were completed as B.E.2cs, and others were built with some of the B.E.2c modifications, such as sump cowlings and "V" undercarriages. At the outbreak of war, these early B.E.2s formed part of the equipment of the first three squadrons of the RFC to be sent to France. A B.E.2a of No.2 Squadron was the first aircraft of the Royal Flying Corps to arrive in France after the start of the First World War, on 26 August 1914. ### B.E.2c Early Renault-powered B.E.2c, with skid undercarriage, and lacking sump cowling and upper wing cut-out The B.E.2c was a major redesign, and was the result of research by E.T. Busk which aimed to provide an inherently stable aeroplane. This allowed the crew's full attention to be devoted to reconnaissance duties and was also desirable for safety reasons. The first example, a converted B.E.2b, flew on 30 May 1914 and the type went into squadron service just before the outbreak of war. Relatively large orders were placed for the new version, with deliveries of production aircraft starting in December 1914. During 1915, this model replaced the early B.E.2s in the squadrons in France. The B.E.2c used the same fuselage as the B.E.2b, but was otherwise really a new type, being fitted with new staggered wings of different planform, while ailerons replaced the wing warping used on earlier models. The tailplane was also new, and a triangular fin was fitted to the rudder. Operational B.E.2c with RAF 1a engine, "V" undercarriage, streamlined sump cowl, and upper wing cut-out After the first few aircraft, production machines were powered by a development of the Renault engine, the RAF 1a, and the twin skid undercarriage was replaced by a plain "V" undercarriage. A streamlined cowling covering the sump was also fitted to later models, while a cut-out in the rear of the centre section was added. On later machines, the fin was enlarged to improve spin recovery.[] ### B.E.2d Hispano powered Belgian B.E.2d with synchronised Vickers gun and gun ring The B.E.2d was a dual control version of the "c" variant and was provided with full controls in the front cockpit as well as in the rear. This meant that there was no room for the fuel tank under the observer's seat; instead a centre section gravity tank was fitted. To ensure adequate endurance this tank was large, adding drag that reduced performance, particularly in the climb. Most B.E.2ds were used as trainers, and the few used on operationally by the RFC seem to have been flown from the rear seat.[] B.E.2ds supplied to Belgium were not only re-engined with Hispano engines, but at least some of them had the pilot and observer's seating positions reversed, giving the latter a much better field of fire. Some Belgian B.E.2cs were similarly modified, and at least one was fitted with a Scarff ring on the rear cockpit.[] ### B.E.2e B.E.2e with single bay wings and large overhang During 1916, the B.E.2cs began to be superseded by the B.E.2e. This variant had new sesquiplane wings, similar to those used on the Royal Aircraft Factory R.E.8, which were braced by a single pair of interplane struts per side as a "single-bay" biplane, and with the lower wing panels having a much reduced span. Ailerons were fitted to upper and lower wings and were joined by connecting rods. The horizontal tail was also new, replacing the semicircular unit of the B.E.2c and d with an angular unit with straight leading and trailing edges and angled tips, while the large curved fin and the rudder of the late B.E.2c was retained. It was intended to fit the new, uprated RAF 1b but this engine did not achieve production status, and the B.E.2e used the same engine as its predecessor, considerably reducing the expected improvement in performance. B.E.2c and B.E.2d aircraft still under construction when the new model entered production were completed with B.E.2e wings. To rationalise the supply of spare parts these aircraft were officially designated as the "B.E.2f" and "B.E.2g". About 3,500 B.E.2s were built by over 20 different manufacturers. An exact breakdown between the different models has never been produced, if only because so many B.E.2s were completed as later models than originally ordered. The *B.E.9* and the *B.E.12* were variants developed to provide the B.E.2 with an effective forward-firing armament. The B.E.12 (a single-seater) went into production and saw squadron service, mainly as a Zeppelin interceptor, however neither variant was ultimately a great success as both designs had been superseded by the time they were completed. Operational history ------------------- ### Prewar service During the pre-war period, those B.E.2s that had reached service were primarily flown by No 2, No 4 and No 6 Squadrons, who rapidly accumulated an unusually high number of flight hours on the type. Aviation author J.M. Bruce has commented that during this time, compared with their contemporaries, the early B.E.2s demonstrated a high standard of serviceability and reliability: as borne out by the squadrons' maintenance records. During this time, multiple long-distance flights were conducted using individual B.E.2s, especially by personnel of No. 2. Squadron. On 22 May 1913, Captain Longcroft flew his aircraft from Farnborough Airport to Montrose Aerodrome, covering the 550 mile distance in ten hours, 55 minutes, with two intermediary stops. On 19 August 1913, Longcroft repeated this trip using a B.E.2 outfitted with an additional fuel tank, lowering the journey time to seven hours, 40 minutes with only one stop midway. A good deal of experimental flying was undertaken during this period, influencing later fuel system and undercarriage design as well as structural strengthening and aerodynamic changes. ### Western Front An aerial reconnaissance camera of 1916 as operated by the pilot of a B.E.2c The early models of the B.E. 2 had already served in the RFC for two years prior to the outbreak of the Great War, and were among the aircraft that arrived with the British Expeditionary Force in France during 1914. Like all service aircraft of this period, they had been designed at a time when the qualities required by a warplane were largely a matter for conjecture and speculation, in the absence of any actual experience of the use of aircraft in warfare: at this stage all the combatants were still feeling their way and aerial combat, especially the need for reconnaissance aircraft to be able to defend themselves, was not widely anticipated. As a result, the B.E.2 was originally designed without any provision for armament. In the absence of any official policy regarding armament, more aggressive crews improvised their own. While some flew entirely unarmed, or perhaps carried service revolvers or automatic pistols, others armed themselves with hand-wielded rifles or carbines as used by ground troops, or even fitted a Lewis gun. The performance of the early Renault powered models of the B.E. was degraded by any additional weight, and in any case the carriage of this weaponry proved of questionable effectiveness. It was still necessary for the observer to be located over the centre of gravity, in front of the pilot, to ensure fore and aft balance when the aircraft was flown "solo". In this awkward position, his view was poor, and the degree to which he could handle a camera (or, later, a gun) was hampered by the struts and wires supporting the centre section of the top wing. In practice, the pilot of a B.E.2 almost always operated the camera, and the observer, when he was armed at all, had a rather poor field of fire to the rear, having, at best, to shoot back over his pilot's head. Whenever bombs were to be carried, or maximum endurance was required, the observer would normally have to be left behind. Nonetheless, the B.E.2s were already in use as light bombers as well as for visual reconnaissance; an attack on Courtrai Railway station on 26 April 1915 earning a posthumous Victoria Cross for 2nd Lt. William Rhodes-Moorhouse, the first such award to be made for an aerial operation. By this time, prewar aircraft were already disappearing from RFC service. The type that replaced the B.E.2a and B.E.2b (as well as the assortment of other types in use at the time) in the reconnaissance squadrons of the RFC in 1915 was the B.E.2c, which had also been designed before the war. The most important difference in the new model was an improvement in stability – a genuinely useful characteristic, especially in aerial photographic work, using the primitive plate cameras of the time, with their relatively long exposures. Unfortunately, in this case the stability was coupled with "heavy" controls and relatively poor manoeuvrability. A suitable engine was not available in sufficient quantities to replace the air-cooled Renault – the RAF 1a being essentially an uprated version of the French engine – so that the improvement in the B.E.2c's performance was less than startling. The Fokker Eindecker was the nemesis of the B.E.2 in 1915/early 1916 The vulnerability of the B.E.2c to fighter attack became plain in late 1915, with the advent of the Fokker *Eindecker*. This led the British press to disparagingly refer to the aircraft as being "Fokker Fodder", while German pilots also gave it the nickname of *kaltes Fleisch* ("cold meat"). British ace Albert Ball described the B.E.2c as "a bloody awful aeroplane". Unable to cope with such a primitive fighter as the Fokker E.I, it was virtually helpless against the newer German fighters of 1916–17. The aircraft's poor performance against the Fokker and the failure to improve the aircraft or replace it caused great controversy in England, with Noel Pemberton Billing attacking the B.E.2c and the Royal Aircraft Factory in the House of Commons on 21 March 1916, claiming that RFC pilots in France were being "rather murdered than killed". This agitation prompted the setting up of two enquiries; one into the management of the Royal Aircraft Factory, and another into the high command of the Royal Flying Corps, the latter of which being headed by a judge. These reports largely cleared both Factory management and the RFC commanders responsible for ordering the B.E.2, but Mervyn O'Gorman was effectively dismissed as supervisor of the Factory by a "sideways promotion", while many of the most talented individuals amongst the factory's designers and engineers followed de Havilland into private industry. Once the threat from the Fokker monoplanes had been effectively contained by the introduction of a new generation of Allied fighters, such as the Airco D.H.2 and Nieuport 11, the rate of B.E.2c losses over the Western Front dropped to an acceptable level; official records indicate that during the second quarter of 1916, the B.E.2 actually had the lowest loss rates of all the major types then in use by the service. Encouraged by this, the RFC took delivery of large numbers of the BE.2e, which promised improved performance, and combined the stability of the B.E.2c with rather "lighter" controls (which held the promise of better manoeuvrability). By the spring of 1917, however, conditions on the Western Front had changed again; the German fighter squadrons having been re-equipped with better fighters, especially the Albatros D.III. It had been planned that by this time B.E.2s in front-line service would have been replaced by newer aircraft, such as the Royal Aircraft Factory R.E.8 and Armstrong Whitworth F.K.8, but delivery of these types was initially slower than hoped. This situation culminated in what became known as "Bloody April", with the RFC losing 60 B.E.2s during that month. An incident illustrating both the poor level of piloting skills with which new RFC pilots were sent to France in 1917 and the level of popularity of the B.E.2e on the Western Front at that time is recorded by Arthur Gould Lee, then a young RFC novice, in his book *No Parachute*. On 19 May 1917, six pilots, newly arrived in France and still to be allocated to a squadron, were each given a new B.E.2e to ferry between RFC depots at St Omer and Candas. One crashed in transit, three crashed on landing and one went missing (the pilot was killed). Lee, the pilot of the only aircraft to arrive safely, wrote in a letter to his wife: *I felt rather a cad not crashing too because everyone is glad to see death-traps like Quirks written off, especially new ones.* Fortunately, by this time, the B.E.2e was already being rapidly replaced on the Western Front by later types, but this was from several points of view more than a year too late. ### Night fighter As early as 1915, the B.E.2c entered service as a pioneer night fighter, being used in attempts to intercept and destroy the German airship raiders. The interceptor version of the B.E.2c was flown as a single-seater, outfitted with an auxiliary fuel tank on the centre of gravity in the position of the observer's seat. Among other projected weapons intended to attack airships from above, including Ranken darts and small incendiary bombs, was the *Fiery Grapnel*. Developed at the Royal Aircraft Factory, the grapnel consisted of a two-inch long hollow steel shaft packed with an explosive charge and fitted with a sharp four-sided nose and metal plates that acted as fins; this would have been attached to a winch-mounted cable and carried by a single B.E.2. It was intended for the fighter to approach a Zeppelin from above, after which the grapnel would be dropped and appropriate manoeuvring employed to strike the surface of the Zeppelin with it: it then would bury itself and explode, causing ignition of the airship's hydrogen gas. A simpler and much more practical solution proved to be to attack from below, using a Lewis gun firing a mixture of explosive and incendiary ammunition at an upwards angle of 45°. The new tactic proved to be highly effective. On the night of 2–3 September 1916, a single B.E.2c was credited with the downing of SL 11, the first German airship to be shot down over Britain after over a year of night raids. This feat led to the pilot, Captain William Leefe Robinson, being awarded a Victoria Cross and various cash prizes, totalling up to £3,500, that had been put up by a number of individuals. This was not an isolated victory; five more German airships were destroyed by Home Defence B.E.2c interceptors between October and December 1916. As a consequence of these losses, the German Army's airship fleet ceased raids over England: German naval airship raiders of 1917 flew at higher altitudes to avoid interception, reducing their effectiveness. Daylight raids by heavier-than-air bombers were also planned. The performance of the B.E.2 was inadequate to intercept airships flying at 15,000 feet much less the Gotha bombers that emerged during 1917, and its career as an effective home defence fighter was over. ### Other fronts While the majority of operational B.E.2s served on the Western Front, the type also saw limited use in other overseas theatres. At least one pair of B.E.2s were among the aircraft dispatched with No 3 Squadron for use in the Gallipoli Campaign. They were used to spot in support of naval bombardments, as well as being occasionally used to directly bomb ships and other targets. As early as 1914, some B.E.2as went to Australia, where they served as trainer aircraft for the nascent Australian Flying Corps at Point Cook, Victoria. In a similar fashion, the type also was adopted at the Indian Flying School at Sitapur. At least one B.E.2 was dispatched to Egypt to reinforce friendly forces fighting in the Eastern Mediterranean; on 16 April 1915, this aircraft participated in the bombing of El Murra. A BE2e was lost in aerial combat over Salonika on 3 October 1917: the British pilot and observer were both killed and were buried by "The Bulgurs" with full military honours. Both were reinterred in Struma military cemetery. ### Airship gondola An SS class airship using a B.E.2 fuselage as a gondola A number of B.E.2 fuselages were employed as makeshift gondolas for the hastily designed SS class "blimps", which were introduced into service by the Royal Naval Air Service for anti-submarine duties during March 1915. Later classes featured purpose-built gondolas. ### Non-combat use From 1917 onwards, the B.E.2 was generally withdrawn from both the front line and night fighter use. The surviving examples continued in use for submarine spotting and as trainers throughout the rest of the conflict. In spite of the type's rather unresponsive controls, it was capable of executing comprehensive (if somewhat stately) aerobatics, and was by no means a bad trainer. On 19 February 1917, a B.E.2c was used to conduct the British Army's first aeromedical evacuation when it flew out the sole casualty of the raid on Bir el Hassana in the Sinai Peninsula. The man had a shattered ankle, and the 45-minute flight in the observer's seat spared him an agonizing multi-day journey by camel. A B.E.2c at the Imperial War Museum in London ### Post-war use A B.E.2e was used to conduct the first flight across Australia, flying from Melbourne to Port Darwin. It was piloted by Captain H. N. Wrigley, accompanied by Sergeant A. W. Murphy. The 2,500 mi (4,000 km) journey, made between 16 November and 12 December 1919, involved a combined 46 hours of flying time. Another B.E.2e was one of the first two aircraft (the other was an Avro 504K) owned by the new Australian airline Qantas when it was founded in Queensland in 1920–1921. Survivors and reproductions --------------------------- Surviving restored aircraft and reproductions are on display at several museums, including the Imperial War Museum, Duxford; the RAF Museum, Hendon; the Canada Aviation Museum, Ottawa; the Musée de l'Air et de l'Espace, Paris; the Militaire Luchtvaartmuseum, Soesterberg, Netherlands; United States Army Aviation Museum and the Norwegian Armed Forces Aircraft Collection at Oslo Airport, Gardermoen, Norway.[] B.E.2c in the Canada Aviation and Space Museum Replica of B.E.2a No.471 at Montrose Air Station Heritage Centre, Angus, Scotland B.E.2f serial A1325 has been restored to airworthiness by The Vintage Aviator Ltd in New Zealand, with an original RAF1A V8 engine, and made its debut at the Classic Fighters Omaka airshow in April 2009. TVAL has also built several airworthy reproductions including c and f models, two of which are currently in the UK on loan to the WW1 Aviation Heritage Trust, and a BE.12. A flying B.E.2c replica (registered G-AWYI) was built by pilot and engineer Charles Boddington at Sywell, UK in 1969 for use in the film *Biggles Sweeps the Skies*. The production was cancelled, and Boddington was killed the following year in an air crash during filming of the movie *Von Richthofen & Brown*. The B.E.2c itself was badly damaged in a crash in the United States in 1977 but Boddington's son Matthew returned it to flying condition in 2011. It flew with the Great War Display Team but was destroyed in an accident on 2 September 2020.[*non-primary source needed*] The UK's latest non-flying reproduction was completed around 2008 at Boscombe Down, Wiltshire, and is now displayed with the Boscombe Down Aviation Collection at Old Sarum. A B.E.2a (an early variant with unequal span wings) was built from original plans and completed in February 2014. It is on display at the RAAF Museum, Point Cook, Victoria, Australia.[] Volunteers at Montrose Air Station Heritage Centre, Angus, Scotland have built a full-size replica B.E.2a (No.471) from original plans and it is now on display. It has a precision-made replica Renault 70 hp engine. The WW1 Aviation Heritage Trust has been operating a TVAL-built BE2e in England since 2014. It resides currently at Stow Maries Great War Aerodrome in Essex. Variants summary ---------------- * **B.E.1**: Prototype – important pioneer tractor biplane. The first **B.E.2** was virtually identical, except for the engine originally installed. + **B.E.5**: Prototype, officially a rebuild of a Howard Wright biplane, powered by 60 hp (45 kW) ENV engine, otherwise similar to original B.E.2. First flight 27 June 1912. Rebuilt with Renault engine and effectively became a B.E.2. + **B.E.6**: Prototype, officially a rebuild of the Royal Aircraft Factory S.E.1. First flown 5 September 1912, powered by a 60 hp (45 kW) ENV engine like the B.E.5, but refitted with Renault before delivery to RFC later that month, as a B.E.2. * **B.E.2a**: Initial production version of B.E.2. Built in small numbers from late 1912 – still a standard type at the outbreak of war in late 1914 * **B.E.2b**: basically, the same as the "a" with higher sides to the cockpits; late examples (perhaps those completed after the B.E.2c went into production) used ailerons instead of wing warping and featured other "c" characteristics such as "V" undercarriages and engine sump cowlings. * **B.E.2c**: extensively redesigned to enhance stability, with a new tailplane and wings. * **B.E.2d**: essentially a "c" variant with dual controls, and a larger gravity fuel tank B.E.2f A1325 at Masterton, New Zealand, 2009 * **B.E.2e**: the final version, with new single-bay wings. Expected to be a great improvement on the "c", it was a major disappointment. * **B.E.2f**: B.E.2c with B.E.2e wings. * **B.E.2g**: B.E.2d with B.E.2e wings. * **B.E.9**: B.E.2c with a wooden box (called a "pulpit", somewhat like the French SPAD S.A) in front of the propeller for an observer/gunner's seat. It remained a prototype only. * **B.E.12**: single-seat B.E.2c with a synchronised gun and more powerful engine. The B.E.12a had B.E.2e wings. Operators ---------  Australia * Australian Flying Corps + No. 1 Squadron AFC in Egypt and Palestine + No. 4 Squadron AFC operated a single B.E.2e for training + No. 7 (Training) Squadron AFC in the United Kingdom + Mesopotamian Half Flight * Central Flying School at Point Cook, Victoria  Belgium * Belgian Air Force  Estonia * Estonian Air Force  Greece * Hellenic Navy  Netherlands * Royal Netherlands Air Force operated a single aircraft only.  Norway * Norwegian Army Air Service  South Africa * Union Defence Force / South African Air Force Serial numbers *A3109* and *A3110* built by Wolseley Motors Limited and nicknamed 'Rio de Janeiro Britons Nos. 1 & 2' were two of the first aircraft used by the South African Air Force  United Kingdom Royal Flying Corps / Royal Air Force * No. 2 Squadron * No. 3 Squadron * No. 4 Squadron * No. 5 Squadron * No. 6 Squadron * No. 7 Squadron * No. 8 Squadron * No. 9 Squadron * No. 10 Squadron * No. 12 Squadron * No. 13 Squadron * No. 14 Squadron * No. 15 Squadron * No. 16 Squadron * No. 17 Squadron * No. 19 Squadron * No. 21 Squadron * No. 22 Squadron * No. 23 Squadron * No. 24 Squadron * No. 25 Squadron * No. 26 Squadron * No. 28 Squadron * No. 29 Squadron * No. 30 Squadron * No. 31 Squadron * No. 33 Squadron * No. 34 Squadron * No. 36 Squadron * No. 37 Squadron * No. 38 Squadron * No. 39 Squadron * No. 42 Squadron * No. 43 Squadron * No. 46 Squadron * No. 47 Squadron * No. 49 Squadron * No. 50 Squadron * No. 51 Squadron * No. 52 Squadron * No. 53 Squadron * No. 54 Squadron * No. 55 Squadron * No. 57 Squadron * No. 58 Squadron * No. 62 Squadron * No. 63 Squadron * No. 66 Squadron * No. 67 Squadron * No. 75 Squadron * No. 76 Squadron * No. 77 Squadron * No. 78 Squadron * No. 82 Squadron * No. 91 Squadron * No. 96 Squadron * No. 98 Squadron * No. 99 Squadron * No. 100 Squadron * No. 105 Squadron * No. 110 Squadron * No. 113 Squadron * No. 114 Squadron * No. 141 Squadron * No. 142 Squadron * No. 144 Squadron * No. 187 Squadron * No. 189 Squadron * No. 190 Squadron * No. 191 Squadron * No. 269 Squadron * No. 273 Squadron Royal Naval Air Service * + No. 1 Wing (Dunkirk) + No. 2 Wing (Imbros and Mudros) + No. 3 Wing (Imbros and Tenedos) + No. 7 (Naval) Squadron (East Africa) + Coastal Air Stations at Eastbourne, Hornsea, Great Yarmouth, Port Victoria, Redcar and Scarborough + Training schools at Chingford and Cranwell  United States * American Expeditionary Force Specifications (B.E.2c – RAF 1a engine) --------------------------------------- R.A.F. B.E.2c drawing *Data from* British Aeroplanes 1914–18, The B.E.2, 2a and 2b **General characteristics** * **Crew:** Two * **Length:** 27 ft 3 in (8.31 m) * **Wingspan:** 37 ft 0 in (11.28 m) * **Height:** 11 ft 1.5 in (3.391 m) * **Wing area:** 371 sq ft (34.5 m2) * **Empty weight:** 1,370 lb (621 kg) * **Gross weight:** 2,350 lb (1,066 kg) * **Powerplant:** 1 × RAF 1a V-8 air-cooled piston engine, 90 hp (67 kW) * **Propellers:** 4-bladed wooden fixed-pitch propeller **Performance** * **Maximum speed:** 72 mph (116 km/h, 63 kn) at 6,500 ft (2,000 m) * **Endurance:** 3 hours 15 minutes * **Service ceiling:** 10,000 ft (3,000 m) * **Time to altitude:** * 3,500 ft (1,100 m) in 6 minutes 30 seconds * 10,000 ft (3,000 m) in 45 minutes 15 seconds * **Wing loading:** 6.3 lb/sq ft (31 kg/m2) **Armament** * **Guns:** Normally 1 × .303 in (7.7 mm) Lewis gun for observer, sometimes several. * **Bombs:** 224 lb (102 kg) of bombs (with full bomb load it was usually flown as a single-seater as unarmed)
New Zealand-born Australian record producer **Howard Gable** is a New Zealand-born Australian record producer who is best known for his work as an A&R manager and house producer for EMI's Columbia pop label in Australia in the late 1960s and early 1970. He was also for some years married to New Zealand born pop/country singer and former Australian 'Queen of Pop' Allison Durbin. Gable began his career with EMI's HMV label in New Zealand before relocating to Australia ca. 1968. He worked with Durbin from the late 1960s to the mid-1970s and produced most of her successful recordings of the early 1970s. He is best known for his work with John Farnham, producing five studio albums with the Australian singer as well as the Charlie Girl soundtrack of which Farnham was the lead. Other notable productions for EMI Australia in this period include the hit singles "5:10 Man" and "Turn Up Your Radio" by The Masters Apprentices; and "I'll Be Gone", the debut single by progressive rock group Spectrum, which was a number one hit in Australia in 1970. Discography ----------- **Howard Gable** **Music Production Credits** **1966** **The Dallas Four – That Man's Got No Luck** La Gloria Records – GSP084 Vinyl 7" Single A Side That Man's Got No Luck (Benson) 2:38 B Side I'm So Lonely 2:35 Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **1967** **Mr Lee Grant – Mr Lee Grant** Label: His Master's Voice – CSDM6250 Vinyl LP Album Stereo A Side 1 Havah Hagilah (Traditional) ``` Musical Director – Garth Young ``` 2 You Can Have Her (Cook) ``` Musical Director – Jimmy Sloggett ``` 3 The Real Thing (Armstead, Sanford, Simpson) ``` Musical Director – Jimmy Sloggett ``` 4 Some Kind Of Magic (Kornfield, Ross, ReNew Zealandetti) ``` Musical Director – Jimmy Sloggett ``` 5 Coloured Lights (Mason, Reed ) ``` Musical Director – Jimmy Sloggett ``` 6 Opportunity (Marascalco, Harvshman, Joyner ) ``` Musical Director – Garth Young ``` B Side. 1 Yo Yo ( J. South) ``` Musical Director – Jimmy Sloggett ``` 2 Take My Hand ( Dick Addrissi-Don Addrisi) ``` Musical Director – Garth Young ``` 3 Love ( Art Christopher Jnr, R. Bernard) ``` Musical Director – Garth Young ``` 4 The Coalman ( B M & R Gibb) ``` Musical Director – Jimmy Sloggett ``` 5. Spicks And Specks (B. Gibb) ``` Musical Director – Garth Young ``` 6. Thanks To You (Van Dyke) ``` Musical Director – Jimmy Sloggett ``` Credits · Design – Peter Burge · Liner Notes – Pete Sinclair · Photography – Sal Criscillo · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Tom Thumb – Whatcha Gonna Do About It** Label: La Gloria Records – GSP085 Vinyl 7" 45 RPM Single A Side Whatcha Gonna Do About It (Samwell Marriott Lane) 2:26 B Side You're Gonna Miss Me (Rocky Erikson) 2:05 Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Mr Lee Grant – Thanks To You** Label: His Master's Voice – HR296 Vinyl 7" Single A Side Thanks To You (Van Dyke) B Side The Real Thing (Armstead, Sanford, Simpson) Credits · Arranged by – Jimmy Sloggett · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand ``` **1968** ``` **The Simple Image – Spinning, Spinning, Spinning** Label: His Master's Voice – HR315 Vinyl 7" Single A Side Spinning, Spinning, Spinning (Boetteher, Friedman) B Side Shy Boy (Hopkins, Burgess) Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **The Simple Image – Spinning, Spinning, Spinning** Label: Regal – SREG30042 Vinyl LP Stereo A Side 1 Spinning, Spinning, Spinning (Boettecher, Friedman) 2 Love Of The Common People (J. Hurley, R. Wilkins) 3 Hold Me Tight (Johnny Nash) 4 I Don't Want To Love You (D.& P. Everly) 5 Walk On (Dees, Orbison) 6 The Little Bell That Cried (G. Bua) B Side 1 Bring It On Home (S. Cooke) 2 Something Happened To Me (Moorehouse, Rees, Nandelli) 3 Take Me To Tomorrow (Denver) 4 Treat Her Like A Lady (Crewe, Knight) 5 Brand New Woman (Crick-Feather) 6 Tomorrow Is Another Day (Ford) 7 Hawaii (B. Wilson) Credits · Artwork – Des Bovey · Photography – Barry Clothier · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **The Simple Image, - The Little Bell That Cried** Label: His Master's Voice - HR332 Vinyl 7" Single A Side The Little Bell That Cried (Gene Bua) B Side I Wanna Go To Heaven (Flowerdew) Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Simple Image, The – Hold Me Tight** Label: His Master's Voice (NZ) Limited - HR338 Vinyl 7" Single A Side Hold MeTight B Side Tomorrow Is Another Day Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Zoot – One Times Two Times Three Times Four** (Beeb Birtles, Darryl Cotton, Rick Brewer, Rick Springfield) Label: Columbia – DO8605 Vinyl 7", Single A Side One Times, Two Times, Three Times, Four (Britten) B Side Sailing (Britten) Credits · Recording Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Mr Lee Grant – Mr Lee In London** Label: His Master's Voice – CSDM6268 Vinyl LP Stereo ``` A Side ``` 1 Tabatha Twitchit 2 To Make A Big Man Cry 3 Stop In The Name Of Love 4 Walkin' With My Angel 5 Maria 6 Why Or Where Or When B Side 1 You Don't Have To Say You Love Me 2 Big Man 3 The Wanderer 4 Tossin' And Turnin' 5 Do You Mind 6 Big Boots Credits · Photography – Sal Criscillo · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Mr. Lee Grant – Bless You** Label : His Master's Voice – HR322 Vinyl 7" Single A Side Bless You (Mann-Weil) 2:07 ``` Arranged by – Jimmy Sloggett ``` B Side The Wanderer (Marasco) ``` Arranged by – Garth Young ``` Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Mr. Lee Grant – The River Runs Dry** Label: His Master's Voice – HR314 Vinyl 7" Single A Side The River Runs Dry ``` Arranged by - Jimmy Sloggett 2:07 ``` B Side Walking With My Angel (Goffin-King) ``` Arranaged by - Garth Young 2:07 ``` Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Mr. Lee Grant - Movin' Away** Label: His Master's Voice - HR304 Vinyl 7" Single A Side Movin' Away (Wackett, Lynch) ``` Backing Vocals – The Gaynotes, The Lost Souls ``` B Side Lovers Are Always The Same (Cara, Spencer) Credits · Arranger - Garth Young · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Mr. Lee Grant - Why Or Where Or When** Label: His Master's Voice - HR310 Vinyl 7" Single A Side Why Or Where Or When (Dunstall, Hill) ``` Arranger - Don Richardson ``` B Side Hava Nagila (Traditional) ``` Arranger - Garth Young ``` Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **The Twilights, – Lotus** Members: Glenn Shorrock, John Bywaters, Laurie Pryor (2), Paddy McCartney, Peter Brideoake, Terry Britten Label: Columbia – DO8602 Vinyl 7" Single A Side Lotus (Terry Britten) 2:48 B Side Sand In The Sandwiches (Terry Britten) 2:10 Credits · Recording Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Nick Nicholson And The Neketini Brass – Neketini Brass** Label: His Master's Voice (NZ) Limited - CSDM 6264 Vinyl LP Stereo A Side 1 Mehe Manuhere 2 Haere Mai 3 Tekau Wai Wai Riki 4 Karu 5 Te Haere Ki Te Taone-O-Ata 6 Tararua Tramp B Side 1 Hoki Hoki Tonu Mai 2 Neketini Mambo 3 Hine E Hine 4 Hoki Mai Ki Au 5 Pokarekare Ana 6 Po Ata Rau Credits · Design, Photography – Sal Criscillo · Produced by Howard Gable · Recording Engineer – Peter Hitchcock · Recorded at HMV Studios – Wellington, New Zealand **Quincy Conserve - I'm So Proud** Label: His Master's Voice - HR325 Vinyl 7" Single A Side I'm So Proud B Side I've Been Lovin' You Baby Credits · Bass – Dave Orams · Drums – Raice McLeod · Keyboards – Rufus Rehu · Vocals, Guitar – Malcolm Hayman · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Allison Durbin – I Have Loved Me A Man** Label: His Master's Voice – HR328 Vinyl 7" Single A Side I Have Loved Me A Man (Janice Weaver) B Side Sand - and Mike Parkinson (Lee Hazlewood) Credits · Arranged by - Wayne Senior · Engineer – Peter ''Knobs'' Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand · and Stebbing Studios – Auckland, New Zealand **Allison Durbin – Don't Come Any Closer** Label: His Master's Voice (NZ) Limited - HR333 Vinyl 7" Single A Side Don't Come Any Closer (C. Blackwell) B Side One More Tear (Bob Crewe, Hutch Davie) Credits · Arranged by – Don Richardson · Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Allison Durbin – Games People Play** Label: His Master's Voice (NZ) Limited - HR344 Vinyl 7" Single A Side Games People Play B Side 1 You've Lost That Lovin' Feeling B Side 2 Soul And Inspiration Credits · Arranged by – Don Richardson · Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Allison Durbin – I Have Loved Me A Man** Label: Decca SKL-R 4996 Vinyl LP Stereo A Side 1 I Have Loved Me A Man (Weaver) 2 River Deep Mountain High (Spector, Greenwich & Barry) 3 Working On A Groovy Thing (Sedaka, Atkins) 4 Morning Dew (Dobson, Rose) 5 Something's Gotten Hold Of My Heart (Cook-Greenaway) 6 Don't Come Any Closer (Blackwell) B Side 1 A Woman Needs Love (Smith, Hill) 2 This Is My Song (Chaplin) 3 This Girl's In Love (Bacharach, David) 4 One More Tear (Crewe, Davie) 5 Angel Of The Morning (Taylor) 6 Sha-La-La-La-Lee (Lynch, Shuman) Credits · Arranged by - Garth Young · Photography – John Buckley · Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Fourmyula – Come With Me** Label: His Master's Voice - HR331 Vinyl 7" Single A Side Come With Me B Side Honey Chile Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Fourmyula - Alice Is There** Label: His Master's Voice - HR334 Vinyl 7" Single A Side Alice Is There (Richardson, Mason) B Side I Dig Your Act (L. Harper, Richard Poindexter, Robert Poindexter) Credits · Recording Engineer – Peter Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Fourmyula – The Fourmyula** Ali Richardson, Carl Evenson, Chris Parry, Martin Hope, Wayne Mason Label: His Master's Voice – CSDM6283 Vinyl LP Stereo Front Side 1 The Dodo Song (Mason) 2 Alice Is There (Richardson, Mason) 3 I Can Show You (Lynton) 4 Mr. Whippy (Richardson, Mason) 5 Just Round The Corner (Richardson, Mason) 6 Toffee Apple Sunday (Reed, Thorburn) 7 Have You Heard The News (Richardson, Mason) Back Side 1 Try Me (Simmons McAllister Vail) 2 Go Now (Felder, Keith) 3 As Long As I Got You (Barge, Lee) 4 Hitch It To The Horse (James) 5 Watcha Gonna Do (Dixon) 6 Something You've Got (Kenner) 7 Honey Chile (Maurie, Moy) Credits · Photography – Barry ''Snap'' Clothier · Artwork – Lyn ''Brushes'' Bergquist · Engineer – Peter ''Knobs'' Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Fourmyula – Green B Holiday** Ali Richardson, Carl Evenson, Chris Parry, Martin Hope, Wayne Mason Label: His Master's Voice Vinyl LP Stereo A Side 1 Green 'B' Holiday 2 Mr Harris Garage 3 Dedicated To Mr Cook 4 Bang On Harry 5 Hampden Tennis Club 6 My Mama George B Side 1 Mummy Told Me 2 Fortune 3 Cosy Picture Theatre 4 Sally's Line 5 Fun 6 Home Credits · Engineer – Peter ''Knobs'' Hitchcock · Orchestral Arrangements by Don Richardson · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **1969** **Fourmyula – Home** Label: His Master's Voice (NZ) Limited - HR 342 Vinyl 7" Single A Side Home (Mason, Richardson) B Side Tell Me No Lies (Mason, (Richardson) Credits · Engineer – Peter ''Knobs'' Hitchcock · Produced by Howard Gable · Recorded at HMV Studios – Wellington, New Zealand **Johnny Farnham - One / Mr Whippy** Label: EMI Columbia - DO-8827 Vinyl 7" Single 45 RPM A Side One (Harry Nilsson) 2:43 B Side Mr Whippy (Ali Richardson, Wayne Mason) Credits · Arranged by John Hawker · Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Johnny Farnham - Raindrops Keep Fallin' On My Head** Label: ColumbJia - DO-8965 Vinyl, 7" Single 45 RPM A Side Raindrops Keep Fallin' On My Head ( Bacharach - David) 2:30 B Side Two (Farnham) Credits · Arranged by Peter Jones · Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Johnny Farnham - Comic Conversation** Label: EMI Columbia -DO-9234 Vinyl 7" Single 45 RPM A Side Comic Conversation (John Bromley) 3:20 B Side Pretty Things (Johnny Farnham) Credits · Arranged by Geoff Hales · Engineer – Roger Savage, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Johnny Farnham - I Saw Mommy Kissing Santa Claus** Label : EMI Columbia - DO-8604 Vinyl 7" Single 45 RPM A Side I Saw Mommy Kissing Santa Claus (Tommie Connor) 2:03 B Side The Little Boy That Santa Claus Forgot (Leach, Carr, Connor) Credits · Arranged by Geoff Hales · Engineer – Roger Savage, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **The Master's Apprentices - Linda Linda** Label: Columbia – DO-8677 Vinyl 7" 45 RPM Single A Side Linda Linda (Ford, Keays) B Side Merry Go Round (Ford, Keays) Credits · Recording Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **The Master's Apprentices - 5.10 Man** Label: Columbia - DO-8826 Vinyl 7" 45 RPM Single A 5.10 Man (Ford, Keays) 2:18 B How I Love You (Ford, Keays) Credits · Recording Engineer – Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Master's Apprentices, The – Turn Up Your Radio** Label: Columbia – DO-9104 Vinyl 7" 45 RPM Single A Side Turn Up Your Radio ( Ford, Keays) 3:32 B Side Jam It Up (Burgess, Ford, Wheatley, Keays) Credits · Recording Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **The Musick Express - Jackie's Thing** Label: Columbia – DO-9242 Vinyl 7" Single A Side Jackie's Thing (Trevor McNamara) 3:20 B Side How Does Paternity Suit You 2:40 Credits · Recording Engineer – Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Allison Durbin - Golden Days** Label : EMI Columbia - DO-9077 Vinyl 7" Single 45 RPM A Side Golden Days (Goffin-King) B Side Make The Feeling Go Away (Poor) Credits · Arranged by Peter Jones · Engineer – Roger Savage, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Allison Durbin – Soft & Soulful** Label: His Master's Voice - CSDM 6323 Vinyl LP Stereo A Side 1 Letter To Bill 2 Didn't We 3 A Man & A Woman 4 Loneliness Remembers What Happiness Forgets 5 This Is The First Time 6 Change Of Heart 7 Tonight I'll Say A Prayer B Side 1 Holy Man 2 Watch Out Love 3 Just Ain't No Love 4 Tra La La La La 5 When I'm Gone 6 Am I The Same Girl 7 Heaven Credits · Photography by - Mary Thompson · Recording Engineers – Ern Rose, John Sayers, Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Johnny Farnham and Allison Durbin – Together** Label: His Master's Voice – OCSD 7682 Vinyl LP Album Stereo A Side 1 Baby, Without You 2:22 2 The Green Green Grass Is Dying 3 You're Alright With Me 4 Stay Awhile 5 I Don't Mind The Rain 6 Singing Our Song B Side 1 That's Old Fashioned 3:08 2 Come On Round To My Place 3 Ain't Nothing Like The Real Thing 4 Nobody Knows 5 Better Put Your Love Away 6 Get Together Credits · Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **The Groove – Relax Me** Label: EMI Columbia DO 8658 Vinyl 7" Single A Side Relax Me B Side Dance To The Music Credits · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **ZOOT – "1x2x3x4"** Label: EMI Columbia DO 8605 Vinyl 7" Single A Side "1x2x3x4" B Side Sailing Credits · Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **ZOOT – It's About Time** Label: EMI Columbia DO 8930 Vinyl 7" Single A Side It's About Time B Side Sha Laa Laa Credits · Engineer – Roger Savage · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **1970** **ZOOT – Hey Pinky** Label: EMI Columbia DO 9169 Vinyl 7" Single A Side Hey Pinky B Side Strange Things Credits · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **ZOOT – Eleanor Rigby** Label: EMI Columbia DO 9317 Vinyl 7" Single A Side Eleanor Rigby B Side Turn Your Head Credits · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **ZOOT – Evil Child** Label: EMI Columbia DO 9434 Vinyl 7" Single A Side Evil Child B Side The Freak Credits · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia ***ZOOT - Just Zoot*** Label: Columbia SCXO-7916 Vinyl LP Stereo Side A 1 It's About Time (Brian Cadd-Don Mudie) 2 Feelings 3 Flying (Springfield) 4 Hey Mr Songwriter (Springfield) 5 Monty & Me (Poulsen-Woodley) 6 1 x 2 x 3 x 4 (Britten) Side B 1 Sailing (Britten) 2 Sha La La (Springfield) 3 Shake a Feather 4 She's Alright (Britten) 5 Who's Afraid of You 6 Yes I'm Glad (Britten) **Allison Durbin - Don't Make Me Give In** Label: EMI Columbia - DNZ 121 Vinyl 7" Single A Side Don't Make Me Give In (Young) B Side World Of Music Credits · Arranged by Peter Jones · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Allison Durbin – He's Bad Bad Bad** Label: EMI Columbia – DNZ 119 Vinyl 7" Single A Side He's Bad Bad Bad B Side Am I The Same Girl Credits · Arranged by John Farrar · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Johnny Farnham – Looking Through A Tear** Label: EMI Columbia – SCXO-7920 Vinyl LP Stereo A Side 1 One ( Harry Nilsson) 2:49 2 I've Been Rained On (Dallas Frazier) 2:22 3 Mirror Of My Mind (Douglas, Flynn) 2:15 4 The World Goes Round And Round (M. Kunze, R. Siegel Jr.) 3:55 5 All Night Girl (B. Mason, L. Stirling, S. Whittingham) 2:06 6 You're Breaking Me Up (Roy Wood) 2:28 7 Two (Johnny Farnham) 2:29 B Side 1 Raindrops Keep Fallin' On My Head (Burt Bacharach, Hal David) 4:42 2 Looking Through A Tear (A. Resnick, B. Scott) 3:40 3 Visions Of Sugarplums (G. Campbell, J. Fuller) 2:12 4 What Can I Do (Johnny Farnham) 2:43 5 In A Moment Of Madness (J. McHugh, R. Freed) 2:48 6 Ain't Society Great (Bobby Russell) 2:34 7 1432 Franklin Pike Circle Hero (Bobby Russell) 3:58 Credits · Artwork By – Andrew Bokor · Photography – Rod Vickers · Engineer – Roger Savage, John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Zoot – Hey Pinky** Label: Columbia – DO-9169 Vinyl, 7" 45 RPM A Side Hey Pinky (R.Springfield) 3:50 B Side Strange Things (R.Springfield) 3:30 Credits · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Zoot – Eleanor Rigby** Label: Columbia – DO-9317 Vinyl 7" 45 RPM Single A Eleanor Rigby (Lennon-McCartney) 4:39 B Turn Your Head (Rick Springfield) 4:54 Credits · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Russell Morris – Rachel** Label: EMI Columbia – DO- 9102 Vinyl 7" 45 RPM A Side Rachel (R.Foggart) B Side Slow Joey (Morris) Credits · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Russell Morris – Mr. America** Label: EMI Columbia – DO-9314 Vinyl 7" 45 RPM A Side Mr. America (Morris) 3:43 B Side Stand Together (Morris) Credits · Engineer – John Sayers, Ern Rose · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Russell Morris – Sweet Sweet Love** Label: HMV – EA-9539 Vinyl 7" 45 RPM A Side Sweet Sweet Love (Morris) B Side Jail Jonas Daughter (Morris) Credits · Engineer – John French · Produced by Howard Gable · Recorded at TCS Studios, Melbourne, Australia **Yvonne Barrett - LU** Label: Columbia DO-9062 Vinyl 7" 45 RPM A Side "Lu" (Laura Nyro) B Side "Picture Me Gone" · Arranged by John Farrar · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **1971** **Russell Morris – Bloodstone** Label: EMI – OCSD 7679 Vinyl LP Stereo A Side 1 O Helley (Morris) 2 Jail Johan's Daughter (Morris) 3 Saints And Sinners (Morris) 4 Our Hero Is Dead (Morris) 5 Heaven Shines (Morris) B Side 1 The Cell (Morris) 2 The Gambler's Lament (Morris) 3 Goodbye (Morris) 4 Ride Your Chariot (Morris) 5 Lay In The Graveyard (Morris) 6 Sweet Sweet Love (Morris) Credits · Guitars – Phil Manning, Rick Springfield · Harmonica – Matt Taylor · Piano – Brian Cadd, Warren Morgan, Ian Mason, Peter Jones · Bass – Barry Sullivan, Mike Clarke, Bob Arrowsmith · Drums – Barry Harvey, Mark Kennedy · Engineers – John French, John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia · and TCS Studios, Melbourne, Australia **Russell Morris – Live With Friends** Label: HMV – EA-9824 Vinyl 7" 45 RPM A Side Live With Friends (Morris-Cadd) B Side Alcohol Farm (Morris) Credits · Engineer – John French · Produced by Howard Gable · Recorded at TCS Studios, Melbourne, Australia **Spectrum – I'll Be Gone** Label: Harvest – HAR-9329 Vinyl 7" Single A Side I'll Be Gone (Rudd) 3:28 B Side Launching Place, Part II (Rudd) Credits · Engineer – John Sayers · Produced by Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia ***ZOOT -* Zoot Out** Label: Columbia SOEX 9842 Vinyl LP Stereo Side A 1 Eleanor Rigby (Lennon-McCartney) 2 Evil Child (Springfield) 3 Flying (Springfield) 4 The Freak (Springfield) 5 Hey Pinky (Springfield) 6 Monty & Me (Hans Poulsen-Bruce Woodley) Side B 1 It's About Time (Brian Cadd-Don Mudie) 2 Mr Songwriter (Springfield) 3 1 x 2 x 3 x 4 (Terry Britten) 4 Strange Things (Springfield) 5 Turn Your Head (Springfield) 6 You Better Get Going Now (Jackie Lomax) Credits · Engineer – John Sayers, Roger Savage, Ern Rose · Produced by Howard Gable · Produced by Ian Meldrum (side A, track 6) · Recorded at Armstrongs Studios, Melbourne, Australia **Spectrum – Spectrum Part One** Label: Harvest – SHVL 601 Vinyl LP Stereo ``` ASide ``` 1 Make Your Stash (Ross Wilson) 4:08 2 Fiddling Fool (Mike Rudd) 12:32 B Side 1 Super Body (Mike Rudd) 9:11 2 Drifting (Mike Rudd) 3:24 3 Mumbles I Wonder Why (Mike Rudd, Ross Hanaford) 5:56 Credits · Guitar, Vocals, Recorder, harmonica – Michael Rudd · Bass – Bill Putt · Drums, Percussion – Mark Kennedy · Organ, Piano, Vocals – Lee Neale · Black & White Photography by – Chris Watt · Layout, Colour Photography by – Michael Rudd · Engineer – John Sayers · Producer – Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Spectrum – Milesago** Label: Harvest – SHDW 50/51-D, EMI – SHDW 50/51-D 2 × Vinyl LP Stereo Side 1 1 But That's All Right 4:20 2 Love's My Bag 4:14 3 Your Friend And Mine 7:22 4 Untitled 4:30 Side 2 1 Play A Song That I Know 3:45 2 What The World Needs (Is A New Pair Of Socks) 7:30 3 Virgin's Tale 3:30 4 A Fate Worse Than Death 4:42 5 Tell Me Why 1:47 Side 3 ``` The Sideways Saga ``` 1a The Question 1:06 1b The Answer 2:14 1c Do The Crab 4:55 1d Everybody's Walking Sideways 2:42 2 Trust Me 6:05 3 Don't Bother Coming Round 3:23 Side 4 1 Fly Without Its Wings 10:07 2 Mama, Did Jesus Wear Make Up? 2:10 3 Milesago 7:14 Credits · Vocals, Guitar, Recorder – Michael Rudd · Bass – Bill Putt · Drums, Percussion, Vocals – Ray Arnott · Piano, Keyboards, Vocals – Lee Neale · Engineer – John Sayers · Producer – Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Sherbet – You've Got The Gun** Label: Infinity – K-6570 Vinyl 7" Single A Side You've Got The Gun B Side Rock Me Gently Credits · Engineer – John French · Produced by Howard Gable · Recorded at TCS Studios, Melbourne, Australia **La De Das, The – Gonna See My Baby Tonight** Label: His Master's Voice – EA-9638 Vinyl 7" Single A Side Gonna See My Baby Tonight (Borich) B Side Fare Thee Well (Roberts, Key) Credits · Engineer – John French · Produced by Howard Gable · Recorded at TCS Studios, Melbourne, Australia **1972** **Blackfeather – Boppin' The Blues** Label: Infinity – INL 34731 Vinyl LP Album A Side 1 Pineapple 3:58 2 Gee Willikers 6:45 3 Own Way Of Living 8:03 4 Red Head Rag 6:29 B Side 1 Mama Roll 5:01 2 Get It On 3:00 3 Boppin' The Blues 6:34 4 Lay Down Lady 5:58 Credits · Recorded At – Melbourne Town Hall · Recorded At – Kew Club · Remixed At – T.C.S. Studios · Produced by Howard Gable **Dennis Garcia – Jive To Stay Alive** Label: Indigo – DG/IN 001 Vinyl LP Album Gatefold A Side 1 Crystal Balls 3:35 2 Electrons, Neutrons, Protons & Morons 2:02 3 You Can Be Anything 4:38 4 Moroccan Roll 3:23 B Side 1 Door To Dimension 4 4:14 2 If You Wanna Dance 3:44 3 Don't Lay Your Trip On Me 3:20 4 I.B.M. Boogie 3:59 Credits · All Compositions by Dennis Garcia · Synthsizer sequencing and Computer programming by Dennis Garcia · Engineers – Graham Owens, John French · Producer Howard Gable · Recorded at TCS Studios, Melbourne, Australia **CARSON** "Boogie, Part I" / "Boogie, Part II" EMI Harvest HAR-9965 Vinyl 7" Single Credits · Engineer – John French · Producer – Howard Gable · Recorded at TCS Studios, Melbourne, Australia **1973** **Allison Durbin – Three Times A Lady** Label: Hammard – HAM 033 Vinyl LP Stereo A Side 1 Silver Threads And Golden Needles 2 Here You Come Again 3 Harper Valley P.T.A. 4 It's A Heartache 5 "We'll Sing in the Sunshine" 6 Thank God I'm A Country Girl 7 Queen Of The House 8 Rose Garden B Side 1 A Little Bit More 2 Don't It Make My Brown Eyes Blue 3 Help Me Make It Through The Night 4 Blue Bayou 5 I Don't Want To Play House 6a Sometimes When We Touch 6b Three Times A Lady 7 How Deep Is Your Love 8 You Light Up My Life Credits · Arranged by – Peter Sullivan · Design – Peter Ewers & Associates · Engineer – John French · Producer – Howard Gable · Recorded at TCS Studios, Melbourne, Australia **Allison Durbin – Bright Eyes** Label: Hammard – HAM 043 Vinyl LP Stereo A Side 1 Lotta Love 2 Sharing The Night Together 3 If I Said You Had A Beautiful Body Would You Hold It Against Me 4 Some Girls 5 Darlin' 6 Sweet Dream People 7 You Make Me Feel Like Dancin' B Side 1 Bright Eyes 2 My Eyes Adored You 3 Behind Closed Doors 4 You Needed Me 5a You Are So Beautiful 5b When I Need You 6 On The Inside 7 Lost In Love Credits · Arranged by – Peter Sullivan · Design – Peter Ewers & Associates · Engineer – John French · Producer – Howard Gable · Recorded at TCS Studios, Melbourne, Australia **1974** **Kush (16) – Presents Snow White... And The Eight Straights** Label: Warner Bros. Records – 600,007 Vinyl LP Stereo A Side 1 Wait Overture (Herzog, Duff) 2 Easy Street (Steve Ball) 3 All Right In The City (Dunn, McCashen) 4 McArthur Park (Jim Webb) 5 Wait (Herzog, Duff) B Side 1 Satanic Deity (Herzog, Duff) 2 Christopher John (Herzog) 3 Klue (Herzog, Duff) Credits · Alto Saxophone, Baritone Saxophone – John Ellis · Arranged by – Kush · Backing Vocals – Cookies, The (tracks: A5) · Bass – Rob Matthews · Cover, Artwork – Timotheous Fiske · Drums – Nick Lister · Flute – Ron Anderson (tracks: B2) · Guitar – David Herzog · Keyboards – Steve Ball · Percussion, Lead Vocals – Geoff Duff · Photography by – Franz Scharwenka · Tenor Saxophone, Flute – Bill Harrower · Trumpet – Ian Hellings, John Santos (4) · Engineers – Ian McKenzie, Roger Savage, Ross Cockle · Producer – Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **Allison Durbin – Are You Lonesome Tonight** Label: Hammard – HAM 017 Vinyl LP Stereo Gatefold A Side A1 Love Letters ( Hayman, Young) A2 Go Away Little Girl (Goffin/King) A3 Crying in the Rain (King, Greenfield) A4 I'm Sorry (Allbritten, Self) A5 Make The World Go Away (Cochran) A6 "The Rhythm of the Rain" (Gummoe) A7 The End Of The World (Kent, Bee) A8 They Remind Me Too Much Of You (Robertson) B Side B1 "Blue on Blue" (David/Bacharach) B2 She'll Have To Go (J & A Allison) B3 "It's All in the Game" (Sigman, Dawes) B4 Are You Lonesome Tonight (Handman, Turk) B5 All Alone Am I (Altman, Hadjidakis) B6 If You Leave Me Now (P. Cetera) B7 The Way We Were (M. Hamlisch) B8 Dream Lover (Bobby Darin) Credits · Arranged by – Douggie Reece (tracks: A3, A5, A7, A8, B4, B5, B7, B8), Peter Jones (tracks: A1, A2, B3, B6), Peter Sullivan (tracks: A4, A6, B1, B2) · Engineers – Graham Owens, Tony Buettel · Producer – Howard Gable · Recorded at TCS Studios, Melbourne, Australia **Sally Boyden – The Littlest Australian** Label: Hammard – HAM 008 Vinyl LP STEREO Gatefold A Side ``` Medley: ``` 1a Getting To Know You 1b I Whistle A Happy Tune 1c Spoonful Of Sugar 2 Happy Birthday Baby 3 Tan Shoes And Pink Shoe Laces 4 The Unicorn 5 Magic 6 One More Kiss 7 Nobody's Child 8 I'm Gonna Knock On Your Door ``` Medley: ``` 1a Thumbellina 1b I'm Late 1c Teddy Bear's Picnic 1d Bippity Boppity Boo 2 What A Wonderful World 3 Cruisin' Down The River 4 Mama 5 I'd Like To Teach The World To Sing 6 Four & Twenty Hours 7 My Mother's Eyes 8 The Lord's Prayer Credits · Arranged by – Peter Sullivan · Engineers – Ian McKenzie, Roger Savage, Ross Cockle · Producer – Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia **1977** **Sally Boyden – A Day In A Life** Label: Hammard – HAM 018 Vinyl LP Stereo Gatefold A Side 1 Happy Birthday Sweet 16 2 Simon Says 3 Boom Sha La La Lo 4 Do You Want To Know A Secret 5 The Bare Necessities 6 Ob-La-Di Ob-La-Da 7 Mornington Ride ``` Wizard Of Oz Medley: ``` 8a Ding Dong The Witch Is Dead 8b Follow The Yellow Brick Road 8c We're Off To See The Wizard B Side 1 Zipa-Dee-Doo-Dah 2 Sing C'est La Vie 3 Talk To The Animals 4 Oom Pah Pah 5 Catch A Falling Star 6 Do Re Mi 7 The Candy Man 8 Imagine Credits · Arranged by – Peter Sullivan · Engineers – Ian McKenzie, Roger Savage, Ross Cockle · Producer – Howard Gable · Recorded at Armstrongs Studios, Melbourne, Australia ``` **1978** ``` **Daly Wilson Big Band – Too Good For A One Night Stand** Label: Hammard – HAM 027 Vinyl LP Gatefold A Side 1 Star Wars (Williams) 3:40 ``` Arranged by – C. Hull ``` 2 Charlie's Angels (Ferguson, Elliot) 3:31 ``` Arranged by – E. Wilson, W. Daly Organ Solo – Col Nolan ``` 3 Lady Madonna (Lennon-McCartney) 3:27 ``` Arranged by – E. Wilson, W. Daly Guitar Solo – Mick Reid ``` 4 Song For Sarah (Ed Wilson) 3:10 ``` Arranged by – E. Wilson, W. Daly Guitar Solo – Mick Reid ``` ``` Saxophone Tenor, Solo – David Glyde ``` 5 Car Wash (N. Whitfield) 3:33 ``` Arranged by – E. Wilson, W. Daly ``` ``` Flute Solo – Doug Foskett, Guitar Solo – Mick Reid ``` 6 Gonna Fly Now (Rocky) (Robbins, Conti, Connors) 2:38 ``` Arranged by – E. Wilson, W. Daly, Guitar Solo – Mick Reid ``` B Side 1 Doctor Sunshine ( Written-By – Hull, Wilson, Daly) 2:59 ``` Arranged by – E. Wilson, W. Daly ``` 2 Baretta (Grusin, Ames) 3:15 ``` Arranged by – C. Hull ``` 3 Tribute To A Czar (Ed Wilson) 2:45 ``` Arranged by – E. Wilson, W. Daly ``` 4 Timepiece ( C. Hull) 2:45 ``` Arranged by - C. Hull ``` 5 Carnival (D.C. Santana, T. Coster) ``` Arranged by – E. Wilson, W. Daly ``` 6 The Greatest Love Of All (G. Goffin, M. Masser) ``` Arranged by – E. Wilson, W. Daly ``` Credits · Alto Saxophone – Doug Foskett, Graeme Jesse · Baritone Saxophone – John Mitchell (9) · Bass – John Coca · Clarinet – David Glyde, Doug Foskett, Errol Buddle, Graeme Jesse, John Mitchell · Congas, Bongos, Performer [Chocola] – Barry Sutton · Drums, Timbales, Tambourine, Drums [Electric Syndrums], Bells [Bell Tree], Bells [Go-go], Performer [Match Tree] – Warren Daly · Flute – David Glyde, Doug Foskett, Errol Buddle, Graeme Jesse, John Mitchell · Flute [Alto] – Doug Foskett · Guitar – Mick Reid · Harp [Blues] – Greg Foster · Lyricon – Doug Foskett · Organ [Hammond] – Col Nolan · Piano, Electric Piano, Synthesizer [Strings], Clavinet – Charles Hull · Soprano Saxophone – David Glyde, Doug Foskett, Graeme Jesse · Tenor Saxophone – David Glyde, Errol Buddle · Trombone [Bass] – Steve Powell · Trombone [Tenor] – Ed Wilson, Steve Powell · Trumpet, Flugelhorn – Don Raverty, Miles Harris, Norm Harris · Engineer – Graham Owens · Producer – Howard Gable · Recorded at Trafalgar Studios, Sydney Tracks Produced By: Howard Gable | | | | | --- | --- | --- | | Track | Artist | Year | | One More Tear | Allison Durbin | 1968 | | Don't Come Any Closer | Allison Durbin | 1968 | | I Have Loved Me A Man | Allison Durbin | 1968 | | One More Tear | Allison Durbin | 1968 | | Don't Come Any Closer | Allison Durbin | 1968 | | He's Bad Bad Bad | Allison Durbin | 1969 | | Am I The Same Girl | Allison Durbin | 1969 | | Don't Make Me Give In | Allison Durbin | 1969 | | World Of Music | Allison Durbin | 1969 | | You've Lost That Lovin' Feeling - (You're My) Soul And Inspiration | Allison Durbin | 1969 | | Games People Play | Allison Durbin | 1969 | | Don't Make Me Give In | Allison Durbin | 1969 | | World Of Music | Allison Durbin | 1969 | | You've Lost That Lovin' Feeling - (You're My) Soul And Inspiration | Allison Durbin | 1969 | | Games People Play | Allison Durbin | 1969 | | Sha La La La Lee | Allison Durbin | 1969 | | Cry Like A Baby | Allison Durbin | 1969 | | Golden Days | Allison Durbin | 1970 | | Make The Feeling Go Away | Allison Durbin | 1970 | | Golden Days | Allison Durbin | 1970 | | Make The Feeling Go Away | Allison Durbin | 1970 | | Holy Man | Allison Durbin | 1971 | | Didn't We? | Allison Durbin | 1971 | | Put Your Hand In The Hand | Allison Durbin | 1971 | | Words Of Love (They Don't Come Easy) | Allison Durbin | 1971 | | I Have A Son | Allison Durbin | 1971 | | Hallelujah | Allison Durbin | 1971 | | Tonight I'll Say A Prayer | Allison Durbin | 1971 | | Amerikan Music | Allison Durbin | 1972 | | Follow The Leader | Allison Durbin | 1972 | | Follow The Leader | Allison Durbin | 1972 | | Amerikan Music | Allison Durbin | 1972 | | Listen Listen | The Avengers [Brisbane, Australia] | 1969 | | Just One More Chance | The Avengers [Brisbane, Australia] | 1969 | | Love Is A One Way Ticket | The Avengers [New Zealand] | 1969 | | I Wouldn't Do That | The Avengers [New Zealand] | 1969 | | Words Can Never Say | Bi-Vocal | 1983 | | Tell Me Why | Bi-Vocal | 1983 | | There Goes My Everything | Brendan Dugan | 1968 | | Can't Keep You Out Of My Heart | Brendan Dugan | 1968 | | I'd Give A Whole Lot Of Me For Just A Little Bit Of You | Brendan Dugan | 1969 | | A Train Never Stops At Our Town | Brendan Dugan | 1969 | | Boogie (Part One) | Carson | 1972 | | Boogie (Part Two) | Carson | 1972 | | Early Morning | The Castaways [New Zealand] | 1968 | | Any Little Bit | The Castaways [New Zealand] | 1968 | | Angelica | The Castaways [New Zealand] | 1969 | | I'm So Lonely | The Dallas Four | 1967 | | That Man's Got No Luck | The Dallas Four | 1967 | | Somebody Loses | Dene Hunter | 1966 | | Richard Cory | Dene Hunter | 1966 | | Universal Sun | Fantasy [Australia] | 1971 | | Suzie | Fantasy [Australia] | 1971 | | I Dig Your Act | The Fourmyula | 1968 | | Alice Is There | The Fourmyula | 1968 | | Honey Chile | The Fourmyula | 1968 | | Come With Me | The Fourmyula | 1968 | | I Know Why | The Fourmyula | 1968 | | It's Only Make Believe | The Fourmyula | 1968 | | Come With Me | The Fourmyula | 1969 | | Honey Chile | The Fourmyula | 1969 | | She's A ? | The Fourmyula | 1969 | | Home | The Fourmyula | 1969 | | Tell Me No Lie | The Fourmyula | 1969 | | Forever | The Fourmyula | 1969 | | Mr. Whippy | The Fourmyula | 1969 | | Come With Me | The Fourmyula | 1974 | | Alice Is There | The Fourmyula | 1974 | | Dance To The Music | The Groove | 1969 | | Relax Me | The Groove | 1969 | | Relax Me | The Groove | 1969 | | Dance To The Music | The Groove | 1969 | | Maggie Maggie | Hogsnort Rupert's Original Flagon Band | 1969 | | When I Was Young | Hogsnort Rupert's Original Flagon Band | 1969 | | Seekers Medley - A World Of Our Own - We Shall Not Be Moved | Jack Thompson (Piano) With Garth Young (Hammond Organ) | 1968 | | Seekers Medley - Morningtown Ride - Georgy Girl | Jack Thompson (Piano) With Garth Young (Hammond Organ) | 1968 | | Teach Me How To Rock And Roll | Jigsaw [Australia] | 1975 | | Hammer And Nails | Jim McNaught | 1969 | | Till The End | Jim McNaught | 1969 | | The Little Boy That Santa Claus Forgot | Johnny Farnham | 1968 | | I Saw Mommy Kissing Santa Claus | Johnny Farnham | 1968 | | Mr. Whippy | Johnny Farnham | 1969 | | One | Johnny Farnham | 1969 | | One | Johnny Farnham | 1969 | | Mr. Whippy | Johnny Farnham | 1969 | | Raindrops Keep Fallin' On My Head | Johnny Farnham | 1969 | | Two | Johnny Farnham | 1969 | | Two | Johnny Farnham | 1970 | | Raindrops Keep Falling On My Head | Johnny Farnham | 1970 | | Mirror Of My Mind | Johnny Farnham | 1970 | | What Can I Do | Johnny Farnham | 1970 | | Pretty Things | Johnny Farnham | 1970 | | Comic Conversation | Johnny Farnham | 1970 | | Christmas Happy | Johnny Farnham | 1970 | | The Ringing Reindeer | Johnny Farnham | 1970 | | As Long As Life Goes On | Johnny Farnham | 1971 | | Acapulco Sun | Johnny Farnham | 1971 | | Walking The Floor On My Hands | Johnny Farnham | 1971 | | My Favourite Occupation | Johnny Farnham | 1971 | | Charlie Girl | Johnny Farnham | 1972 | | Stick Of Incense | Johnny Farnham | 1972 | | Stay Awhile | Johnny Farnham And Allison Durbin | 1971 | | Singing Our Song | Johnny Farnham And Allison Durbin | 1971 | | That's Old Fashioned | Johnny Farnham And Allison Durbin | 1971 | | Baby Without You | Johnny Farnham And Allison Durbin | 1971 | | Peter Gunn | Kush | 1973 | | The Sky Is Falling | Kush | 1973 | | Easy Street | Kush | 1974 | | All Right In The City | Kush | 1974 | | Gonna See My Baby Tonight | The La De Das | 1971 | | Fare Thee Well | The La De Das | 1971 | | Fare Thee Well | The La De Das | 1971 | | Gonna See My Baby To-Night | The La De Das | 1971 | | White Christmas | Marcie And The Cookies | 1968 | | You On My Mind | Marcie And The Cookies | 1968 | | New Day | Master's Apprentices | 1971 | | Future Of Our Nation | Master's Apprentices | 1971 | | Merry-Go-Round | The Master's Apprentices | 1969 | | Linda Linda | The Master's Apprentices | 1969 | | How I Love You | The Master's Apprentices | 1969 | | 5.10 Man | The Master's Apprentices | 1969 | | Think About Tomorrow Today | The Master's Apprentices | 1969 | | A Dog, A Siren And Memories | The Master's Apprentices | 1969 | | A Dog, A Siren And Memories | The Master's Apprentices | 1970 | | Think About Tomorrow Today | The Master's Apprentices | 1970 | | Turn Up Your Radio | The Master's Apprentices | 1970 | | Jam It Up | The Master's Apprentices | 1970 | | Jam It Up | The Master's Apprentices | 1970 | | Turn Up Your Radio | The Master's Apprentices | 1970 | | Think About Tomorrow Today | The Master's Apprentices | 1970 | | 5:10 Man | The Master's Apprentices | 1970 | | Merry-Go-Round | The Master's Apprentices | 1970 | | Turn Up Your Radio | The Master's Apprentices | 1970 | | Australian Girl | Mike Rudd And The Heaters | 1980 | | Talking To The Television | Mike Rudd And The Heaters | 1980 | | I'm An Animal | Mike Rudd And The Heaters | 1981 | | Head Job | Mike Rudd And The Heaters | 1981 | | Ol' Blue | Mother Goose | 1978 | | I Think It's You | Mother Goose | 1978 | | Bless You | Mr Lee Grant | 1968 | | The Wanderer | Mr Lee Grant | 1968 | | Thanks To You | Mr. Lee Grant | 1967 | | The Real Thing | Mr. Lee Grant | 1967 | | Thanks To You | Mr. Lee Grant | 1968 | | Movin' Away | Mr. Lee Grant | 1968 | | Lovers Are Always The Same | Mr. Lee Grant | 1968 | | Why Or Where Or When | Mr. Lee Grant | 1968 | | Hava Nagila | Mr. Lee Grant | 1968 | | The River Runs Dry | Mr. Lee Grant | 1968 | | Walking With My Angel | Mr. Lee Grant | 1968 | | We Are Indelible | Murtceps | 1972 | | Esmeralda | Murtceps | 1972 | | Jackie's Thing | The Musick Express | 1970 | | How Does Paternity Suit You | The Musick Express | 1970 | | Po Atu Rau (Now Is The Hour) | Nick Nicholson And The Neketini Brass | 1968 | | Haere Mai | Nick Nicholson And The Neketini Brass | 1968 | | Gold In The Morning Sun | Paul Walden | 1968 | | I Can't Help Falling In Love With You | Paul Walden | 1968 | | Fragments | Paul Walden | 1968 | | Chiquita Mia | Paul Walden | 1968 | | Six Days On The Road | Peter Caulton | 1967 | | Truck Drivin' Son Of A Gun | Peter Caulton | 1967 | | D. C. 9 | Phil Golotta And The Blue Echoes | 1975 | | Mary Anne | Phil Golotta And The Blue Echoes | 1975 | | New Zealand Sunset | The Plainsmen [New Zealand] | 1969 | | The Shiner | The Plainsmen [New Zealand] | 1969 | | I'm So Proud | Quincy Conserve | 1968 | | I've Been Loving You, Baby | Quincy Conserve | 1968 | | Here's To The Next Time | The Quincy Conserve | 1969 | | Hallelujah | The Quincy Conserve | 1969 | | Rachel | Russell Morris | 1970 | | Slow Joey | Russell Morris | 1970 | | Slow Joey | Russell Morris | 1970 | | Rachel | Russell Morris | 1970 | | Mr. America | Russell Morris | 1970 | | Stand Together | Russell Morris | 1970 | | The Real Thing Part 1 | Russell Morris | 1971 | | Mr. America | Russell Morris | 1971 | | The Real Thing Part 11 | Russell Morris | 1971 | | Jail Jonah's Daughter | Russell Morris | 1971 | | Sweet Sweet Love | Russell Morris | 1971 | | Sweet, Sweet Love | Russell Morris | 1971 | | Jail Jonah's Daughter | Russell Morris | 1971 | | Alcohol Farm | Russell Morris | 1972 | | Live With Friends | Russell Morris | 1972 | | Alcohol Farm | Russell Morris | 1972 | | Live With Friends | Russell Morris | 1972 | | In The Evening | Sect III | 1971 | | Everybody Sing A Song | Sect III | 1971 | | I Can't Stand To Be Alone | The Sect [Australia, Brisbane] | 1969 | | Lonely Road | The Sect [Australia, Brisbane] | 1969 | | St. John's Wood | The Sect [Australia, Brisbane] | 1970 | | Do It | Sherbet | 1972 | | You've Got The Gun | Sherbet | 1972 | | Time Change | Sherbet | 1973 | | Summer Wine | The Simple Image | 1968 | | Two Kinds Of Lovers | The Simple Image | 1968 | | Spinning, Spinning, Spinning | The Simple Image | 1968 | | Shy Boy | The Simple Image | 1968 | | I Wanna Go To Heaven | The Simple Image | 1968 | | The Little Bell That Cried | The Simple Image | 1968 | | Hold Me Tight | The Simple Image | 1968 | | Tomorrow Is Another Day | The Simple Image | 1968 | | Make Time Stand Still | The Simple Image | 1969 | | The Grooviest Girl In The World | The Simple Image | 1969 | | Spinning Spinning Spinning | The Simple Image | 1970 | | Shy Boy | The Simple Image | 1970 | | Shy Boy | The Simple Image | 1970 | | Spinning Spinning Spinning | The Simple Image | 1970 | | I'm In Love With A Stranger | The Soundells | 1967 | | Take Me Where The Music's Playing | The Soundells | 1967 | | Launching Place, Part II | Spectrum [Australia] | 1970 | | I'll Be Gone | Spectrum [Australia] | 1970 | | I'll Be Gone [Mono] | Spectrum [Australia] | 1971 | | Launching Place, Part II | Spectrum [Australia] | 1971 | | I'll Be Gone [Stereo] | Spectrum [Australia] | 1971 | | I'll Be Gone | Spectrum [Australia] | 1971 | | Launching Place, Part II | Spectrum [Australia] | 1971 | | I'll Be Gone | Spectrum [Australia] | 1971 | | Launching Place - Part II | Spectrum [Australia] | 1971 | | I'll Be Gone | Spectrum [Australia] | 1971 | | I'm A Lion | Tapestry [Melbourne, Australia] | 1976 | | Is It Love | Tapestry [Melbourne, Australia] | 1976 | | Midnight Snack | Tom Thumb | 1966 | | Respect | Tom Thumb | 1966 | | You're Gonna Miss Me | Tom Thumb | 1967 | | Whatcha Gonna Do About It | Tom Thumb | 1967 | | Got Love | Tom Thumb | 1967 | | I Need You | Tom Thumb | 1967 | | Tonight | Tony Pantano | 1971 | | So Glad You Happened To Me | Tony Pantano | 1971 | | Sand In The Sandwiches | The Twilights [Australia] | 1968 | | Lotus | The Twilights [Australia] | 1968 | | Sand In The Sandwiches | The Twilights [Australia] | 1969 | | Lotus | The Twilights [Australia] | 1969 | | Baby, What I Mean | Yolande Gibson | 1968 | | Hush | Yolande Gibson | 1968 | | Wonderful World | Yolande Gibson | 1969 | | Rain In My Heart | Yolande Gibson | 1969 | | One Times, Two Times, Three Times, Four | Zoot | 1969 | | Sailing | Zoot | 1969 | | About Time | Zoot | 1969 | | Sha La La | Zoot | 1969 | | Hey Pinky | Zoot | 1970 | | Strange Things | Zoot | 1970 | | Hey Pinky | Zoot | 1970 | | Strange Things | Zoot | 1970 | | Turn Your Head | Zoot | 1970 | | Eleanor Rigby | Zoot | 1970 | | Turn Your Head | Zoot | 1971 | | Eleanor Rigby | Zoot | 1971 | | Evil Child | Zoot | 1971 | | The Freak | Zoot | 1971 | | Eleanor Rigby | Zoot | 1979 | | Turn Your Head | Zoot | 1979 |
British art historian (born 1946) This article is about the museum director Neil MacGregor. For similarly named people, see Neil McGregor (disambiguation). **Robert Neil MacGregor** OM AO FSA (born 16 June 1946) is a British art historian and former museum director. He was editor of the *Burlington Magazine* from 1981 to 1987, then Director of the National Gallery, London, from 1987 to 2002, Director of the British Museum from 2003 to 2015, and founding director of the Humboldt Forum in Berlin until 2018. Biography --------- Neil MacGregor was born in Glasgow to two medical doctors, Alexander and Anna MacGregor. He was educated at Glasgow Academy and then read modern languages at New College, Oxford, where he is now an honorary fellow. The period that followed was spent studying philosophy at the École Normale Supérieure in Paris (coinciding with the events of May 1968), and as a law student at Edinburgh University, where he received the Green Prize. Despite being called to the bar in 1972, MacGregor next decided to take an art history degree. The following year, on a Courtauld Institute (University of London) summer school in Bavaria, the Courtauld's director Anthony Blunt spotted MacGregor and persuaded him to take a master's degree under his supervision. Blunt later considered MacGregor "the most brilliant pupil he ever taught". From 1975 to 1981, MacGregor taught History of Art and Architecture at the University of Reading. He left to assume the editorship of *The Burlington Magazine*. He oversaw the transfer of the magazine from the Thomson Corporation to an independent not-for-profit company with charitable status. ### Directorship of the National Gallery In 1987 MacGregor became director of the National Gallery in London. During his directorship, MacGregor presented three BBC television series on art: *Painting the World* in 1995, *Making Masterpieces*, a behind-the-scenes tour of the National Gallery, in 1997 and *Seeing Salvation*, on the representation of Jesus in western art, in 2000. He declined the offer of a knighthood in 1999, the first director of the National Gallery to do so. ### Directorship of the British Museum MacGregor in front of a British Museum display on Sutton Hoo in 2010 MacGregor was made director of the British Museum in August 2002, at a time when that institution was £5 million in deficit. He has been lauded for his "diplomatic" approach to the post, though MacGregor rejects this description, stating that "diplomat is conventionally taken to mean the promotion of the interests of a particular state and that is not what we are about at all". His tenure included exhibitions that were more provocative than the museum had previously shown and some told stories from perspectives that were less Eurocentric than previously, including a project about the Muslim Hajj. He sparked debate with his claim that the ancient Persian empire was greater than Ancient Greece. In 2010, MacGregor presented a series on BBC Radio 4 and the World Service entitled *A History of the World in 100 Objects*, based on one hundred artefacts held in the British Museum's collection. From September 2010 to January 2011 the British Museum lent the ancient Persian Cyrus Cylinder to an exhibition in Tehran, Iran. This was seen by at least a million visitors on the Museum's estimation, more than any loan exhibition to the United Kingdom had attracted since the *Treasures of Tutankhamun* exhibition in 1972. Holding tenure when the Acropolis Museum in Athens was completed, MacGregor followed previous Directors in arguing against returning the sculptures from the Parthenon (the "Elgin Marbles") to Greece. A poll in 2014 suggested that more British people (37%) supported the marbles' restoration to Greece than opposed it (23%). MacGregor argued that it is the British Museum's duty to "preserve the universality of the marbles, and to protect them from being appropriated as a nationalistic political symbol", and that "there is no legal system in Europe that would challenge the [British Museum's] legal title" to the works. The legal basis of various Ottoman documents, now lost, to which the British Museum has traditionally appealed in order to claim ownership of the sculptures is disputed. Under the directorship of MacGregor, the Museum rejected UNESCO mediation. In January 2008, MacGregor was appointed chairman of the World Collections programme, for training international curators at British museums. The exhibition *The First Emperor*, focussing on Qin Shi Huang and including a small number of his Terracotta Warriors, was mounted in 2008 in the British Museum Reading Room. That year MacGregor was invited to succeed Philippe de Montebello as the Director of the Metropolitan Museum of Art in New York. He declined the offer as the Metropolitan charges its visitors for entry and is thus "not a public institution". As of 2015, MacGregor was paid a salary of between £190,000 and £194,999 by the British Museum, making him one of the 328 most highly paid people in the British public sector at that time. MacGregor retired from the post in December 2015 and was succeeded in spring 2016 by Hartwig Fischer, till then the director of the Staatliche Kunstsammlungen Dresden (*"Dresden State Art Collections"*). ### Directorship of the Humboldt Forum Model of the rebuilt Berlin Palace, home of the Humboldt Forum On 8 April 2015, MacGregor announced his retirement as Director of the British Museum. It was announced that MacGregor would become founding director and head of the management committee of the Humboldt Forum in Berlin, and that he would make recommendations to the German government on how the future museum could draw on the resources of the Berlin collections to "become a place where different narratives of world cultures can be explored and debated". Archaeologist Hermann Parzinger and art historian Horst Bredekamp were the co-directors of the management committee. One of MacGregor's proposals was to make admission to the museum free of charge, based on the model of the British Museum. In 2018, MacGregor left the post. Media projects -------------- MacGregor has made many programmes for British television and radio. In the year 2000, he presented on television *Seeing Salvation*, about how Jesus had been depicted in famous paintings. More recently, he has made important contributions on BBC Radio 4, including *A History of the World in 100 Objects* and, in 2012, a series of fifteen-minute programmes after *The World at One* called *Shakespeare's Restless World*, discussing themes in the plays of William Shakespeare. In September 2014 UK domestic transmission started of his similarly formatted series *Germany: Memories of a Nation* on BBC Radio 4, with a major supporting exhibition at the British Museum. This series did not limit itself to physical objects but places of memory, including for example the forest. In 2017, MacGregor hosted a BBC Radio Four series *Living with the Gods*, on expressions of religious faith, liaising with Sabyasachi Mukherjee, Director of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai, on the presentation of world cultures. At the beginning of 2019, MacGregor presented a programme called "As Others See Us" on BBC Radio Four. This programme looked at how his own country (the United Kingdom) was seen by other countries around the world. In 2021, he gave a series of lectures at the "Chaire du Louvre" in Paris. The following year, MacGregor presented the BBC Radio 4 series *The Museums That Make Us* in which he visited local, regional, and city museums throughout the UK. Personal life ------------- MacGregor was listed in *The Independent*'s 2007 list of "most influential gay people" and was single as of January 2010[update]. On 4 November 2010, MacGregor was appointed to the Order of Merit by Queen Elizabeth II. On 25 March 2013 MacGregor was appointed an Honorary Officer of the Order of Australia (AO) by the Governor-General of Australia Quentin Bryce, "for service to promoting Australia and Australian art in the United Kingdom". In April 2023, MacGregor was one of the 22 personal guests at the ceremony in which former German Chancellor Angela Merkel was decorated with the Grand Cross of the Order of Merit for special achievement by President Frank-Walter Steinmeier at Schloss Bellevue in Berlin. Awards ------ * 2015 Friedrich-Gundolf-Preis from the Deutsche Akademie für Sprache und Dichtung for *A History of the World in 100 Objects* and *Germany: Memories of a Nation* * 2015 Nayef Al-Rodhan Prize, from the British Academy for *A History of the World in 100 Objects* and *Germany: Memories of a Nation* Publications ------------ * *A Victim of Anonymity: The Master of the Saint Bartholomew Altarpiece*. Walter Neurath Memorial Lectures. Thames & Hudson. 1994. ISBN 9780500550267. * *Seeing Salvation: Images of Christ in Art*. Yale University Press. 2000. ISBN 9780300084788. * *A History of the World in 100 Objects*. Allen Lane. 2011. ISBN 9781846144134. * *Shakespeare's Restless World: An Unexpected History in Twenty Objects*. Penguin. 2014. ISBN 978-0718195700. * *Germany: Memories of a Nation*. Allen Lane. 2014. ISBN 9780241008331. * *Living with the Gods: On Beliefs and Peoples*. Alfred A. Knopf. 2018. ISBN 9780525521464.
Town in Alabama, United States **Libertyville** is a town in Covington County, Alabama, United States. At the 2020 census, the population was 108. Geography --------- Libertyville is located at 31?14'38" North, 86?27'36" West (31.243844, -86.459962). According to the U.S. Census Bureau, the town has a total area of 0.53 square miles (1.36 km2), of which 0.004 square miles (0.01 km2), or 0.59%, is water. The town is located 5 miles (8 km) south of the center of the city of Andalusia. Demographics ------------ Historical population| Census | Pop. | Note | %± | | --- | --- | --- | --- | | 1970 | 141 | | — | | 1980 | 141 | | 0.0% | | 1990 | 133 | | −5.7% | | 2000 | 106 | | −20.3% | | 2010 | 117 | | 10.4% | | 2020 | 108 | | −7.7% | | U.S. Decennial Census2013 Estimate | population census popAs of the census of 2000, there were 106 people, 48 households, and 32 families residing in the town. The population density was 202.6 inhabitants per square mile (78.2/km2). There were 55 housing units at an average density of 105.1 per square mile (40.6/km2). The racial makeup of the town was 91.51% White, 3.77% Asian, and 4.72% from two or more races. 0.94% of the population were Hispanic or Latino of any race. There were 48 households, out of which 25.0% had children under the age of 18 living with them, 54.2% were married couples living together, 12.5% had a female householder with no husband present, and 33.3% were non-families. 27.1% of all households were made up of individuals, and 16.7% had someone living alone who was 65 years of age or older. The average household size was 2.21 and the average family size was 2.72. In the town, the population was spread out, with 17.9% under the age of 18, 11.3% from 18 to 24, 27.4% from 25 to 44, 26.4% from 45 to 64, and 17.0% who were 65 years of age or older. The median age was 41 years. For every 100 females, there were 96.3 males. For every 100 females aged 18 and over, there were 81.3 males. The median income for a household in the town was $19,750, and the median income for a family was $37,500. Males had a median income of $17,917 versus $19,250 for females. The per capita income for the town was $26,427. There were 16.7% of families and 20.7% of the population living below the poverty line, including 28.6% of under eighteens and 28.6% of those over 64.
2010 studio album by Yellow Swans ***Going Places*** is an album by the American experimental music band Yellow Swans, released on March 2, 2010, by Type Records. It is the final album by the band, released after the band's 2008 breakup. Following the decision to disband in late 2007, the duo decided that making the final album was a priority. Yellow Swans spent a total of 18 months working on the album, first recording 80–100 hours of material during the rehearsals for their final shows, and then progressively editing the recordings down to the album's final runtime. *Going Places* is a work of noise music, with elements of drone and ambient music. To achieve its harsh sound, the duo processed electric guitar sounds through a reel-to-reel tape recorder, applying various effects, such as delay, in the process. *Going Places* marked a stylistic progression in Yellow Swans' discography, with a more gentle and melodic sound than the band's previous works. The album received critical acclaim. Most reviewers praised Yellow Swans for their experimentation and creativity, with some critics naming *Going Places* the band's best album. Several publications, including *The Village Voice* in their Pazz & Jop music critics poll, named *Going Places* one of the best albums of the year. Background ---------- Gabriel Mindel Saloman and Pete Swanson met in 1999. In 2001, after Saloman moved to Portland, Oregon, they formed the duo Yellow Swans and started performing together. By the end of the 2000s, they released nearly 100 projects, with the majority being obscure releases distributed on CD-Rs, along with a few full-length albums released through record labels. Yellow Swans had achieved critical success; that didn't result in financial success, but allowed the duo to tour continuously. They dedicated the majority of each year to touring. According to Saloman, they felt exhausted due to the constant cycle of touring and recording. To avoid conflicts and preserve their friendship, in 2008 Yellow Swans made the decision to disband. In a 2012 interview, Swanson emphasized that they broke up on good terms. He added that by 2007 Yellow Swans "had hit a wall" after years of touring without achieving financial stability. The decision to disband was also influenced by Saloman's marriage and subsequent relocation to Canada, which would have made in-person collaboration impossible. These challenges, along with uncertainty regarding their artistic path moving forward, ultimately led to their disbandment. Recording --------- Gabriel Saloman playing electric guitarGabriel Saloman (pictured in 2014) played electric guitar on *Going Places*. Yellow Swans started working on *Going Places* after they decided to breakup in late 2007. The duo made a list of tasks they needed to complete before parting ways; making the final album ended up being a top priority. Yellow Swans already had several shows planned for 2008. Recorded rehearsals for these shows were used as the source material for several albums, including *Going Places*. The sessions took place in the basement of their friends' Rotture club in Portland, which the duo used for rehearsals. Gabriel Saloman played electric guitar, while Pete Swanson processed it through a reel-to-reel tape recorder. During the recording, he applied various hardware filters and effects, such as delay and distortion, mixed with feedback. For each track, they set up what Swanson described as a "sound vocabulary", a set of individual sounds associated with the track, which they subsequently used for improvisation. Until their final show in June 2008, the band recorded 80–100 hours of material. "We were more in the zone during these sessions than we'd ever been", said Saloman. After Yellow Swans finished recording the album, they started editing it by removing bigger, non-essential portions, reducing the album's length to 60–90 minutes, and then fine-tuning the result until they were satisfied with the album's flow and narrative. The duo spent 18 months working on *Going Places*. Swanson originally planned to include vocals, but by the time they finished the album, he was already busy with university and thought the instrumental version was complex enough. Pete Swanson chose the title of the album; he named it after one of his favorite stories by Leonard Michaels. According to the band's members, the title is meant to be taken literally, as it's a reflection of their post-breakup experiences: after years of neglecting formal education and careers, they were now relocating to new places—Gabriel Saloman moved to Canada and Pete Swanson moved to New York City—to change that, while their personal lives were undergoing significant changes. After completing the album, Yellow Swans faced difficulties in finding suitable cover art. After two unsuccessful attempts with different artists, the band selected the cover art created by the artist Jefre Cantu-Ledesma. Discussing the album in 2020, Saloman said that he still considers its cover a "haunting picture". He added, "It actually captures the view from wherever it is we went when we played that music". Composition ----------- ### Style A photo of Pete Swanson (only lower part of his body is visible) performing live, with various pieces of electronic equipment placed on a table in front of him.Pete Swanson (pictured in 2013) performing live with some of the equipment used in the production of *Going Places*. *Going Places* is a noise album, composed from heavily processed guitar phrases. Pete Swanson said that utilizing deteriorated tapes, along with various filters and effects during the recording allowed the band to achieve a "dense and gauzy sound". Sasha Frere-Jones of *The New Yorker* wrote that its tracks "have titles but certainly don’t resemble songs", comparing the album's sound to the noises produced by hard drives and a distorted transmission through damaged wires and muffled phones. *Pitchfork*'s Marc Masters called it "noise in IMAX". Eric Dawson of *Tiny Mix Tapes* thought Yellow Swans were "exploring textures and tones, [...] weaving sounds in and around each other". *The Wire*'s writer Nick Cain noted that unlike the band's previous records, on *Going Places* the abrasive textures and high-pitched sounds are "blurred and softened into a melodic mid-range", making it sound closer to psychedelia. The album also features elements of drone music, characterized by the use of short, repeated sounds, and ambient music. ### Tracks *Going Places* consists of six tracks, varying in length. Most of them gradually build up, without reaching a peak. The tracks are multi-layered, filled with distorted loops and fuzzy guitar riffs, with occasional subtle melodies in the background. The album starts with its shortest track, titled "Foiled". The track is built upon a contrast between a soft melody, resembling a mantra, and what AllMusic's Ned Raggett described as "cascades of feedback and rhythmic, quick-paced sonics", accentuated by percussion. The surrounding static, which Dave Heaton of *PopMatters* compared to the relentless power of machinery, clears out towards the end of the track. Immediately following it is "Opt Out", the album's longest track. The track starts quietly but grows more intense and aggressive as it progresses, due to the heavy use of static noise. Heaton thought the song's progression was similar to a film score, making the song "cathartic in more ways than one". In contrast, the next track, "Sovereign", is less intense. According to Patrick Masterson of *Dusted* magazine, this allows it to sustain the climax of "Opt Out", and shows the careful consideration Yellow Swans put into the pacing of *Going Places*. Marc Masters believed the prolonged notes of "Sovereign" evoke a feeling of melancholic longing, while Joel Elliott of *Cokemachineglow* called it "the best approximation of the stillness and melancholy of ruins". "Limited Space" A sample of the second half of "Limited Space", which includes a repeated sound, described by the music critic Joel Elliott as "roaring crowds" in the Colosseum. --- *Problems playing this file? See media help.* The fourth track of the album, "Limited Space", is one of the more complex tracks on *Going Places*, featuring a rich sonic palette. Heaton viewed the track as "quite majestic", with a "heavy sense of distilled foreboding". He wrote that the guitar sounds evoke the imagery of vast desert landscapes, while the chime-like sounds reminded him of a railroad and a sense of journey associated with it, suggested by the album's title. Elliott also noted the chime sound and how throughout the track it alternates between left and right stereo channels. The music critic believed the use of this technique is a tribute to the project Gas of the German musician Wolfgang Voigt, and that "Limited Space" defies expectations by evoking a sense of confinement, as opposed to the open and spacious atmosphere associated with Voigt's music. The track is followed by "New Life", which Elliott compared to an unoccupied land lot, devoid of buildings. Marc Masters noted the track's joyfulness, achieved through the use of sounds which "convey the optimism of rebirth". "Going Places" is the final track of the album. It features complex distorted textures and continuous droning sounds. The elements of the track get layered on top of each other as the track progresses, culminating in a high-pitched climax, which then gradually fades away into an echo. Dawson characterized "Going Places" as an "amazing mini-epic", consisting of "cacophony". Cain named it the harshest track on the album, adding that it "levels out in a blast of delicately modulated feedback, eloquently articulating a muted yet elegiac farewell". Raggett also viewed it as a "fitting conclusion", that "[concludes] on one last guitar part screaming away into the heavens". Release ------- Originally planned for a 2009 release, *Going Places* was released on March 2, 2010, by Type Records. The album was accompanied by a bonus disc *Being There*: an hour-long album, split into four tracks, two of which were extended, less edited versions of tracks from *Going Places*. Music critic Brad Cohan classified *Being There* as free improvisation, drone, and psychedelia. In 2020, Yellow Swans collaborated with record label and retailer Boomkat to celebrate the album's ten-year anniversary with a vinyl re-release. *Going Places* was reissued as a vinyl LP, while *Being There* was released on double vinyl, with both releases limited to 500 copies. The duo also made both albums available on Bandcamp through digital downloads. Critical reception ------------------ Professional ratings| Aggregate scores | | --- | | Source | Rating | | Metacritic | 81/100 | | Review scores | | Source | Rating | | AllMusic | | | *Pitchfork* | 8.3/10 | | *PopMatters* | 7/10 | | *Tiny Mix Tapes* | | | Tom Hull | B+ ((1-star Honorable Mention)) | *Going Places* received positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 81, based on 7 reviews. Some reviewers compared the album to the band's previous work. Nick Cain of *The Wire* magazine noted the similarity between the sound on *Going Places* and the band's previous projects: he felt that *Going Places* resembles them in its use of the sonic elements, "layered into cavernously thick sound masses, which hang ominously in mid-air, or are slowly expanded into cacophonous crescendos", but differs in its blurring and softening of the harsh noise textures that adds "depth of sonic impact" to the album. Eric Dawson of *Tiny Mix Tapes* named *Going Places* as one of the band's best albums, noting that the duo "offers an exemplar of themselves and noise, at their ecstatic heights". Bryan Walker, in his review for *Exclaim!*, called the album a "powerful final sonic testament". *XLR8R*'s reviewer Brandon Bussolini thought *Going Places* encapsulates the duo's creative tension, which, he believed, contributed to Yellow Swans' "sporadic genius" and ultimately led to their dissolution. He described the album as having a haunting presence, while also conveying a sense of comfort by capturing the essence of the present moment and life itself. *Dusted* magazine's Patrick Masterson commended the album's cohesiveness, noting that *Going Places* is the duo's loudest album. Other critics lauded the creative and experimental approach of Yellow Swans. Ned Raggett of AllMusic called *Going Places* the band's "literal swan song", commending them for blending "uncontrolled experimentation" with "serene contemplation". He highlighted the track "Foiled" as "the contrast [...] of scraggly aural squalor and a looming sense of near-romantic melancholy". *Pitchfork* contributor Marc Masters thought the album "transforms a sense of finality and reflection into often incredible instrumental passages" and that it "gives you space to discover tons of themes and ideas without limiting you to specific ones". His colleague Grayson Currin published an opinion piece in *Pitchfork*, in which he critiqued several other music reviewers for comparing the album to the work of Tim Hecker. He argued that Yellow Swans' music is more complex and offers more depth. Using "Opt Out" from *Going Places* as an example, he called it a "brilliant 13-minute centerpiece" that transforms a "pretty, damaged drone" into a "sonic, seismic war". Dave Heaton of *PopMatters* praised the band's creativity, saying that the band did "an especially good job here of making pretty and even tuneful songs that still have that tear-your-face-off quality". Tom Hull was more critical of the album. He characterized it as "electro-noise" that lacks complexity and doesn't follow conventional melodic patterns, but also noted that the band offers enough diversity in its sonic elements to "elicit some interest". ### Accolades Several publications placed *Going Places* on their lists of the best albums of 2010. In *The Village Voice*'s 2010 Pazz & Jop nationwide poll of 712 popular music critics, *Going Places* was ranked at number 81, with 15 critics placing it on their lists of top 10 albums of the year. *PopMatters* named *Going Places* the best experimental album of 2010, describing it as an "uncompromising glimpse into an abyss". *Tiny Mix Tapes* put *Going Places* at number 21 on their list of 50 best albums of the year, with the critic Joe Davenport calling it "powerful" and "flawless". *Cokemachineglow* named it 16th best album of the year, with the author Conrad Amenta praising the album as an "ambient noise masterpiece" and saying that the band "leapt, startlingly, out from the fringes of experimental noise and into the modern cultural atmosphere". Italian online magazine *Ondarock* [it] placed it at number 24 on their list of the top 50 albums of 2010. Track listing ------------- | No. | Title | Length | | --- | --- | --- | | 1. | "Foiled" | 4:22 | | 2. | "Opt Out" | 13:09 | | 3. | "Sovereign" | 5:44 | | 4. | "Limited Space" | 6:53 | | 5. | "New Life" | 5:17 | | 6. | "Going Places" | 9:09 | | Total length: | 44:34 | *Being There* bonus disc | No. | Title | Length | | --- | --- | --- | | 1. | "Foil" | 18:13 | | 2. | "Comedy Hypnosis" | 16:28 | | 3. | "Public Space" | 17:46 | | 4. | "Inhabitants" | 15:57 | | Total length: | 68:24 | Personnel --------- Credits are adapted from the album's liner notes. * Gabriel Mindel Saloman – guitar, tapes, electronics * Pete Swanson – electronics, tapes, vocals * Timothy Stollenwerk – mastering * Jefre Cantu-Ledesma – artwork
Australian politician **Colin John (Col) Miller** (28 April 1924 – 4 November 2016) was an Australian politician. He was a member of the Queensland Legislative Assembly from 1966 to 1986, representing the electorate of Ithaca as a Liberal (1966–1984) and as an independent (1984–1986). Early life ---------- Miller was born in Brisbane, Queensland, to parents Charles Miller and his wife Ann Jane (née Weathered). He was educated at the Rainworth State School and the Central Technical College. In World War II he was a corporal in the Australian Imperial Force and was assigned to the 2/3 Field Park from 1943 to 1946. He became a painter on leaving the armed forces. A member of the Freemasons, Miller was also a member of the local Lions Club. He was the chairman of the RSL from 1959 until 1966. On 13 June 1949, Miller married Grace Warner Weathered and together had three sons. Politics -------- Miller, for the Liberal Party, held the seat of Ithaca in the Queensland Legislative Assembly from in 1966 until his retirement from politics in 1986. He was the Minister for Environment, Valuation and Administrative Services for fourteen days in 1983, having been appointed to replace sacked minister Terry White before all Liberal ministers subsequently resigned. In November 1983, he was the unsuccessful Liberal nominee for Speaker against National John Warner. Miller was a conservative within the Liberal Party, and in July 1984, he resigned from the party, "at least partly sparked by" the preselection of moderate Terry Gygar for the Stafford by-election. Although it had been rumoured that he would join former colleagues Don Lane and Brian Austin in defecting to the National Party, this did not occur and he continued to sit as an independent. He retired at the 1986 state election. Later life ---------- Miller's wife Grace Lorna known as "Lorna" died in 1985. On 7 September 1991 he married Janice Bartlett. He died on 4 November 2016 aged 92 years at Caloundra.
**George Storr May** (June 5, 1890 – March 12, 1962) was an American businessman and golf promoter. May was born in Windsor, Illinois. He graduated with a degree from the Illinois State Teacher College. First working as a Bible salesman, following Billy Sunday, he soon turned his natural talent for problem-solving to use by becoming a freelance consultant, and efficiency expert. In 1924 he started his first consulting assignment with Chicago Flexible Shaft Company, today's Sunbeam Corporation. This was the beginning of the George S. May International Company. May based his business operations in Chicago. Involvement in golf ------------------- George S. May is well known for popularizing the game of golf in the 1940s and 1950s by turning golf into a mass spectator sport. He staged a number of tournaments, including the All American Open and the World Championship of Golf, at the country club he owned, Tam O'Shanter Golf Course, located in Niles, Illinois. May was the first to broadcast golf nationally on television, in 1953 from the Tom O'Shanter Golf Course. Lew Worsham provided exceptional drama by sinking his wedge approach for an eagle two from just over 100 yards on the par-4 final hole, to edge Chandler Harper by one stroke, claiming a $25,000 first prize (then a world record), along with a further 25 $1,000 exhibitions to promote May's company. The first prize of that event was larger than the total prize money offered at any other Tour event that season. May doubled his first prize the next year, 1954, to a then-record $50,000, out of a total prize of $100,000 (another record), along with an additional 50 paid exhibitions at $1,000 each. Bob Toski won that tournament. May paid broadcasters to cover his events, but foresaw the future, where the broadcasters would pay the tournament organizers; this happened within a few years, notably with the Masters Tournament. May has been called the Bill Veeck of golf. May was the first to offer big-money tournaments, first to allow club members to use golf carts, first to provide grandstands, and first to use radios to keep spectators up to date about what was happening elsewhere on the course. He kept his admission prices low, allowing families to attend, and allowed picnics in the rough bordering holes during his events. He was inducted into the *Illinois Golf Hall of Fame in 1992,* as a golf innovator. George S. May Company is featured in the *History of the PGA, for the years 1949 & 1950.* In 1949, the PGA ran a business survey, and in 1950 they implemented the recommendations of splitting the PGA from the tournament Bureau. May is listed as one of the 100 most influential persons to the game of golf, for being the first to broadcast, nationwide and live, a PGA Tour tournament. The United States Golf Association followed May's lead in 1954 with the first nationwide broadcast of the U.S. Open, and the Augusta National Golf Club first broadcast the Masters Tournament live in 1956. Live television coverage of golf's important events greatly spurred interest in the sport, leading to constant increases in prize money. The All-American tournament held at the Tam O'Shanter golf course in 1943 was the first Open tournament in the United States to welcome African-American golfers to the pro circuit. May is quoted as saying "These tournaments are open to any American who is willing and able to qualify." His events at Tam O'Shanter also featured men's amateur competitions, as well as both women's amateur and professional competitions, another first, since women's professional golf was in its infancy at that time. May also welcomed international players to his events. From the early 1940s to the late 1950s, May offered nearly $2 million in prize money at his events, far outdistancing any other golf promoter during this period.
American engineer and politician **Harry Verner Gates** (July 30, 1847 – October 13, 1935) was an American engineer and politician in the state of Oregon. A native of Massachusetts, he later lived in Iowa worked on the railroads before settling in Hillsboro, Oregon, where he shifted to water projects. A member of the Republican Party, he served a single term in the Oregon House of Representatives. His former home in Hillsboro is the historic Rice–Gates House, and his former ranch in Central Oregon is now the Crooked River Ranch. Early life ---------- Harry Gates was born on July 30, 1847, in Lowell, Massachusetts, to John M. and Lydia S. (*née* Bowker) Gates. He grew up in Iowa where he attended the local public schools in DeWitt. In 1862, he enlisted with the 6th Regiment Iowa Volunteer Cavalry during the time of the American Civil War. Gates was a private, later serving as bugler, and spent three years in the military, leaving in 1865. His unit fought against Native Americans on the Great Plains. Following his time in the army, he worked for the Davenport and St. Paul Railroad as a leveler in 1869 and then in 1870 was placed in charge of building track and bridges on the Callao, Lima & Oroya Railway in Peru. Gates married in 1871 to Helen Melvina Batcheller, and they had three children, Oliver, Helen, and Samuel. In 1880, he worked for the Northern Pacific Railway where he was responsible for the locating party through the Cascade Range. The next year Gates started working for the Oregon & Pacific Railroad in Corvallis, first as their locater then as superintendent of construction, and in 1886 he was the railroad's superintendent. Gates continued to work for the railroads, and was responsible for the construction of over 2,000 miles of track from 1891 until 1922. He worked for the Union Pacific Railroad as superintendent of construction from 1887 until 1891 when he moved to Hillsboro, Oregon. Gates was also the chief engineer for the Oregon Railroad and Navigation Company for a time. Political career ---------------- Gates voted for Abraham Lincoln in the 1860 presidential election, and remained a Republican the rest of his life. In 1894, he was elected to the Oregon House of Representatives from Washington County. Gates represented District 56 and served only in the 1895 legislative session. Later years ----------- His former home in 2008 Gates gravestone Following his main career with the railroads, Gates began a second career as an engineer for water projects. In 1896, he and George T. Baldwin built the Linkville Light & Water Plant on the Link River near Klamath Falls, Oregon. Gates also served as the engineer for the Heppner Light & Water Company in Eastern Oregon in addition to his duties as engineer, superintendent, and president of the Hillsboro Electric Light & Water Company at the turn of the century. Gates was selected as the Commander of the Oregon Department of the Grand Army of the Republic in 1899. He served three more terms as Commander of the Oregon chapter in the 1930s. In 1903, he purchased a new residence south of the downtown area on Walnut Street. The Second Empire style home had been built in 1890, and Gates lived there until 1927. In 1903, the Governor of Oregon appointed Gates to a committee to devise new laws governing water rights in the state. He was a member of the Thirteenth National Irrigation Congress held in 1905 in Portland. As early as 1909 and through at least 1920 he served as a director for the Shute Savings Bank in Hillsboro. He continued as president of what was later the Hillsboro Power and Investment Company. He was granted a license by the state to install an irrigation system and power generating facility on the Crooked River in Jefferson County in 1925 that provided electricity and water for his adjoining ranch. Along with his son Oliver, he owned a pipe making factory in Hillsboro and over 500 miles of telephone lines in Southern Oregon. Gates was a member of the Congregational Church, the American Association of Engineers, the American Water Works Association, and a member of the Masons, among other groups. Harry V. Gates died on October 13, 1935, in Portland at the age of 88 and was buried at the Hillsboro Pioneer Cemetery. His former home was added to the National Register of Historic Places in 1980 as the Rice–Gates House. His ranch in Central Oregon became the Crooked River Ranch.
Fictional Japanese guitarist for the virtual band Gorillaz Fictional character **Noodle** is a fictional Japanese musician, singer, and member of the British virtual band Gorillaz. She provides the lead guitar and keyboards, as well as some occasional vocals for the band. Like all other band members of Gorillaz, she was created in 1998 by Damon Albarn and Jamie Hewlett. Noodle has been voiced by Haruka Kuroda, Miho Hatori of Cibo Matto, and Haruka Abe. Development ----------- ### Characterization Noodle was originally conceptualised by co-creator Jamie Hewlett as a 17-year-old girl named Paula Cracker, but co-creator Damon Albarn noted that the character was too similar to the characters that Hewlett is typically known for drawing, and recommended that he attempt to create "something different". Taking Albarn's advice, Hewlett designed an illustration of a 10-year-old Japanese girl named Noodle. Jamie Hewlett has stated in interviews that Noodle is his favourite Gorillaz character. She was created by Hewlett and Albarn in 1998 and made her first official appearance in Gorillaz' debut EP *Tomorrow Comes Today* in 2000. ### Voice Noodle has had her singing and speaking voices provided by several people over the years. In the band's 2001 self-titled debut album, her singing voice was originally provided by Cibo Matto singer Miho Hatori, and her speaking voice was originally provided by actress Haruka Kuroda, who performed as a backing vocalist for Gorillaz' 2001 tour. Hatori was suggested as the singing voice of Noodle by producer Dan the Automator, who had previously worked with her for a track by Handsome Boy Modeling School. Her vocals for "19-2000" were sometimes provided by *Humanz* collaborator Kilo Kish (from the track "Out of Body") when the song was performed on the Humanz Tour. Noodle is depicted as the lead vocalist for the *Demon Days* single "Dare", in which the vocals were actually provided by R&B singer Roses Gabor (aka Rosie Wilson). In 2016, Gabor re-recorded her vocals for "Dare" for a version of the song called "Dare (Hold it Down)" recorded by English artist DJ Friction, which was approved by Albarn. Gabor has since performed with Gorillaz as a backup vocalist on the *Humanz* single "Andromeda". Since 2018, Noodle's speaking voice has been provided by Japanese-English actress Haruka Abe. In the *Gorillaz* era of the band, Noodle had little knowledge of the English language and spoke exclusively in Japanese until the *Demon Days* era of Gorillaz. When she first started speaking English, she spoke the language with a rather distinctive Japanese accent that has gradually lessened as she got older, with her accent sounding more British as an adult. Noodle regularly switches back and forth between English and Japanese in conversation, speaking in a regional dialect called Osaka-ben in her native tongue. As a child, Noodle's speaking voice was louder and higher pitched, but has since softened and mildly lowered as an adult. Fictional history ----------------- Noodle was born in Osaka, Japan on 31 October 1990. Noodle first came to Gorillaz in 1998 shortly after their original guitarist and 2-D's ex-girlfriend Paula Cracker was removed from the band’s lineup for having an affair with Murdoc Niccals in the bathroom of Gorillaz' fictional headquarters at Kong Studios. As a result, the band was left without a guitarist, which led them to run an advertisement in a newspaper in search of a new one. Later the same day, a FedEx crate arrived at Kong Studios, and a Japanese girl leaped out and began playing a very loud solo on her guitar. After shredding on her guitar, she spoke a single word to the trio; "Noodle", which would then become her nickname. In 2003, Noodle visited Japan in an attempt to uncover her past after being haunted by disturbing nightmares while on tour. She regained her lost memories in a restaurant after hearing the trigger words "ocean bacon". She coincidentally met with her mentor, Mr. Kyuzo, who was working as the head chef in the restaurant. Kyuzo helped her make sense of her lost memories and revealed to her that she was a participant in a top secret government supersoldier project, and was trained with a specialty in musicianship, mastering many weapons, languages, and musical instruments, with a distinct forte in the guitar as a result of the program. He disclosed to her that out of the 23 children created for the project, she was the only one to survive and the others were all killed by the government when the project was scrapped, with Kyuzo shipping Noodle to the United Kingdom in a FedEx crate after wiping her memory clean. Kyuzo purposefully sent Noodle to Gorillaz as he believed she would be able to perform relatively obscurely. After this revelation, she was suddenly able to speak English after not having any knowledge of the language for years. Following this, Noodle returned home to Kong Studios to begin writing rough demos for a second Gorillaz album, which would end up being *Demon Days*. When she returned to Kong, she saw that the studio became infested by zombies and the undead after a disease occupied the studio due to it being abandoned for a year. Over the span of six months, Noodle rid the studio of the zombie infestation while hiding in the TV room of Kong. During her time in the TV room, Noodle used her recovered knowledge of the English language to do extensive research on the state of the world, in which she identified a lack of substance in entertainment that she figuratively referred to as "the real infection", which would become her main inspiration for the concept of *Demon Days*. As she began to finish up the demos, 2-D, Murdoc, and Russel Hobbs one-by-one began to return to Kong and recording of the album was ready to begin. After *Demon Days*' release and worldwide success, Noodle was assumed dead and in hell by the characters following her appearance in the music video for "El Mañana" in 2006, which appears to show the flying windmill island from the "Feel Good Inc." music video being gunned down by two attack helicopters. Noodle was said to have gone on a journey to reunite with Gorillaz in 2010 after four years of alleged absence from the group since 2006. She was shown arriving at Plastic Beach with a giant Russel in a storyboard for a scrapped "Rhinestone Eyes" music video. During Noodle's absence, Murdoc replaced her with a cyborg replica named Cyborg Noodle that he created using a strand of her hair that he found in the rubbish from the crash in the "El Mañana" music video. Noodle, like Russel, had no spoken dialogue during the *Plastic Beach* era of Gorillaz, despite eventually reuniting with the band. In Gorillaz' 2016 interactive short story "The Book of Noodle", it was revealed that years after Plastic Beach, Noodle defeated a shape-shifting demon from hell that she accidentally released named Mazuu while in Tokyo, Japan. She then shipped herself to West London in a FedEx crate in the escape following the battle with the creature to reunite with the band. In *The Now Now*, Noodle visits Patagonia in South America as per an incarcerated Murdoc's request to confront El Mierda, who he claimed framed him for drug smuggling. In a 2018 advertisement campaign for a Gorillaz line of G-Shock watches called "Mission M101" following Murdoc's release, Noodle and 2-D were interviewed by the G-Shock's founder Kikuo Ibe. On 12 September 2019, Noodle sent the first in a set of postcards that the band sent to each other while on vacation in different areas of the world and posted it to their social media accounts with the others following soon after. Noodle sent her postcard from Lake Urmia, Iran and stated that she intends to visit various places across the world before climate change destroys them, asking the other members if they had the parts to a machine gathered. The machine Noodle was referring to would later be revealed to be for the Song Machine, the latest audiovisual project from Gorillaz. Personality ----------- Noodle has shown herself to be very pensive and reflective over the years, often contemplating on the state of the world around her, especially in interviews promoting the band's 2005 album *Demon Days*, of which she is said to have led the creation. Because of this, she is a large portion of the spoken dialogue on the 2005 Gorillaz press interview CD "We Are The Dury" to explain the process behind the album's creation. She is generally introverted and usually most at peace when residing in her own space. Although Noodle is generally reserved and collected, she has sometimes displayed occasional irritability and impatience when interacting with some of the other band members, especially as a teenager. Having her privacy invaded has been proven to be a major pet peeve. For *Plastic Beach*, Noodle was completely silent and didn't speak a word of dialogue, even after being shown reuniting with the band in the storyboard for "Rhinestone Eyes". Noodle is a martial arts expert who often effortlessly partakes in dangerous action stunts with ease, and has been described as "kick riffmeister" and an "Asian axe princess" by the band. She is a Buddhist and has mentioned having a particularly strong zen-bond with bandmate 2-D. As a millennial, Noodle has shown herself to be tech savvy and in-tune with current trends while still being interested in more esoteric media. She often offers words of enlightenment and philosophical phrases, and has shown herself to be wise and intelligent. In the 2016 Jaguar Racing campaign featuring Noodle, she showed a particular interest in engineering. As an adult now entering her early thirties, despite still being the youngest member of Gorillaz, she has been displayed as being one of the more emotionally mature members of the group, to the point of referring to herself as the "big sister" of the band, as she often protects the other band members when they are in danger and comforts them when they are distressed. This aspect of Noodle is displayed in the *Song Machine* episode "Aries", where Noodle abruptly stops her ride and expresses a concern for 2-D (who is riding with Murdoc) to Russel via a text message in the middle of a race between the band members. In the cover art for "Aries", Noodle attempts to pull Russel off of Murdoc after he beats him up for injuring 2-D. Physical appearance ------------------- Noodle is a short and thin Japanese woman with short hair and almond-shaped eyes. Her skin generally has a warm olive tone and she tends to wear a small amount of makeup, which usually consists of painted fingernails and eye shadow. Noodle's hair is short and its colour is generally either dark purple or black, but she has occasionally dyed her hair, such as in the music video for "Tranz". In the *Gorillaz* era of the band, Noodle was designed with exaggerated stereotypical Asian features such as her skin tone, overbite, and exaggerated epicanthic folds, although this element of Noodle has been mostly eliminated since *Demon Days*. In *Demon Days* art, Noodle's eyes were frequently covered by her hair, and *Plastic Beach* artwork portrays Noodle wearing a butterfly mask that covers her face. When Noodle's eyes in this era were sometimes designed without epicanthic folds, they were pitch black and appeared to be hollow. Her hair began to be designed with a dark purple color in *Demon Days* than the black color that it previously was in *Gorillaz*, and in *Plastic Beach*, Noodle started to be shown in makeup more frequently. ### Fashion Noodle and the rest of Gorillaz are regularly illustrated as wearing different wardrobe and the clothing she is depicted in changes often, which is rare in cartoons. In *Gorillaz* artwork, Noodle's clothing almost exclusively consisted of classic kimono jackets on top of kimono shirts with matching wide leg shorts, slip-on shoes and a radio helmet. In artwork for *Demon Days*, Noodle's clothing became more varied, and she most commonly wore two toned striped sweatshirts with jeans and boots, sometimes shown wearing crop tops or a kimono jacket. In *Plastic Beach* artwork, Noodle was most frequently depicted wearing a nurse dress and a scarf with striped knee high socks, gloves, and a butterfly mask, while Cyborg Noodle wore a security guard uniform. The artwork for *Humanz* mainly portrays Noodle in wardrobe that was inspired by the Black Panther Party and Sandinista National Liberation Front, and in artwork for *The Now Now*, Noodle was mostly depicted in jackets over crop tops with shorts or a skirt. While the music video for "Saturnz Barz" shows Noodle in a blue fur jacket and a black skirt with ankle boots and anaglyph glasses, she is shown in a cat outfit in the video for "Strobelite". Meanwhile, the music video for "Tranz" depicts Noodle in a pink crop top and a skirt with high heels and the music video for "Humility" shows Noodle wearing a pastel tank top with the phrase "Hello Kinky" printed on it. ### Age Originally designed as a 10-year-old in Gorillaz' 2001 debut album, Noodle and the rest of Gorillaz have since been depicted as getting progressively older with each Gorillaz album, and is portrayed today as an adult woman now in her 30s. Her speaking voice has also become slightly lower and softer and her Japanese accent she previously had has disappeared since *Humanz*.; Also since *Humanz*, Noodle (like 2-D) has had a slight change in nose shape, with her nose taking a more triangular form. Role in Gorillaz ---------------- Noodle was designed as the guitarist, occasional keyboardist, and backup vocalist for Gorillaz. Noodle can play a wide array of other instruments as a result of her training from childhood, but generally sticks to her usual role as guitarist, sometimes depicted playing keyboard and performing additional or backup vocals on Gorillaz songs. Noodle sings additional vocals on the *Gorillaz* single "19-2000", and sings backing vocals on several other songs on the album. The making of *Demon Days* is portrayed in-universe as being led by Noodle, although Murdoc would try to claim the credit for it. The original demo version of "Feel Good Inc." is dubbed "Noodle's Demo" in the iTunes exclusive single release of the song. She is also depicted as the lead vocalist and additional keyboardist in the music video for the 2006 *Demon Days* single "Dare". Being the lead musical director of *Demon Days*, she also came up with the ideas for the music videos. Noodle was not present for the making of *Plastic Beach*, instead being replaced by a cyborg replica of herself created by Murdoc named Cyborg Noodle. As such, she was also not present for the recording of *The Fall*, which frontman 2-D recorded largely by himself. Other appearances ----------------- In October 2016, she became the global ambassador for Jaguar Racing, appearing in a short commercial advertising the company. On 24 November 2020, Noodle was announced as a juror for the Film/Video category of the 2020 Clio Awards. Noodle and the rest of the Gorillaz members appear on the back cover of Jamie Hewlett's 2017 art book, alongside characters from all of Hewlett's projects.
German press photographer **Barbara Klemm** (born 27 December 1939 in Münster) is a German press photographer. She worked for *Frankfurter Allgemeine Zeitung* for 45 years. She photographed many of the most important events in recent German history and has received honors, including Fellowship of the Academy of Arts, Berlin and the Pour le Mérite. She was inducted into the Leica Hall of Fame in recognition of her status as "a driving force in reportage photography" and as "an exemplary photographer". Early life ---------- She was born in Münster and grew up in Karlsruhe. Her father Fritz Klemm was a painter and a professor at the Academy of Fine Arts, Karlsruhe. Career ------ In 1959 she moved to Frankfurt to work for the *Frankfurter Allgemeine Zeitung* (FAZ), for which she worked until 2004. As a press photographer she photographed events including the 1969 student riots in Frankfurt, Heinrich Böll protesting against nuclear weapons in 1983, the 1969 celebrations in Cuba for the tenth anniversary of the revolution, the first democratic elections held in Portugal on 25 April 1975, and the fall of the Berlin Wall in 1989. She has photographed many celebrities, including Mick Jagger, Tom Waits, Claudio Abbado, Simon Rattle, György Ligeti, Andy Warhol, and Rainer Werner Fassbinder. Her famous photographs include Soviet general secretary Leonid Brezhnev kissing East German leader Erich Honecker in 1979. Throughout her life she has consistently used black-and-white analog (film) photography, typically single photographs rather than series. Exhibitions ----------- * *Barbara Klemm. Photographs 1968 – 2013*, Martin-Gropius-Bau, Berlin, 2013–2014 Awards ------ She is a Fellow of the Academy of Arts, Berlin and an honorary professor at Darmstadt University of Applied Sciences. She received the Dr. Erich Salomon Prize in 1989, the Pour le Mérite for Sciences and Arts in 2010 and the Leica Hall of Fame award in 2012.
1958 film ***Passionate Summer*** is a 1958 British drama film directed by Rudolph Cartier and starring Virginia McKenna, Bill Travers and Yvonne Mitchell. It is also known by the alternative title ***Storm Over Jamaica***. It was based on a best-selling 1949 novel by Richard Mason called *The Shadow and the Peak*. Premise ------- A British schoolteacher moves to Jamaica to teach after a tumultuous divorce, and meets an exciting new woman. Cast ---- * Virginia McKenna - Judy Waring * Bill Travers - Douglas Lockwood * Yvonne Mitchell - Mrs Pawley * Alexander Knox - Leonard Pawley * Carl Möhner - Louis * Gordon Heath - Coroner * Guy Middleton - Duffield * Pearl Prescod - Mrs Morgan * Ellen Barrie - Sylvia Development ----------- The film was based on Richard Mason's novel *The Shadow and the Peak* which was published in 1949. It was Mason's second novel, following *The Wind Cannot Read*, which the Rank Organisation had filmed with Dirk Bogarde. The *New York Times* called *The Shadow and the Peake* "diverting, it is humorous, it contains the necessary serious undertones." In March 1950 it was announced that Alec Guinness was weighing up whether to appear in *The Mudlark* at 20th Century Fox or *The Shadow and the Peak* from J. Arthur Rank. Robert Hamer was to write and direct. Guinness elected to make *The Mudlark* and there were reportedly issues getting the script approved by the censor. In December 1951 Hamer said producer Michael Truman would be going to the US in January to negotiate changes to the script with the Breen Office (the US censor). Hamer was to make the movie for Ealing and he wanted to star Vivien Leigh. Michael Balcon reportedly gave his approval, then changed his mind, worried about the film's erotic content. This led to Hamer leaving Ealing. In December 1957 it was reported that film rights were owned by Kenneth Harper, who had offered the lead to Van Johnson, who had just made *Action of the Tiger* with Harper. Production ---------- In March 1958 it was announced the film would be made in Jamaica and at Pinewood Studios under the title of *Passionate Summer* starring Virginia McKenna, Bill Travers and Yvonne Mitchell. McKenna was coming off two large hits, *A Town Like Alice* and *Carve Her Name with Pride*. She and Bill Travers had married in real life in 1957. Filming began on 28 April 1958 shortly after production had started on another Mason adaptation, *The Wind Cannot Read*. McKenna was pregnant during filming and it would be the last film she made for Rank (although she turned down a movie they wanted her to do afterwards). Director Rudolph Cartier was under contract to the BBC but was released to Rank to make the film. According to Bill Travers: > Neither of us [his wife Virginia McKenna] cared very much for *Passionate Summer*. Cartier was already an important person in television — that was how he got *Passionate Summer* — but I’m not sure that he translated well to the big screen. He did a lot of rehearsal, and, by this time, I’d begun to shed the idea of doing a tremendous amount of rehearsal. By then, I wanted to make things more natural and I found that Cartier was too bound by what had happened at rehearsal. I think the film needed something much more impressionistic than Cartier’s direction. It needed to be made like a French film. [ also think that it was as a result of that film that Ginny and I became less than favourites with the Rank Organisation. > > Reception --------- *Variety* called it "the sort of glossy novelettish yarn that will do nothing for the reputation of the British film industry." The *Monthly Film Bulletin* said "any forebodings roused by the story outline of this film are thorough fulfilled." In the US, *Passionate Summer* was the name given to a French film starring Raf Vallone that came out in 1957. So the film was retitled in America as **Storm Over Jamaica**. Film academic Philip Kemp wrote the film "was scripted (flatly) by Joan Henry, directed (turgidly) by Rudolph Cartier and acted (stolidly) by Bill Travers and Virginia McKenna. If [Robert] Hamer hadn't long since been driven to drink, this film would have been enough to do it." ### Box Office The film was a box office failure. Travers later said that because of this he and McKenna became "less than favourites with the Rank Organisation."
1981 WWII board wargame Cover of boxed set with artwork by Rodger B. MacGowan, 1981 ***Divine Wind***, subtitled "Japan in the Pacific, 41–45", is a strategic board wargame published by Simulations Canada in 1981 that simulates the Pacific Campaign during World War II. Description ----------- *Divine Wind* is a two-player board wargame where one player controls the Japanese, and the other player controls the Allies. The game starts immediately following the attack on Pearl Harbor. ### Gameplay The board is divided into 12 regions. Any actions, including movement and combat, use operations points, a certain number of which are allocated each turn depending on how many bases in a region the player has. Extensive paperwork for each of the twelve regions must be kept for initiative, operations point allocations, submarines, and construction. The game uses an alternating "I Go, You Go" system where one player moves and attacks in one region, then the other player moves and attacks. Completing this process in all twelve regions completes one game turn, which represents one month. Due to the size of the Pacific, fleet movement is hidden. Each player conducts a search to see if they can "see" the opponent's fleet. If one player finds their opponent, but the other player does not, the "blind" player's air points are reduced to one-third. ### Scenarios The campaign game covers the entire war from 1941 to 1945, and takes 48 turns. Shorter scenarios cover one year of the war each and run for 13 turns. Publication history ------------------- *Divine Wind* was designed by Steve Newberg, and was published by Simulations Canada as both a ziplock bag game and a boxed set in 1981, with cover art by Rodger B. MacGowan. A total of 2000 copies were printed, and the entire production run sold out. Reception --------- In Issue 32 of *Fire & Movement*, Friedrich Helfferich remarked, "All in all, *Divine Wind* is a remarkable technical design achievement. It is, however, too big for its format. The Pacific War buff will keep hoping for a game as perceptive and uncluttered as this, but with more realistic detail instead of ingenious but improbable design gimmicks" In Issue 59 of *Moves*, Nick Schuessler was of two minds about the rules, writing, "The rules can only be described as turgid in style and form, but once you've struggled through the unbroken chunks of type, it's hard to see where Newberg could have simplified or abstracted without doing basic damage to his theme. Each component (air, land, sea, and logistics) is as basic as possible; that *Divine Wind* ends up so firmly in the micro-monster category is proof of just how difficult the Pacific theatre is to deal with." Schuessler thought the extensive record-keeping slowed the game down too much, but noted that the historicity of the game was "Excellent. Both players are confronted with the strategic problems of the original participants." Schuessler concluded that "For a single map Pacific game, [it is] the best of the lot. *Divine Wind* is a good alternative to those who yearn after [ SPI]'s *War in the Pacific* but can't afford to rent a hall. However, the bookkeeping makes it bad for solitaire, and the length puts it beyond the beer 'n' pretzels crowd." In Issue 24 of *The Grenadier*, James Gordon thought the game "suffers from a unique flaw; it’s too accurate for its own good. Simulating the entire Pacific theater calls for a broad concepts for the direction and fighting of that four-year campaign, which the designer handles well enough. But beyond that, *Divine Wind* attempts to balance a grand strategic focus with an operational accuracy, and still come out playable." Gordon concluded, "For a Pacific war fan, interested in a detailed, logistically oriented game, *Divine Wind* offers a very involved system and guarantees many hours of enjoyment." In a retrospective review in Issue 10 of *Simulacrum*, Joe Scoleri wrote that the game is "a small jewel with too much inside. It is difficult to go into the game and play it correctly, but the result can be rewarding."
Historic district in Tennessee, United States United States historic place The **Jackson Avenue Warehouse District** is an historic district in the Old City section of Knoxville, Tennessee, USA, listed on the National Register of Historic Places in the 1970s. The district includes several warehouses along the 100-block of West Jackson Avenue, as well as the Sullivan's Saloon building on East Jackson. The buildings were listed for their architecture and their role in Knoxville's late-19th and early-20th century wholesaling industry. The district's original 1973 listing included the warehouses on the north side of West Jackson Avenue (i.e. 103, 121-123, 125-127, and 129-131) and Sullivan's Saloon (100 East Jackson). In 1975, the district was extended to include the John H. Daniel building (120-122 West Jackson) and the American Clothing Company building (124 West Jackson). During the 1980s, the north side of West Jackson Avenue's 100-block, along with Sullivan's Saloon and 120-122 West Jackson, were included in the Historic American Buildings Survey. The Jackson Avenue Warehouses represent Knoxville's thriving turn-of-the-century wholesaling sector. Most of the buildings along the north side of West Jackson were built circa 1890—1910, with loading docks facing the tracks and elaborate Romanesque storefronts facing Jackson Avenue. Rural merchants would travel to Knoxville via railroad from across East Tennessee to purchase goods and supplies for general stores and other businesses. Sullivan's Saloon, built in 1888 by Irish-born innkeeper Patrick Sullivan (1840–1925), is one of the few remaining late-19th century saloon buildings in Knoxville. In 1985, all of the buildings in the Jackson Avenue Warehouse District, along with the remaining historic buildings along West Jackson (all the way to Broadway), the Southern Terminal complex, the 100 blocks of East Jackson, North and South Central, and South Gay, the White Lily factory on Depot, and parts of State and Vine were listed on the Register as the Southern Terminal and Warehouse Historic District.
Species of bird The **rufous whistler** (***Pachycephala rufiventris***) is a species of whistler found in New Caledonia and Australia. Predominantly a reddish-brown and grey bird, it makes up for its subdued plumage with its song-making ability. Like many other members of the Pachycephalidae, it has a variety of musical calls. Taxonomy and systematics ------------------------ The rufous whistler was originally described in the genus *Sylvia* by the English ornithologist John Latham in 1801. It was subsequently classified within the genera *Turdus*, *Laniarius*, and *Lanius* before being classified in its present genus, *Pachycephala*. Alternate names for the rufous whistler include the **rufous-bellied whistler** and **white-bellied whistler**. The latter name should not be confused with the species of the same name, *Pachycephala leucogastra*. Some authorities have considered the black-headed, drab, and cinnamon-breasted whistlers to be subspecies of the rufous whistler. ### Subspecies Five subspecies are recognized: * *P. r. minor* – Zietz, FR, 1914: Found on Melville and Bathurst Islands (off northern Australia) * *P. r. falcata* – Gould, 1843: Originally described as a separate species. Found in northern Australia * *P. r. pallida* – Ramsay, EP, 1878: Originally described as a separate species. Found in north-eastern Australia * *P. r. rufiventris* – (Latham, 1801): Found in Australia (except northern Australia) * *P. r. xanthetraea* – (Forster, JR, 1844): Originally described as a separate species in the genus *Muscicapa*. Found in New Caledonia Description ----------- Singing male, south east Queensland, Australia Rufous whistlers are large-headed and stocky. They have short beaks and long tails (almost as long as the rest of the bird) which are very narrow and have sharp, forked tips. The species is sexually dimorphic. While females are typically dull brown or grey with streaked underbodies, males have rufous underparts and predominantly dark-grey back and tail with white throats and (in most cases) a black mask that covers most of their head and some of their neck. These birds are between 16 and 18 centimetres (6.3 and 7.1 inches) in size, on average, and their normal weight is approximately 25 grams (0.88 ounces). The rufous whistler has a variety of musical calls which consist of a lengthy series of ringing notes. Distribution and habitat ------------------------ The rufous whistler can be found in forested areas, woodland, and shrubland, but also in gardens and farmland. It migrates seasonally, moving south in the spring and north in the autumn. In New Caledonia the species does not undertake migrations but is instead resident in areas of open forest and savannah. Behaviour and ecology --------------------- ### Breeding Breeding in monogamous pairs, both males and females incubate their eggs and care for their young. The period of incubation is about 13 days on average. The female alone constructs the nest, which usually consists of a combination of twigs, vines, grass and other matter formed in a cup-like shape and attached to a tree branch using strands from spider webs. The breeding season for rufous whistlers is between the months of July and February. ### Feeding While rufous whistlers primarily feed on insects, they also eat seeds, fruit and occasionally, leaves and grasses. They never forage for food on the ground which is unusual for whistlers which typically do not forage at particularly high levels.
English Thoroughbred race horse owner and breeder **Sir Joseph Henry Hawley** Bt. (1813–1875) was an English thoroughbred race horse owner and breeder. Caricature in *Vanity Fair*, 21 May 1870 Life ---- Hawley was born in Harley Street, London, on 27 October 1813 , the eldest in a family of ten children. His parents were Sir Henry Hawley, 2nd Baronet, who died in 1831, and his wife Catherine Elizabeth Shaw, daughter of Sir John Gregory Shaw, 5th Baronet. In his early career Hawley trained privately at Fyfield in Wiltshire. Four of his horses won The Derby: Teddington (1851), Beadsman (1858), Musjid (1859) and Blue Gown (1868). Other classic horseracing wins were Fitz-Roland in the 1858 2,000 Guineas, Aphrodite in the 1851 1,000 Guineas, Miami in the 1847 Oaks and Pero Gomez in the 1869 St Leger. He thus won all five English Classics. He was the breeder of the 1874 Belmont Stakes winner Saxon. Hawley served as High Sheriff of Kent for 1844. He disposed of land in Shropshire, in the family since the 1st baronet married Dorothy Ashwood of Madeley. Family ------ Hawley, then of Leybourne Grange, Kent, married on 18 June 1839, at St George's Hanover Square, Sarah Diana, third daughter of General Sir John Gustavus Crosbie, GCH, of Watergate House, Up Marden, Chichester, Sussex (1765-1843). They had three daughters: Mabel-Diana (died 12 April 1852); Mildred-Catherine (died 1902) who married Captain Barrington Campbell, Scots Guards (later Lord Blythswood); and Morna-Georgina (died 1919), who married 25 June 1874 Percy-Fitzhardinge Raymond-Barker of Fariford Park, county Gloucestershire (died 1895). The novelist Henry Hawley Smart, Hawley's nephew, set several of his books in the racing world. Coat of arms of Sir Joseph Henry Hawley, 3rd Baronet| CrestA dexter arm in armour Proper garnished Or holding in the hand a spear in bend sinister point downwards. EscutcheonVert a saltire engrailed Or. |
American politician (1955–2021) **J. Russell "Russ" Jennings** (May 23, 1955 – October 27, 2021) was an American politician who served as a member of the Kansas House of Representatives from the 122nd district. Elected in 2012, he assumed office in 2013 and remained in post until his death in 2021. Early life and education ------------------------ Jennings was born in Buffalo, NY. He raised his family in Lakin, Kansas. He earned a Bachelor of Science degree in human resource management and criminal justice from Friends University. In 1981, Jennings attended the University of Nevada at Reno National Judicial College and was a Graduate in Limited Jurisdiction General, Alcohol Drugs and the Courts, Contracts and Damages. He became the District Magistrate Judge for the State of Kansas-Judicial Branch for Kearny County District Court. He took classes at Garden City Community College and then graduated from Friends University in Wichita, Kansas, with his Bachelor of Science Undergraduate Degree with highest honors in Human Resource Management. Career ------ Jennings served as the director of the Finney County Southwest Regional Juvenile Justice Authority and worked on Governor Mark Parkinson's cabinet transition before becoming a self-employed government contractor. In the 2012 election for district 122 in the Kansas House of Representatives, Jennings defeated Randy Hayzlett in the Republican primary and ran unopposed in the November general election. He assumed office in 2013. Jennings graduated from Kenmore West High School in Tonawanda, New York and the Spartan School of Aeronautics at Tulsa, Oklahoma. He went to work at the Stanton County airport in Johnson, Kansas as a mechanic and pilot. In 1977 he was a Graduate of General Law Enforcement Officer Training & Police Management from the Kansas Law Enforcement Training Center in Hutchinson, Kansas and became a Deputy Sheriff and later Undersheriff for the Kearny County Sheriff Department in Kearny County, Kansas. At this time, Jennings became the Director of the Southwest Kansas Regional Juvenile Detention Center in Garden City, Kansas. In 2011, Jennings accepted the position of Commissioner of Juvenile Justice for the Kansas Juvenile Justice Authority under Governors Kathleen Sebelius and Mark Parkinson. In the election of 2012, he was elected as State Representative of the 122nd District and currently was serving his 5th term. Russ was well known for his work on corrections and juvenile justice issues and has been the Chair of the House Corrections Committee for the last 3 sessions. During this time, he also has been a Contract Consultant for Performance-based Standards of Braintree, Massachusetts. Jennings was involved in local and state boards and committees starting in 1979 as a Member of the Board of Governors of the Kansas Peace Officers Association. He served 3 years as an Appointee of the Kansas Corrections Ombudsman Board, 13 years as Legislative Committee Chairman, Education Committee Chairman, and later vice-president and President of the Kansas District Magistrate Judges Association. For 11 years, Jennings was a Criminal Justice Advisory Board Member at Garden City Community College and 2 years as Juvenile Justice Committee Chairman and member of the Kansas Corrections Association. In 1996 he was appointed by Chief Justice Kay McFarland as a member of the Juvenile Intake and Assessment Advisory Committee for the Kansas Supreme Court. Jennings served 8 years on the Lakin City Council from 1997 to 2005. In 1997, Governor Bill Graves appointed him as a board member of both the Kansas Advisory Group on Juvenile Justice and Delinquency and the Kansas Youth Authority Board. Jennings became very involved with Leadership Kansas through the Kansas Chamber of Commerce and Industry and was a 1998 Graduate of the program. From 2002 to 2009, he served as State Program Director, Board of Trustees member and chairman of the board of trustees. Jennings also served the State of Kansas as a board member of the Kansas Sex Offender Policy Board, Kansas Substance Abuse Policy Board and Kansas Criminal Justice Coordinating Council. He served as a board member of the Criminal Justice Advisory Board at Washburn University. Jennings was the 2009 Distinguished Service to Kansas Children Award honoree of the Kansas Children's Service League, the 2009 Outstanding Administrator Award honoree of the Council of Juvenile Corrections Administrators. In 2010 he was named Kansas Alumnus of the Year for Leadership Kansas. Personal life ------------- When he wasn't working, Jennings spent time at his beloved lake house at Kanopolis Lake fishing and spending quality time with his family. Jennings also enjoyed spending countless hours tending to his lawn to ensure it was in pristine condition.
2007 book by Gary Taubes ***Good Calories, Bad Calories: Fats, Carbs, and the Controversial Science of Diet and Health*** (published as ***The Diet Delusion*** in the United Kingdom and Australia) is a 2007 book by science journalist Gary Taubes. Taubes argues that the last few decades of dietary advice promoting low-fat diets has been consistently incorrect. Taubes contends that carbohydrates, specifically refined carbohydrates like white flour, sugar, and starches, contribute to obesity, diabetes, heart disease, and other ailments. Taubes posits a causal link between carbohydrates and cancer, as well. Synopsis -------- Taubes points to biological, epidemiological, and anthropological evidence to back up his assertions. The human body secretes insulin in response to the consumption of carbohydrates in order to regulate blood sugar. This process, in turn, drives the body to store fat. Taubes elaborates by examining evidence of the effects of carbohydrates on tribes with a "traditional" diet high in meat or fat and low in carbohydrates. He finds that the introduction of refined carbohydrates in the diets in these cultures resulted in increased prominence of diseases of civilization like obesity and heart disease. Reception --------- Reviews were mixed for *Good Calories, Bad Calories*. Physician Tony Miksanek, writing in the *Chicago Sun-Times*, calls the book "well-researched" and opines that Taubes’s conclusions are "somewhat startling yet surprisingly convincing." Journalism professor and food author Michael Pollan describes *Good Calories, Bad Calories* as "valuable" but believes that it "does not escape the confines of nutritionism." *New York Times* medical reporter Gina Kolata concluded that she was ultimately "not convinced" by Taubes’s arguments, writing that "the problem with a book like this one, which goes on and on in great detail […] is that it can be hard to know what has been left out." Laura Vanderkam reviewed the book somewhat negatively in *The American*, the journal of the conservative think tank American Enterprise Institute. Vanderkam believes that the biggest problem with the book is that Taubes "fashions himself a lonely dissident", causing him to be "so meticulous that at times the book is unreadably weighty."
American audio products corporation For people named Shure, see Shure (surname). **Shure Incorporated** is an audio products corporation headquartered in the USA. It was founded by Sidney N. Shure in Chicago, Illinois, in 1925 as a supplier of radio parts kits. The company became a consumer and professional audio-electronics manufacturer of microphones, wireless microphone systems, phonograph cartridges, discussion systems, mixers, and digital signal processing. The company also manufactures listening products, including headphones, high-end earphones, and personal monitor systems. Company history --------------- Classic Shure "Circle S" logo from the 1930s, which graphically depicts an electronic circuit Shure was founded by Sidney N. Shure in 1925 as "The Shure Radio Company", selling radio parts kits several years after completely manufactured radios became commercially available. The company's office was located at 19 South Wells Street in downtown Chicago, Illinois. The following year, Shure published its first direct mail catalog, which was one of only six radio parts catalogs in the United States at the time. By 1928, the company had grown to over 75 employees, and Sidney's brother, Samuel J. Shure, joined the company, which was renamed Shure Brothers Company. The company moved into new offices at 335 West Madison Street in Chicago. In 1929, with the advent of the Great Depression and the increased availability of factory-built radios, Shure Brothers Company was forced to greatly reduce their staff and became the exclusive US distributor of a small microphone manufacturer.[*specify*] In 1930, Samuel J. Shure left the company. In 1931, Shure and engineer Ralph Glover began development of the first Shure microphone, and the following year, the Model 33N Two-Button Carbon Microphone was introduced, making Shure one of only four microphone manufacturers in the U.S. Shure's first condenser microphone, crystal microphone, and microphone suspension support system (for which they received their first patent) were all introduced that same decade. In 1939, Shure introduced the Model 55 Unidyne Microphone, which went on to become one of the world's most recognized microphones. In 1941, Shure was contracted by the United States armed forces to supply microphones during World War II, and by the following year, the T-17B was the microphone most widely used by the U.S. Army and Navy. Shure also manufactured throat, headset, and oxygen mask microphones, and adopted the United States Military Standard for all Shure microphones. By the mid-1940s, Shure was also manufacturing and supplying phonograph cartridges to major phonograph manufacturers including Philco, RCA, Emerson, Magnavox, Admiral, and Motorola, and was the largest producer of phonograph cartridges in the U.S. at that time. Among Shure's innovations in phonograph cartridge design was Ralph Glover and Ben Bauer's "needle-tilt" principle for minimizing record wear while improving sound reproduction, and Jim Kogen's engineering concept of "trackability". Shure produced the first phonograph cartridge capable of playing both long-playing and 78 rpm records, the first cartridge with tracking force of only one gram, and the first cartridge meeting the requirements of stereo recording. At the peak of Shure's phonograph cartridge production, the company was producing approximately 28,000 cartridges per day, with 25,000 of those coming from a Shure phonograph cartridge plant in Phoenix, Arizona. After the introduction of compact discs in the 1980s reduced the demand for phonograph cartridges, Shure closed the Phoenix facility but continued manufacturing phonograph cartridges in Mexico. In 2018, Shure announced that they would exit the phonograph cartridge market. Shure also developed and produced products for medical applications. In 1937, their 66A piezoelectric stethophone was designed to accurately reproduce chest sounds, and in the early 1960s, the SP-5, SP-5S and SP-6 stethoscope pickups were produced. Shure also produced hearing aid cartridges used in hearing aid products from manufacturers like Maico, Telex, Dictograph, Otarian, Vocalite, and Trimm. In 1956, Shure moved its corporate headquarters to Hartrey Avenue in Evanston, Illinois, where it remained for 47 years. Beginning in 1956, Shure manufactured magnetic tape recording heads and two years later, the company announced it was ready to mass-produce 4-ch recording heads. By 1964, however, Shure announced it would no longer produce tape recording heads due to increased competition. In 1953, Shure introduced their first wireless microphone system for performers, and in 1959, they introduced the Unidyne III capsule based 545 Microphone, which was the predecessor to the SM57, which would be introduced, along with the SM58, six years later. Shure also produced portable equipment for broadcast field recording like Vocal Master, the M67 Portable Mixer, and the FP31 Portable Mixer. In 1990, Shure entered the wireless microphone market with the L-Series. In 1981, James Kogen, Executive Vice President, Operations, was promoted to President and General Manager of Shure. In 1995, Sidney N. Shure died at the age of 93, and Rose L. Shure was elected Chairman of the Board of Directors. In 1996, James Kogen retired; Santo (Sandy) LaMantia, Vice President of Engineering, was named President and CEO. Shure Brothers Incorporated was officially renamed Shure Incorporated in 1999. Rose Shure died in 2016 at the age of 95 In 2001, Shure acquired the Popper Stopper brand of studio pop filters from Middle Atlantic Products Inc. In 2002 Shure adopted hearing conservation as the company's corporate cause, and established the Shure Bid for Hearing program. In 2003, Shure moved to new headquarters in Niles, Illinois, in a building designed by architect Helmut Jahn that was originally the headquarters of HA•LO Industries. The 65,000-square-foot (6,000 m2) Technology Annex designed by Krueck and Sexton Architects, opened in 2005, houses Shure's Performance Listening Center. In 2008, Shure celebrated the opening of The S.N. Shure Theater and Interactive Display at their corporate headquarters. In 2016, Sandy LaMantia announced his retirement and Christine Schyvinck, Vice President of Global Operations, Marketing, and Sales and Chief Operating Officer, was promoted to president and CEO. In October 2020, Shure acquired Midas Technology, Inc. also known as Stem Audio, which specializes in table, ceiling and wall microphones as well as loudspeakers, control interfaces and hubs. In September 2023, it was announced Shure had acquired the Helsinki-headquartered software developer for theater, film, TV, broadcast, and content streaming applications, Ab Wavemark Oy. ### International offices * 1991: Shure Europe GmbH opened in Heilbronn, Germany, to provide sales, service and support to Shure distribution centers in 34 European countries. * 1999: Shure Asia Limited is opened in Hong Kong to serve Distribution Centers and distributors throughout Asia and the Pacific Rim. * 2002: Shure Distribution GmbH established as a subsidiary of Shure Europe GmbH, to handle direct sales with Shure dealers in Germany. * 2003: HW International, Shure's United Kingdom Distribution Center, acquired and renamed Shure Distribution UK. * 2005: Sales and marketing office opened in Shanghai, China. * 2006: Sales and marketing office opened in Tokyo, Japan. * 2010: New subsidiary formed in the Netherlands * 2011: Office for product development in Copenhagen, Denmark. * 2014: Sales and marketing office for Middle East & Africa opened in Dubai, U.A.E. * 2018: Shure Distribution GmbH Begins Direct Distribution of System and Consumer Retail Products in Austria * 2018: Shure Distribution Switzerland GmbH starts direct operations ### Production facility expansion * 1982: Manufacturing facility opened in Wheeling, Illinois * 1983: Phonograph cartridge manufacturing facility opened in Agua Prieta, Mexico * 1984: Wired microphone manufacturing facility opened in Ciudad Juárez, Mexico * 1989: Ciudad Juárez facility expanded * 1994: Agua Prieta facility expanded in 1994 * 2005: Manufacturing facility opened in Suzhou, China Products -------- ### Wired microphones Shure 55S Shure first began manufacturing their own products in 1932 with the introduction of the 33N two-button carbon microphone. The Model 40D, Shure's first condenser microphone, was introduced the next year, and the first of a line of crystal microphone, the Model 70, was introduced in 1935. With the introduction of the 55 Unidyne microphone in 1939, the company's offerings included carbon, condenser, crystal, and dynamic microphones. Wired and wireless microphones together represent the largest category of Shure's overall business. Shure currently produces numerous series of microphones for various applications, including the SM, Beta, KSM, and PG series, as well as specialty consumer microphones, Microflex, and Easyflex (conferencing systems for commercially installed applications). One of Shure's most visually iconic microphone series is the Unidyne series, seen in use by heads of state and popular recording artists and performers from the 1940s through the end of the twentieth century, including President John F. Kennedy, Ella Fitzgerald, and Frank Sinatra. The Model 55 Unidyne is pictured with Harry S. Truman in the photograph where he is holding the *Chicago Tribune* newspaper with the erroneous front-page headline "Dewey Defeats Truman". It is also pictured in front of Fidel Castro on the cover of the January 19, 1959, issue of *Life* magazine and in front of Martin Luther King Jr. as he delivered his "I Have a Dream" speech during the August 1963 March on Washington for Jobs and Freedom. The original Shure 55 Unidyne microphone was designed by engineer Ben Bauer and first produced in 1939. Shure designed the 55 Unidyne as a rugged public address microphone with good audio performance. It was notable for its single-element, unidirectional design, which was smaller, less susceptible to feedback, and less sensitive to ambient noise than other microphones of the time. Several variants of the original Unidyne have been produced, most notably the 55S or "Baby Unidyne". The 55S is sometimes referred to as the "Elvis mic" due to its frequent use by Elvis Presley, and is the microphone depicted with Elvis on the commemorative first-class Elvis stamp issued by the U.S. Postal Service in 1993. In 2008, the Unidyne Model 55 microphone was inducted into the TECnology Hall of Fame, and the following year, Shure released the 55SH Series II. A supercardioid version, the Super 55 Deluxe Vocal Microphone, was introduced in 2009, featuring high gain before feedback and excellent off-axis rejection and further extending Unidyne's 70-plus year legacy. The 55 Series microphones were given the "IEEE Milestone" award in 2014. With the U.S. Army's approval of the Shure T-17 microphone for use during World War II, Shure began producing what would be several specialized microphones for U.S. military use during that war. Shure's adoption of the Military Standard Specification, and product redesigns intended to conserve raw materials essential to the war effort, positioned the company to fulfill the military's needs for specialized microphones. The T-17 Battle Announce Microphone was the most widely used microphone in the U.S. Army and Air Force during World War II, and featured a plastic case that conserved aluminum and lighter and more reliable in a wide range of temperatures and climates. A waterproof version was used on nearly all U.S. Navy ships. Shure also designed the T-30 Throat Microphone for flight crews. A cloth strap held the T-30 against the throat, capturing the user's voice box vibrations directly and avoiding the background noise of the airplane. Shure also manufactured specialized headsets and the MC-1 oxygen mask microphone. In yet another example of the widespread use of Shure microphones by the U.S. military, U.S. lookout Private Lockhard used a Shure 700A microphone to announce his sighting of Japanese planes approaching Pearl Harbor on the morning of On December 7, 1941. Patti Smith singing into a Shure SM58 microphoneThe Shure SM series of microphones began with the introduction of the SM57 in 1965 and the SM58 in 1966. The SM (Studio Microphone) series microphones were originally developed with a non-reflective finish and no on-off switch for the TV studio market. The SM57 is well known for its durability and the versatile sound characteristics, much attributable to the Ernie Seeler-designed Unidyne III capsule. Produced since 1965 and still in production today, it has been widely used in many applications, including micing vocals, drums, and guitar amplifiers both in live sound and recording applications, including being used by every United States President from Lyndon Baines Johnson on. The SM57 was inducted into the TECnology Hall Of Fame in 2004. Together, the Shure SM57 and SM58 have been the two bestselling microphones in the world since the late 1960s. Their feature set is nearly identical, with the main difference between the two being their different grilles. Shure later expanded the SM series, which now include such models as the now hard to find SM53 & SM54 (which were low proximity effect microphones), SM45, SM48, SM56, SM57, SM58, SM85, SM86, SM87A, SM94, and the SM81 which is a longtime recording studio standard. Shure Unisphere SM545 used at the Woodstock Music and Art Fair Shure introduced Beta Series microphones in 1989. These feature a supercardioid designs based on SM series microphones, but with neodymium magnet structures for higher output. The series also included two new microphones specifically for drums, the Beta 56 drum microphone and the Beta 52 kick drum microphone, later updated to the Beta 52A. The Beta 58A microphone was awarded a TEC award in 1996, and several other Beta series microphones have been nominated for TEC awards over the years. Shure's first headset microphone for stage use was created in 1991. One of the earliest uses of a Shure headset mic onstage was for the television special *Medusa: Dare to be Truthful.* Among the headset microphones Shure has manufactured over the years are the WH20, WH30, WCM16 (introduced in 1993), Beta53 and Beta54. The newest of Shure's headset microphones, the MX153, part of the Microflex series, was introduced in 2012. In 1999, Shure introduced the first mic in their KSM Series of premium recording microphones, the KSM32. KSM series microphones feature Class A discrete transformer-less preamplifiers. Ten years later in 2009, Shure acquired Crowley and Tripp Ribbon Microphones from Soundwave Research Laboratories of Ashland, Massachusetts, along with the company's proprietary "Roswellite" ribbon material, and added both ribbon microphones, now rebranded the KSM353 and KSM313, to the KSM series. Shure brought out the SM5 microphone in 1966, intended for broadcasting applications. In 1973, the SM5 was updated and reduced in size to become the SM7, which was widely adopted by television and radio announcers, but occasionally used in recording studios to pick up vocals, horns, guitars or bass drums. Both the SM5 and SM7 were built on the SM57-type Unidyne III element as the core transducer, tailored for lower frequency response. Engineer-producer Bruce Swedien used the SM7 to record Michael Jackson's vocals for *Thriller*. In 1999 the SM7A model appeared with beefed-up shielding against electromagnetic interference (for instance from television CRTs), and in 2001 the SM7B model added a larger windscreen. In 2001–2003, the SM7 was used to record heavy metal vocalist James Hetfield for the Metallica album *St. Anger*, as seen in the documentary *Metallica: Some Kind of Monster*. The SM7B was radically redesigned in 2020, reduced in size and provided with active digital audio circuitry to become the MV7, with both XLR and USB connections. The MV7 swiftly picked up a large share of the podcasting market, and was named the best podcast microphone by *Rolling Stone* magazine in 2021. ### Phonograph cartridges Shure began supplying replacement crystal pickups to various manufacturers in 1933 and by the mid-1940s Shure was the largest supplier of phonograph cartridges in America, supplying record manufacturers like Philco, RCA, Emerson, Magnavox, Admiral, and Motorola. At the peak of Shure's production the company was producing more than 28,000 cartridges per day, with 25,000 produced at Shure's Phoenix plant. While Shure continues to manufacture phono cartridges, the Phoenix facility was closed in the late 1980s due to declining demand. Shure engineers introduced several key phono cartridge design concepts. Chief engineer Ralph Glover discussed the pickup design relationship to record wear in a 1937 article in *Electronics* magazine entitled "A Record-Saving Pickup". Glover developed the "needle-tilt" principle with the assistance of fellow Shure engineer Ben Bauer, and considerations of needle angle, record wear, and fidelity were an integral part of Shure's cartridge designs. In 1966, chief engineer Jim Kogen published a research paper entitled "TRACKability" in *Audio* magazine, defining the concept as the ability of a cartridge to maintain contact with a record groove through any modulation. Shure V-15VxMRShure is credited with several industry firsts. In 1948, the company introduced the 900MG, the first phonograph cartridge capable of playing both long-playing and 78 rpm records, and in 1954, Shure's M12 Dynetic Phono Reproducer tonearm and cartridge set established an industry standard with a tracking force of only one gram. The M1 Studio Dynetic Cartridge introduced the principle of a moving magnet within a stationary coil, an engineering concept that dominated cartridge design for nearly 25 years due to its higher output, lower noise, and greater headroom. The Shure M3D, introduced in 1958, was the first ever stereo moving magnet cartridge, with 20 dB of stereo separation at 20 kHz. Shure has also designed and manufactured cartridges specifically for disc jockeys. Their M35X and Whitelabel cartridges are designed for nightclubs. The M44-7, however, is designed for scratching, which involves playing a vinyl record forward and backward rhythmically. The M44-7 cartridge is renowned for its tracking and skip resistance, which has made it a popular choice of turntablists such as The Invisibl Skratch Piklz. Shure's flagship V15 phonograph cartridge series, with the model name referring to their 15-degree tracking angle, was established for decades as the premier cartridge for low tracking force and high tracking ability. The V-15 series also included several industry firsts: the original V-15 model (introduced in 1964) was the first to feature "trackability", and utilized a symmetrical, bi-radial elliptical stylus. The V-15 Type II (introduced in 1966) was the first computer-designed phono cartridge and the first to feature a flip-action built-in stylus guard. The V-15 Type IV (introduced in 1978) was the first to feature the dynamic stabilizer, which discharged static electricity from the groove and stabilized the cartridge for playback of warped records. The V-15 Type V marked the introduction of a proprietary "ultra-thin wall beryllium" stylus shank with a stiffness-to-mass ratio several times that of other cartridges on the market. In 1998, Sony Music Entertainment selected the Shure V15VxMR to transcribe 80 years of Columbia Records and Sony Music masters and recordings. In 2008, the British *Gramophone* magazine awarded the V-15 an "Audio Choice" designation for outstanding performance and value. Due to the scarcity of the raw materials required to manufacture V-15 cartridges, Shure discontinued the series in 2004, and in June 2009, the last remaining V-15 stock was purchased by the Library of Congress. On May 1, 2018, Shure publicly announced that they would be ceasing production of all phono products, effective Summer 2018. ### Sound reinforcement systems Shure introduced the Vocal Master sound reinforcement system, touted as "the first portable total sound system", at the 1968 winter NAMM Show. The Vocal Master system consisted of a combination of control consoles, speakers, amplifiers, mixers, and microphones. Multiple components and systems could be combined to expand the Vocal Master system to larger sound reinforcement applications. The Vocal Master was at one time the official on-tour sound system for performing acts such as the 5th Dimension and The Carpenters among others. Vocal Master was also utilized for installed sound applications in educational institutions and churches, as well as at the Rockefeller Center's Rainbow Room where it was used for performances by such artists as Benny Goodman and Duke Ellington, and at the London Palladium. ### Mixers and DSP Shure FP33 Field MixerIn 1966, Shure introduced the M68, a portable mixer capable of being battery powered along with available accessories like a carry case and battery power supply specifically designed to address the needs of broadcast journalists and field recording personnel. The following year, the Shure M67 mixer added an illuminated VU meter and a line level output transformer for connecting the mixer to a telephone line. In August 1969, Eddie Kramer recorded the 4-day Woodstock Festival using three Shure M67 mixers. Shure's portable mixer line later included other models such as the M267 and 268. Shure introduced the FP31 mixer in 1983. The FP31 was smaller and lighter than similar products of the time—small enough to hold in the palm of the hand and weighing just 2.2 pounds. This positioned it to complement the one-piece Sony Betacam video camera, which had been widely adopted by remote video broadcast crews. The FP31 could operate up to eight hours on two standard 9-volt batteries, and included two separate microphone/line outputs for two-camera video shoots. Its master section featured an adjustable threshold limiter to prevent overload distortion, and there was a separate microphone/line switch with low-cut filter on each channel. By 1984, just a year after its introduction, the FP31 was being used by ABC, CBS, NBC, Turner Broadcasting System, and was later succeeded by the Shure FP33. In addition, Shure introduced other portable products useful to broadcast remote and field recording, such as FP11 Microphone-To-Line Level amplifier, the FP12 Headphone Bridging amplifier, and the FP22 Headphone amplifier. In 1991, Shure introduced the FP410 automatic mixer, featuring Shure's patented IntelliMix circuitry, which automatically activates special double-element microphones based on the direction of a talker's signal. That same year, the FP410 was recognized with the Technical Achievement Award from the International Television Association for "significantly advancing the state of the art in the field of non-network television". Shure later introduced the SCM810, an 8-in, 1-out automatic microphone mixer that also featured Shure IntelliMix circuitry. Shure also introduced digital signal processing products for this market, beginning with the DFR11EQ digital feedback reducer (introduced in 1996) and the DFR22 2-in, 2-out feedback reduction audio processor. ### Conference Shure introduced the Automatic Microphone System (AMS) in 1983, one of the first automatic, high-quality mixer system using directional gating for installations utilizing multiple microphones. In 1987, Shure SCM810 Automatic Mixer installations begin at the United States Capitol, and by 1997, the US Capitol was one of the largest Shure automatic mixer installations in the world. In 2008, Shure introduced the Microflex microphone line specifically designed for conference room applications. ### Wireless microphone systems Shure manufactures several lines of wireless microphone systems, many of them utilizing microphone capsules from their wired microphones models such as the SM58, SM87, Beta 58, and Beta87A. The systems range in scope from entry-level to high-end systems used for touring and large-scale event applications. In the early 1950s, Shure introduced the Vagabond 88 wireless microphone system. Operating within a copper wire circle either suspended from the ceiling or laid on the floor, the system could transmit within an area of approximately 700 square feet. The system consisted of a low-frequency FM radio transmitter and microphone, utilized five subminiature vacuum tubes, and was powered by two hearing aid batteries. The Vagabond system was expensive and somewhat fragile, but was adopted for use by several Las Vegas venues of the time. Not until 1990 did Shure re-enter the wireless microphone market with the introduction of the L Series. Even before Shure re-entered the wireless microphone market though, concert engineers commonly specified Shure microphone capsules for the wireless microphone systems they were using. Once Shure introduced its own UHF wireless microphone system, which featured wireless versions of several popular Shure microphones, they no longer made capsules available for other manufacturers' systems. This practice encouraged sales of Shure wireless systems and gained Shure market share in the category. Shure's UHF system featured software control and the ability to operate as many as 78 systems simultaneously. On the ULX series (introduced in 2002), they featured the ability to scan for clear wireless channels, sound quality rivaling wired models, a less expensive package, and the ability to operate 40 systems simultaneously. The ULX system was awarded a TEC Award in 2002. In 2005, Shure introduced the SLX series of wireless microphone systems. It featured their patented "audio reference companding", a level-dependent companding protocol that does not compand low-level audio where the wireless artifacts would be more audible. "Audio reference companding" was said to help a wireless system sound more like a wired microphone due to clearer sound, a lower noise floor, and greater dynamic range.[*self-published source?*] In 2005, the SLX series was awarded a TEC Award. The following year, The UHF-R series was introduced with audio reference companding as a main feature and "wireless workbench" software for computer coordination and control of frequency selection, customized settings, and synchronization of multi-system components. The UHF-R series received a TEC award in 2006. In 2011, they introduced their first digital wireless system, the PGX digital series, augmenting the released previously entry-priced PGX series. The PGX digital wireless system transmits 24-bit/48 kHz digital audio and utilizes the 900 MHz frequency band, and is able to operate with up to five systems simultaneously. Like all Shure wireless, it is available with a variety of popular Shure microphone models, or in bodypack configurations for use with lavalier or headset microphones, or connected to an instrument cable. In 2011, Shure previewed Axient, a wireless management network, which includes features for spectrum management, interference detection and avoidance, frequency diversity, remote control (including remote configuration of wireless units via the 2.4 GHz "Zigbee" WPAN IEEE 802.15.4 based "Showlink" protocol) and the use of Li-ion rechargeable batteries to eliminate the use of ordinary AA and AAA batteries. Shure also previewed "Wireless Workbench" software in conjunction with Axient. This was a desktop application for Mac and Windows designed to monitor and control networked Shure wireless systems, as well as provide tools to coordinate and deploy compatible frequencies. Since its initial release, the application has received numerous updates, and is now available to download for free from Shure's website. They started shipping Axient in January 2012 and it has been used in venues and events such as the 2012 Summer Olympics and Paralympics Opening and Closing Ceremonies in London. In 2013, Shure introduced the BLX wireless system to replace the Performance Gear and PGX wireless systems) and the GLX-D wireless system, which operates in the 2.4 GHz frequency band. ### Personal monitors Shure entered the personal monitoring system category in 1997 with the introduction of the PSM 600. In-ear personal monitoring systems enable a performer or public speaker to monitor audio separately from the amplified sound for the audience. Prior to in-ear monitoring, this was usually accomplished by monitor speakers placed on the stage and oriented toward the performer or speaker and away from the audience, and usually with its own separate "monitor mix" of audio. An in-ear monitor system isolates the monitor mix without the interference of other background sounds, and reduces the risk of other complications like feedback. In 2000, the Shure PSM 400 Personal Stereo Monitor system was awarded a TEC Award. Shure introduced the PSM 900 Personal Monitor System at the 2010 Winter NAMM Show. ### Earphones A pair of Shure E2C earphones Shure also offers in-ear monitor-styled earphones as a part of a personal monitor system package or as an independent purchase, as these earphones are also suitable for music listening on portable audio devices such as MP3 players. ### Headphones Shure started offering around-ear headphones in May 2009, and since then expanded their lineup to cater to different listening needs, from basic listening to audiophile-demanding listening. In October 2014, Shure began to offer on-ear, portable headphones in semi-open back and closed back designs. The closed back model is optionally available with an inline microphone and remote to control iOS devices, creating offerings in each of three segments of "Portable", "Studio/Professional", and "Premium/Audiophile" models. Awards ------ * 1943–1946: Army-Navy "E" Award and 3 "E" Stars for excellence in production awarded to Shure * 1990: FP410 recognized with the Technical Achievement Award from the International Television Association for "significantly advancing the state of the art in the field of non-network television". * 2003: Shure Incorporated awarded the National Academy of the Recording Arts and Sciences Technical GRAMMY, awarded to individuals and/or companies that have made outstanding contributions of technical significance to the recording industry * 2004: Shure SM57 microphone inducted to the TECnology Hall of Fame * 2006: Shure was named one of "Chicago's 101 Best and Brightest Companies to Work For." * 2007: Shure SE530 awarded iLounge Best of 2007/Deluxe Earphone of the Year * 2007: Shure SE530 awarded Windows Vista magazine Editor's Choice Award * 2007: Shure SE530 awarded *PC World* magazine "100 Best Products of 2007" * 2008: Shure Unidyne Model 55 microphone inducted to the TECnology Hall of Fame * 2014: IEEE Milestone Award Winner. Unidyne Microphone. World's first unidirectional, single element, dynamic microphone. ### TEC Awards and nominations Shure was nominated for (and won) other TEC Awards: * 1991 + VP88 Stereo MS microphone * 1994 + Beta87 microphone * 1996 + Beta58A microphone (Winner) * 1999 + KSM32 microphone + PSM 600 Personal Monitors * 2000 + PSM700 Personal Stereo Monitor * 2001 + PSM400 Personal Monitors (Winner) + FP24 small format mixer + KSM44 microphone * 2002 + Beta 98H/C microphone + ULX Series Wireless (Winner) + Auxpander sound reinforcement mixer * 2003 + SM86 microphone (Winner) * 2004 TECnology Hall of Fame + SM57 microphone * 2005 + SLX Series Wireless (Winner) * 2006 + E4c Earphones (Winner) + UHF-R Wireless Microphone System (Winner) * 2007 + KSM9 microphone * 2009 + URI-M Micro Bodypack * 2010 + SRH840 pro monitoring headphones + PSM900 Personal Monitor System + Beta 27 microphone * 2012 + Beta 181 microphone + PGX-D Digital Wireless System * 2013 + AXIENT Wireless Systems * 2015 + GLXD6 Guitar Pedal Receiver with Tuner * 2016 + ShurePlus MOTIV Mobile Recording App + MOTIV MV88 iOS Digital Stereo Condenser Mic (winner) + 5575LE Unidyne 75th Anniversary Vocal Microphone (winner) * 2017 + KSM8 Dualdyne Dynamic Microphone (winner) + KSE1500 Electrostatic Earphone System
42°41′23″N 23°19′40″E / 42.68972°N 23.32778°E / 42.68972; 23.32778 The Sveti Sedmochislenitsi Church The **Sveti Sedmochislenitsi Church** (Bulgarian: църква „Свети Седмочисленици") and formerly The **Black Mosque** (Turkish: *Kara Camii*) is a Bulgarian Orthodox church in Sofia, the capital of Bulgaria. The church is named after Cyril and Methodius and their five disciples, known in the Orthodox Church collectively as the *Sedmochislenitsi*. History ------- The Sveti Sedmochislenitsi Church - the main approach. The *Black Mosque* (Bulgarian: Черна джамия, romanized: *Cherna dzhamiya*; Turkish: *Kara Camii*) was completed around the year 1547. The mosque was commissioned by Sofu Mehmed Pasha, former governor-general of Rumelia, to Mimar Sinan. By the time of the inauguration of the mosque, Sofu Mehmed Pasha has raised to the rank of vizier. It was constructed at the place of a former nunnery of the Rila Monastery and an Early Christian temple from the 4th-5th century, the ruins of which were excavated in 1901. An even older construction, a pagan temple of Asclepius from Roman Serdica, was also discovered in the mosque's foundations. The mosque received its more popular name, the Black Mosque, after the dark granite from which its minaret was made. The minaret collapsed during an earthquake in the 19th century and the mosque was abandoned by the Ottomans after the Liberation of Bulgaria in 1878 to become used as a military warehouse and prison. The architect who suggested the conversion of the once Ottoman mosque into a Christian church was the Russian Alexander Pomerantsev, responsible for the Upper Trade Rows on Red Square, among other buildings. The Bulgarian architects Yordan Milanov and Petko Momchilov designed the dome, the narthex and the bell tower in a traditional Bulgarian style, inspired by the movement of Romanticism. Only the central hall and the dome of the former mosque were preserved, with four oval bays, a narthex and an altar section being added. The construction works took a year, between 27 May 1901 and 6 May 1902, but the complete inner decoration did not finish until 1996. Young artists painted the icons and among the first donors were Tsar Ferdinand (recognized as the primary church donor in 1905) and Ivan Evstratiev Geshov. Famous Bulgarian statesman Petko Karavelov also contributed significantly to the church's construction and was buried nearby in January 1903. Architecture ------------ Sveti Sedmochislenitsi at night The 25 m-long mosque had a square shape and a large lead-covered dome. The mosque was also known as the *İmaret Mosque* after the *imaret*, a kitchen for the poor located in the vicinity, the ruins of which were found in 1912. A madrasah, a Muslim religious school, was located in what is now the small garden between the modern church and the Count Ignatiev School. The madrasah was later used as a prison after the Liberation of Bulgaria. Other Ottoman constructions nearby included a caravanserai and a hammam. The large candlesticks in front of the altar were cast in 1903 from obsolete police badges from Eastern Rumelia and the Principality of Bulgaria (i.e. before the Unification in 1885). An electric clock, still in use, was created by the noted watchmaker Georgi Hadzhinikolov and fit to the western façade in the 1930s. The small garden and the square close to the church were also built in the period. In the grounds of the Sveti Sedmochislenitsi is buried alongside his wife **Petko Stoichev Karavelov** (Bulgarian: Петко Каравелов) (24 March 1843 – 24 January 1903) a leading Bulgarian liberal politician, who served as Prime Minister on four occasions.
Military unit The **Mountain Leader Training Cadre** is a training element of the United Kingdom's Royal Marines which provides instruction in mountain warfare, arctic warfare, cold weather survival and operations, and cliff assault. The cadre has a permanent staff of mountain and arctic warfare instructors and trains mountain leaders for employment in the formations of the corps. The cadre is part of the Mountain Leader and ISTAR Company within Specialist Wing of the Commando Training Centre Royal Marines and is based in Lympstone. History ------- During the 1950s the Royal Marine **Cliff Assault Wing** was formed to train marines in rock climbing and cliff assault techniques. Elite training of Cliff Leaders in the late 1950s required rocky landings from various small craft (kayaks, Zodiacs and other motorized assault craft) often in heavy seas onto the Cornish coast, and rapid tactical ascents and descent of the vertical faces. This skill set was necessary for exposing all trainees during the last week of the commando (green beret) course. Instructors publicly demonstrated (e.g. at Navy Days) commando methods of abseiling and high-speed fixed rope descent from clifftop grapple-hook anchors. These would typically include the 'run-down' method (a simple face down arm wrap, sometimes demonstrated on high urban buildings, and essential when carrying small arms) and the 'front swallow' and other dangerous slides down a fixed rope. These demonstrations were discontinued after Captain Antony Easterbrook, a 31-year-old member of the Cadre, fell to his death during a display in Madison Square Garden in 1960. The Cliff Assault Wing became the **Cliff Assault Troop** in 1962, the **Reconnaissance Leader Troop** in 1965 and the **Mountain And Arctic Warfare Cadre** in 1970. It moved to Stonehouse Barracks at that time. The Mountain and Arctic Warfare Cadre featured in the 1985 BBC Television documentary series *Behind the Lines*. The series followed the progress of 25 prospective members of the cadre as they endure survival training on a Hebridean island (Islay) and Arctic conditions in Norway. The cadre was renamed the **Mountain Leader Training Cadre** in the early 1990s. Courses ------- ML1 is open only to Royal Marines who have completed Senior Command Course. Training similarly takes 8 months, with candidates instructing ML2 training under supervision before being assessed by experienced trainers instructing in regular units. ML2 is open to Subalterns and Other Ranks who have completed Junior Command Course. The course is 8 months long and takes place over the autumn and winter months in the United Kingdom and Norway. Training includes rock climbing, survival, Resistance to Interrogation (RTI), patrolling and raiding, snow and ice climbing and cold weather survival. ML3 is a 9-week course open to all levels, these individuals go on to serve in the Commando Unit Recce Troops, Brigade Patrol Troop, HMS *Protector* and Special Forces Support Group.
American baseball executive **William DeVaughn Lucas** (January 25, 1936 – May 5, 1979) was an American professional baseball infielder who became the first African-American general manager in Major League Baseball (MLB) with the Atlanta Braves from mid-September 1976 until his death in early May 1979. A member of the Braves' organization for 23 years, he was inducted into the Ivan Allen Jr. Braves Museum and Hall of Fame in 2006. Biography --------- Lucas was born in Jacksonville, Florida. A graduate of Florida A&M University, he signed as an infielder with the Milwaukee Braves in 1957 and played in the Class C California League. He then served two years as an officer in the United States Army. Lucas returned to the Braves' farm system in 1960, reached the Triple-A level with the Denver Bears of the Pacific Coast League in 1963, and finished his minor league career with the Austin Senators of the Double-A Texas League in 1964. Overall, Lucas played professionally for six seasons, batting .273 in 655 games. Lucas joined the Braves' front office in 1965, working in sales and promotions during the team's relocation to Atlanta before he switched to the player development department in 1967. Lucas was named the director of the Braves' farm system in 1972 and promoted to GM responsibilities on September 17, 1976. At the time, the Braves were in last place in the National League West Division, 30+1⁄2 games behind the division leader. Owner Ted Turner gave Lucas, whose official title was vice president of player personnel, all the duties of a general manager, while Turner kept the official title himself. With players like Dale Murphy coming up through Lucas' minor league system, and the selection of Bob Horner as the top pick in the 1978 MLB draft, the Braves began assembling the team that would win the 1982 division title. The job of rebuilding the Braves was compounded by Turner's tempestuous behavior. On May 11, 1977, the owner appointed himself the Braves' field manager during a losing streak. Turner's dugout reign drew national headlines but lasted only one day before the president of the National League ruled that Turner, as an owner, could not appoint himself manager. Starting in 1978, Lucas found himself caught between Turner and players like rookie Horner and veteran pitcher Phil Niekro, a future Hall of Famer, during contentious contract negotiations. On the evening of May 1, 1979, with the Braves on the road facing the Pittsburgh Pirates at Three Rivers Stadium, Lucas watched on television from his Atlanta home as Niekro won his 200th major league game, 5–2. Hours after congratulating Niekro by phone, Lucas was stricken with cardiac arrest and a massive cerebral hemorrhage. He died three days later without regaining consciousness at age 43. At his passing, he was still the highest-ranking black executive in professional baseball. Said Murphy at Lucas' funeral, "Bill's dream was for this organization to become a success. It is our sacred honor to be chosen to fulfill his dream." Lucas' widow, Rubye, later served on the board of directors of the Turner Broadcasting System and as president of the William D. Lucas Fund, which helps send young baseball players to college. Lucas' sister, Barbara, was the former wife of Hall of Fame inductee Hank Aaron; the two were married from 1953 to 1971. Further reading --------------- * Bowman, Mark (April 24, 2006). "Braves to induct two into Hall of Fame". *MLB.com*.
Fossil site in Missouri The **Chronister Dinosaur Site** is a fossil site within the McNairy Sand Member of the Ripley Formation, Missouri. Dinosaur fossils are among the known remains from the Chronister Dinosaur Site, most of which are housed in Washington, D.C.'s Smithsonian Institution. History ------- The site was discovered in Spring 1942 by the Chronister family, possibly by Lulu Chronister, while they were digging a cistern within the site, which is located in Glen Allen, and the first fossils identified from the site were subsequently collected by Dan R. Stewart, later nicknamed "Dinosaur Dan." In 1942, Stewart, of the Missouri Geological Survey, had been examining clay near Glen Allen when he came upon a boy who led him to the family at work digging. According to Stewart, property owner Lulu Chronister had found several "unusual" bones while digging and had saved them. They had been found about 8 feet (2.4 m) deep in the Chronisters' well, which had an overall depth of 24 feet (7.3 m), "imbedded in a black plastic clay." Stewart reported his discovery to the Smithsonian Institution, which bought the remains, specimen USNM V16735, consisting of thirteen caudal vertebrae, from Chronister for US$50, which was later used to purchase a cow. Two other bones, of unknown type, were also recovered from the site, while one additional vertebrae had been given by Lulu Chronister to a friend. At the Smithsonian, the bones were analyzed but the species from which they originated was incorrectly identified. They were later placed in the genus *Parrosaurus*. Excavations at the Chronister Dinosaur Site in 2006 The Chronister Dinosaur Site was untouched by paleontologists until the late 1970s, when excavations were restarted by Bruce L. Stinchcomb. New remains of *Parrosaurus*, including dental remains and part of a jaw, were found, and remains of other dinosaurs, fish, turtles, and plants have also been found, including teeth belonging to a member of the Tyrannosauroidea. In the 1980s, test excavations were performed at the site by Bruce L. Stinchcomb, David Parris, and Barbara Grandstaff, leading them to conclude that *Parrosaurus* was actually a hadrosauroid rather than a sauropod. Excavations halted after a severe ice storm destroyed the greenhouse structure protecting the site in 2009, and excavations resumed in 2017 as funded by the Field Museum in Chicago. Jetton, then Speaker of the Missouri House of Representatives, mentioned that he hoped the Chronister Dinosaur Site would become part of a state park one day. Currently, excavation is being conducted by the Missouri Ozark Dinosaur Project. The site has been covered to prevent water from flowing over dig material. The Chronister dig site near Glen Allen, currently under private ownership by Stinchcomb, who purchased the site from the Chronister family in the early 1980s. Geology ------- One paleontologist from St. Louis currently working at the dig site said it was "pretty much a miracle" that dinosaur bones were found in Missouri, because the state's soft soil has resulted in the deterioration of most prehistoric remains. However, some of the remains found have been damaged by erosion and other processes. While much of Missouri lies upon rocks from the Paleozoic or Precambrian eras, the Chronister site is situated over Mesozoic rock. Stewart, who found the bones after being assigned to study the origins of clay in the southeastern portion of the Ozarks, was able to conclude that part of the region lies upon deposits from the Upper Cretaceous period, although much of the sediment from that time period has eroded away. The Chronister family dug the well (which they ultimately abandoned after it was unable to provide enough water) just southwest of their farmhouse, atop a body of limestone. The farmhouse was located near the bottom of a steep valley, sitting atop the remains of a terrace. The layer of clay in which the bones were found was described by Stewart as being 9 feet (2.7 m) thick, situated below 7 feet (2.1 m) of yellow-brown clay and gravel at the surface, and above a dense mass of limestone. Though this deposit is late Cretaceous in age, several varieties of Paleozoic sediments were found associated with the bone-bearing clays; material from the middle Ordovician Plattin and Kimmswick Limestones, late Ordovician Maquoketa Formation, early Silurian Bainbridge Group limestones, as well as early Devonian Bailey Formation limestones have all been recognized by geologists studying the deposit. These sediments are similar both in composition and age to the sediments found in both the Marble Hill and Glen Allen structures and are, most likely, tectonically related. Late Cretaceous leaf impressions have been found in laminated Cretaceous clays in the Marble Hill structure, but no vertebrate material has been recovered. Paleofauna ---------- Chronister Dinosaur Site Fauna| Class | Order | Family | Genus | Species | | --- | --- | --- | --- | --- | | Chondrichthyes | Hybodontoidea | Hybodontidae | *Lissodus* | sp. | | Batoidea | unknown | unknown | unknown | | Osteichthyes | Semionotoidea | Lepisosteidae | *Lepisosteus* | sp. | | Amioidea | Amiidae | *Platacodon* | *nanus* | | Reptilia | Chelonia | Dermatemydidae | *Naomichelys* | *speciosa* | | Trionychidae | *Trionyx* | sp. | | Crocodylia | Crocodylidae | *Leidyosuchus* | sp. | | Saurischia | Ornithomimidae | unknown | umknown | | Tyrannosauridae | unknown | unknown | | Dromaeosauridae | unknown | unknown | | Ornithopoda | Hadrosauroidea | *Parrosaurus* | *missouriensis* | Paleogeography -------------- The variety of faunal remnants found at the Chronister site suggest that a large body of water once existed close to the area. Previous interpretations of the site concluded the site to be a minor deposit of clay in a sinkhole; however, aquatic taxa recovered from the deposit, such as the turtle *Trionyx,* suggest a coastal plain lacustrine environment.
***Splendor*** is a young adult novel by Anna Godbersen in The Luxe series. The book is the fourth and final book in the series, and was published on October 27, 2009. A spring turns into summer, Elizabeth relishes her new role as a young wife, while her sister, Diana, searches for adventure abroad. But when a surprising clue about their father's death comes to light, the Holland girls wonder at what cost a life of splendor comes. Carolina Broad, society's newest darling, fans a flame from her past, oblivious to how it might burn her future. Penelope Schoonmaker is finally Manhattan royalty—but when a real prince visits the city, she covets a title that comes with a crown. Her husband, Henry, bravely went to war, only to discover that his father's rule extends well beyond New York's shores and that fighting for love may prove a losing battle. In the dramatic conclusion to the bestselling Luxe series, New York's most dazzling socialites chase dreams, cling to promises, and tempt fate. Plot Synopsis ------------- **Elizabeth Holland** Elizabeth Holland is enjoying her role as Snowden Cairn's wife when she discovers a mysterious note delivered to Mr. Cairns by a menacing yet familiar stranger. The note is linked to her father's death. It is soon revealed that Edward Holland secured the lot for in which Will and Elizabeth lived in during their short time in the West for Will (It is never revealed why Mr. Holland did this but Elizabeth suspects that he knew about their (Elizabeth and Will's) relationship). She confronts Snowden about the note and realizes he killed Mr. Holland in the Klondike, had Will Keller killed and married Elizabeth to gain control of the lot. Seeing that he is found out, Cairns covers Elizabeth's mouth with some fluid and heavily sedates her on a regular basis. When Teddy Cutting visits Elizabeth, she tries to call out 'help' to him, but she is quickly sedated by Cairns. One night, she manages to leave the confines of her room and as she goes down the stairs, she spots Cairns in the stairwell. He moves to attack her but she pushes him off the stairs to his death. The next day, some police officials arrive at the Cairns' home to investigate Snowden's death. Teddy arrives as Elizabeth is on the verge of confessing to the murder and he tells the officials that Snowden simply fell from the stairs. One of the policemen is the man who delivered the note and Elizabeth realizes why he was so familiar: he was one of the policemen who gunned down Will. She threatens to expose him unless he leaves her be. The man agrees and departs. Teddy returns Elizabeth to her home and she tells him the whole story of her and Will. Both of them declare their feelings for each other and share a kiss. Elizabeth asks Teddy to name her child, whether boy or girl, Keller Cutting. **Diana Holland** Diana Holland is in Cuba, having been rejected by the army because she was a girl. She still has short hair (which she previously cut short in *Envy*) and has put out a fake story of her going to a finishing school in Paris. She is working in a bar and is reunited with her one true love, Henry Schoonmaker. After embarking on an adventure in the rain, they both return to Henry's barracks and sleep together. The next morning, both of them awaken to find Henry's superior, Colonel Cooper, in the room. The Colonel recognizes Diana as the society girl in the pages who was supposed to be in Paris. Fearing for his career, Cooper sends the two lovers back to New York. Diana is punished by her mother for leaving them and makes Edith Holland her chaperone. Her mother also wants Elizabeth to give Diana proper scolding. Diana also finds out that Penelope has been in the company of the visiting Prince of Bavaria and gives the newspaper small pieces about them to spite Penelope. When she goes to Elizabeth's new home, Elizabeth tells Diana to leave New York with Henry for they will never be together in the city. Diana proposes the plan to Henry and he agrees. Henry publicly reveals his plans with Diana to his father and his father has a heart attack. William Schoonmaker's death delays Henry and Diana's plans to elope and what Henry said to his father is spread throughout New York. As Diana is attending Schoonmaker Sr.'s funeral, most of the guests are looking at her and gossiping about her. Henry later goes to the Hollands' residence and tells Diana that he has inherited his father's estate and he wishes to marry her. Diana is overwhelmed and runs away from him. She writes Henry a note telling him that she will wait for him at the port so that they can go to Paris together. Henry receives the note a day late and he races to the port. He manages to catch Diana, tells her how much he loves her and proposes to her. Diana is overjoyed and accepts the proposal but is dismayed when Henry says they can stay here. She tells him that she wasn't threatening to leave New York because he didn't romantically propose to her but because she doesn't want to dine and see the people who think she is a tramp again and again. She finally says she wants to go to Paris. Henry says he will go wherever she goes but Diana says that he belongs in New York. She assures him that he will fall in love again and she will remember him forever as her first real love. They kiss passionately for the last time and she leaves on a boat for Paris. **Penelope Schoonmaker (née Hayes)** Society is wondering why Penelope is out and about while her husband is at war and why she has recovered quickly from her 'miscarriage'. Penelope is at a party in Carolina Broad's home when she sees the Prince of Bavaria. She notes that both of them have so much in common and goes to dance with him. Many of the guests are scandalized because she had the nerve to dance with him. The Prince seems to be attracted to her and regularly sends her flowers. As a result, Penelope becomes increasingly infatuated with the Prince. When Henry returns, she continues to torment him with her knowledge of his and Diana's relationship. At a party, she threatens Henry once more to reveal the relationship to the public and Henry leaves her to go to his father. Penelope is quickly distracted by the arrival of the Prince and they dance again. The two go to a deserted corridor and kiss. But the prince seems to treat her as a trophy girlfriend because he kisses her roughly, as if he desires her body more than her, herself. Penelope dismisses this and continues to chase after him anyway. After William Schoonmaker's funeral, she and the prince have a one-night stand in his hotel room. Henry wishes to divorce Penelope and she pays it no mind. She sends all of her things to her former home on Fifth Avenue and goes back to the hotel where the prince is staying at. She is informed by the hotel's staff that the prince left earlier that day for Bavaria. Outraged, Penelope begins to collapse and is humiliated when she hears one of the society ladies say 'the fallen Mrs. Schoonmaker'. She returns home in self-pity and humiliation but is surprised to find Henry there. She asks Henry why he is still there and Henry says Diana left without him. She becomes surprisingly sympathetic and comforts him. Henry asks her where the prince is and she tells him the prince used her. Henry remarks that they both made a mess of everything, which is why they deserve each other. Penelope agrees and they both drink to broken hearts. **Henry Schoonmaker** New York is under the impression Henry is off at war being a hero but he is actually in Cuba. His father had him stationed there because the place was isolated from the war and the place had minimal problems. Henry spends his days as a 'soldier' yachting with his superior, Colonel Cooper, whom he thinks is a blundering idiot. He is reunited with Diana Holland, his great love in a bar where Diana works. After embarking on a rainy day adventure, they return to his barracks and sleep together. Colonel Cooper recognizes Diana and has them both sent back to New York, fearing retribution from Henry's father. Upon his return, he is greeted as a war hero by society. He is disgusted that his father put out an image of him being a war hero while he was off in Cuba not having the military experience. His wife, Penelope threatens to make his and Diana's relationship public. Henry knows that Penelope is just incensed because his arrival claimed all of her attention. Diana tells Henry she wants to come away with him in order for them to be together. Henry finally summons up his courage to stand up to his father. At a party, he is again threatened by Penelope but he dismisses this and tells her he wants to divorce her. When the prince arrives, he notices her distraction and goes off to his father. He finds him and tells him everything about his and Diana's relationship and that they are going to elope. Henry also tells his father what he thinks of his false public image and all the lies his father made. Schoonmaker Sr. is severely shocked and collapses. He later dies of a heart attack. Witnesses to Henry's declaration spread the story and society looks down on Diana. After the funeral, his father's will is read and states that the whole estate belongs to Henry. Henry goes to Diana to tell her that he has inherited his father's fortune and that he wants to marry her. Henry is dismayed when Diana runs away from him. He receives her note a day late but still manages to catch her. He proposes to her and an ecstatic Diana accepts. But when he says they will stay in New York, she returns the ring to him saying she cannot live like this in New York. She wants to go to Paris and Henry says he will go too. But she says that Henry belongs in New York and that he will fall in love again one day. She also tells him he will always be her first love. Before Henry can object, the boat starts to leave. He and Diana have one last kiss and she tells him goodbye. Henry returns home resigned and miserable. He finds Penelope in the same state and they comfort each other. At the end of the novel, they both drink to broken hearts. **Carolina Broad (Lina Broud)** Carolina is society's darling and is enjoying a life she once thought impossible. She is in love with Leland Bouchard, a wealthy man who lives down the street. Although she is living in pure bliss, there is a threat to her glamorous life: Tristan, a former Lord & Taylor salesman who still has feelings for her. He tells her he is unhappy that she gets everything she wants while he remains empty handed. He reminds Carolina that were it not for him, she would never be where is she is now. He also threatens to expose her true origins to the public unless he is paid handsomely for what her did for her. Even after Carolina pays him, he still stalks her wherever she goes, especially when she is in the company of Leland Bouchard. As she is about to be exposed by Tristan, she dismisses him and Leland warns him never to come near her again. Carolina accidentally confesses her feelings to Leland and he says that he feels the same way. He invites her to meet his family and she nervously agrees. When she meets the Bouchard family, they love her instantly. Leland arrives late and proposes to Carolina in front of his family. Wedding plans are made and Carolina invites her sister Claire to the wedding. On the day of the wedding, Tristan visits her again and threatens her. Leland bursts into the room and begins to beat Tristan. When he is about to give the final blow, Carolina screams for him to let Tristan go. Tristan leaves and Leland demands to know why Tristan is following them. She tells him the whole story and Leland leaves. Afterwards, the wedding is cancelled. Leland returns and tells her what he thinks. He does not care whether she was a maid or not, but he was angered when he knew she lied to him about being an only child and that she didn't know Tristan. He tells her that he needs to be away from her for a while. Carolina is hurt and begs him to stay, saying she loves him. Leland responds by saying ' And I *loved'*you' Word gets around that Carolina is not what everyone thought she was. One paper describes her act as *the beginning of an age of wealth without class*. She is devastated by the turn of events and Leland's departure and isolates herself in her home. Claire goes to her sister's home, hoping to comfort Carolina. But the sight of Claire makes Carolina even more ashamed because she had asked Claire to attend the wedding as a maid. Claire comforts Carolina and tells her that she cannot let what people think get in her way. She also says that the paper said that Carolina's act, although deceitful, would be the beginning of the future. Carolina brightens a bit at this. Her and Claire become the new social elites and the beginning of a new era.
**Małgorzata Mirga-Tas** (born 1978) is an international artist, sculptor, painter, activist, feminist and educator, of Romani-Polish origin, winner of the Paszport Polityki Polish art award. In 2022 Mirga-Tas represented Poland at the 59th Venice Biennale as part of the "Milk of Dreams" exhibition, where she was the first Roman artist to represent any country at this art event. Biography --------- Mirga-Tas was born in 1978 in Zakopane, Poland. She is a Romani by origin, a member of the Bargitka. She graduated from the Academy of Arts in Krakow in 2004. Mirga-Tas lives and works in Czarna Góra, a Romani village at the foot of the Tatra Mountains. ### Work She started her career as a cardboard sculptor. She developed a unique method of using cardboard, glue and different materials in order to sculpt animal and human figures. Later she sculpted figures of people from wax. After that, she moved on to painting with paint on cardboard, and later on in paint on canvas. Her current works are created in mixed media technique. Her works are characterized by strong colors, she uses different materials such as textile, fur, beads, feathers and even playing cards in order to give a three-dimensional touch to her work. In her work she is influenced by the Harlem Renaissance movement of the 1920s and 1930s, as well as colorful African art and the African-American artist Kerry James Marshall. Her work, despite its strong colors, depict a very realistic reality: a woman smoking a cigarette, playing cards, hanging laundry. One of her most famous works is a sculpture from 2011 commemorating the Holocaust of the Romani people, located in Bozenczyn Dolny, Poland. In her early works, she described the transition in the 1960s and 1970s of the Romani people from a nomadic life to a permanent settlement in villages and cities. Her exhibition "Out of Egypt" (2021) at the Arsenal Gallery in Bialystok is about the life of the Romani people in the 17th century, a nomadic life before settling in permanent settlements. Catalogue of the exhibition of Mirga-Tas' "Re-enchanting the World" at the Venice Biennale, 2022 As an activist, while still a student at the university, she dealt with education and training for young Romani in Poland. In 2007, together with Bogumiła Delimata and Krzysztof Gil, she founded the Romani art movement in Poland. Between 2012–2016, she initiated an open artists' village for female artists of Romani origin. In 2017 she was involved in the establishment of ERIAC, a Romani art center in Berlin. She had exhibitions at the 11th Biennale in Berlin (2020), at the Center for Polish Sculpture in Orońsko (2020), at the Museum of Modern Art in Warsaw (2020). The series "Wyjście z Egiptu" (Out of Egypt, 2021) depicting the life of the Gypsies in the 17th century was presented in 2021 at the Arsenal Gallery in Bialystok. ### Re-Enchanting the World In 2022 Mirga-Tas represented Poland at the 59th Venice Biennale as part of the "Milk of Dreams" exhibition, where she was the first Romani artist to represent any country at this art event. The solo exhibition was entitled "Re-Enchanting the World". The installation consisted of twelve large-format, three-part fabrics referring to the famous "calendar" cycle of frescoes from Palazzo Schifanoia in Ferrara. Paintings depicting the Olympian gods, zodiac signs and scenes from the life of the court in Ferrara, which are fundamental to European art history, were used by the artist to talk about the specific Polish-Roma identity. The artist prepared reinterpretations of these images and motifs by including elements of Polish-Roma culture and "disenchanting" stereotypical narratives about the Roma. The work of Małgorzata Mirga-Tas was an attempt to expand the Polish and European iconosphere and art history to include representations of Roma culture. The artist created a world constantly subjected to "conversion", which became a kind of shelter offering hope and respite for the recipients. Most of the materials and textiles used by Małgorzata Mirga-Tas come from people the artist knows and sometimes portrays in her works. The work also used clothes from second-hand stores, which - as the artist noted - were probably produced in India or China and then came to Poland. Upcycling these fabrics and using found objects such as playing cards, pins and earrings adds another layer to the work. In addition to the exhibition, a catalog was created in Polish and English. It included texts by the curators and essays by invited writers - Ali Smith and Damian Le Bas, scholar Ethel Brooks, as well as poems by Teresa Mirga and Jan Mirga. In 2023 she presented a solo exhibition at the Zachęta national gallery of art in Warsaw, Poland. She presented another solo exhibition at the Brücke Museum in Berlin, Germany.
**Lahlou** (in Arabic: الحلو) is a surname designating one of the great Moroccan families of the old medina of Fez, it is considered, alongside other **ancient families of Fez**, as the first elite of Morocco. There are branches of the family mainly today in Casablanca or Rabat such as the Lahlou Mimi, Lahlou Nabil, Lahlou Amine or Al-Lahlou. However, some rare branches of the family can be found in Spain such as the Lahlou Torres or even in Algeria and Tunisia. Family origins -------------- There are many possible origins for the Lahlou family, which seem very different, indeed this family could be of European origin, from Andalusia like many other families from Fez, but a Berber or Middle Eastern origin is also possible. ### Andalusian origins One of the most probable origins is the arrival of the Lahlou from Andalusia, from Cordoba more precisely, their ancestors from Christian confession or Jewish were converted to Islam during the Muslim conquest of Spain, there are also two small branches of this family, one of the Christian faith living in Spain and the other Jewish, living mainly in Israel. The Lahlou would have settled in Fez during the 15th century following the end of the reconquista. ### Arabic origins One of the "legendary" origins often advocated by the Lahlou is an origin dating to the 7th century in Medina in Arabia. The founder of the family was a muezzin belonging to the tribe of Ibn Al-Marara (Arabic: ابن المرارة) which can be translated as a child of bitterness, seduced by his sweet voice Muhammad called out to him and on learning the name of his tribe renamed him Lahlou son of Lahlou until the last judgment (in Arabic: "حلو ابن حلو حتى يوم القيامة"), the Lahlou means "sweet" in Arabic and opposes the name of the tribe. Although this origin is strongly questioned, it can nevertheless testify to a possible origin of this family in Arabia . ### Wattasid origins This possible origin defends a membership in the Wattasid Dynasty. Ranked among the Berbers of Zenata, of the Beni Merine branch, they would be according to another version provided by the historiographer Adelouahab Benmansour, from the Sanhajian clan of Lemtouna, a descendant of the great chief Almoravid Yusuf ibn Tashfin. At the advent of the Almohades, one of their ancestors would have joined the Merinids in the Zab (southern Algeria and Tunisia). The vizier Yahya ben Yahya Wattassi is said to have achieved such power that the Merinid sultan Abd-el-Haqq Merini had him imprisoned and murdered his entire family except for the vizier's two brothers, Mohamed Lahlou and Mohamed Cheïkh, who fled into the desert. When the latter founded the Wattasids dynasty, he called on his brother to take on the duties of vizier, he is also the eponymous ancestor of the Lahlou family. History of the family --------------------- Restaurant Palais Lahlou in Fez, former riad converted into a restaurant The Lahlous like many other families of Fez were a family of merchants or scholars, inhabitants of the old medina of the city, certainly concentrated in Fes el-Bali or Fes Jdid, several branches of the family were already distinct in the 19th century. Towards the end of the 19th century and beginning of the 20th most of the family members migrated to Casablanca and Rabat which respectively became the economic capital and the capital politics of Morocco, they were found mainly in the old medinas of the two cities, where they continued to work mainly as merchants. Today the Lahlou are one of the most numerous families in Morocco, concentrated mainly in Casablanca and Rabat, they are today still very present in the high administration as in the business world. Some famous Lahlou ------------------ * Benyounés Lahlou, Moroccan runner * Latif Lahlou, Moroccan filmmaker * Leila Lahlou, Moroccan writer * Nabil Lahlou, Moroccan theatre director, actor, and author * Saadi Lahlou, social psychologist
Danish artist (born 1980) **Jane Jin Kaisen** (born May 28, 1980) is a visual artist and filmmaker based in Copenhagen, Denmark. Biography --------- Kaisen was born in Jeju Island, South Korea and adopted to Denmark in 1980. She is Professor of Media Arts at The Royal Danish Academy of Fine Arts. She received her Ph.D. from University of Copenhagen, her MA in Media Art and Art Theory from The Royal Danish Academy of Fine Arts and an MFA in Interdisciplinary Studio Art from The University of California Los Angeles. She also participated in The Whitney Independent Study Program.[] Working with video installation, experimental film, photographic installation, performance, and text, Kaisen's artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where subjective experience and embodied knowledge intersect with larger political histories. Her works negotiate and mediate the means of representation, resistance and reconciliation, thus forming alternative genealogies and sites of collective emergence.[] She represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) alongside artists Hwayeon Nam and siren eun young jeong in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim.[] Her narrative experimental film *The Woman, The Orphan, and The Tiger* (2010) made in collaboration with Guston Sondin-Kung explores the gendered effects of war and militarism by tracing a genealogy between three generations of women. In 2011 Jane Jin Kaisen began the multi-channel video installation *Reiterations of Dissent* for which she was awarded the Montana ENTERPRIZE. The piece has been exhibited widely and in multiple formats, among others at Asia Culture Center (KR), Leeum, Samsung Museum of Art (KR), Aarhus Kunstbygning (DK), Kunsthallen Brandts (DK), Sonoma County Museum (USA), and The Jeju April 3 Peace Park (KR).[] Jane Jin Kaisen is the co-founder of the artist unit itinerant with Guston Sondin Kung and together they have organized and curated a series of art exhibitions and events. She is also co-founder of the artist groups UFOlab (Unidentified Foreign Object Laboratory) with Anna Jin Hwa Borstam, Charlotte Kim Boed, Jette Hye Jin Mortensen and Trine Meesook Gleerup) as well as the artist group Orientity along with Natsue Haji OH, Kimura byol-nathalie lemoine, Adel KsK, Raymond Hahn, Naomi K. Long. The artist group Orientity has exhibited together in Kyoto Art Center (2004), in Hong Kong at Fringe Club (2005), in Montreal at Galerie La Centrale (2007), in Grenoble at la Maison Internationale (2008), in Lille at Maison Folies (2009) and at Art Space C, Jeju Korea (2021).[] Jane Jin Kaisen has also curated exhibitions and events. She was a curator of the 10th Open International Performance Art Festival in 2009 in Beijing, China, which included performance artists from many different countries. Selected solo exhibitions ------------------------- 2021 Community of Parting, Art Sonje Center, Korea Parallax Conjunctures, Museum of Contemporary Art Detroit, Detroit, United States 2020 Of Specters or Returns, Gallery damdam, Korean Cultural Center, Germany Community of Parting, Kunsthal Charlottenborg, Copenhagen, Denmark 2019 The Woman, The Orphan, and The Tiger, Seoul International New Media Festival, Korea Of Specters – or Returns, Inter Arts Center, Sweden 2015 Of Specters – or Returns, Astrid Noack's Atelier, Copenhagen, Denmark Sites of Translation, Yonsei University, Underwood International College, Korea Loving Belinda, Galleri Image, Aarhus, Denmark 2013 Jane Jin Kaisen – Reiterations of Dissent, Jeju April 3 Peace Park, Korea Jane Jin Kaisen – Solo Exhibition, Art Space C, Korea Revolution is not a Bird's Ete View... Officin, Copenhagen, Denmark 2012 Dissident Translations, Kunsthal Aarhus, Aarhus, Denmark 2011 The Woman, The Orphan, and the Tiger w. Guston Sondin-Kung, Vox Populi Gallery, USA Selected group exhibitions and film screenings ---------------------------------------------- 2021 After Hope – Voices of Resistance, The Asian Art Museum of San Francisco, United States 2020 Pan Austro-Nesian, Kaohsiung Museum of Fine Art, Taiwan Frequencies of Tradition, Times Art Museum, China Negotiating Borders, Foundation Fiminco, France Community of Parting, DMZ International Documentary Film Festival, Korea Community of Parting, 8th Diaspora Film Festival, Korea Our World is Burning, Palais de Tokyo, France Born, A Woman, Suwon Museum of Art, Korea Time Share, Performa Radical Broadcast, United States History Has Failed Us, but No Matter, Arko Art Center, Korea Screening of Community of Parting co-presented with GYOPO, Museum of Contemporary Art Los Angeles, United States Precarious Life – Silence, Memory and Fictions, Onsugonggan, South Korea 2019 History Has Failed Us, But No Matter, 58th Venice Biennale Korean Pavilion, Italy Neither black/red/yellow nor woman, Times Art Center Berlin, Germany Screening of Tale of One or Many Mountains, DMZ International Documentary Film Festival, Korea Zero Gravity World, SeMA Nam Seoul Museum of Art, South Korea 2018 Counter Memory & Reconstruction of Body Movement, Seoul International NewMedia Festival, Seoul Art Cinema, South Korea 10th DMZ International Documentary Film Festival, South Korea Decolonizing Appearance, CAMP / Center for Art on Migration Politics, Copenhagen, Denmark Film screening as part of Haegue Yang's exhibition Voices of Dispersion, Museum Ludwig, Cologne, Germany Jeju 4.3 is Now Our History, National Museum of Contemporary Korean History, South Korea Post Trauma: The Special Exhibition of the 70th Anniversary of the Jeju Massacre, Jeju Museum of Art, South Korea Forged from the Collective Memory, ArtSpace C / Artspace IAa Gallery, South Korea Forum Expanded: A Mechanism Capable of Changing itself, 68th Berlin International Film Festival 2017 Border 155, Seoul Museum of Art, South Korea Today's Yesterday, 1st Anren Biennale, China, Today's Yesterday Does Europe Exist? V2.0, ARTos Foundation, Cyprus Tiempos Migratorios, Biennial ASAB, Columbia The Promise and Compromise of Translation, Four Boxes Gallery, Denmark Tourism, Jeju Biennale, Jeju Museum of Art, South Korea Asian Diva: The Muse and the Monster, Seoul Museum of Art, South Korea Soil and Stones, Souls and Songs, Art Center at the Jim Thompson House, Thailand 2 or 3 Tigers, Haus der Kulturen der Welt, Germany 2nd Changjiang International Photography and Video Biennale, China Nordic Delights, Finnish Museum of Photography, Finland The Time Share Project – The Real DMZ Project: The Aarhus Edition, Kunsthal Aarhus, Denmark Soil and Stones, Souls and Songs, ParaSite, Hong Kong Melancholia: Archipelago Journal screening of The Woman, The Orphan, and The Tiger, Enclave, United Kingdom Rough Trade, 68 Art Institute, Copenhagen, Denmark Nordic Delights, Fotografisk Center, Copenhagen, Denmark Film screenings: The Woman, The Orphan, and the Tiger & Reiterations of Dissent, New York University, United States Film screenings: The Woman, The Orphan, and The Tiger & Reiterations of Dissent, University of California San Diego, United States House of Memories, Glasmoog, Raum Für Kunst & Diskurs, Cologne, Germany Korea Film Archive, Feminism Video Artivist Biennale 2016, South Korea Crossing the Line: Contemporary Art From Denmark, Critical Distance Center for Curators, Canada Soil and Stones, Souls and Songs, Museum of Contemporary Art and Design, Philippines Vulnerability Matters Laboratory, Rauma Biennale Balticum, Finland For More Than One Voice: performative reading with Stina Hasse, Den Frie Udstillingsbygning, Copenhagen, Denmark ArtSpectrum, Leeum Samsung Museum of Art, South Korea Nordic Delights, Oslo Kunstforening, Oslo, Norway The Woman, The Orphan, and The Tiger, New York University, Department of East Asian Studies, USA 2015 The Woman, The Orphan, and The Tiger, Husets Biograf, Copenhagen, Denmark A Feminist Culture Reader, Danske Grafikeres Hus, Denmark Interrupted Survey: Fractured Modern Mythologies, Asian Culture Center, South Korea, Glocal Panorama, Seoul International NewMedia Festival, South Korea Los Archivos del Cuerpo, Emerson College Huret & Spector Gallery, United States Reiterations of Dissent, Raindance Film Centre, London, United Kingdom Reiterations of Dissent, AAS Film Expo, Chicago, United States Rencontres Internationales video archive, Haus der Kulturen der Welt, Germany Arkiv over Hvidme, The National Gallery of Denmark – The Royal Cast Collection, Denmark 2014 Reiterations of Dissent selected as opening film, Seoul International NewMedia Festival, South Korea Exclusion + Possibility, Gallery Zandari, South Korea Camelia Has Fallen: Contemporary Korean Artists Reflect on the Jeju Uprising, Sonoma County Museum of Art, United States 2013 Women Commentators, Center for contemporary Art Ujazdowski Castle, Poland Tell Me Her Story, Coreana Museum, South Korea The Beginning is Always Today: Contemporary Feminist Art in Scandinavia, Sørlandet Art Museum, Norway War Baby/Love Child, Wing Luke Museum of the Asian Pacific American Experience & DePaul Art Museum, United States Visualising Affect, Lewisham Arthouse, United Kingdom Strom Festival, Kunsthaus Rheania, Germany The Nordic Model, Malmo Art Museum, Malmö, Sweden Dear Curator, Curate Me, Selasar Sunaryo Art Space, Indonesia War Baby / Love Child, DePaul Art Museum, Chicago, United States Korean American Film Festival New York, Sylvia Wald and Po Kim Art Gallery, New York, United States 2012 7 Generous Gestures, Galleri Lars Olsen, Denmark Women In-Between: Asian Women Artists 1984–2012, Fukuoka Asian Art Museum, Japan ENTER II, Kunsthallen Brandts, Denmark, ENTER II Videonale13 Festival for Contemporary Art, Kunstmuseum Bonn, Germany FOKUS Video Art Festival, Nikolaj Kunsthal, Copenhagen, Denmark IN THE ACT, Malmö Konsthall, Sweden, IN THE ACT ACTS, Roskilde Museum for Contemporary Art, Denmark 3 films by Jane Jin Kaisen, Øst For Paradis Cinema, Aarhus, Denmark Videonale13 Festival for Contemporary Art, Ars Cameralis, Poland Videonale13 Festival for Contemporary Art, Gallery of Modern Art Glasgow, Scotland Videonale13 Festival for Contemporary Art, Künstlerhaus Dortmund, Germany Korean American Film Festival New York, United States Jeju International Women's Film Festival, South Korea Island of Stone shown as closing film, Seoul Human Rights Film Festival, South Korea 2010 Crossing the Sea, Jeju National Museum, South Korea MFA2010, The Wight Gallery, UCLA, United States Infr’acton Festival International d’art Performance, Sete, France Yamagata International Documentary Film Festival, Japan Taiwan International Documentary Film Festival, Taiwan The Dialogic Imagination, IASPIS, Sweden 2009 2nd Incheon Women Artists Biennale, South Korea EXIT09, Kunstforeningen Gl. Strand, Copenhagen, Denmark Boarding Bridges, Kring Gallery, South Korea Migrations, Municipal Art Gallery of Kalamata, Greece Borders, Amelie A. Wallace Gallery, New York, United States 2nd Asian Women's Film Festival Berlin, Germany 25th International Asia Pacific Film Festival Los Angeles, United States Yamagata International Documentary Film Festival, Japan 2008 Breaking Out, Gana Art Gallery New York, United States The last Book Project, Buenos Aires National Library, Argentina 2nd Deformes Biennial, Gallery Metropolitana, Santiago, Chile Unnamable Name, Tompkin's County Public Library, New York, United States Privilege Walk, Lilith Performance Studio, Sweden This is not a Koreanobela: a film trilogy, The Green Papaya Gallery, Philippines 2007 Traces in Photography, The National Museum of Photography, Denmark Orientity Exhibition, Gallery La Centrale, Montreal, Canada Exquisite Crisis and Encounters, New York University, United States Visions from the Periphery, Kyunghee University Art Museum, South Korea 2006 South Korea as part of UFOlab: UFOlab Banana Power, 6th Gwangju Biennale, South Korea Rethinking Nordic Colonialism, The Faroe Islands National Art Museum Alternative Art Fair, Gallery Pixel, Denmark Global Alien Television, Ssamzie Space, South Korea International Indonesia Performance Art Event, National Gallery, Indonesia 4th DaDao Live Art Festival, 798 Art Zone, Beijing, China International Film and Video Festival, Hong Kong Arts Center, Hong Kong Malmo International Film Festival, Sweden 2005 Accent, Museum for Contemporary Art Roskilde, Denmark Skin Deep, Echo Park Film Center, United States Bandits-Mages International Media Festival, Bourges, France 2004 AREUM Vessel, Kyoto Museum of Art, Japan Orientity Exhibition, Kyoto Arts Center, Japan Our adoptee, Our Alien, Keumsan Gallery & Dongsanbang Gallery, South Korea Minority Report, Aarhus Kunstbygning, Denmark Awards ------ In 2008, she received the AHL Foundation Visual Arts award at Gana Art NY. In 2011, she received the award Montana Enterprize at Kunsthallen Brandts. In 2014, she was the recipient of the Mads Øvlisen PhD scholarship from the Novo Nordisk Foundation. In 2021, Jane Jin Kaisen's exhibition Community of Parting at Kunsthal Charlottenborg was awarded "Exhibition of the Year 2020" by AICA - International Association of Art Critics, Denmark.
American geographer **Holly René Barnard** is an American geographer and Associate Professor of Geography at the University of Colorado Boulder. She studies how vegetation impacts the dynamics and pathways of streams. In 2020 Barnard was awarded a $7 million National Science Foundation grant to set up a Critical Zone Observatory at the University of Colorado Boulder. Early life and education ------------------------ Barnard earned her bachelor's degree in forestry and ecosystems at the University of Washington, where she worked with Tom Hinckley and Linda Brubaker. After being inspired to work in environmental science, Barnard moved to Colorado State University to work toward a master's degree in forest engineering, where she worked on tree physiology with Michael Ryan and Dan Binckley, her advisors. Barnard was first introduced to ecological methods whilst working in their research labs. After graduating, Barnard worked in environmental consulting, completing ground- and surface water sampling. She was certified as an ecologist by the Ecological Society of America in 2004. Barnard eventually joined Oregon State University as a doctoral student, where she worked under the supervision of Jeffrey J. McDonnell and Barbara J. Bond on a Ford Foundation fellowship. She studied the relationships between vegetation water use, hydrology and the climate. As a graduate student, Barnard was selected to take part in the national Minorities Striving and Pursuing Higher Degrees of Success in Earth System Science (MS PHDs) programme, which supported her to attend the American Geophysical Union annual conference. In 2009 Barnard was made an National Science Foundation Minority Postdoctoral Fellow, allowing her to join the University of Wyoming to study water loss from forest vegetation. Research and career ------------------- Barnard looks to understand how vegetation impacts water flow and how water flow influences vegetation function in mountainous terrain. She has studied the fairy circles of Namibia using a combination of experimental investigations and computational modelling. In 2017 she visited Namibia with an all-women research team, conducting a series of experiments in the Namib desert to better understand their origin. As part of this work, Barnard and co-workers showed that grazing animals play an important role in maintaining the circles. She has investigated the impact of climate change on coniferous forests by studying the exchange of carbon dioxide between forests and the atmosphere. At Colorado, Barnard is involved with the Cooperative Institute for Research in Environmental Sciences (CIRES) education and outreach program, which looks to strengthen environmental literacy and support the next generation of scientific researchers in training for careers in sustainability. In 2020 Barnard was awarded a $7 million National Science Foundation grant to establish the University of Colorado Boulder Critical Zone Observatory. The observatory looks to understand how vegetation, water and rocks change in the fire- and drought-prone ecosystems of the West Coast of the United States. As part of this effort, Barnard developed low cost, low power, easy-to-assemble devices capable of measuring photosynthetically active radiation (PAR). A network of so-called *PARduinos* can be assembled across ground, providing constant measurements of PAR and allowing for Barnard and co-workers to model tree growth. Personal -------- Barnard uses "she/they" pronouns. Barnard enjoys the outdoors, including activities like "climbing, road biking, skiing and deadlifting*.*"She also enjoys spending quality time with her pets and her partner. Selected publications --------------------- * Renée Brooks, J.; Barnard, Holly R.; Coulombe, Rob; McDonnell, Jeffrey J. (2009-12-20). "Ecohydrologic separation of water between trees and streams in a Mediterranean climate". *Nature Geoscience*. **3** (2): 100–104. doi:10.1038/ngeo722. ISSN 1752-0894. S2CID 13069081. * McDowell, N.; Barnard, H.; Bond, B.; Hinckley, T.; Hubbard, R.; Ishii, H.; Köstner, B.; Magnani, F.; Marshall, J.; Meinzer, F.; Phillips, N. (2002-06-01). "The relationship between tree height and leaf area: sapwood area ratio". *Oecologia*. **132** (1): 12–20. Bibcode:2002Oecol.132...12M. doi:10.1007/s00442-002-0904-x. ISSN 1432-1939. PMID 28547290. S2CID 18777347. * Barnard, H. R.; Ryan, M. G. (2003). "A test of the hydraulic limitation hypothesis in fast-growing Eucalyptus saligna". *Plant, Cell & Environment*. **26** (8): 1235–1245. doi:10.1046/j.1365-3040.2003.01046.x. ISSN 1365-3040.
The **Spitalfield riots** occurred between 1765 and 1769, during a downturn in the silk weaving industry, centred on Spitalfields in the East End of London. The weavers organised to attempt to ensure that the rates of pay paid for their piece work was not cut beneath the level at which they could feed themselves, and their families. Origins ------- Spitalfields had been a centre of the silk-weaving industry since the early seventeenth century. Towards the end of the century, at the time when the Huguenots arrived from France, large numbers of Huguenot silk-weavers settled in the district. During the 1760s, there were still many weavers in Spitalfields whose French surnames showed their Huguenot descent. Irish weavers came slightly later, but by the middle of the 1730s there were many people from Ireland, or of Irish origins, working in the Spitalfields silk industry. Relations between the groups were not always good. There were times when the Irish weavers were blamed for working for too little money and bringing down the rates of pay. The conflict of 1769 cut right through the middle of both communities, the Huguenots and the Irish. Journeymen were involved in a struggle to keep the rates that the master weavers paid for their work from falling below a subsistence level. They organised in unofficial, and highly illegal, trade unions. "Silk-cutting", slashing up a weaver's work, was used as a punishment for weavers who accepted a lower rate of pay, or master weavers who refused to pay money into the funds that were collected to support union activities. Riots among the Spitalfields weavers were common. Any decline of prices, or opposition in trade, would lead to violence. In 1765, when the King attended parliament to give assent to the Regency Act, the weavers formed a procession of red flags and black banners to protest the importation of French silks. The House of Lords were terrified into an adjournment, and in the evening, Bedford Estate was attacked, the mob claiming that the Duke of Bedford had been bribed into making the Treaty of Fontainebleau allowing importation from France. An Act was passed in 1765, making it a felony punishable by death to break into any house, or shop, with the intent to maliciously destroy, or damage, any silk in the process of manufacture. The "cutters" continued rioting in 1767, 1768 and again in 1769; attacking workshops and wounding any who stood in their way. Spitalfield riots ----------------- In September 1769, an attempt was made to arrest an entire meeting of weavers. An officer with a party of soldiers invested a pub, the "Dolphin", in Spitalfields, "where a number of riotous weavers, commonly called cutters, were assembled to collect contributions from their brethren towards supporting themselves in order to distress their masters and oblige them to advance their wages". Meeting with resistance, the soldiers fired on the weavers and killed two, and captured four. The remainder fled and lay concealed in cellars of houses and in the vaults of the churches throughout the night of terror not only for them but also for their womenfolk. ### Trials John Doyle, who had an Irish surname, and John Valline, of French origin, were arrested for being involved. They were convicted on the evidence of two Irish weavers, Thomas and Mary Poor, who also gave evidence in the trial of William Horsford, an Irish weaver. At the latter trial, it emerged that a master weaver, Lewis Chauvet (Huguenot), had paid money for them to give evidence at both trials and that the same master had paid money for Daniel Clarke to inform against William Eastman. Horsford and Eastman were also executed. ### Execution On 6 December 1769, the two men were hanged in Bethnal Green, in front of the "Salmon and Ball" pub, which still exists. A newspaper reporter recorded the words that John Doyle spoke to the crowd, as he stood on the hangman's ladder with the rope round his neck: "I John Doyle do hereby declare, as my last dying words in the presence of my Almighty God, that I am as innocent of the fact I am now to die for as the child unborn. Let my blood lie to that wicked man who has purchased it with gold, and them notorious wretches who swore it falsely away." Doyle's companion, Valline, also swore his innocence of the crime for which the two of them were hanged. References and notes -------------------- 1. ↑ "Spitalfields", Old and New London: Volume 2 (1878), pp. 149–52 accessed: 8 February 2007 2. ↑ "Industries: Silk-weaving", *A History of the County of Middlesex*: Volume 2: General; Ashford, East Bedfont with Hatton, Feltham, Hampton with Hampton Wick, Hanworth, Laleham, Littleton (1911), pp. 132–137. Date accessed: 4 March 2009. 3. ↑ The Annual Register, 1769 4. ↑ [*dead link*] 5. ↑ London Metropolitan archives Archived 22 August 2004 at the Wayback Machine accessed 8 February 2007 | * v * t * e Riots in England | | --- | | 12th–17th centuries | * 1189–1190 Massacres of the Jews * The revolt of 1196 * 1355 St Scholastica Day riot * 1381 Peasants' Revolt + Treason Act 1381 * 1517 Evil May Day * 1668 Bawdy House riots | | 18th century | * 1710 Sacheverell riots * 1714 Coronation riots * 1715 England riots + Riot Act * 1766 food riots * 1768 Massacre of St George's Fields * 1769 Spitalfield riots * 1776 Nottingham cheese riot * 1780 Gordon riots * 1791 Priestley riots * 1793 Bristol Bridge riot * 1795 Revolt of the housewives | | 19th century | * 1809 Old Price riots * 1816 Spa Fields riots * 1816 Ely and Littleport riots * 1819 Peterloo Massacre * 1821 Cinderloo Uprising * 1830 Swing riots + Captain Swing * 1831 reform riots + 1831 Bristol riots * 1832 Days of May * 1838 Battle of Bossenden Wood * 1842 Pottery Riots * 1865 Leeds dripping riot * 1866 Hyde Park demonstration * 1887 Bloody Sunday * 1896 Newlyn riots | | 20th century | | | | | --- | --- | | 1900s–1960s | * 1907 Brown Dog riots * 1919 Epsom riot * 1919 Battle of Bow Street * 1919 Luton Peace Day riots * 1932 Old Market riot (Bristol) * 1932 National Hunger March * 1936 Battle of Cable Street * 1943 Battle of Bamber Bridge * 1944 Park Street riot * 1945 Aldershot riot * 1958 Notting Hill race riots * 1968 student riots | | 1970s | * 1970 Garden House riot * 1974 Red Lion Square disorders * 1975 Chapeltown riot * 1977 Battle of Lewisham * 1979 Death of Blair Peach | | 1980s | * 1980 St Pauls riot * 1981 England riots + 1981 Brixton riot + 1981 Chapeltown riots + 1981 Toxteth riots + 1981 Moss Side riot + 1981 Handsworth riots * 1985 Handsworth riots * 1985 Brixton riot * 1985 Broadwater Farm riot + Murder of Keith Blakelock * 1987 Chapeltown riot * 1989 Dewsbury riot | | 1990s | * 1990 Poll Tax riots * 1990 Strangeways Prison riot * 1991 Meadow Well riots * 1991 Handsworth riots * 1992 Hartcliffe riot (Bristol) * 1993 Welling riots * 1994 Criminal Justice Bill riot * 1995 Manningham riot * 1995 Brixton riot * 1996 Trafalgar Square riots * 1999 Carnival Against Capital riot | | | 21st century | | | | | --- | --- | | 2000s | * 2001 Bradford riots * 2001 Oldham riots * 2001 Harehills riot * 2005 Birmingham riots * 2009 G20 London summit protests + Death of Ian Tomlinson * 2009 Upton Park riot | | 2010s | * 2010 UK student protests * 2011 Stokes Croft riot (Bristol) * 2011 UK anti-austerity protests * 2011 London anti-cuts protest * 2011 England riots + Death of Mark Duggan + House of Reeves fire + Timeline * George Floyd protests in the United Kingdom + Actions against memorials in Great Britain during the George Floyd protests * 2022 Leicester unrest | | | Reports | * 1981 Scarman report | | Related | * List of riots + Leeds + London * Riot * Riot Act * Riot control * Public Order Act 1986 * Territorial Support Group |
Diagram showing the thermodynamic states of a material | Thermodynamics | | --- | | The classical Carnot heat engine | | Branches * Classical * Statistical * Chemical * Quantum thermodynamics * Equilibrium / Non-equilibrium | | Laws * Zeroth * First * Second * Third | | Systems * Closed system * Open system * Isolated system | State | | --- | | * Equation of state * Ideal gas * Real gas * State of matter * Phase (matter) * Equilibrium * Control volume * Instruments | | Processes | | * Isobaric * Isochoric * Isothermal * Adiabatic * Isentropic * Isenthalpic * Quasistatic * Polytropic * Free expansion * Reversibility * Irreversibility * Endoreversibility | | Cycles | | * Heat engines * Heat pumps * Thermal efficiency | | | System propertiesNote: Conjugate variables in *italics* | | | --- | | * Property diagrams * Intensive and extensive properties | | Process functions | | * Work * Heat | | Functions of state | | * Temperature / *Entropy* (introduction) * Pressure / *Volume* * Chemical potential / *Particle number* * Vapor quality * Reduced properties | | | Material properties * Property databases | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | Specific heat capacity  | {\displaystyle c=} | | | | | --- | --- | | {\displaystyle T} | {\displaystyle \partial S} | | {\displaystyle N} | {\displaystyle \partial T} | | | Compressibility  | {\displaystyle \beta =-} | | | | | --- | --- | | {\displaystyle 1} | {\displaystyle \partial V} | | {\displaystyle V} | {\displaystyle \partial p} | | | Thermal expansion  | {\displaystyle \alpha =} | | | | | --- | --- | | {\displaystyle 1} | {\displaystyle \partial V} | | {\displaystyle V} | {\displaystyle \partial T} | | | | Equations * Carnot's theorem * Clausius theorem * Fundamental relation * Ideal gas law * Maxwell relations * Onsager reciprocal relations * Bridgman's equations * *Table of thermodynamic equations* | | Potentials * Free energy * Free entropy * Internal energy{\displaystyle U(S,V)} * Enthalpy{\displaystyle H(S,p)=U+pV} * Helmholtz free energy{\displaystyle A(T,V)=U-TS} * Gibbs free energy{\displaystyle G(T,p)=H-TS} | | * History * Culture | History | | --- | | * General * Entropy * Gas laws * "Perpetual motion" machines | | Philosophy | | * Entropy and time * Entropy and life * Brownian ratchet * Maxwell's demon * Heat death paradox * Loschmidt's paradox * Synergetics | | Theories | | * Caloric theory * *Vis viva* ("living force") * Mechanical equivalent of heat * Motive power | | Key publications | | * *An Experimental EnquiryConcerning ... Heat* * *On the Equilibrium ofHeterogeneous Substances* * *Reflections on theMotive Power of Fire* | | Timelines | | * Thermodynamics * Heat engines | | * Art * Education | | * Maxwell's thermodynamic surface * Entropy as energy dispersal | | | Scientists * Bernoulli * Boltzmann * Bridgman * Carathéodory * Carnot * Clapeyron * Clausius * de Donder * Duhem * Gibbs * von Helmholtz * Joule * Kelvin * Lewis * Massieu * Maxwell * von Mayer * Nernst * Onsager * Planck * Rankine * Smeaton * Stahl * Tait * Thompson * van der Waals * Waterston | | Other * Nucleation * Self-assembly * Self-organization * Order and disorder | | * Category | | * v * t * e | **Thermodynamic diagrams** are diagrams used to represent the thermodynamic states of a material (typically fluid) and the consequences of manipulating this material. For instance, a temperature–entropy diagram (T–s diagram) may be used to demonstrate the behavior of a fluid as it is changed by a compressor. Overview -------- Especially in meteorology they are used to analyze the actual state of the atmosphere derived from the measurements of radiosondes, usually obtained with weather balloons. In such diagrams, temperature and humidity values (represented by the dew point) are displayed with respect to pressure. Thus the diagram gives at a first glance the actual atmospheric stratification and vertical water vapor distribution. Further analysis gives the actual base and top height of convective clouds or possible instabilities in the stratification. By assuming the energy amount due to solar radiation it is possible to predict the 2 m (6.6 ft) temperature, humidity, and wind during the day, the development of the boundary layer of the atmosphere, the occurrence and development of clouds and the conditions for soaring flight during the day. The main feature of thermodynamic diagrams is the equivalence between the area in the diagram and energy. When air changes pressure and temperature during a process and prescribes a closed curve within the diagram the area enclosed by this curve is proportional to the energy which has been gained or released by the air. Types of thermodynamic diagrams ------------------------------- See also: Phase diagram General purpose diagrams include: * PV diagram * T–s diagram * h–s (Mollier) diagram * Psychrometric chart * Cooling curve * Indicator diagram * Saturation vapor curve * Thermodynamic surface Specific to weather services, there are mainly three different types of thermodynamic diagrams used: * Skew-T log-P diagram * Tephigram * Emagram All three diagrams are derived from the physical P–alpha diagram which combines pressure (*P*) and specific volume (*alpha*) as its basic coordinates. The P–alpha diagram shows a strong deformation of the grid for atmospheric conditions and is therefore not useful in atmospheric sciences. The three diagrams are constructed from the P–alpha diagram by using appropriate coordinate transformations. Not a thermodynamic diagram in a strict sense, since it does not display the energy–area equivalence, is the * Stüve diagram But due to its simpler construction it is preferred in education.[] Another widely-used diagram that does not display the energy–area equivalence is the θ-z diagram (Theta-height diagram), extensively used boundary layer meteorology. Characteristics --------------- Thermodynamic diagrams usually show a net of five different lines: * **isobars** = lines of constant pressure * **isotherms** = lines of constant temperature * **dry adiabats** = lines of constant potential temperature representing the temperature of a rising parcel of dry air * **saturated adiabats or pseudoadiabats** = lines representing the temperature of a rising parcel saturated with water vapor * **mixing ratio** = lines representing the dewpoint of a rising parcel The lapse rate, dry adiabatic lapse rate (DALR) and moist adiabatic lapse rate (MALR), are obtained. With the help of these lines, parameters such as cloud condensation level, level of free convection, onset of cloud formation. etc. can be derived from the soundings. Example ------- The path or series of states through which a system passes from an initial equilibrium state to a final equilibrium state and can be viewed graphically on a pressure-volume (P-V), pressure-temperature (P-T), and temperature-entropy (T-s) diagrams. There are an infinite number of possible paths from an initial point to an end point in a process. In many cases the path matters, however, changes in the thermodynamic properties depend only on the initial and final states and not upon the path. Figure 1 Consider a gas in cylinder with a free floating piston resting on top of a volume of gas *V*1 at a temperature *T*1. If the gas is heated so that the temperature of the gas goes up to *T*2 while the piston is allowed to rise to *V*2 as in Figure 1, then the pressure is kept the same in this process due to the free floating piston being allowed to rise making the process an isobaric process or constant pressure process. This Process Path is a straight horizontal line from state one to state two on a P-V diagram. Figure 2 It is often valuable to calculate the work done in a process. The work done in a process is the area beneath the process path on a P-V diagram. *Figure 2* If the process is isobaric, then the work done on the piston is easily calculated. For example, if the gas expands slowly against the piston, the work done by the gas to raise the piston is the force *F* times the distance *d*. But the force is just the pressure *P* of the gas times the area *A* of the piston, *F* = *PA*. Thus * *W* = *Fd* * *W* = *PAd* * *W* = *P*(*V*2 − *V*1) figure 3 Now let’s say that the piston was not able to move smoothly within the cylinder due to static friction with the walls of the cylinder. Assuming that the temperature was increased slowly, you would find that the process path is not straight and no longer isobaric, but would instead undergo an isometric process till the force exceeded that of the frictional force and then would undergo an isothermal process back to an equilibrium state. This process would be repeated till the end state is reached. See *figure 3*. The work done on the piston in this case would be different due to the additional work required for the resistance of the friction. The work done due to friction would be the difference between the work done on these two process paths. Many engineers neglect friction at first in order to generate a simplified model. For more accurate information, the height of the highest point, or the max pressure, to surpass the static friction would be proportional to the frictional coefficient and the slope going back down to the normal pressure would be the same as an isothermal process if the temperature was increased at a slow enough rate. Another path in this process is an isometric process. This is a process where volume is held constant which shows as a vertical line on a P-V diagram. *Figure 3* Since the piston is not moving during this process, there is not any work being done. Further reading --------------- * *Handbook of meteorological forecasting for soaring flight* WMO Technical Note No. 158. ISBN 92-63-10495-6 especially chapter 2.3.
American politician **Hal Howard Griswold** was a politician from the U.S. state of Ohio. He was the Speaker of the Ohio House of Representatives in 1923 and 1924. Background ---------- Born in Chardon, Ohio on May 25, 1886, to his parents were Eli J. and Ellen (Mynderse) Griswold. Griswold was educated at the common school and high school of Chardon, and received an A.B from Adelbert College of Western Reserve University. Griswold studied law in an office and by correspondence, while he taught science and mathematics at Chardon schools, 1909-'10, was principal of Chardon High School, 1910-'11, and Superintendent of Schools at Chardon, 1911-'16. He was a member of the Board of School Examiners, 1911-'16, was admitted to the bar, January 4, 1916, and began practice in Chardon July 1, 1916. First elected to the Ohio House of Representatives in 1918, Griswold was re-elected in 1920 and 1922. He ran as a Republican. During the last session, 1923 and 1924, he was selected as Speaker of the House. Personal life ------------- Hal Howard Griswold was married to Gertrude L. Carter of Oberlin, Ohio on July 23, 1914. They had at least one daughter. He was a member of the Independent Order of Odd Fellows, Knights of Pythias, and Phi Beta Kappa. During World War I he was Chairman of the United War Work Campaign, and spoke for the Red Cross and Liberty Loan campaigns. Griswold died in 1953, and is buried in Chardon. Bibliography ------------ * Halley, W E; Maynard, John P. (1920). *Manual of Legislative Practice in the General Assembly 1919-1920*. Columbus: State Bindery. * Neff, William B, ed. (1921). *Bench and Bar of Northern Ohio History and Biography*. Cleveland: The Historical Publishing Company. p. 426. * "Alphabetical list of Members of the General Assembly of Ohio for 127 years - 1803 - 1930". State Library of Ohio. Archived from the original on 2012-04-15. Retrieved 2012-06-22. | Ohio House of Representatives | | --- | | Preceded byWilliam P. Ellis | **Representative from Geauga County** 1919-1924 | Succeeded byFrank S. Bartlett |
Journalist (b. 1920, d. 1988) **Mary Bubb** (née Mary Elizabeth Chaffin, 17 September 1920 - 28 March 1988) was one of the first space journalists reporting on launches out of Cape Canaveral, Florida. Bubb was the only woman reporter for military publication *Daily Pacifican* during World War II and the first woman space reporter. NASA lists Bubb alongside Walter Cronkite and John Noble Wilford as one of their "Chroniclers," an honor recognizing broadcasters, journalists, authors, public relations representatives, and public affairs officers who covered Kennedy Space Center for at least a decade. Biography --------- ### Early life Born in Falmouth and growing up in Barnstable, Massachusetts, Chaffin attended University of Massachusetts where she graduated with degrees in history and psychology. Chaffin enlisted in the Women's Army Corps on 28 October 1943. After completing basic training, she was deployed to Oro Bay, New Guinea and Manila, the Philippines. Chaffin was the only woman reporter for the military publication *Daily Pacifican*, including reporting on General Tomoyuki Yamashita's trial. After World War II, Chaffin was rejected from a job at *The Boston Globe* before writing for *Worcester Telegram* (now the *Telegram & Gazette*), then the *Jamestown Sun* in New York. ### Inaugural Space Journalism at Cape Canaveral A Fairchild editor spotted the opportunity presented by Bubb moving to Florida and suggested she begin covering rocket launches at Cape Canaveral Air Force Station for two new company magazines, *Electronic News* and *Metalworking News*, while continuing her usual coverage of the citrus industry for *Supermarket News* and other assignments for the publishing company. Her coverage was later expanded to another of their technical magazines, *Aviation Week & Space Technology*. NASA did not publicize launches in the early days of Cape Canaveral, leaving the inaugural space reporters including Bubb to watch for clues of impending firings from public beaches. They carried binoculars to better see hints like shrimp boats returning to port, along with bird guides they used to support their cover of birdwatching, leading to their nickname "birdwatchers." In 1958, Reuters News Service hired Bubb as a full-time correspondent, a position she held for the remainder of her life. Bubb continued to freelance on the side, accepting assignments from *Time-Life*, *People*, *the London Daily Telegraph*, *Springer News*, *Quick Magazine* in Germany, newspapers, and wire services. She also covered for other regular space reporters when they were on vacation or unavailable on other assignments. Bubb covered NASA's Project Mercury, Project Gemini, Apollo program and Space Shuttle program. She was determined to never miss a launch, reporting on over 1,600 consecutive launches by 1980 and more than 3,000 throughout her career. When she first started, Bubbs claimed "I didn't know a rocket from a hole in the ground," but she later became known as a tenacious reporter with deep technical knowledge and a willingness to go to any lengths for a story. While NASA's head of public information Hugh Harris complimented her technical expertise after her death, during the 1960s-1970s, he wrote memos about her creating disruptions at launch events. On 5 January 1968, Bubb launched a meteorological sounding rocket from Cape Canaveral's Launch Complex 43 under the supervision of Pan American World Airways. Bubb regularly hosted parties in Cocoa Beach, Florida, both planned in advance and more spontaneously when launch delays kept reporters, astronauts, space program leaders, and corporate executives in town for longer than expected. Her parties were recognized as major social events, and she was a well-connected guest at other socially-prestigious events within the Cape Canaveral space community. For her less formal parties, Bubb would direct guests to bring ingredients or assist her during preparation. Along with making history as the only women among the first space reporters at Cape Canaveral, Bubb was often a part of the story as her elaborate hats were included in pictorial coverage. Bubb customized her hats to symbolize launch events, often by translating the mission patch into three dimensions. Over time, others in the space industry brought her hats from their travels. At the 1987 Canaveral Press Club's Page One Ball, NASA awarded Bubb a lifetime achievement award. ### Death Bubb continued working up until her death, filing a report for Reuters on Governor Bob Martinez's announcement of plans for a commercial spaceport at Cape Canaveral on 25 March 1988, the Friday before her death. Earlier that week on 21 March, she reported on the launch of five Pershing 2 missiles from Cape Canaveral Air Force Station for Reuters, Associated Press, and United Press International. Personal life ------------- While in Jamestown, Chaffin met and married Maurice R. Bubb, changing her byline to Mary Bubb for the rest of her professional career even after the couple divorced in 1966. The couple had two sons, Rodger and Dennis, while moving to Arizona then Illinois. During this time, Bubb switched from staff writer to freelancer, becoming a stringer for Fairchild Publications while in Peoria, Illinois. In 1956, Bubb and family moved to Florida out of health concerns for their youngest son.
Mixed-use development in Washington, D.C. The **District Wharf**, commonly known simply as **The Wharf**, is a multi-billion dollar mixed-use development on the Southwest Waterfront in Washington, D.C. It contains the city's historic Maine Avenue Fish Market, hotels, residential buildings, restaurants, shops, parks, piers, docks and marinas, and live music venues. The first phase of The Wharf opened in October 2017 and the second and final phase was completed in October 2022. The neighborhood encompasses 24 acres (9.7 hectares) of land, 50 acres (20 hectares) of water, and contain 3.2 million square feet (300,000 m2) of retail, residential, and entertainment space along 1 mile (1.6 km) of the Potomac River shoreline from the Francis Case Memorial Bridge to Fort McNair. The idea of redeveloping the waterfront gained momentum with District officials in the early 2000s when the Anacostia Waterfront Corporation was created to oversee the redevelopment of the Southwest Waterfront neighborhood. The redevelopment was intended to reconnect the neglected and isolated portions of the southwest quadrant with downtown Washington, D.C. and make the area accessible and attractive to pedestrians while enhancing the existing community. Developers settled on The Wharf as the project name at the suggestion of D.C. Congresswoman Eleanor Holmes Norton, who recalled that this section of the Southwest Waterfront was known as The Wharf during the 19th and early 20th centuries. Geography --------- [fullscreen map] Selected locations near The Wharf D.C. * Points of interest * Parks and open spaces * Transit 1 Municipal Fish Market 2 Transit Pier, Water Taxi Terminal 3 District Pier 4 District Square 5 Capital Yacht Club 6 Recreational Pier 7 7th Street Park 8 The Wharf Marina 9 Waterfront Metro Station **District Pier** - the District Pier extends 425 feet into the Washington Channel, making it the longest pier in the city. District Pier houses the Dockmaster Building, a 2,000 square foot building with 270-degree views of the channel and waterfront. **Transit Pier** - The Transit Pier provides access to water taxi services and hosts a floating stage for live music and an ice rink. **Recreation Pier** - The Recreation Pier provides public access to the water as well as kayak and stand-up paddleboard rentals. **District Square** - The Wharf's pedestrian mall that hosts boutiques, shops, and restaurants. **Blair Alley** - A residential entrance and fountain dedicated to the memory of Blair Phillips, a young architect who worked on The Wharf project and died in a ski accident. History ------- Opened in 1805, the Municipal Fish Market is the longest continually operating fish market in the United States. For a time known as Maine Avenue Fish Market, it served as the inspiration for the redevelopment project. The fish market and other businesses on the waterfront were relatively prosperous throughout the 19th century, but by the early 20th century, the area was in decline. By 1945, the Southwest Waterfront had become a target for urban renewal, and the District of Columbia Redevelopment Act allowed the U.S. federal government to acquire a property using eminent domain.[] The federal government removed twenty-three thousand residents, primarily African Americans, from their homes and demolished a majority of the structures. The cleared land was redeveloped into housing complexes and federal office buildings and was used for the construction of highway I-395, which now runs between the waterfront and the National Mall. Planning and development ------------------------ Hoffman & Associates; The Washington Channel July 2012, Before The WHARF Phase I Construction Construction of the Wharf in 2015 Hoffman & Associates; The WHARF Phase I, December 2020 In 2003, Mayor Anthony A. Williams renewed interest in revitalizing the area. He created the Anacostia Waterfront Corporation to oversee development on the waterfront. In 2006, PN Hoffman was chosen from a field of 17 companies and tasked with reimagining the waterfront. PN Hoffman originally partnered with Struever Bros. Eccles & Rouse of Baltimore on the project, but the company was dismantled as a result of the 2008 financial crisis.[] By 2008, Hoffman had acquired most of the land required for the development of The Wharf. The Council of the District of Columbia had allocated $198 million in tax increment financing bonds for infrastructure improvements to support the project. In 2010, Hoffman partnered with Madison Marquette and formed Hoffman-Madison Waterfront to bring the project to fruition. U.S. Rep. Eleanor Holmes Norton introduced two bills in Congress that made the redevelopment of the waterfront possible. One bill solidified the District's ownership of the Southwest Waterfront. The other gave the District control of portions of the Washington Channel. In honor of the congresswoman's contributions, Hoffman-Madison Waterfront named the largest park in The Wharf development after Norton. Hoffman-Madison Waterfront hired the architectural firm Perkins Eastman to serve as The Wharf's master architects. By March 2013, the D.C. Zoning Commission had approved plans for phases 1 and 2 of the project. Groundbreaking for phase 1 occurred May 19, 2014, and The Wharf opened to the public October 12, 2017. Hoffman-Madison Waterfront broke ground on the second phase of the project in March 2019. Phase 2 is expected to cost $1.25 billion, bringing the total cost of redevelopment to $3.6 billion. The second phase, completed in October 2022, added three office buildings, an apartment building, a hotel, a 96-unit condominium building, additional retail space, and two new underground parking garages. The project created 2,800 construction jobs and at completion, has added 3,000 permanent jobs.[] ### Residential buildings The Wharf is currently home to four apartment buildings and three condominium buildings. **Amaris** – This building contains 96 condominiums, with floorplans from one to four bedrooms. **The Banks** – Apartment community with rooftop terraces. **The Channel** – This 12-story apartment building is built on top of The Anthem music venue. The Channel contains 501 residential units, with 153 designated as affordable and workforce housing. **Incanto** – This building contains 148 residential apartments, with 47 designated as affordable and workforce housing. **The Tides** – This 12-story apartment residence features 255 units ranging from studios to two-bedroom apartments. **VIO** – This 12-story building along the Washington Channel contains 112 condominium residences. **525 Water** – This five-story condominium contains 107 units and is situated at the eastern end of the development. ### Office buildings **1000 Maine** – This 250,000 square foot office building is located on the northwest end of the property. It features Jefferson Memorial, Lincoln Memorial, and Washington Monument views. **800 Maine** – This 233,000 square foot, 11-story office building is situated at the corner of 9th Street and Maine Avenue SW. It is LEED Gold Core certified and features views of the U.S. Capitol. **Pier 4** – This 28,000 SF building is the only over-water office building in Washington, DC. It extends 260 feet into the Washington Channel and features multiple private outdoor terraces. ### Hotels **InterContinental Washington D.C. – The Wharf** – This 278-room luxury hotel overlooks District Pier and the Washington Channel. It features views of many of DC's monuments. **Hyatt House Washington DC / The Wharf** – This 237-room extended-stay hotel offers suites with kitchenettes. **Canopy by Hilton** - This 175-room hotel overlooks 7th Street Park and Recreation Pier. Entertainment and activities ---------------------------- The Wharf in 2020. The Wharf features multiple live music venues, including The Anthem, a 6,000-seat concert hall, as well as the club venues Union Stage and Pearl Street Warehouse. The waterfront also features year-round street performers and musical acts that perform on a floating barge stage. The Wharf is home to the Capital Yacht Club and some day-docks and live-aboard slips. Water taxi service connects The Wharf to Georgetown, Alexandria, Virginia, and the National Harbor in Oxon Hill, MD. Visitors may also take guided boat tours to view Washington attractions and monuments from the Potomac River. The Wharf operates a free jitney service that shuttles passengers from the Recreation Pier across the Washington Channel to East Potomac Park. Kayak and stand-up paddleboard rentals are also available seasonally. One of the Wharf's new buildings being constructed. The fire pit at the Wharf A wood-burning fire pit is located along the waterfront at District Square. A retrofitted camper known as Camp Wharf offers supplies for s’mores, including marshmallows, chocolate, graham crackers, and sticks for roasting. The Wharf is accessible by car, with underground parking available. A two-way cycle track runs the length of The Wharf, and the curbside is entirely reserved for rideshare and parcel pick-up and drop-off. Public transportation options include water taxis, metro, multiple Capital Bikeshare stations, and a free community shuttle. The shuttle stops at L'Enfant Plaza station on the Washington Metro, the International Spy Museum, and the National Mall adjacent to the Hirshhorn Museum and Sculpture Garden. The walk from L'Enfant Metro to the Wharf is less than ten minutes, with a pedestrian walkway along L'Enfant Plaza.
**Fredrick Stephanus Watermeyer** (14 April 1828 - 28 August 1864), informally known simply as "Fred" or "Frank", was a journalist, advocate and a prominent Member of the Cape Legislative Assembly. Early life ---------- Born in Cape Town into a very educated Cape family, he was the younger brother of the great Ben Watermeyer. He was meticulously schooled as a child so that, although he was Afrikaans speaking, he was soon described as *"one of such unmistakably English education as an old Kapenaar could possibly have."* He was already the secretary of a public company when he was still a teenager, and at a similar time was working as an actuary and was a free-lance writer. A free and critical thinker, he also authored anonymous papers critical of the state and the position of his own religious denomination, Lutheranism. ### Legal career Frank Watermeyer was among the first Cape advocates to be called to the bar after a purely local examination (instead of having to go to Europe). He was a member of the Council of the South African College and, shortly before his death, was elected as Chair of Law. One of his more famous cases was his defense of the Khoi war hero Andries Botha in 1852. This saw him confront a vindictive Colonial Government in what was essentially a political show trial. Another massively influential case was *Long v. Robert Gray, Bishop of Cape Town* (1861–63). Watermeyer's victory for William Long led to the downfall of the judicial basis of the Church of English in the various colonies of the British Empire. In his final year he was involved in representing the heterodox Dutch Reformed Church clergyman Rev. J.J. Kotze, in an appeal against his suspension from the Church. However his sickness overcame him before the case was complete. ### Journalism After his early writings, Watermeyer was an owner or editor of several newspapers of the Cape Colony. He founded and edited the anti-government *Cape of Good Hope Observer* in January 1849, to fight the policies of the British Colonial Office during the Convict Crisis. The newspaper was also a fierce supporter of the liberal and tolerant frontier policies of Andries Stockenström. Other newspapers he edited were *Het Volksblad*, the *Cape Town Mail* and *The South African Commercial Advertiser* (in 1850-51 while Fairbairn was in London). Cape Parliament (1858-1863) --------------------------- Watermeyer had been an early supporter of the anti-government "popular party" since the 1850 Convict Crisis. This party, led by Frank Reitz, John Fairbairn, Andries Stockenström and Christoffel Brand, was involved in boycotting the British government plans for the Cape, in order to attain full representative government (i.e. an elected legislature). He was elected to the Legislative Assembly of the Cape Parliament in 1858 and 1861. He was a liberal and an early supporter of responsible government (i.e. an elected executive) up until he lost his electoral seat in 1863. He was also known for being a strong supporter of the extension of higher education. He was famous as a brilliant and expressive public speaker. Family and early death ---------------------- He married Jane Agnes Fairbairn, daughter of the educator, humanitarian and MP John Fairbairn. They had six children, none of whom married. He was known as an exceptionally dutiful and compassionate man. From the time of his marriage, Watermeyer got highly involved in the financial difficulties of his charitable father-in-law. He eventually took on all of Fairbairn's debts. Already over-worked, he became sick and died in 1864, aged only 36 and relatively poor. With other family members he was buried at Wynberg Cemetery.
For the Canadian horror and fantasy writer, see John R. Little. For other people named John Little, see John Little (disambiguation). **John R. Little** (born 1960) is a writer and bodybuilding advocate. A native of Canada, Little is a writer in the fields of martial arts, bodybuilding and physical conditioning. Works ----- ### Writings on fitness He has co-authored several books with Pete Cisco, including Static Contraction Training, Static Contraction Training for Bodybuilders, Power Factor Training and The Golfer's Two-Minute Workout. He then co-authored *Body by Science* with Doug McGuff, a Medical Doctor. He also co-authored *High-intensity training the Mike Mentzer way* and other books with Mike Mentzer, known bodybuilder. He was then the sole author of Max Contraction Training, a sequel which expanded on his views on Static Contraction and Power Factor forms of training. ### Scholarship on Bruce Lee's estate John Little is considered to be one of the world's foremost authorities on Bruce Lee, his training methods and philosophies[]. Selected by the Bruce Lee estate[], Little is the only person who has ever been authorized to review the entirety of Lee's personal notes, sketches and reading annotations and to edit books on the subject of Lee's martial art and its far-reaching philosophical underpinnings.[] He is the former Associate Publisher of Bruce Lee magazine[] and the managing editor of Knowing is Not Enough[], the official newsletter of the *Jun Fan Jeet Kune Do*, the official Bruce Lee martial arts organization. Little's articles have appeared in many martial arts and health and fitness magazines in North America including Muscle and Fitness.[] He is the author of *The Warrior Within: The Philosophies of Bruce Lee*. Probably his most notable work[] is the book *The Art of Expressing the Human Body*, in which he shows the results of a five-year search in Bruce Lee's notes trying to find the fighter's original bodybuilding program.[] ### Advocacy of Will Durant John Little has also devoted much effort to popularizing the works of philosopher and historian Will Durant in the 21st century. He founded and heads the Will Durant Foundation, which is an effort to keep Durant's ideas and thoughts alive in the modern era, and has revived some previously unpublished writings of Durant through books like "Adventures in Philosophy" and "An Invitation to Philosophy," which feature some debates and symposiums held by Durant. John Little has also co-produced two documentaries about Durant using rare archive footage. ### Documentary * The Art of Wong Shun Leung: A Ving Tsun Journey * Wong Shun Leung: The King of Talking Hands * Bruce Lee: In Pursuit of the Dragon * Bruce Lee: A Warrior's Journey * The Story (film documentary short) * Bruce Lee: In His Own Words
This article is about the theatre producer, designer and scholar, Iain Mackintosh (1937–). For the singer and writer (1932–2006), see Iain MacKintosh. Ian Mackintosh, Prague, 2011 **Iain Mackintosh** (born 1937) is a British practitioner of theatre combining four interwoven careers as theatre producer, theatre space designer, curator of theatre painting and architecture exhibitions, and author and lecturer on both modern and eighteenth century theatre. He has campaigned for the retention and restoration of historic theatres as working homes for live performance. Biography --------- Iain Mackintosh was born in Bristol, England, in 1937, and brought up in Bristol, Cornwall and Edinburgh, Scotland where his father was headmaster of Loretto School near Edinburgh from 1945 to 1960. Two years National Service in Hong Kong as a subaltern in the Royal Artillery Amphibious Observation Troop in the territory, was followed by three years at Worcester College, Oxford. He graduated in politics, philosophy, and economics in 1960 and immediately became resident stage manager (technical director) at the Oxford Playhouse (refer Oxford Playhouse theatre programmes 1960 to 1963). In 1961 he co-founded the Prospect Theatre Company with Elizabeth Sweeting, manager of the Playhouse. They bought for a nominal sum the limited company Prospect Productions Ltd. from lawyer Laurence G Harbottle (1924–2015). Harbottle had earlier created Prospect for a single summer season at Deal, Kent, to gain theatre experience before becoming the most distinguished entertainment lawyer of his generation and, later, chairman of Prospect in its heyday.[] Mackintosh joined Theatre Projects Consultants in 1973 as a designer of theatre space and in collaboration with many architects in the UK, USA, and Canada, and with colleagues at Theatre Projects designed many significant theatre spaces. From 1975 he curated or contributed to several exhibitions of theatre paintings and architecture. He has campaigned for the retention and return to working life of many historic theatres. Theatre producer, 1961–1973 --------------------------- In 1962 Sweeting and Mackintosh were joined on the board of Prospect by Richard Cottrell, who was associate director from 1964 to 1969, and by Toby Robertson, who became artistic director in 1964, following his production of The Provok’d Wife with Eileen Atkins. The Provok’d Wife opened at the 350-seat mobile Century Theatre which was parked by Mackintosh in an idyllic setting beside the Thames for the summer of 1963 while the Oxford Playhouse was closed for remodelling. The production was the first show for over a century at the 1788 Georgian Theatre Royal Richmond, Yorkshire. After Richmond The Provok’d Wife transferred to the Vaudeville Theatre London. Robertson, Cottrell and Mackintosh based Prospect in Cambridge from 1964 and in London from 1966. Between 1963 and 1976 Prospect toured 75 productions in 125 theatres in 21 countries. In 1973 Mackintosh resigned as administrative director but remained on the Prospect board. In these first twelve years eight productions were presented at the Edinburgh International Festival, including the Lila Kedrova Cherry Orchard (1967) and Ian McKellen’s double presentation of Edward II and Richard II (1968–70). These and many other Prospect productions, such as Timothy West's King Lear (1972/73), transferred to successful seasons in London West End theatres. Three productions were televised. In 1961 Mackintosh designed settings and costumes for two special productions at the Oxford Playhouse: the Oxford University Opera production of Benjamin Britten’s The Turn of the Screw (only the second production anywhere of this opera), and Prospect’s first production, the premiere of Whiteman by Michael Picardie with Brian Blessed and Prunella Scales (refer Note 1). This stage design experience was to feed back into his later career. Thereafter Mackintosh concentrated on his role as producer for Prospect. He secured international festival engagements for Prospect in Vienna, Austria; Venice, Italy and Adelaide, Australia, as well as arranging many tours Prospect overseas tours with the British Council. In the 1960s and 1970s Prospect was one of the most recognised theatre companies in Britain, along with the National Theatre and Royal Shakespeare Company, who at that time hardly toured. Touring Prospect productions and seeing the same show succeed in some theatres and fail in others led Mackintosh to concentrate on the influence of theatre architecture on performance. Theatre space designer, 1973– ----------------------------- After working as theatre design consultant to architect Graham Law on the Eden Court Theatre, Inverness, Mackintosh started his second career in 1973 as a designer of theatre space, joining Richard Pilbrow at Theatre Projects Consultants. His first project was the Cottesloe Theatre at the National Theatre, London. The National Theatre building on London’s Thames Southbank, designed by architect Sir Denys Lasdun, was then under construction as the new home for the National (which had been founded at the Old Vic in 1964). The Cottesloe was the third and smallest theatre, holding up to 400 people. It was located in an abandoned space under the rear of the Olivier Theatre stage. In 1973 this was a huge empty shell served by a partially complete foyer designed for only 200. While the National’s Olivier and Lyttleton Theatres are fixed-format, the Cottesloe can be recast into many arrangements to suit the production design. The simple design of the Cottesloe, with two galleries of audience seating surrounding three sides of the room, was ground-breaking. In 2013, on the 50th anniversary of the National, Director Nicholas Hytner wrote: ‘What Iain Mackintosh did when he was asked to make a theatre inside that big black empty box had a touch of improvisatory genius.’ In November 1973, when presenting the design concept to the National’s Director, Peter Hall and John Bury, head of design, Mackintosh coined the phrase ‘courtyard theatre’. He later wrote ‘Courtyard, Cockpit or whatever … [it] should be particularly useful for experiment in non-scenic theatre … outdoor Fortune or indoor Blackfriars … or for the more formal expression of Grotowski or anyone else who has explored the notion of a ritual gathering of onlookers … The finish should be simple and workmanlike – it is designed to be unfinished in the sense that actor, designer and designer must ‘fill’ the whole space, and the audience complete the furnishings as wallpaper does a room’. The Cottesloe was received enthusiastically by the theatre industry and audiences. ‘It owes more in terms of inspiration to Mackintosh and Theatre Projects Consultants than to Lasdun. It was, in point of time, the second, but certainly the most influential of the modern ‘courtyard’ theatres, with something of the character of an urban barn fit-up. Its extremely simple, rectangular form, with the audience on three shallow tiers, can be readily adapted to proscenium, end stage, thrust, in-the-round, traverse or promenade form.’ In his review of Setting the Scene: Perspectives on Twentieth-Century Theatre Architecture, edited by Alistair Fair, Richard Pilbrow noted ‘It’s interesting to reflect that in our National Theatre the two architect-designed theatres have attracted not one single imitator, whereas the theatre-designed Cottesloe has prompted perhaps more than fifty successful clones around the world. Bringing human beings together in lively juxtaposition simply works.' This project led to other rectangular galleried playhouses, such as The Tricycle (1980) with architect Tim Foster, which was constructed out of builders’ scaffolding within an existing volume. The Founders’ Theatre (2001) at Lenox Massachusetts, developed with architect George Marsh of Boston, is likewise a scaffolded courtyard in an extended hut. Mackintosh’s smallest galleried space is also his only theatre-in-the-round, the 185 seat Orange Tree Theatre in Richmond, London (1991). Mackintosh developed two other forms of flexible theatre spaces, each holding around 450 patrons with three levels of seats around the edges enveloping the central audience area, which can be reconfigured for different stagings. Examples of the square form include Wilde Theatre, South Hill Park, Bracknell (1984), with architects Levitt Bernstein, and the Lawrence Batley Theatre, Huddersfield (1994) with the Kirklees local authority architects. The Guardian opera critic Andrew Clements wrote ‘The design is the work of Iain Mackintosh… and he has done a seamless job in creating a 400 plus theatre, beautifully proportioned with a handy adjustable pit.’ The first apsidal room (parallel sides with semi-circular galleries facing the stage) was the Martha Cohen Theatre, Calgary (1985), with architect Joel Barrett, later repeated in the Quays Theatre (2000) at The Lowry, Salford, with architect Michael Wilford. More architecturally refined examples were the Westminster School Theatre, Connecticut (1989), with architect Graham Gund, and the Vanburgh Theatre (2000) at the Royal Academy of Dramatic Art, in London, in collaboration with architect Bryan Avery. The epitome of Mackintosh’s horseshoe, galleried auditorium concepts was the Glyndebourne Opera (1994), his most recognised project.[*according to whom?*] It was undertaken for Theatre Projects Consultants in a team led by architect Michael Hopkins. Executive chairman Sir George Christie said ‘It was Mackintosh who convinced everybody that the horseshoe was the best shape. It happened remarkably quickly. We all felt intimacy would be most easily achieved with the people in the audience wrapped round like wallpaper. That’s something that neither the fan shape nor the shoebox does.’ Architectural critic Jonathan Glancy wrote ‘Inside the auditorium the project makes near perfect sense. Mackintosh and Hopkins have produced a big but intimate space. It has as near as one can get to a timeless quality’. Glyndebourne was the first of the new horseshoe opera houses such as Toronto, Dallas and Copenhagen (designed by others). Before Glyndebourne, ‘modern’ opera houses had all the seats pointing cinema-like at the stage. This format is good for audience sightlines but does not support a rich theatrical experience. Mackintosh’s theatre forms were based on strict geometry, generally ad quadratum (ascending concentric circles within successive squares). In 2004 he contributed to the design for the second space at The Sage Gateshead, with architects Foster and Partners. Hall Two holds 450 patrons for all types of musical performance, with three encircling galleries and options of performing in the centre or on a platform stage along three of the ten sides. Mackintosh believed it to be the only performance space in the world with pentagonal geometry. In 2009 Mackintosh worked with architect Robin Snell (also a contributor to Glyndebourne), on the design of the Opera Pavilion at Garsington Opera, which opened in 2011 and won many awards. In 2014 Mackintosh worked in Bangalore, India with architect Naresh Narasimhan on two theatres at Puravankara for the Suchitra Cinema and Cultural Association director Prakash Belawad.[] Historic theatres ----------------- As well as working on new theatres Mackintosh has advocated for the retention and renovation of old theatres. These include the Festival Theatre, Edinburgh (1994), formerly the Milburn Brothers’ Empire Theatre of 1928. As a producer, Mackintosh hired the Lyceum Theatre in London on behalf of Theatre Projects Associates to transfer the National Theatre Cottesloe production of The Mysteries, adapted by Bill Bryden (1982). The Lyceum had not been used as a theatre since 1939 and had been partially converted into a ballroom in 1951. In 1982 it was under threat of demolition but The Mysteries focused attention on the building’s history as the theatre of Sir Henry Irving’s, the renowned Victorian actor-manager. In 1996 the entire theatre was restored and has since housed large-scale musicals. The Georgian Theatre Royal, Richmond, Yorkshire (1788), was fully restored in 2003 with Mackintosh and David Wilmore of Theatresearch as historical theatre consultants working with Allen Tod Architecture. The Prospect Company had opened the first show in the Theatre Royal Richmond for over a century on its re-opening in 1963. Mackintosh later initiated a conference in celebration of the Society for Theatre Research’s sixtieth anniversary, held at the Georgian in 2008. In 2003, on behalf of the Scottish Arts Council, Mackintosh and Sir James Dunbar-Nasmith (with whom he had worked on the Festival Theatre Edinburgh), supervised the reconstruction of the complete auditorium of the Opera House at Dunfermline, Scotland, within a new building in Sarasota, Florida. Built in 1921 by architects Swanston and Davison, it had been dismantled in the 1980s to make way for a shopping mall and after more than a decade in storage was taken to Florida to be meticulously re-assembled as a working professional playhouse. Curating theatre painting exhibitions ------------------------------------- The *Downfall of Shakespeare Represented on a Modern Stage,* 1763-1765, William Dawes Theatre & Performance Collection, © Victoria and Albert Museum, London Alongside designing theatre spaces, Mackintosh developed an interest in the history of theatre paintings and architecture and curated several exhibitions, each documented in comprehensive catalogues. In 1975 he was commissioned by the Arts Council of Great Britain to curate and design ‘The Georgian Playhouse 1730–1830’ at their Hayward Gallery, in the run up to the National Theatre’s opening. ‘This show on the delectable theme of the Georgian playhouse…is important artistically’ wrote Denys Sutton, editor of Apollo. The exhibition comprised 379 oil paintings, watercolours and architectural designs and attracted acclaim from both theatre and art critics. ‘This excellent exhibition … offers much of absorbing interest to both to the playgoer and those more especially concerned with pictures’. Geoffrey Ashton assisted in the final selections and writing of ‘…its splendid catalogue, full of anecdote and oddity.’ At the 1981 Buxton Festival Mackintosh and Ashton curated ‘30 Different Likenesses of David Garrick – by 30 Different Artists’, ranging from Hogarth to Gainsborough, and in 1982 they collaborated on ‘The Royal Opera House Retrospective 1732 -1982’ at the Royal Academy, in celebration of the 250th anniversary of the Theatre Royal, Covent Garden. For the 1987 Brighton Festival Mackintosh curated ‘"An Extravagant and Irrational Entertainment": Staging the Opera in England 1632 to 1792’. In 2009 at the Orleans House Gallery, Twickenham, Marcus Risdell and Mackintosh co-curated ‘The Face and Figure of Shakespeare: How Britain’s 18th Century Sculptors invented a National Hero’. In 2006 the Victoria & Albert Museum London acquired *Downfall of Shakespeare Represented on a* Modern *Stage* (sic) by William Dawes, 1763-1765, and asked Mackintosh to research it. Mackintosh published his findings in an article in *Theatre Notebook*, Volume 62 Number 1 , 2008, pp 20 – 58 plus seven plates. Theatre architecture exhibitions -------------------------------- In 1982 the Curtains!!! Committee, formed by Mackintosh in 1976, published the first gazetteer of all British theatres, existing and demolished, built before 1914. To mark the publication Mackintosh mounted the exhibition ‘CURTAINS!!! or a New Life for Old Theatres’ at the Museum of London, subsequently toured in the United Kingdom. In 1995 the British Council commissioned Mackintosh to curate ‘Making Space for Theatre: 40 Years of British Theatre Architecture’, which opened at the National Theatre in London, then at the Prague Quadrennial of Scenography and Theatre Architecture, followed by a world-wide tour. This exhibition spawned the book of the same name, edited by Ronnie Mulryne and Margaret Shewring. In addition to the catalogue for the thirty featured theatres, the book includes essays by leading actors, directors, designers, architects and playwrights. For the 2011 Prague Quadrennial (PQ) Mackintosh instigated the British exhibition entry, *The Guthrie Thrust Stage: A Living Legacy, 1948-2011*, and wrote its catalogue, published by the Association of British Theatre Technicians (ABTT).[] After PQ, the exhibition toured the theatres in Britain. Author and lecturer ------------------- Mackintosh’s 1993 book on theatre design, *Actor, Audience and Architecture*, describes the influence of architecture on the theatrical experience and critiques mid-twentieth-century theatre design. It has been influential with theatre space designers and architects and was described by Michael Coveney in The Observer as ‘Environmental theatre history at its best: analytical, informed, involved’. His other books include ‘Pit, Box and Gallery: A history of the Theatre Royal Bury St Edmunds’, The National Trust, 1979. His published catalogues include those for exhibitions at the Hayward, Royal Academy and Orleans House mentioned in Section 5. Curating theatre painting exhibitions. Publications ------------ Contributions to journals, catalogues and chapters in books or catalogues edited by others include: * ‘David Garrick and Benjamin Wilson’, Apollo, May, 1985: identifying and dating the prime version of Garrick as Romeo as 1752-53, the engraving as 1753 and establishing Benjamin Wilson as the first artist to depict Garrick on the Georgian stage and the equal of his more famous successor Zoffany. * ‘Deciphering the Downfall of Shakespeare on a Modern Stage 1765’, Theatre Notebook, Volume 62, Number 1, 2008 pp 20–58: solving the mysteries surrounding this pivotal painting, acquired by the Victoria & Albert Museum, with its complete and satirical depiction of opera in the late 1760s. * ‘King Kong versus Godzilla: The Competition for the Royal Opera House at The Hague 1910’ in Frank Matcham & Co, edited by David Wilmore, Theatreshire Books, Dacre Yorkshire, 2008: recounting the story of Britain’s greatest 19th century theatre architect, Frank Matcham, competing with mainland Europe’s most prolific theatre architects, Fellner & Helmer of Vienna, which the latter won but never saw built. * ‘Departing Glories of the British Theatre: Setting Suns over a Neo-classical Landscape' in the catalogue London – World City 1800-1840, curated in Essen Germany by Celina Fox, Yale University Press, 1992. * Entry on the Theatro Jose de Alcazar, Fortaleza, an ironwork theatre forged in Glasgow and shipped to Brazil in 1910, in Teatros, Uma Memoria dop Espacos Cenica no Brasil, ed J C Serroni, Senac, São Paulo, 2002 * Entry on Frank Matcham in The Dictionary of National Biography. * Five illustrated papers given at the annual World of Baroque Theatre conferences held at Český Krumlov from 2002 to 2009 and published by the Baroque Theatre Foundation at Český Krumlov, 2003 et seq. * ‘Fifty years of Theatre-making: Anecdotes and Apercus’, a revised and expanded version of the keynote address given at the Annual Symposium at Cambridge of the Architectural Historians of Great Britain, April 2012 and now reproduced in ‘Setting the Scene, Perspectives on Twentieth-Century Theatre Architecture’ edited by Alistair Fair, Ashgate, 2015 ISBN 9781472416520. Awards ------ In 1995 Mackintosh was the first Briton to sit on the International Jury at the Prague Quadrennial of Scenography and Theatre Architecture and in 1999 received their Gold Medal for Architecture on behalf of the new Glyndebourne Opera.[] In 2003 he was awarded the annual Cascieri Medal and Lectureship in the Humanities by the Boston Architectural Center.[] He was a jury member in 2011 for the Prague OISTAT Theatre Architecture Competition (International Organisation of Scenographers, Theatre Architects, and Technicians). Theatres with which Mackintosh has been associated have won more than 20 Architecture Awards in Britain and overseas. Notes and references -------------------- Notes 1. ↑ The Prospect Theatre Company archive is in the Victoria and Albert Museum Theatre and Performance collection located at Blythe House, reference THM/260 Prospect Productions Archive. References 1. ↑ "Prospect Theatre Company". Ian McKellen Stage. Retrieved 4 September 2014. 2. ↑ *Edward II* and *Richard II* for the BBC; *The Beggar’s Opera* for London Weekend Television. 3. ↑ *A Theatre Project: An autobiographical story*, Richard Pilbrow, p245 4. ↑ PIlbrow, Richard (2011). *A Theatre Project: An autobiographical story*. New York: Plasa Media Inc. p. 43 and others. ISBN 978-0-9834796-0-4. 5. ↑ 2. *The Stage*, October 17, 2013. ‘Hytner on the Cottesloe’. The Cottesloe reopens in 2014 as the Dorfman Theatre, named after the principal donor for the refurbishment. 6. ↑ 3. *The Stage*, March 1977, an article by Mackintosh in a souvenir for the opening of the Cottesloe. Reproduced in I Mackintosh, ‘Found Space in a New Building’, *The Cottesloe at the National, Infinite Riches in a Little Room*, R Mulrynne and M Shewring, Mulryne and Shewring Ltd and National Theatre, Statford-upon-Avon, 1999, pp 24–31. 7. ↑ 4. The first to open, although not referred to as a courtyard at the time, was the school theatre at Christ’s Hospital School of 1974 designed by architect Bill Howell who was tragically killed in a car accident a few weeks later at the age of 52. 8. ↑ 5. The Theatres Trust Theatres Database entry for the Royal National Theatre (3149) , accessed 5 February 2014. 9. ↑ Sightline: Journal of Theatre Technology and Design, Autumn 2015 10. ↑ 6. A Clement, *The Guardian*, 19 November 1994. 11. ↑ 7. *Glyndebourne, Building a Vision*, M Binney and R Runciman, Thames and Hudson, London, 1994, pp 95–96. 12. ↑ 8. J Glancy, *The Guardian*, 1 February 1994. 13. ↑ 9. I Mackintosh, ‘A Five Sided Notebook: 1996- 2001’, *Sightline*, Winter 2005, the quarterly journal of the Association of British Theatre Technicians. 14. ↑ 10. *That’s Entertainment! 100 Years of Dunfermline Opera House*, L King, Windfall Books, Kelty, 2003. 15. ↑ 11. D Sutton, *The Financial Times*, 2 September 1975. 16. ↑ 12. W Gaunt, *The Times*, 26 August 1975. 17. ↑ 13. J W Lambert, *The Sunday Times*, 31 August 1975. 18. ↑ "PRESS RELEASE: ABTT Awards Three Fellowships - ABTT – The Association of British Theatre Technicians". *www.ABTT.org.uk*. 17 December 2014. Retrieved 27 December 2017. 19. ↑ The Guthrie Thrust Stage: A Living Legacy, Association of British Theatre Technicians, 2011, p 3 20. ↑ 14. I Mackintosh, *Actor, Audience and Architecture*, Theatre Concepts, Routledge, London, 1993. 21. ↑ 15. M Coveney, ‘Books of the Year’, *The Observer*, 1993. | Authority control Edit this at Wikidata | | --- | | International | * ISNI * VIAF | | National | * Spain * France * BnF data * Germany * Israel * Belgium * United States * Czech Republic * Netherlands | | Other | * IdRef |
**Francium compounds** are compounds containing the element francium (Fr). Due to francium being very unstable, its salts are only known to a small extent. Francium coprecipitates with several caesium salts, such as caesium perchlorate, which results in small amounts of francium perchlorate. This coprecipitation can be used to isolate francium, by adapting the radiocaesium coprecipitation method of Lawrence E. Glendenin and C. M. Nelson. It will additionally coprecipitate with many other caesium salts, including the iodate, the picrate, the tartrate (also rubidium tartrate), the chloroplatinate, and the silicotungstate. It also coprecipitates with silicotungstic acid, and with perchloric acid, without another alkali metal as a carrier, which leads to other methods of separation. Halides ------- Francium halides are all soluble in water and are expected to be white solids. They are expected to be produced by the reaction of the corresponding halogens. For example, francium chloride would be produced by the reaction of francium and chlorine. Francium chloride has been studied as a pathway to separate francium from other elements, by using the high vapour pressure of the compound, although francium fluoride would have a higher vapour pressure. Other compounds --------------- Francium nitrate, sulfate, hydroxide, carbonate, acetate, and oxalate are all soluble in water, while the iodate, picrate, tartrate, chloroplatinate, and silicotungstate are insoluble. The insoluble compounds are used to extract francium from other radioactive products, such as zirconium, niobium, molybdenum, tin, and antimony, using the method mentioned in the section above. The CsFr molecule is predicted to have francium at the negative end of the dipole, unlike all known heterodiatomic alkali metal molecules. Francium superoxide (FrO2) is expected to have a more covalent character than its lighter congeners; this is attributed to the 6p electrons in francium being more involved in the francium–oxygen bonding. The relativistic destabilisation of the 6p3/2 spinor may make francium compounds in oxidation states higher than +1 possible, such as [FrVF6]−; but this has not been experimentally confirmed. Francium perchlorate is produced by the reaction of francium chloride and sodium perchlorate. The francium perchlorate coprecipitates with caesium perchlorate. This coprecipitation can be used to isolate francium, by adapting the radiocaesium coprecipitation method of Lawrence E. Glendenin and C. M. Nelson. However, this method is unreliable in separating thallium, which also coprecipitates with caesium. Francium perchlorate's entropy is expected to be 42.7 e.u (178.7 J mol−1 K−1). The only double salt known of francium has the formula Fr9Bi2I9.
The **Church of the Friars Preachers of the Blessed Virgin Mary, Montrose**, commonly called **Blackfriars**, was a mendicant friary of the Dominican Order founded in the 13th century at Montrose, Scotland. The *Chronica Extracta* claimed that it was founded by Alan Durward. It was however abandoned at some point in the 14th century. In the early 16th century it was alleged that the house had fallen into disuse because it had been burned during a war, perhaps the Wars of Scottish Independence, and neglected thereafter. On 14 November 1516, John Stewart, Duke of Albany, acting in the name of King James V of Scotland, authorised Patrick Panter, Abbot of Cambuskenneth, to re-institute the house. On 18 May 1517, Pope Leo X granted Albany's petition to transfer the property of St Mary's Hospital to the friary. The papal bull of erection was issued on 5 June 1518. The house had a prior, a sub-prior, and at least eight ordinary friars. The friars appear to have resided at the hospital as much if not more than they did at their former house. The black friars of Montrose, like mendicants everywhere else in Scotland, were targeted during the lead up to the Scottish Reformation. A letter by Francis II of France and Mary, Queen of Scots, dated 22 February 1559, confirmed the decision of the lords of the secret council to eject the friars and restore the hospital. King James VI of Scotland granted the property and remaining revenues of the friars to the burgh of Montrose on 1 January 1571.
American trade union organizer and suffragist (1889-1977) **Ruza Wenclawska** (December 15, 1889 – 1977), more widely known as **Rose Winslow** and later as **Rose Lyons** by marriage, was a Polish-American suffragist, factory inspector and trade union organizer. She was a dedicated member of the National Woman's Party. Wenclawska's main goal within this organization was to advocate fair treatment in the workplace for women. She also worked as an actress and a poet. Early life ---------- Wenclawska was born in Suwałki, Congress Poland, and immigrated to the United States with her parents when she was an infant. At the age of eleven, she began work as a mill girl in the hosiery industry in Pittsburgh. Her father was a miner and her brother a slate picker. Wenclawska also worked in factories in Philadelphia. When she was nineteen, she caught tuberculosis, and was unable to work for two years. During this time, Wenclawska put herself through night school, and began working as a labor organizer. Later life ---------- Wenclawska worked as a factory inspector and a trade union organizer in New York City with the National Consumers' League and the National Women's Trade Union League. She also worked with the Woman’s Political Union by 1913 before joining the National Woman's Party. Wenclawska became an excellent public speaker during her years of union activism and would travel across the country speaking to suffrage rallies, often with National Woman's Party founder Alice Paul. However, Wenclawska would advocate for the inclusion of working-class women and men into the National Woman's Party while Paul did not wish to organize men and did not encourage a pro-labor message in her platform. In February 1914, Wenclawska and Doris Stevens spoke at a mass meeting for working women and organized a mass suffrage parade in which working women marched to the White House to meet with Woodrow Wilson on suffrage rights. Also in 1914, Wenclawska and Lucy Burns were leaders of the Congressional Union for Woman Suffrage's campaign in California to urge voters to oppose Democratic congressional candidates. She did similar work with other organizers in Wyoming during the electoral campaigns of 1916. During this time, she also wrote a poem, "The 'New Freedom' for Women," that was published in *The Suffragist*. There she compared Wilson unfavorably to Abraham Lincoln, who sacrificed his life to give freedom to slaves. Wilson, in contrast, told suffrage advocates, "You can afford to wait." In 1917, she was part of the Silent Sentinels protests at the White House. On October 15, 1917, Wenclawska was arrested, sentenced to seven months in jail, and was sent to the Occoquan Workhouse in Virginia. Once in jail, Wenclawska and her fellow picketers were threatened, assaulted, and abused. Wenclawska, herself, was placed in solitary confinement for at least five weeks. These abuses resulted in a hunger strike, a symbolic protest that forced the authorities to either release them or torture them by force-feeding. This demonstration also intended to identify the picketers as political rather than criminal prisoners. During this time, Wenclawska smuggled letters out to her husband, Philip Lyons, and her friends. In one of these letters she writes, "I am waiting to see what happens when the President realizes that brutal bullying isn’t quite a statesmanlike method for settling a demand for justice at home...All the officers here know we are making this hunger strike that women fighting for liberty may be considered political prisoners; we have told them. God knows we don’t want other women ever to have to do this over again." Eventually all of the women were released and courts ruled that the arrests had been improper. Following more than two years of White House picketing, Congress approved the 19th Amendment and sent it out to the states for ratification, which followed in August 1920. Her engagement in political activism appears to have ended with her White House picketing and subsequent jail time. Wenclawska married shortly after she was released from prison, and the 1920 census listed her and her husband Philip Lyons living in Greenwich Village. She listed herself as an actress and performed in several plays in New York City and Provincetown, including a part in Eugene O'Neill's *Desire Under the Elms*, on Broadway in 1924. She performed under her maiden name, Ruza Wenclawska. Her death date is unclear. Guy Pène du Bois wrote of her as "the late Rose Winslow" in his 1940 memoir, *Artists Say the Silliest Things*. However, the Library of Congress website, "Women of Protest: Photographs from the Records of the National Woman's Party," indicates that she died in 1977. It is most likely that she died in 1977. Legacy ------ Doris Stevens published excerpts of Wenclawska's smuggled diary scraps from her time spent in the Occoquan Workhouse in *Jailed for Freedom* (1920), a history of militant suffragists in the United States between 1913 and 1919. She was portrayed by Vera Farmiga in the 2004 film *Iron Jawed Angels*. In this film, however, Wenclawska's character is utilized as a composite character to represent all working-class women that contributed to the women's suffrage movement, and her role in the suffrage movement is downplayed; in real life, Wenclawska was a major player in the suffrage movement. The film indicates that Wenclawska was inspired to join the suffrage movement after Alice Paul pointed out that a woman with the right to vote is also a woman able to voice her opinions, such as the need for a safer working environment. It is unclear as to when Wenclawska was first introduced to Alice Paul and the National Woman's Party, but it is known that Wenclawska was a political activist before this introduction and that she would do much greater things than suggested in *Iron Jawed Angels*. In 2017 the book *Feminist Essays* by Nancy Quinn Collins was published; it was dedicated to Wenclawska. Wenclawska is a character in the musical Suffs. The role was originated off-Broadway by Hannah Cruz and on Broadway in 2024 by Kim Blanck.
Uzbek poet and stateswoman (born 1995) Shavkat Mirziyoyev and Mehrinoz Abbasova. A clip from the presentation of the WikiStipendiya project. June 30, 2022 **Mehrinoz Abbosova** (born July 23, 1995; Uzbekistan) is an Uzbek poet, journalist, and literary critic. In 2017, Abbosova was appointed by Uzbek President Shavkat Mirziyoyev as chair of the newly established Republican Council of Young Artists. In this role, she led numerous festivals and other projects to support young artists across Uzbekistan. Abbosova was also involved in projects aimed at creating quality digital content in Uzbek, including the WikiStipendiya edit-a-thon on Uzbek Wikipedia. Since 2022, Abbosova has served as an advisor to the director of the Youth Affairs Agency of the Republic of Uzbekistan. She has been a member of the Uzbekistan Writers Association since 2018. She was awarded the state Zulfiya Award in 2012 and Shuhrat Medal in 2017. She has published two poetry collections *Men yoshlikman* (2011) and *Yulduzrang qoʻshiqla* (2014). Biography --------- Mehrinoz Abbasova was born on July 23, 1995, in Chortoq District in the Namangan Region of Uzbekistan. She was the youngest of 3 children. She credits her father Nosirjon Dehqonov as her first teacher: > ... Now that I understand, my father counted on my thoughts, dreams, and goals since I was a child. Those who instilled strong confidence in me. I am always proud to be the daughter of the best dad in the world, a humble and honest man. > > Abbosova spent her childhood in the cities of Chortoq and Namangan. In 2002, she began studying at secondary school No. 45. After her family moved to Namangan in 2004, she studied at secondary school No. 57 from 2004 to 2007, and at specialized school No. 57 from 2007 to 2011. She later studied at lyceum No. 2 under Namangan State University. She began studying English in 4th grade. At school, Abbosova participated in artistic gymnastics and dance clubs, and learned to play piano. She tutored at a music school. She originally wished to study at the Tashkent Medical Institute to become a doctor. Through her interest in poetry as a child she met writers from Namangan, including Ziyaviddin Mansur and Gulomjon Akbarov. In 2012, she won the Zulfiya State Prize in the field of literature. Her books *Men yoshlikma* (2011) and*Yulduzrang qo'shiqla* (2014) were published with the recommendation of the Uzbekistan Writers Association. In 2014, Abbosova entered the Faculty of International Journalism of the Uzbekistan State University of World Languages. In 2017, she gave a speech at the 4th congress of the Kamalot Youth Social Movement. This caught the attention of President Mirziyoyev, who appointed Abbasova to chair the newly established Republican Council of Young Artists while she was still a student. In 2017, she was awarded the Medal of Fame. From 2018 to 2020, she completed a master's degree on the Higher Literature Course of Alisher Navoi Tashkent State University of Uzbek Language and Literature. In 2018, she joined the Writers' Association of Uzbekistan. Since February 11, 2022, she has worked as an adviser to the director of the Youth Affairs Agency of the Republic of Uzbekistan on issues of the State language. Press conference for WikiStipendiya Abbasova has contributed to the organization and implementation of several large projects in the Youth Affairs Agency of the Republic of Uzbekistan, in particular, the WikiStipendiya marathon. In June 2022, President Mirziyoyev spoke at an event dedicated to Youth Day and said: > … I was happy to hear that more than 10,000 articles in the Uzbek language have been posted on Wikipedia, the world's most popular electronic encyclopedia by the initiative of Mehrinoz Abbosova. > > Mehrinoz Abbasova's poems were translated into Turkish and published in Gerçek Fethiye Newspaper. Family ------ Abbosova is married to Xushnud Xudoyberdiyev, an Uzbek blogger and lawyer. They have one son, Mustafo.
Extinct genus of reptiles ***Diandongosuchus*** is an extinct genus of archosauriform reptile, possibly a member of the Phytosauria, known from the Middle Triassic of China. The type species ***Diandongosuchus fuyuanensis*** was named in 2012 from the Zhuganpo Formation of Yunnan Province. It is a marine species that shows similarities with another Chinese Triassic species called *Qianosuchus mixtus*, although it has fewer adaptations toward marine life. It was originally classified as the basal-most member of the pseudosuchian clade Poposauroidea. However, a subsequent study conducted by Stocker *et al.* (2016, 2017) indicated it to be the basalmost known phytosaur instead. Description ----------- Restoration *Diandongosuchus* is known from a nearly complete articulated skeleton (ZMNH M8770) missing most of the tail. The total length of ZMNH M8770 is 97 centimetres (3.18 ft) and the estimated body length of the animal in life is around 155 centimetres (5.09 ft). The specimen is preserved on its right side, with the underside of the lower jaws and the trunk showing. It was prepared out of a limestone slab to reveal details on the left side of the skeleton, many of which are better preserved. The skull of *Diandongosuchus* is pointed, with oval-shaped eye sockets, antorbital and temporal openings. Distinctive features include a long premaxilla bone at the tip of the snout that extends backward past the nostril openings, a large ridge on the jugal bone that runs beneath the eye socket, and two supratemporal openings on the skull table that have prominent ridges surrounding them. The skull has similar proportions to that of *Qianosuchus*, and has the same number of teeth in the premaxilla. Like the terrestrial poposauroid *Poposaurus*, *Diandongosuchus* has a maxilla (upper jaw) bone that does not reach the border of the nostril opening. ZMNH M8770 has 25 vertebrae in the back and neck, two sacral vertebrae (as in most Triassic pseudosuchians), and seven of the forward-most tail vertebrae. The neck vertebrae are taller and narrower than they are in *Qianosuchus*. Most of the back vertebrae are obscured by overlying ribs. At the back of the trunk near the hips are bones belonging to small vertebrates such as fish - likely the stomach contents of the individual. Small overlapping osteoderms (bony scutes) overlay many of the vertebrae. Two rows run along the neck, back, and tail with about two osteoderms overlaying each vertebra. Small osteoderms also cover the limb bones. Some features of the limbs, pelvic and pectoral girdles are also diagnostic in *Diandongosuchus*, including a thick ischium bone in the hip, an opening of the coracoid bone in the pectoral girdle that is much larger than those of other archosaurs and is closed by the end of the scapula, and a fourth metatarsal bone in the foot that is longer than the other metatarsals. The scapula of *Diandongosuchus* is longer and narrower than that of *Qianosuchus*. The iliac blade of the hip is unusual in that it is narrow and projects far back from the rest of the hip. As in *Qianosuchus*, the femur of *Diandongosuchus* is slightly twisted, but the fibula is thinner and more curved. The astragalus and calcaneum bones of the ankle fit together like a ball-and-socket, a feature that confirms *Diandongosuchus* as a pseudosuchian. Some of the phalanges or toe bones are missing in ZMNH M8770, but the metatarsals are present and have unique proportions among Triassic archosaurs in which the fourth is longer than the third. Classification -------------- Diagram of the holotype specimen with insert photos showing traits shared with phytosaurs A phylogenetic analysis conducted by Li *et al.* (2012) in the original description of *Diandongosuchus* showed that it was the most basal member of a clade called Poposauroidea, which includes mostly terrestrial pseudosuchians such as the bipedal *Poposaurus* and the sail-backed *Arizonasaurus*. It was found to be closely related to *Qianosuchus*, an aquatic pseudosuchian that was the second most basal member of Poposauroidea. The data matrix of Li *et al.*, a list of characteristics that was used in the analysis, was based on that of Nesbitt (2011), one of the most extensive on archosaurs. Because of this, many of the relationships found by Li *et al.* are the same as those found by Nesbitt. Below is a cladogram from the analysis: | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | Archosauria | | | | | --- | --- | | | Avemetatarsalia | | | | Pseudosuchia | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | | Ornithosuchidae | | | | | --- | --- | | | *Ornithosuchus* | | | | | *Riojasuchus* | | | | | | | Suchia | | | | | --- | --- | | | *Gracilisuchus* | | | | | *Turfanosuchus* | | | | | | | | | --- | --- | | | *Revueltosaurus* | | | | Aetosauria | | | | | --- | --- | | | *Longosuchus* | | | | | | | | | --- | --- | | | *Stagonolepis* | | | | | *Aetosaurus* | | | | | | | | | | | | | Paracrocodylomorpha | | | | | --- | --- | | | Loricata | | | | Poposauroidea | | | | | --- | --- | | | ***Diandongosuchus*** | | | | | | | | | --- | --- | | | *Qianosuchus* | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | --- | --- | | | *Xilousuchus* | | | | | *Arizonasaurus* | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | --- | --- | | | *Poposaurus* (holotype) | | | | | *Poposaurus* (Yale specimen) | | | | | | | | | | | | --- | --- | | | *Lotosaurus* | | | | | | | | | --- | --- | | | *Sillosuchus* | | | | | | | | | --- | --- | | | *Effigia* | | | | | *Shuvosaurus* | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | However, more recent studies have found it to be a basal phytosaur. Paleoecology ------------ Skull features *Diandongosuchus* was found in a Ladinian-age marine limestone formation that has preserved many marine reptiles including thallatosaurs, nothosaurs, pistosaurs, and some protorosaurs. The closely related pseudosuchian *Qianosuchus* was found in a marine deposit about 50 kilometres (31 mi) northwest of the *Diandongosuchus* locality that is slightly older (Anisian in age) and possesses many features consistent with a marine lifestyle. However, *Diandongosuchus* shows no features that are clear adaptations to a marine lifestyle. Possible adaptations include nostrils that are positioned slightly farther back on the skull than most terrestrial pseudosuchians and a greater number of premaxillary teeth (a feature seen in possible semiaquatic archosaurs such as *Chanaresuchus* and spinosaurids). Fish bones within its stomach contents are additional evidence that it was a marine archosaur. *Diandongosuchus* may have had a similar lifestyle to modern marine crocodylians like the saltwater crocodile that live along coastlines yet are not fully marine. The fossil assemblage in which *Diandongosuchus* was found bears many similarities to that of European fossil localities such as Monte San Giorgio. Both include marine reptiles like thallatosaurs and nothosaurs and probably represented environments along the northern shorelines of the Tethys Ocean. No marine archosaurs like *Diandongosuchus* and *Qianosuchus* are known from Europe, although the pseudosuchian *Ticinosuchus* from Monte San Giorgio was probably adapted to life along the shorelines of the Tethys. In the analyses of Li *et al.* (2012) and Nesbitt (2011), *Ticinosuchus* is either the most basal member of a clade called Loricata which is the sister taxon of Poposauroidea, or the sister taxon of Paracrocodylomorpha which includes both Loricata and Poposauroidea. Although *Ticinosuchus* and *Diandongosuchus* were initially believed to have been very closely related basal paracrocodylomorphs, this hypothesis is invalidated if *Diandongosuchus* is a phytosaur as other studies have shown.
United States federal weather agency The **Climate Prediction Center** (**CPC**) is a United States federal agency that is one of the National Centers for Environmental Prediction, which are a part of the National Oceanic and Atmospheric Administration's National Weather Service. CPC is headquartered in College Park, Maryland. Its roots trace back to the climatological work of Thomas Jefferson, with the United States Army Signal Corp taking over responsibility of the climate program in the late 19th century. Once it became part of the United States Weather Bureau, it was known as the Weather Bureau Climate and Crop Services. From 1957 through 1966, the United States Weather Bureau's Office of Climatology, located in Washington, D.C. and then Suitland, Maryland, published the Mariners Weather Log publication. Late in the 20th century, it was known as the Climate Analysis Center for a time, before evolving into CPC in 1995. CPC issues climate forecasts valid for weeks and months in advance. History ------- The roots of modern climate prediction can be traced to the work of one of the nation's first applied climatologists, Thomas Jefferson, third President of the United States. A century later, the federal government assigned to the Army Signal Corps the mission to define the climate of the regions of the country being opened for farming. In 1890, the United States Department of Agriculture (USDA) created the Weather Bureau climate and crops services which began publishing the Weather and Crops Weekly Bulletin, which the CPC in conjunction with the USDA still publishes today. The records of the Climate Division span from 1883 to 1961. For a time during the 1960s, the Weather Bureau's Office of Climatology was located in Suitland, Maryland. In 1970, various federal weather and climate functions were consolidated into the National Weather Service (NWS) and placed in a new agency called the National Oceanic and Atmospheric Administration (NOAA). In the 1980s the National Weather Service established the Climate Prediction Center, known at the time as the Climate Analysis Center (CAC). The CPC is best known for its United States climate forecasts based on El Niño and La Niña conditions in the tropical Pacific. Products -------- This visualization showcases the five weather satellites that create NOAA's Climate Prediction Center (CPC) products. The five geosynchronous satellites are: GOES-13, GOES-15, Meteosat-7, Meteosat-9 and MTSAT-2. Sample CPC graphic: three month precipitation outlook The CPC's products are operational predictions of climate variability, real-time monitoring of global climate, and attribution of the origins of major climate anomalies. The products cover time scales from a week to seasons, and cover the land, the ocean, and the atmosphere, extending into the stratosphere. These climate services are available for users in government, the public and private industry, both in this country and abroad. Applications include the mitigation of weather-related natural disasters and uses for social and economic good in agriculture, energy, transportation, water resources, and health. Continual product improvements are supported through diagnostic research, increasing use of models, and interactions with user groups. Some specific products include: * 3-Month Temperature and Precipitation + Outlooks + Discussions * 1-Month Temperature and Precipitation + Outlooks + Discussions * 6 to 10-Day and 8 to 14-Day Products + Temperature and Precipitation Anomaly + Excessive Heat Outlook + Maximum Heat Index Prediction * 3-Month probability of exceedance + Temperature + Precipitation + Heating and Cooling Degree Days * Hurricane Season Outlook + Atlantic basin + Pacific basin * U.S. Drought + Outlook + Discussion * International Support + Weekly Afghan Hazards + Weekly Africa Hazards + Weekly Central America Hazards + Weekly Haiti Hazards
Town in Wisconsin, United States **Winchester** is a town in Vilas County, Wisconsin, United States. The population was 383 at the 2010 census. The unincorporated community of Winchester—locally known as the "Winchester Townsite"—is located in the town. Demographics ------------ As of the census of 2000, there were 454 people, 214 households, and 148 families residing in the town. The population density was 9.4 people per square mile (3.6/km2). There were 796 housing units at an average density of 16.5 per square mile (6.4/km2). The racial makeup of the town was 99.78% White and 0.22% Native American. There were 214 households, out of which 16.4% had children under the age of 18 living with them, 62.6% were married couples living together, 3.7% had a female householder with no husband present, and 30.8% were non-families. 24.3% of all households were made up of individuals, and 11.7% had someone living alone who was 65 years of age or older. The average household size was 2.12 and the average family size was 2.47. In the town, the population was spread out, with 12.6% under the age of 18, 5.9% from 18 to 24, 15.6% from 25 to 44, 37.9% from 45 to 64, and 28.0% who were 65 years of age or older. The median age was 53 years. For every 100 females, there were 99.1 males. For every 100 females age 18 and over, there were 96.5 males. The median income for a household in the town was $32,361, and the median income for a family was $43,333. Males had a median income of $31,875 versus $25,536 for females. The per capita income for the town was $19,720. None of the families and 4.1% of the population were living below the poverty line, including no under eighteens and 3.0% of those over 64. 46°13′19″N 89°53′53″W / 46.22194°N 89.89806°W / 46.22194; -89.89806 Government ---------- The Winchester Hown Hall, Fire Department, and Transfer Site are located on CTH W approximately 1 mile southeast of the unincorporated community of Winchester. The Winchester Public Library is located in the unincorporated community of Winchester. The town is governed by two supervisors and a town chairman, and is served by an elected town clerk and treasurer. It is located in Vilas County Supervisory District 2, Wisconsin Assembly District 34, Wisconsin Senate District 12, and Wisconsin's Eighth Congressional District. Transportation -------------- Winchester is served by three Vilas County Trunk Highways. CTH W is the main route through the town, it runs east to Presque Isle and a connection with CTH B, and south to Manitowish Waters and a connection to USH 51. CTH J runs west to Mercer in Iron County and also connects to USH 51. CTH O runs north to the Michigan state line and a connection to Gogebic County Highway 519 and a connection with US 2 at Wakefield, Michigan. The unincorporated community of Winchester can be accessed via town roads Old County O and Townsite Rd. Geography --------- The town of Winchester is located in the northwest corner of Vilas County, Wisconsin. It contains many lakes, including North Turtle, South Turtle, and Rock Lakes, which make up the Turtle Chain, as well as Birch, Harris, Pardee, Circle Lily and Papoose Lakes, among others. The area serves as the headwaters for the Turtle River, which is part of the Flambeau Riversystem. According to the United States Census Bureau, the town has a total area of 53.6 square miles (138.8 km2), of which, 48.1 square miles (124.7 km2) of it is land and 5.5 square miles (14.2 km2) of it (10.21%) is water. | Places adjacent to Winchester, Vilas County, Wisconsin | | --- | | | | | | | --- | --- | --- | | Town of Oma | Bessemer Township | Marenisco Township | | | | | | Town of Mercer | **Winchester, Vilas County, Wisconsin** | Town of Presque Isle | | | | | | | Town of Manitowish Waters | Town of Boulder Junction | |
For other places with the same name, see Kamieńczyk. Village in Masovian Voivodeship, Poland **Kamieńczyk** (Polish pronunciation: [kaˈmjɛj̃tʂɨk]) is a village in the administrative district of Gmina Wyszków, within Wyszków County, Masovian Voivodeship, in east-central Poland. It lies approximately 7 kilometres (4 mi) east of Wyszków and 57 km (35 mi) north-east of Warsaw. Kamienczyk, which was also called Kamieniec Mazowiecki, is located 5 kilometers east of Wyszkow. This former town has a long history: in 1377 - 1795, it was the seat of a separate castellany (later a county), which belonged to Land of Nur, part of Mazovia. The castellany of Kamienczyk/Kamieniec was established in 1377 in Sochaczew, during a meeting of dukes of the Duchy of Mazovia. In 1452, Kamieniec received Magdeburg rights, together with a number of privileges. In 1526, together with whole Mazovia, it was annexed by the Kingdom of Poland, and was one of main administrative centers of eastern part of Masovian Voivodeship. In 1565, Kamieniec had a defensive castle, a town hall, a cloth hall, three churches, royal court, a monastery and 189 houses. The town was completely destroyed during the Swedish invasion of Poland (1655 - 1660), and never regained its prominence. In 1869 Kamienczyk lost its town charter. The village suffered during World War II, as it was twice destroyed (1939, 1944).
American food writer and magazine editor **Jonell Nash** (December 20, 1942 – February 27, 2015) was a food editor for *Essence* from 1984 to 2008 and author of the cookbook *Low-Fat Soul*, published in 1996. Early life ---------- Born in Delhi, Louisiana, Nash was one of four children to Willie Henry Nash Dr. and Mollie Osborne. Her siblings are Gertrude Cherry, Marva Stanton, and Willie Nash. Nash's father, Willie Henry Nash Sr. worked in a plastics plant. Her mother, Mollie Osborne, worked in a dry cleaning store. Her family moved from Louisiana to Detroit, Michigan. Career ------ Jonell Nash graduated from Wayne State University and started teaching high school home economics. Nash left her home economic's job to go work for Scholastic's Coed magazine. She would then move to New York City, where she worked in a test kitchen at *Woman's Day*. She joined Essence Magazine as their Food Editor in 1984 until her retirement in 2008. Nash is the author of two books. Her first book is *Essence Brings You Great Cooking* was published in 1994 and had over 300+ recipes from the magazine. Her second book, *Low-Fat Soul,* was published in 1996 by One World. Nash financed a scholarship for students to study Southern cooking in the honor of chef Edna Lewis with the help of the organization Les Dames d’Escoffier New York, an organization of women in the food and hospitality professions. The scholarship is supposedly being renamed for Ms. Nash. A collection of cookbooks owned and referenced by Nash is a part of the Wayne State University Special Collections. Personal life ------------- Jonell Nash's lifelong partner was actor Paul D. Butler. Butler died in 2010, five years prior to Nash's death on February 27, 2015. Works ----- * *Essence Brings You Great Cooking* (1994) * *Low-Fat Soul* (1996) Resources --------- 1. 1 2 3 4 5 6 7 8 9 10 11 12 Roberts, Sam (2015-03-10). "Jonell Nash, Who Cut Fat, Not Flavor, Out of Soul Food, Dies at 72". *The New York Times*. ISSN 0362-4331. Retrieved 2021-07-27. 2. ↑ Hansen, Barbara (1994-12-15). "Annual Cookbook Issue : BOOK REVIEW : The Essence of Good Cooking : ESSENCE BRINGS YOU GREAT COOKING By Jonell Nash (Amistad: 1994; $29.95; illustrated, 465 pp.)". *Los Angeles Times*. Retrieved 2021-07-27. 3. 1 2 *American Black Journal | 1994 DBJ Interview: Jonell Nash | Season 47 | Episode 51*, retrieved 2021-07-27 4. ↑ "Jonell Nash Obituary (2015) New York Times". *Legacy.com*. Retrieved 2021-07-27. 5. 1 2 "Jonell Nash - MOFAD". *legacyquiltproject.mofad.org*. Retrieved 2021-07-27. 6. ↑ Nash, Jonell (2001). *Essence brings you great cooking*. New York: Amistad Press. ISBN 978-0-06-095813-8. OCLC 47283047. 7. ↑ Nash, Jonell (1998). *Low-fat soul*. New York: One World. ISBN 978-0-345-41363-5. OCLC 38364087. | Authority control databases Edit this at Wikidata | | --- | | International | * ISNI * VIAF | | National | * United States |
First newspaper in Washington, D.C. The ***National Intelligencer and Washington Advertiser*** was a newspaper published in Washington, D.C. from October 30, 1800 until 1870. It was the first newspaper published in the District, which was founded in 1790. It was originally a Tri-weekly publication. It covered early debates of the United States Congress. The paper had a strong bias to Republicans and Thomas Jefferson. History ------- *National Intelligencer and Washington Advertiser header, October 31, 1800* The publication was founded under the named *National intelligencer and Washington Advertiser* on October 31, 1800. Its name was changed to the *National Intelligencer* starting with the issue of November 27, 1810. The newspaper was published daily from 1813 to 1867 as the *Daily National Intelligencer* and was the dominant newspaper of the capital. During the War of 1812, its offices and printing plant were burnt by British forces as part of the Burning of Washington on August 24, 1814. The British commander during the burning, Sir George Cockburn, intentionally targeted the *National Intelligencer* and stated that "Be sure that all the C's are destroyed, so that the rascals cannot any longer abuse my name." The paper suspended publication on June 24, 1869. It was renewed on September 20, 1869 as the *Daily National Intelligencer and Washington Express*. It continued publication until January 10, 1870. Owners ------ Samuel Harrison Smith, a prominent newspaperman, was an early proprietor. In 1810, Joseph Gales took over as sole proprietor. He and William Winston Seaton were its publishers for more than 50 years. At first, Gales was the Senate's sole reporter, and Seaton reported on the House of Representatives. The *Intelligencer* supported the Jefferson, Madison, and Monroe administrations, and Gales and Seaton were selected as the official printers of Congress from 1819 to 1829. In addition to printing government documents, they began compiling their reports of floor debates and publishing them in the *Register of Debates*, a forerunner of the *Congressional Record*. Gales and Seaton flourished during the "Era of Good Feelings," a period of relative political complacency, but after Congress was split between the Whigs and Democrats, the partners lost their official patronage. From the 1830s to the 1850s, the *National Intelligencer* was one of the nation's leading Whig newspapers, and continued to hold conservative, unionist principles down to the Civil War, supporting John Bell and the Constitutional Union Party in the 1860 presidential election. Gales died in 1860 and Seaton retired in 1864. James Clarke Welling, who became President of Columbian University, served on the editorial staff during the Civil War. In 1865, the *National Intelligencer* was taken over by Snow, Coyle & Co. John F. Coyle had been an employee at the paper's offices, and continued to publish the paper despite a half million dollars' worth of debts. On November 30, 1869, the statistician and economist Alexander del Mar bought the paper for cash and merged it with the *Washington Express*. The short-lived *Daily National Intelligencer and Washington Express'*s last daily publication in Washington was January 10, 1870. Thereafter it was published weekly in New York until at least April 1871. It later became the New York daily *City and National Intelligencer* with del Mar as editor and publisher, and a circulation of about 2,000 in 1872. Further reading --------------- * Ames, William E. "The National Intelligencer: Washington's Leading Political Newspaper." *Records of the Columbia Historical Society* (Washington, DC, 1966): 71-83. in JSTOR * Ames, William E. (1972). *A history of the National Intelligencer*. Chapel Hill, North Carolina: University of North Carolina Press. ISBN 9780807811788. OCLC 278940. * Eaton, Clement. "Winifred and Joseph Gales, Liberals in the Old South." *Journal of Southern History* 10.4 (1944): 461-474. in JSTOR 38°53′34.4″N 77°01′17.2″W / 38.892889°N 77.021444°W / 38.892889; -77.021444 (National Intelligencer newspaper)
Karel Liebscher by Jan Vilímek (1887) **Karel Liebscher** (24 February 1851, Prague – 20 April 1906, Prague) was a landscape painter and illustrator from Austria-Hungary. His brother was the history painter Adolf Liebscher. Biography --------- Liebscher displayed an early talent for drawing but, at first, did not consider that to be a practical way to earn a living. He studied engineering and took a position as an assistant with the Building Authority. After a short time, however, he came down with a nervous disorder (possibly from drinking too much coffee) that required rest and quiet. During stays at various health spas in Gräfenberg, Tábor and Letiny, he studied nature and began painting. His first illustrations were published in 1879. He enrolled at the Academy of Fine Arts Vienna in 1883 where he studied with Eduard von Lichtenfels. Liebscher's first major exhibition took place in Prague in 1885, where he exhibited with his brother Adolf. The primary themes of his works were Czech monuments, old buildings and landscapes. He later travelled to what is now Croatia, producing images of the Mediterranean coast. Many of his illustrations were used by Jan Otto in his regular magazines (*Zlatá Praha*) and special edition books (*Bohemia* by Bedřich Bernau; *Castles and Chateaux* by August Sedláček). Selected illustrations ---------------------- Wikisource has original works by or about: ***Karel Liebscher*** * "St John's Rapids" on the Vltava"St John's Rapids" on the Vltava * "Čertovy hlavy", rock sculpturesby Václav Levý near Želízy"Čertovy hlavy", rock sculptures by Václav Levý near Želízy * Church of the Nativity of John the Baptist, PřibyslavChurch of the Nativity of John the Baptist, Přibyslav * Wooden Belfry in LichkovWooden Belfry in Lichkov Further reading --------------- * Weitenweber, Vilém; *Karel Liebscher in Zlatá Praha* (Golden Prague), May 1885, Issue 19, p. 258 * Liebscher, Karel; *Zlatá Praha* April 1906, Issue 29, p. 337 * Xaver Harlas, František; April 1906, Issue 29, p. 347 *Karel Liebscher in Zlatá Praha*
Australian fishing tackle manufacturer **Alvey Reels** is an Australian manufacturer of fishing tackle, primarily known for fishing reels and rods. It was founded by Charles Alvey in Brisbane in 1920, making it one of Australia's oldest family-owned fishing companies. On the 20th of July, 2017, the company announced that it would be closing. The managing director Bruce Alvey, great-grandson of the founder, said the company had "suffered a dramatic drop in sales, particularly in the last six months." In mid-2019, Alvey was saved from closure and is still producing reels. History ------- Alvey Reels started in 1920 when Charles Alvey, an English migrant, saw the need for a fishing reel that was easy to use, easy to cast, simple to maintain, and solidly constructed to give many years of trouble-free angling. Working on the basic principle of the Scottish Malloch reel, he designed a reel which allowed the body of the reel to be turned sideways when casting, permitting the line to strip freely from the edge of a specially shaped spool. This eliminated the problems of backlash and overrun common to users of the multiplying type of reel.  When the reel was returned to the fishing position, it afforded the best positive direct rewind of the centrepin reel, which lost favour only because of difficulty in casting. So, the Alvey reel came into being, combining easy casting and forceful rewinding. [] The original factory was a small shed without electric power in the Brisbane suburb of St Lucia, Queensland, whereby using a treadle lathe, Charles Alvey painstakingly produced about twenty reels per week.  His work was so meticulous that anglers called the Alvey ‘The reel you cannot wear out’. By 1923, the demand had become so great that Charles Alvey's son Ken, a qualified pattern maker and draftsman, joined the business and a partnership was formed.  Together they steered the company into the 1930s, pouring all available profits back into new machinery and taking on more staff to increase production. By this time about 25,000 reels were being produced annually. 1939 brought the Second World War and an abrupt halt to Alvey production. Machinery was converted to assist the war effort by producing vehicle and aircraft components which were to be so essential over the following six-year period. In 1945, efforts were once again turned to the manufacturing of fishing reels. Also, in 1945, Charles Alvey passed away, leaving behind his family to takeover the business. Ken Alvey's son Jack joined the firm in 1946 after obtaining his qualifications with a local engineering works.  Ken Alvey died in 1973. In 1974, a flood caused severe damage to the Alvey factory. Manufacturing was brought back on line two months later. Members of the public and fishing club supporters donated their time and efforts to assist the Alvey family and staff. Around this time[*when?*], Jack Alvey's eldest son Bruce joined the company.  With this union, the father and son partnership was re-established. In 1976, the initial design for new a factory and office premises was created. In 1978, land was acquired in the Industrial estate at Carole Park, and tenders were called for construction. By September, the building had been completed. In 1987, a major expansion of the Carole Park plant was executed, taking the buildings to the maximum size allowed on the area of land.  Plastic injection moulding machines were installed, and a new range of products using the latest technology emerged. In 1988, Jack's youngest son Glenn joined the company. The Alveys acquired the property next to theirs on the Carole Park industrial estate in 1990. During the 1990s, there was a major change in the methods of construction of the company's most popular reels. In the early 1990s, the first graphite back/fibreglass 4" (100 mm) reel was designed and manufactured.  An ‘Easy Cast’ system based on a very early 1930 system was developed and by using tough strong injection moulded plastics a new range of economy reels was started. Larger models in the 6" (150 mm) and 6 ½" (165 mm) were added to this range in 1997-98.  In 1997, a fully vented graphite blue water saltwater fly reel was added to the Alvey range in place of the older heavier metal and fibreglass SWF reel. Reels were exported to the USA, New Zealand and UK. 2000 saw the release of the vented 6500 series reels followed by the 6000 series in mid-2001. In June 2001, Jack Alvey passed away from cancer. In 1999, Jack was awarded an OAM for his efforts in promoting recreational fishing and strongly supporting junior anglers wherever possible. Late 2001 saw the release of the first graphite vented 825 series boat reels.  This used a graphite back and vented spool to keep weight down but still offered the angler a powerful low maintenance reel for deep sea fishing.The 825BCV Model also incorporated a rapid retrieve handle plate system. In 2008, the Turbo Cast System was developed. This injection moulded component stands the reel slightly further off the rod to increase the line flow during casting which will improve distance. 2011 saw the importing of the first ever overseas made reel. Since 2000, Alvey have built their range of imported fishing rods to 16 Models in 2012. These cover children's rods through to surf models and now a specialist blackfish Rod. These also include 2 Telescopic rods to suit the ever-growing numbers of grey nomads who love fishing and need an easily transportable rod. 2014 saw the release of the Model 6000C8 reel. This had the traditional rolled Stainless Back with a laser cut fishtail cross and a CNC machined Anodized Alloy spool made in China for us. It also incorporated a large single plate clutch with a Carbon clutch washer." In July 2017, the business decided to close due to a decline in sales. In mid-2019, Alvey Reels was sold to a business consortium, but with members of the Alvey family still continuing to hold senior positions in the organisation. In 2022, Alvey Reels was acquired by Gowings, an Australian investment company. The acquisition saved the company from being shut down.
Theory in modern physics that describes gravity as an entropic force The theory of *entropic gravity* abides by Newton's law of universal gravitation on Earth and at interplanetary distances but diverges from this classic nature at interstellar distances. **Entropic gravity**, also known as **emergent gravity**, is a theory in modern physics that describes gravity as an *entropic force*—a force with macro-scale homogeneity but which is subject to quantum-level disorder—and not a fundamental interaction. The theory, based on string theory, black hole physics, and quantum information theory, describes gravity as an *emergent* phenomenon that springs from the quantum entanglement of small bits of spacetime information. As such, entropic gravity is said to abide by the second law of thermodynamics under which the entropy of a physical system tends to increase over time. The theory has been controversial within the physics community but has sparked research and experiments to test its validity. Significance ------------ At its simplest, the theory holds that when gravity becomes vanishingly weak—levels seen only at interstellar distances—it diverges from its classically understood nature and its strength begins to decay *linearly with distance* from a mass. Entropic gravity provides an underlying framework to explain Modified Newtonian Dynamics, or MOND, which holds that at a gravitational acceleration threshold of approximately 1.2×10−10 m/s2, gravitational strength begins to vary inversely *linearly* with distance from a mass rather than the normal inverse-square law of the distance. This is an exceedingly low threshold, measuring only 12 trillionths gravity's strength at Earth's surface; an object dropped from a height of one meter would fall for 36 hours were Earth's gravity this weak. It is also 3,000 times less than the remnant of Earth's gravitational field that exists at the point where *Voyager 1* crossed the solar system's heliopause and entered interstellar space. The theory claims to be consistent with both the macro-level observations of Newtonian gravity as well as Einstein's theory of general relativity and its gravitational distortion of spacetime. Importantly, the theory also explains (without invoking the existence of dark matter and tweaking of its new free parameters) why galactic rotation curves differ from the profile expected with visible matter. The theory of entropic gravity posits that what has been interpreted as unobserved dark matter is the product of quantum effects that can be regarded as a form of *positive dark energy* that lifts the vacuum energy of space from its ground state value. A central tenet of the theory is that the positive dark energy leads to a thermal-volume law contribution to entropy that overtakes the area law of anti-de Sitter space precisely at the cosmological horizon. Thus this theory provides an alternative explanation for what mainstream physics currently attributes to dark matter. Since dark matter is believed to compose the vast majority of the universe's mass, a theory in which it is absent has huge implications for cosmology. In addition to continuing theoretical work in various directions, there are many experiments planned or in progress to actually detect or better determine the properties of dark matter (beyond its gravitational attraction), all of which would be undermined by an alternative explanation for the gravitational effects currently attributed to this elusive entity. Origin ------ The thermodynamic description of gravity has a history that goes back at least to research on black hole thermodynamics by Bekenstein and Hawking in the mid-1970s. These studies suggest a deep connection between gravity and thermodynamics, which describes the behavior of heat. In 1995, Jacobson demonstrated that the Einstein field equations describing relativistic gravitation can be derived by combining general thermodynamic considerations with the equivalence principle. Subsequently, other physicists, most notably Thanu Padmanabhan, began to explore links between gravity and entropy. Erik Verlinde's theory ---------------------- In 2009, Erik Verlinde proposed a conceptual model that describes gravity as an entropic force. He argues (similar to Jacobson's result) that gravity is a consequence of the "information associated with the positions of material bodies". This model combines the thermodynamic approach to gravity with Gerard 't Hooft's holographic principle. It implies that gravity is not a fundamental interaction, but an emergent phenomenon which arises from the statistical behavior of microscopic degrees of freedom encoded on a holographic screen. The paper drew a variety of responses from the scientific community. Andrew Strominger, a string theorist at Harvard said "Some people have said it can't be right, others that it's right and we already knew it – that it’s right and profound, right and trivial." In July 2011, Verlinde presented the further development of his ideas in a contribution to the Strings 2011 conference, including an explanation for the origin of dark matter. Verlinde's article also attracted a large amount of media exposure, and led to immediate follow-up work in cosmology, the dark energy hypothesis, cosmological acceleration, cosmological inflation, and loop quantum gravity. Also, a specific microscopic model has been proposed that indeed leads to entropic gravity emerging at large scales. Entropic gravity can emerge from quantum entanglement of local Rindler horizons. Derivation of the law of gravitation ------------------------------------ The law of gravitation is derived from classical statistical mechanics applied to the holographic principle, that states that the description of a volume of space can be thought of as {\displaystyle N} bits of binary information, encoded on a boundary to that region, a closed surface of area {\displaystyle A}. The information is evenly distributed on the surface with each bit requiring an area equal to {\displaystyle \ell \_{\text{P}}^{2}}, the so-called *Planck area*, from which {\displaystyle N} can thus be computed: N = A ℓ P 2 {\displaystyle N={\frac {A}{\ell \_{\text{P}}^{2}}}} {\displaystyle N={\frac {A}{\ell _{\text{P}}^{2}}}} where {\displaystyle \ell \_{\text{P}}} is the Planck length. The Planck length is defined as: ℓ P = ℏ G c 3 {\displaystyle \ell \_{\text{P}}={\sqrt {\frac {\hbar G}{c^{3}}}}} {\displaystyle \ell _{\text{P}}={\sqrt {\frac {\hbar G}{c^{3}}}}} where {\displaystyle G} is the universal gravitational constant, {\displaystyle c} is the speed of light, and {\displaystyle \hbar } is the reduced Planck constant. When substituted in the equation for {\displaystyle N} we find: N = A c 3 ℏ G {\displaystyle N={\frac {Ac^{3}}{\hbar G}}} {\displaystyle N={\frac {Ac^{3}}{\hbar G}}} The statistical equipartition theorem defines the temperature {\displaystyle T} of a system with {\displaystyle N} degrees of freedom in terms of its energy {\displaystyle E} such that: E = 1 2 N k B T {\displaystyle E={\frac {1}{2}}Nk\_{\text{B}}T} {\displaystyle E={\frac {1}{2}}Nk_{\text{B}}T} where {\displaystyle k\_{\text{B}}} is the Boltzmann constant. This is the equivalent energy for a mass {\displaystyle M} according to: E = M c 2 . {\displaystyle E=Mc^{2}.} {\displaystyle E=Mc^{2}.} The effective temperature experienced due to a uniform acceleration in a vacuum field according to the Unruh effect is: T = ℏ a 2 π c k B , {\displaystyle T={\frac {\hbar a}{2\pi ck\_{\text{B}}}},} {\displaystyle T={\frac {\hbar a}{2\pi ck_{\text{B}}}},} where {\displaystyle a} is that acceleration, which for a mass {\displaystyle m} would be attributed to a force {\displaystyle F} according to Newton's second law of motion: F = m a . {\displaystyle F=ma.} {\displaystyle F=ma.} Taking the holographic screen to be a sphere of radius {\displaystyle r}, the surface area would be given by: A = 4 π r 2 . {\displaystyle A=4\pi r^{2}.} {\displaystyle A=4\pi r^{2}.} From algebraic substitution of these into the above relations, one derives Newton's law of universal gravitation: F = m 2 π c k B T ℏ = m 4 π c ℏ E N = m 4 π c 3 ℏ M N = m 4 π G M A = G m M r 2 . {\displaystyle F=m{\frac {2\pi ck\_{\text{B}}T}{\hbar }}=m{\frac {4\pi c}{\hbar }}{\frac {E}{N}}=m{\frac {4\pi c^{3}}{\hbar }}{\frac {M}{N}}=m4\pi {\frac {GM}{A}}=G{\frac {mM}{r^{2}}}.} {\displaystyle F=m{\frac {2\pi ck_{\text{B}}T}{\hbar }}=m{\frac {4\pi c}{\hbar }}{\frac {E}{N}}=m{\frac {4\pi c^{3}}{\hbar }}{\frac {M}{N}}=m4\pi {\frac {GM}{A}}=G{\frac {mM}{r^{2}}}.} Note that this derivation assumes that the number of the binary bits of information is equal to the number of the degrees of freedom. A ℓ P 2 = N = 2 E k B T {\displaystyle {\frac {A}{\ell \_{\text{P}}^{2}}}=N={\frac {2E}{k\_{\text{B}}T}}} {\displaystyle {\frac {A}{\ell _{\text{P}}^{2}}}=N={\frac {2E}{k_{\text{B}}T}}} Criticism and experimental tests -------------------------------- Entropic gravity, as proposed by Verlinde in his original article, reproduces the Einstein field equations and, in a Newtonian approximation, a {\displaystyle \ {\tfrac {\ 1\ }{r}}\ } potential for gravitational forces. Since its results do not differ from Newtonian gravity except in regions of extremely small gravitational fields, testing the theory with earth-based laboratory experiments does not appear feasible. Spacecraft-based experiments performed at Lagrangian points within our solar system would be expensive and challenging. Even so, entropic gravity in its current form has been severely challenged on formal grounds. Matt Visser has shown that the attempt to model conservative forces in the general Newtonian case (i.e. for arbitrary potentials and an unlimited number of discrete masses) leads to unphysical requirements for the required entropy and involves an unnatural number of temperature baths of differing temperatures. Visser concludes: > There is no reasonable doubt concerning the physical reality of entropic forces, and no reasonable doubt that classical (and semi-classical) general relativity is closely related to thermodynamics [52–55]. Based on the work of Jacobson [1–6], Thanu Padmanabhan [7–12], and others, there are also good reasons to suspect a thermodynamic interpretation of the fully relativistic Einstein equations might be possible. Whether the specific proposals of Verlinde [26] are anywhere near as fundamental is yet to be seen – the rather baroque construction needed to accurately reproduce n-body Newtonian gravity in a Verlinde-like setting certainly gives one pause. > > For the derivation of Einstein's equations from an entropic gravity perspective, Tower Wang shows that the inclusion of energy-momentum conservation and cosmological homogeneity and isotropy requirements severely restricts a wide class of potential modifications of entropic gravity, some of which have been used to generalize entropic gravity beyond the singular case of an entropic model of Einstein's equations. Wang asserts that: > As indicated by our results, the modified entropic gravity models of form (2), if not killed, should live in a very narrow room to assure the energy-momentum conservation and to accommodate a homogeneous isotropic universe. > > Cosmological observations using available technology can be used to test the theory. On the basis of lensing by the galaxy cluster Abell 1689, Nieuwenhuizen concludes that EG is strongly ruled out unless additional (dark) matter-like eV neutrinos is added. A team from Leiden Observatory statistically observing the lensing effect of gravitational fields at large distances from the centers of more than 33,000 galaxies found that those gravitational fields were consistent with Verlinde's theory. Using conventional gravitational theory, the fields implied by these observations (as well as from measured galaxy rotation curves) could only be ascribed to a particular distribution of dark matter. In June 2017, a study by Princeton University researcher Kris Pardo asserted that Verlinde's theory is inconsistent with the observed rotation velocities of dwarf galaxies. Another theory of entropy based on geometric considerations (Quantitative Geometrical Thermodynamics, QGT) provides an entropic basis for the holographic principle and also offers another explanation for galaxy rotation curves as being due to the entropic influence of the central supermassive blackhole found in the center of a spiral galaxy. In 2018, Zhi-Wei Wang and Samuel L. Braunstein showed that, while spacetime surfaces near black holes (called stretched horizons) do obey an analog of the first law of thermodynamics, ordinary spacetime surfaces — including holographic screens — generally do not, thus undermining the key thermodynamic assumption of the emergent gravity program. In his 1964 lecture on the Relation of Mathematics and Physics, Richard Feynman describes a related theory for gravity where the gravitational force is explained due to an entropic force due to unspecified microscopic degrees of freedom. However, he immediately points out that the resulting theory cannot be correct as the fluctuation-dissipation theorem would also lead to friction which would slow down the motion of the planets which contradicts observations. ### Entropic gravity and quantum coherence Another criticism of entropic gravity is that entropic processes should, as critics argue, break quantum coherence. There is no theoretical framework quantitatively describing the strength of such decoherence effects, though. The temperature of the gravitational field in earth gravity well is very small (on the order of 10−19K). Experiments with ultra-cold neutrons in the gravitational field of Earth are claimed to show that neutrons lie on discrete levels exactly as predicted by the Schrödinger equation considering the gravitation to be a conservative potential field without any decoherent factors. Archil Kobakhidze argues that this result disproves entropic gravity, while Chaichian *et al*. suggest a potential loophole in the argument in weak gravitational fields such as those affecting Earth-bound experiments. Further reading --------------- * It from bit – Entropic gravity for pedestrians, J. Koelman * Gravity: the inside story, T Padmanabhan * Experiments Show Gravity Is Not an Emergent Phenomenon | * v * t * e Theories of gravitation | | --- | | Standard | | | | | --- | --- | | Newtonian gravity (NG) | * Newton's law of universal gravitation * Gauss's law for gravity * Poisson's equation for gravity * History of gravitational theory | | General relativity (GR) | * Introduction * History * Mathematics * Exact solutions * Resources * Tests * Post-Newtonian formalism * Linearized gravity * ADM formalism * Gibbons–Hawking–York boundary term | | | Alternatives togeneral relativity | | | | | --- | --- | | Paradigms | * Classical theories of gravitation * Quantum gravity * Theory of everything | | Classical | * Poincaré gauge theory + Einstein–Cartan + Teleparallelism * Bimetric theories * Gauge theory gravity * Composite gravity * *f*(*R*) gravity * Infinite derivative gravity * Massive gravity * Modified Newtonian dynamics, MOND + AQUAL + Tensor–vector–scalar * Nonsymmetric gravitation * Scalar–tensor theories + Brans–Dicke * Scalar–tensor–vector * Conformal gravity * Scalar theories + Nordström * Whitehead * Geometrodynamics * Induced gravity * Degenerate Higher-Order Scalar-Tensor theories | | Quantum-mechanical | * Euclidean quantum gravity * Canonical quantum gravity + Wheeler–DeWitt equation + Loop quantum gravity + Spin foam * Causal dynamical triangulation * Asymptotic safety in quantum gravity * Causal sets * DGP model * Rainbow gravity theory | | Unified-field-theoric | * Kaluza–Klein theory * Supergravity | | Unified-field-theoric and quantum-mechanical | * Noncommutative geometry * Semiclassical gravity * Superfluid vacuum theory + Logarithmic BEC vacuum * String theory + M-theory + F-theory + Heterotic string theory + Type I string theory + Type 0 string theory + Bosonic string theory + Type II string theory + Little string theory * Twistor theory + Twistor string theory | | Generalisations / extensions of GR | * Liouville gravity * Lovelock theory * (2+1)-dimensional topological gravity * Gauss–Bonnet gravity * Jackiw–Teitelboim gravity | | | Pre-Newtoniantheories andtoy models | * Aristotelian physics * CGHS model * RST model * Mechanical explanations + Fatio–Le Sage + Entropic gravity * Gravitational interaction of antimatter * Physics in the medieval Islamic world * Theory of impetus | | Related topics | * Graviton | Portals:* icon Physics * icon Mathematics * Astronomy * icon Stars * Spaceflight * Outer space * Solar System * icon Science
Fox NewsFox News The Fox News Channel (FNC) is an American basic cable and satellite news television channel that was founded by media mogul Rupert Murdoch in 1996. In 2001 Roger Ailes appointed himself as permanent CEO of this news operation that was created as a Republican-centered alternative to CNN. In January 2002, the ratings of the channel surpassed top-rated CNN to become the No. 1 news cable channel. They fell in March 2002, but since then the network has maintained its No. 1 cable rating (as of 2019) with increasing viewership and international access. [] Fox News' dominant status was challenged in the wake of the 2021 storming of the United States Capitol, with CNN taking the No. 1 network place back for the first time since the 2000s, alongside rival MSNBC in second place, with Fox News in third place. It has since regained the top spot.[] 1990s ----- ### Launch The channel was created by Australian-born American media mogul Rupert Murdoch, who hired Roger Ailes as its founding CEO. The channel was launched on October 7, 1996 to 17 million cable subscribers. Prior to founding Fox News, Murdoch had gained significant experience in the 24-hour news business when News Corporation's British Sky Broadcasting subsidiary started Europe's first 24-hour news channel, Sky News, in the United Kingdom in 1989. With the success of his fourth network efforts in the United States, experience gained from Sky News, and turnaround of 20th Century Fox, Murdoch announced on January 31, 1996, that his company would be launching a 24-hour news channel to air on both cable and satellite systems as part of a News Corp. "worldwide platform" for Fox programming, reasoning that "The appetite for news – particularly news that explains to people how it affects them – is expanding enormously." Exterior of the Fox News Channel studios in New York City In February 1996, after former NBC executive and Republican Party political strategist Roger Ailes left America's Talking (now MSNBC), Murdoch called him to start the *Fox News Channel*. Ailes worked individuals through five months of 14-hour workdays and several weeks of rehearsal shows before launch, on October 7, 1996. At launch, only 10 million households were able to watch Fox News, with none in the major media markets of New York City and Los Angeles. According to published reports, many media reviewers had to watch the first day's programming at Fox News' studios because it was not readily available. The rolling news coverage during the day consisted of 20-minute single topic shows like *Fox on Crime* or *Fox on Politics* surrounded by news headlines. Interviews had various facts at the bottom of the screen about the topic or the guest. 2000s ----- In the 2000 presidential election, Fox News, which was available in 56 million homes nationwide, saw a staggering 440% increase in viewers, the biggest gain among the three cable news television networks. 2020s ----- Fox News ended 2020 as the most-watched network in cable news history. However, in January 2021, after the U.S. Capitol attack, it was less watched than CNN and MSNBC for three straight days, which had not happened since September 2000. In August 2021, Fox required compulsory reporting of COVID-19 vaccination status from employees, despite prominent Fox personalities Tucker Carlson and Sean Hannity being opposed to mandatory reporting of COVID-19 vaccination status. Fox News host, Tucker Carlson's departure in April 2023 sent shares of Fox News parent Fox Corp. down more than 3 percent. In total, Carlson's show earned $77.5 million in ad revenue in 2022, according to Vivvixx data. Programming ----------- ### *The Edge* Hosted by Paula Zahn, *The Edge* was one of the original programs on the network, focusing on talk between the host and newsmakers, like other programs on the network at the time. During the program's later years, John Gibson became host when the network discovered Zahn was in the midst of contract negotiations with CNN. The show was cancelled in 2002. ### *The O'Reilly Factor* On October 7, 1996, *The O'Reilly Report* aired its first episode, hosted by Bill O'Reilly. It was later renamed because of a suggestion by a friend. *The O'Reilly Factor*, unlike many other Fox News programs, was pre-recorded, or "live-to-tape," except when covering breaking news or special events. Some guests were interviewed before the "live-to-tape" period and were slotted in the program as appropriate. O'Reilly's producers said that video editing took place only when an interview exceeded the available length in a program, of which the total was 43 minutes (for an hour-long slot, once commercials and news breaks are added), though some critics suggested that interviews were sometimes edited after taping to suit O'Reilly's agenda. O'Reilly and his producers discussed potential topics twice a week. A producer researched the story and booked guests for O'Reilly, and an information packet was produced with possible angles for O'Reilly to explore. The producers would often "pre-interview" the guest so that they know what potential points he or she might make. For each show, O'Reilly, with the assistance of his staff, produced a script with the words for the "Talking Points Memo" and "Most Ridiculous Item of the Day" segments, and points of discussion and questions for the guests that appeared on the program. On February 2, 2009, the show began airing in high definition and moved to the previous set used by the *Fox Report*. The show ended in 2017 after O'Reilly was dismissed from the network due to sexual harassment allegations, leading to a large advertiser boycott of the show. ### *Your World with Neil Cavuto* Debuting as the *Cavuto Business Report* on the network's launch in 1996, *Your World with Neil Cavuto* has become a very popular show, hosted by reporter and commentator Neil Cavuto. The program covers the latest business news stories of the day, in addition to giving analysis on how the stock market moved through the day. It also covers political stories, such as how political actions may affect the markets, in addition to analysis of the markets by a group of analysts from one of the *Cost of Freedom* business block programs. Closing the program, the show has a commentary segment called "Common Sense," in which Neil gives his point of view on a news story of the day. The program is broadcast live weekdays at 4 p.m. ET. ### *Hannity and Colmes* FNC's Studio D for *Your World* and *Malisong & Alfredo* *Hannity & Colmes* was an American television show on Fox News Channel, hosted by Sean Hannity and Alan Colmes, who respectively presented a conservative and liberal perspective. The series premiered in October 1996, and the final episode aired on January 9, 2009. It was the precursor to the current *Hannity* series, which currently airs in the same timeslot. ### *Fox Magazine* *Fox Magazine* was launched in 1997 as a weekly newsmagazine on the Fox News Channel. Hosted by Laurie Dhue, the program was an almost weekly look into some of the previous week's stories, in addition to special series produced by the program itself, such as its constant series about Nashville. These shows mostly consisted of adverts from the Fox News program and the National Rifle Association. Included in the programming were a recap of the previous week's commentaries from a number of the network's commentators. The program would come to an end on September 11, 2005, with Dhue leaving the network to work on *Geraldo at Large*. ### *Fox and Friends* *Fox & Friends* is a morning news show that debuted in 1998. It is currently hosted by Ainsley Earhardt, Steve Doocy, and Brian Kilmeade during the week. Weekends are hosted by Rachel Campos-Duffy, Pete Hegseth and Will Cain. ### *Drudge* *Drudge* was a television series on Fox News Channel that was hosted by Matt Drudge. Drudge left the show in 1999 after network executives refused to let him show a *National Enquirer* photograph of a 21-week-old fetus in protest of abortion.
This article is about a school. For other uses, see Piney Woods (disambiguation). Private, boarding school in Piney Woods, MS, USA The **Piney Woods Country Life School** (or **The Piney Woods School**) is a co-educational independent historically African-American boarding school for grades 9–12 in Piney Woods, unincorporated Rankin County, Mississippi. It is 21 miles (34 km) south of Jackson. It is one of four remaining historically African-American boarding schools in the United States. It is currently the largest African-American boarding school, as well as being the second oldest continually operating African-American boarding school. Its campus was listed on the National Register of Historic Places in 2020. History ------- The Piney Woods School was founded in 1909 by Laurence C. Jones. Jones added the Mississippi School of the Blind for Negroes in the early 1920s, and in 1929, with the arrival of Martha Louise Morrow Foxx serving as principal, the Mississippi Blind School for Negroes was founded at Piney Woods. The school eventually moved to an urban location in Jackson, Mississippi.[] Piney Woods was where the International Sweethearts of Rhythm were formed, by Jones, in 1937. The band included jazz musician Helen Jones, the daughter of the school's founder. Other bands associated with the school included the Five Blind Boys of Mississippi and the Cotton Blossom Singers. Beginning in the 1930s the school also sponsored baseball teams as part of the fund-raising efforts. The school was presided over for more than 60 years by Jones, until 1974 when Dr. James S. Wade became the second president. Charles Beady led the school for more than 20 years, and today the school is presided over by Dr. Reginald T.W. Nichols. In 1954 Jones appeared on the *This Is Your Life* television show. During the show the host asked viewers to each send in $1 to support the school, eventually raising $700,000, with which Jones began the schools' endowment fund, reported to be at $7,000,000 when Jones died in 1975.[] Since then the school has conducted a number of notable publicity and fundraising activities. A variety of speakers have spoken at the school, including George Washington Carver, LeRoy T. Walker and Mike Espy. Wynton Marsalis played a benefit performance for the school in 1994, as well. Morley Safer reported on the school in 1992 and again in 2005 for the CBS television show, *60 Minutes*. Currently --------- Today the curriculum at Piney Woods combines strict discipline, Christian teaching and chores with classroom instruction. More than 98 percent of Piney Woods' graduates go on to attend colleges, including Kings College (Pennsylvania), Emory University, University of Mississippi, Mississippi State University, Millsaps College, Clark Atlanta University, Spelman College, Morehouse College, Xavier University, Rice University, Jackson State University, Tougaloo College, Berea College, Howard University, Xavier University of Louisiana, Princeton University, the University of Chicago, University of Memphis, University of the South, Smith College, Harvard University, Vassar College, Tufts University, University of California at Los Angeles, University of Maryland, Florida A&M University, Texas Southern University, and Amherst College . The Piney Woods campus is located 21 miles (34 km) southeast of Jackson, Mississippi. It sits on 2,000 acres (810 ha) of rolling hills, forest, open fields and lakes. Funded by donations and a significant endowment, the school houses 300 high school students in grades 9 through 12 from more than 20 states, Mexico, the Caribbean and several African nations. The self-sufficient campus includes a post office, a farm, athletic fields, chapel and amphitheater. Notable alumni and faculty -------------------------- * Helen Jones Woods * Grace Morris Allen Jones, wife of Laurence and pioneering African American educator * Cotton Blossom Singers * Five Blind Boys of Mississippi * International Sweethearts of Rhythm * Virgia Brocks-Shedd, librarian and poet * Yvonne Busch, noted music educator * M. F. K. Fisher, preeminent American food writer * Noelle Roe, West Point student and now Army Captain. First African American Military Officer in the state of Colorado.
Cuban-American guitarist and composer Fernández, center, performing with Spyro Gyra in Richmond, Virginia, on February 23, 2017. **Barbaro Julio Fernández** (born August 29, 1954) is a Cuban-American guitarist and composer best known as the current and longtime guitarist for the jazz-fusion band Spyro Gyra. Fernández was born in Havana, Cuba, but grew up in Hoboken, New Jersey, where he started playing guitar at the age of nine. At Hoboken High School, Fernández played tuba in the school band. The first band he played for outside of school was The Meteors, a group composed of some neighborhood kids Fernández grew up with in Hoboken. Before finding paid work as a musician, Fernández worked at various times as a clothing salesman, a messenger in a law firm, a newspaper delivery man and a labourer in a coat factory. Fernández graduated from Hoboken High School in 1972 and attended Montclair State University on scholarship as a music education major, but dropped out after the first semester of his second year to pursue his dream of playing music professionally. With Fernández's career at a standstill in 1984, his friend Gerardo Velez, Fernández's collaborator on various projects and the percussionist for Spyro Gyra at that time, told him the band was looking for a new guitarist. Fernández auditioned and was hired the next day—an event he described as "one of the happiest days of my life." Except for a two-year hiatus at the end of that decade, Fernandez has continued in that position, contributing on 24 of the band's 31 albums. Fernández has also worked for a variety of other musicians, including Bernie Williams, Chuck Loeb, Dave Samuels, Phoebe Snow, Richie Cannata, David Broza, Eric Marienthal, B.B. King, Emmanuel and Marion Meadows. Since 2012, Fernández has been involved with Voices Of Valor, an organization that provides therapeutic songwriting programs for veterans.
Species of mosses ***Wijkia extenuata***, commonly known as **spear moss** or **spiky wiki**, is a species of moss from the family Pylaisiadelphaceae. It can be divided into two varieties *Wijkia extenuata* '-var. *caudata* and *Wijkia extenuata* var. *extenuata*. It is commonly found throughout the tropical, subtropical, and temperate forests of eastern Australasia and New Zealand. Taxonomy -------- *Wijkia* is a tropical to subtropical genus consisting of about 25-30 Old and New World species. This species' previous name *Acanthocladium extenatum* was replaced by Crum (1971) and is represented by a single species in Tasmania. and New Zealand The genus was previously placed in family Sematophyllaceae, but moved to the newly described Pylaisiadelphaceae when Sematophyllaceae was split on the basis of molecular DNA data. The genus was named in honour of Sir Roelof J. van der Wijk (1895-1981), a Dutch bryologist. Description ----------- *Wijkia extenuata* is a variable species of small to medium-sized plant where the appearance of both varieties shares many of the same features. Both varieties are stiff, compactly branched plants with lose forming tufts to soft, pendulous forms. Plants are of yellow to brown-green or dark green colouration and turns golden with age with loosely interwoven mats. Stems are red, irregularly creep and are bipinnately or subpinnately branched about 12 cm (4.7 in) long. Branches pinnately or with simple branch, ascendant or creeping, and branchlets near tips are often with multiple flagelliform and microphyllous. The only very common distinction between variants is the presence of predominant branches. The "branch-only" growth does not develop flagelliform branches and are distinctive to the variation *caudata*. Leaves in stem and branch are differentiated, and ecostate. Stem leaves are broadly ovate to lanceolate, appressed to erect and wide-spreading when dry, abruptly tapered to a slender with occasional serrulate, piliferous apex; about ~1-2mm long in primary leaves and around 1.5 mm (0.059 in) long in secondary leaves. Branch leaves lanceolate to ovate-lanceolate, smaller about 0.5–1 mm (0.020–0.039 in) long, sharply toothed, slenderer, erect to erect spreading, concave with gradually short acuminate to apex; occasional strong serrulate margins to the base and not piliferous. It is seemingly similar to the species *Calliergonella cuspidata* but differs with the distinctive long hairpoint on the leaves. The plant reproduces asexually through specialised flagelliform and deciduous branchlets with foliose, deltoid pseudoparaphyllia. Its perichaetia are conspicuous, scattered and arising on stems; inner perichaetial leaves erect with long and sharp toothed acumen. Setae are red-brown, smooth, elongate, twisted to the left above, and 15–40 mm (0.59–1.57 in) long. Calyptra are smooth, and cucullate. Capsules about 1.5 mm (0.059 in) long, asymmetric, horizontal, oblong-cylindric below the mouth, and short neck. Annulus are differentiated, operculum base high-conic, blunt, arched, and lacks long rostrum. Peristomes are pale, double; strongly bordered and shouldered 16 exostome teeth with a zig-zag median line, trabeculae on inner surface; endostome 16 with perforated or keeled segments, high basal membrane, and cilia in single or pairs. Spores are about 12–16 µm in diam. papillose, and spherical. Habitat and distribution ------------------------ Both varieties of *Wijkia extenuata* are commonly found growing on logs or decaying wood, bases of trees, as an epiphyte, and rarely on rocks and soils. Both are a common species in wet forests and rainforests from east Australia (QLD, NSW, ACT, VIC, and TAS), Papua New Guinea, New Zealand, and Pacific Island nations such as Fiji. Gallery ------- * Wijkia extenuata caudata*Wijkia extenuata caudata* * Wijkia extenuata extenuata*Wijkia extenuata extenuata* * A variable Wijkia extenuata found near Growling Swallet, TasmaniaA variable Wijkia extenuata found near Growling Swallet, Tasmania
In mathematical logic, **basic fuzzy logic** (or shortly **BL**), the logic of the continuous t-norms, is one of the t-norm fuzzy logics. It belongs to the broader class of substructural logics, or logics of residuated lattices; it extends the logic MTL of all left-continuous t-norms. Syntax ------ ### Language The language of the propositional logic BL consists of countably many propositional variables and the following primitive logical connectives: * **Implication** \rightarrow (binary) * **Strong conjunction** \otimes (binary). The sign & is a more traditional notation for strong conjunction in the literature on fuzzy logic, while the notation \otimes follows the tradition of substructural logics. * **Bottom** \bot (nullary — a propositional constant); {\displaystyle 0} or {\overline {0}} are common alternative signs and **zero** a common alternative name for the propositional constant (as the constants bottom and zero of substructural logics coincide in MTL). The following are the most common defined logical connectives: * **Weak conjunction** \wedge (binary), also called **lattice conjunction** (as it is always realized by the lattice operation of meet in algebraic semantics). Unlike MTL and weaker substructural logics, weak conjunction is definable in BL as {\displaystyle A\wedge B\equiv A\otimes (A\rightarrow B)} * **Negation** \neg (unary), defined as {\displaystyle \neg A\equiv A\rightarrow \bot } * **Equivalence** \leftrightarrow (binary), defined as {\displaystyle A\leftrightarrow B\equiv (A\rightarrow B)\wedge (B\rightarrow A)} As in MTL, the definition is equivalent to {\displaystyle (A\rightarrow B)\otimes (B\rightarrow A).} * **(Weak) disjunction** \vee (binary), also called **lattice disjunction** (as it is always realized by the lattice operation of join in algebraic semantics), defined as {\displaystyle A\vee B\equiv ((A\rightarrow B)\rightarrow B)\wedge ((B\rightarrow A)\rightarrow A)} * **Top** \top (nullary), also called **one** and denoted by 1 or {\overline {1}} (as the constants top and zero of substructural logics coincide in MTL), defined as {\displaystyle \top \equiv \bot \rightarrow \bot } Well-formed formulae of BL are defined as usual in propositional logics. In order to save parentheses, it is common to use the following order of precedence: * Unary connectives (bind most closely) * Binary connectives other than implication and equivalence * Implication and equivalence (bind most loosely) ### Axioms A Hilbert-style deduction system for BL has been introduced by Petr Hájek (1998). Its single derivation rule is modus ponens: from A and A\rightarrow B derive B. The following are its axiom schemata: {\displaystyle {\begin{array}{ll}{\rm {(BL1)}}\colon &(A\rightarrow B)\rightarrow ((B\rightarrow C)\rightarrow (A\rightarrow C))\\{\rm {(BL2)}}\colon &A\otimes B\rightarrow A\\{\rm {(BL3)}}\colon &A\otimes B\rightarrow B\otimes A\\{\rm {(BL4)}}\colon &A\otimes (A\rightarrow B)\rightarrow B\otimes (B\rightarrow A)\\{\rm {(BL5a)}}\colon &(A\rightarrow (B\rightarrow C))\rightarrow (A\otimes B\rightarrow C)\\{\rm {(BL5b)}}\colon &(A\otimes B\rightarrow C)\rightarrow (A\rightarrow (B\rightarrow C))\\{\rm {(BL6)}}\colon &((A\rightarrow B)\rightarrow C)\rightarrow (((B\rightarrow A)\rightarrow C)\rightarrow C)\\{\rm {(BL7)}}\colon &\bot \rightarrow A\end{array}}} The axioms (BL2) and (BL3) of the original axiomatic system were shown to be redundant (Chvalovský, 2012) and (Cintula, 2005). All the other axioms were shown to be independent (Chvalovský, 2012). Semantics --------- Like in other propositional t-norm fuzzy logics, algebraic semantics is predominantly used for BL, with three main classes of algebras with respect to which the logic is complete: * **General semantics**, formed of all *BL-algebras* — that is, all algebras for which the logic is sound * **Linear semantics**, formed of all *linear* BL-algebras — that is, all BL-algebras whose lattice order is linear * **Standard semantics**, formed of all *standard* BL-algebras — that is, all BL-algebras whose lattice reduct is the real unit interval [0, 1] with the usual order; they are uniquely determined by the function that interprets strong conjunction, which can be any continuous t-norm. Bibliography ------------ * Hájek P. 1998, *Metamathematics of Fuzzy Logic*. Dordrecht: Kluwer. * Ono, H. 2003, "Substructural logics and residuated lattices — an introduction". In F.V. Hendricks, J. Malinowski (eds.): Trends in Logic: 50 Years of Studia Logica, *Trends in Logic* **20**: 177–212. * Cintula P. 2005, "Short note: On the redundancy of axiom (A3) in BL and MTL". *Soft Computing* **9**: 942. * Chvalovský K. 2012, "On the Independence of Axioms in BL and MTL". *Fuzzy Sets and Systems* **197**: 123–129, doi:10.1016/j.fss.2011.10.018.
LDS Church leader **Elizabeth Ann Smith Whitney** (December[] 26, 1800 – February 15, 1882) was an early Latter Day Saint leader, and wife to Newel K. Whitney, another early Latter Day Saint leader. She went by her middle name, Ann. Early life and marriage ----------------------- Elizabeth Ann Smith was born in Derby, Connecticut, to Gibson Smith and Polly Bradley. She was the couple's oldest child. Her parents did not attend any church, but identified as Christian, and Ann Smith later described her young self as "naturally religious." As a child, she was "carefully educated according to the customs of that early period", such as dancing and singing. When Smith was about 18 years old, she had some sort of disagreement with her mother and left home. She followed her unmarried aunt, Sarah Smith, westward to Kirtland, Ohio. In this venture, the two women displayed what Mark L. Staker, a faculty member of the LDS Church History Department, calls "a strong sense of self-reliance". Sarah Smith bought a parcel of land within the Connecticut Western Reserve, and soon one of Ann's uncles joined them in Ohio. Her father also tried to move west, but was prevented from doing so by his wife. When she was 20 she met her future husband, Newel K. Whitney. The couple was married on October 20, 1822 after a three-year courtship. They quickly accumulated wealth and status in their community. They had eleven children together and adopted several homeless children. ### Conversion In Kirtland, Ann and her husband joined the Disciples of Christ, called the Campbellites at the time, led in the area by Sidney Rigdon. This group denied it had power to give the gift of the Holy Spirit. This, along with vague answers to Whitney's questions, caused her and her husband to pray for direction. In response to that prayer, the couple claimed to have seen a vision and a voice stating, "Prepare to receive the word of the Lord, for it is coming!" Sidney Rigdon converted to the Church of Jesus Christ of Latter-day Saints, which had been established by Joseph Smith in April 1830. In 1830, Whitney heard of his conversion and of the missionaries who were in the area. She agreed to hear them preach, and was particularly impressed that they did not ask for any financial compensation from their audiences. She went home after hearing them speak to share with her husband that she felt it was the right church. Parley P. Pratt then taught Ann and Newel about the faith, and the two chose to be baptized in November 1830. Rigdon performed their baptisms. Joseph and Emma Smith arrived at Newel K. Whitney's store in Kirtland in December 1830. Joseph said, "I am Joseph the Prophet; you have prayed me here; now what do you want of me?" The Smiths then stayed in their home. While there, Joseph received revelations that are recorded in Doctrine and Covenants, most likely sections 41 through 44. Whitney felt that the Joseph and Emma's coming was fulfillment of a vision she and Newel had previously witnessed, in which "a cloud of glory rested upon [their] house." They lodged with the Whitneys for a number of weeks. Joseph noticed the quality of Whitney's singing voice and accordingly dubbed her "the sweet songstress of Zion". Immediately after receiving her patriarchal blessing at the hand of Joseph Smith Sr. Whitney sang about the history and importance of Adam-ondi-Ahman in tongues. The blessing had mentioned the "gift of singing inspirationally." Whitney and her husband hosted a three-day feast for the poor in January 1836. They lost some of their wealth when the Kirtland Safety Society Banking Company collapsed and people began persecuting members of the church. Traveling Westward ------------------ Whitney and her family traveled with the members of the church. They left Kirtland to move to Far West, Missouri in the fall of 1838 due to persecution. However, when they reached St. Louis, they were informed that Latter-day Saints were being kicked out of Missouri. They settled in Carrollton, Illinois during the winter of 1838–1839. They then moved to Quincy, Illinois during the next winter. By the spring of 1840, they had reached Nauvoo, Illinois, then called Commerce. When the family reached Nauvoo, most of them were sick, and Whitney had her ninth child. The couple received their endowments and were sealed in the Nauvoo Temple by Joseph Smith. The family continued moving with the Saints, and went to Winter Quarters in February, 1846 before migrating to the Salt Lake Valley. During the difficult trek west, Whitney developed rheumatoid arthritis in her arms and legs. She also gave birth to a son, Newel M. at Winter Quarters. They arrived in Salt Lake City on September 24, 1848. Two years later, her husband died. LDS Church service ------------------ In March 1842, Whitney became one of the original leaders of the Relief Society, with Emma Hale Smith, Sarah M. Cleveland, and Eliza Roxcy Snow (who had been her acquaintance in Kirtland). Whitney served as the second counselor under Emma Smith. Whitney presided over many of the Relief Society's last meetings in Nauvoo, as Emma Smith was away travelling, ill, or struggling with Joseph Smith's doctrine of plural marriage. Ann and Newell Whitney consented for Joseph Smith to marry their daughter in 1842. Shortly after Joseph Smith's death in 1844, Newel took another wife. Ann wrote that she was "more favorably disposed to women as a class" since she had a sister wife. three women posing together for a portrait in 1876. the two on the left and right - Elizabeth Ann Whitney and Eliza R. Snow, respectively - are sitting, while the one in the middle - Emmeline B. Wells - standsElizabeth Ann Whitney (left) with Emmeline B. Wells (center) and Eliza R. Snow (right), ca. 1876 After the Nauvoo temple was completed, Whitney was the second woman to receive her endowment (after Emma Smith). Whitney worked there daily during the winter of 1845-46 to help other members receive their endowments. In 1850, Brigham Young called her to be in charge of the women's department of the Endowment House. Whitney also served as second counselor to Eliza R. Snow in the Relief Society presidency from 1880–1882. ### Later years Beginning in August 1878, Whitney's autobiography was published in a series called *A Leaf from an Autobiography* in the *Woman's Exponent*.[] In November 1879, she purchased a plot of land that had previously belonged to Brigham Young. Death ----- Elizabeth Whitney was affectionately called "Mother Whitney" by members of the church for her service and compassion. It is noted that she had the gift of tongues, and that she even sang in tongues. Whitney also used seer stones. She died in Salt Lake City in 1882 and was buried in Salt Lake City Cemetery. At the time of her death she was the second oldest member of the LDS church. Daniel H. Wells, Lorenzo D. Young, and Joseph F. Smith spoke at Whitney's funeral and praised her for her faith and service in the church. A residence hall at Brigham Young University was named after her in 1957. Elizabeth Ann Whitney's grave marker Publications ------------ * Leaf from an Autobiography, page 33, *Woman's Exponent,* 1 Aug, 1878 * Leaf from an Autobiography, page 41, *Woman's Exponent,* 15 Aug, 1878 * Leaf from an Autobiography, page 51, *Woman's Exponent,* 1 Sept, 1878 * Leaf from an Autobiography, page 71, *Woman's Exponent,* 1 Oct, 1878 * Leaf from an Autobiography, page 83, *Woman's Exponent,* 1 Nov, 1878 * Leaf from an Autobiography, page 91, *Woman's Exponent,* 15 Nov, 1878 * Leaf from an Autobiography, page 105, *Woman's Exponent,* 15 Dec, 1878 * Leaf from an Autobiography, page 115, *Woman's Exponent,* 1 Jan, 1879 * Leaf from an Autobiography, page 191, *Woman's Exponent,* 15 Feb, 1879
Japanese musician Musical artist **Takahito Eguchi** (江口 貴勅, *Eguchi Takahito*, born August 28, 1971) is a Japanese composer, orchestrator, and musician. He is best known for collaborating with Noriko Matsueda on *Final Fantasy X-2* and with Tomoya Ohtani on several *Sonic the Hedgehog* games. Eguchi became interested in music when he was six years old after hearing his neighbor playing the piano. He attended the Tokyo Conservatoire Shobi where he acquainted Matsueda. Eguchi worked at Square Enix from 1998 to 2003 and currently works at Sega. He created mostly electronic music in the early part of his career but now focuses on orchestral composition and arrangement, along with performing keyboards. Biography --------- Born in Nagasaki, Japan, Eguchi became interested in music at the age of six when he heard his neighbor playing the piano. While his father, a judo athlete, initially tried to push him into pursuing sports, he eventually agreed to let him take piano lessons, as long as he agreed to study with his sister. Eguchi enrolled at the Tokyo Conservatoire Shobi, where he met long-term composing partner Noriko Matsueda. After graduating from the conservatoire, he produced numerous compositions, joined a band as a keyboardist, and worked as a software designer. He also gave Matsueda advice on music manipulation during her first game project, *Front Mission*, in 1995. At her request, he also arranged and orchestrated "Theme of Bahamut Lagoon ~ Opening" for the bonus disc of the original soundtrack to *Bahamut Lagoon* (1996). Eguchi joined Square (now Square Enix) in 1998; his first job was composing the 1999 title *Racing Lagoon* alongside Matsueda. Although his role was minor compared to Matsueda's, he was responsible for the opening and ending themes, the majority of the battle themes, and the bonus track "Taiman Battle Remix". Eguchi and Matsueda collaborated once again in 2000 on the PlayStation 2 game *The Bouncer*. He created a lot more music than on previous soundtracks; a large amount of the music produced was not used in the game and there were also many post-production demands. He composed the pop ballad "Forevermore", which was arranged and provided lyrics by Narada Michael Walden and Sunny Hilden and performed by Shanice in "Love Is the Gift", the ending theme to the English-language versions of the game. The song was also sold as a single and featured in a promotional album. In 2002, Eguchi arranged the track "Hand in Hand -Reprise-" for Yoko Shimomura's score to *Kingdom Hearts*. Eguchi reunited with Matsueda to compose *Final Fantasy X-2* (2003). Despite mixed reviews by critics and a negative reception from fans, the soundtrack was commercially successful. He was also the game's orchestrator and the composer of the dual single "Real Emotion/1000 no Kotoba". In 2004, Eguchi and Matsueda composed *Final Fantasy X-2 International + Last Mission* and arranged three pieces in the *Final Fantasy X-2 Piano Collection* album, which both received better reviews than the official soundtrack. The Piano Collections album was their final project at while at Square Enix, which they both left afterward. Eguchi and Matsueda married in 2009. Since his departure, he has been involved in several anime projects such as *D.N.Angel* (2003), *Rental Magica* (2007), and *Trinity Blood* (2005). He has also mixed Shimomura's arrangements for the *Dark Chronicle Premium Arrange* album and performed piano on her vocal album *Murmur*. In 2006, he contributed three compositions and two arrangements to the Xbox 360 game *Sonic the Hedgehog*; he also worked on the 2008 follow-up *Sonic Unleashed*. He has since worked on a number of Sonic Team games, such as *Super Monkey Ball: Step & Roll*, *Sonic Colors*, *Sonic Generations*, *Rhythm Thief & the Emperor's Treasure*, *Sonic Lost World*, *Sonic Forces* and *Sonic Frontiers*. Musical style and influences ---------------------------- Eguchi and Matsueda are noted for creating mainly jazzy and electronic tracks for the scores they have collaborated on; Eguchi is credited for most of the electronic music. The soundtrack to *The Bouncer*, of which Eguchi and Matsueda co-composed a lot of the pieces, featured among other genres rock, electronica, and jazz fusion. A professional pianist, Eguchi often utilizes the piano in his compositions. He has stated that most of the time he composes and arranges music is at his home studio, where his friends help out by recording acoustic instruments; if the quality of these recordings are not adequate, however, Eguchi replaces them at the company's studio. He has said that by the time he is finished creating the music, he is only sleeping three to four hours a week. Since joining Sega Digital Studio in 2006, Eguchi has switched over to almost an exclusively orchestral style. On recent projects, he has assisted his fellow co-workers with string and keyboard arrangements, in addition to writing his own material. He cites Igor Stravinsky, Ryuichi Sakamoto, and Miles Davis as musical influences. When asked about which musicians he would like to collaborate with, he replied, "A musician who has passed away, Miles Davis. There are too many living musicians to talk about. A few are Herbie Hancock, Aretha Franklin, and Ryuichi Sakamoto." His interest in composition came about after being inspired by a variety of jazz, electronic, modernist, and pop musicians. Works ----- Video games| Year | Title | Notes | Ref. | | --- | --- | --- | --- | | 1999 | *Racing Lagoon* | Music with Noriko Matsueda | | | 2000 | *The Bouncer* | Music with Noriko Matsueda | | | 2003 | *Final Fantasy X-2* | Music with Noriko Matsueda | | | 2006 | *Sonic the Hedgehog* | Orchestrations | | | 2008 | *Sonic Unleashed* | Cutscene music | | | 2010 | *Super Monkey Ball: Step & Roll* | Keyboards, arrangements | | | *Sonic Colors* | Keyboards | | | 2011 | *Sonic Generations* | Arrangements with several others | | | 2012 | *Rhythm Thief & the Emperor's Treasure* | Music with Tomoya Ohtani and Naofumi Hataya | | | 2013 | *Sonic Lost World* | Cutscene music, orchestrations | | | *Rhythm Thief & the Paris Caper* | Music with Tomoya Ohtani and Naofumi Hataya | | | 2015 | *Sonic Runners* | Keyboards, arrangements | | | 2017 | *Sonic Forces* | Cutscene music, orchestrations | | | 2019 | *Mario & Sonic at the Olympic Games Tokyo 2020* | Arrangements | | | 2022 | *Sonic Frontiers* | Cutscene music, orchestrations | | Anime| Year | Title | Notes | Ref. | | --- | --- | --- | --- | | 2003 | *D.N.Angel* | Music with Tomoki Hasegawa | | | 2004 | *Mobile Suit Gundam SEED Destiny* | Theme song arrangement | | | 2005 | *Gundam Evolve* | Theme song arrangement | | | 2005 | *Trinity Blood* | Music | | | 2007 | *Rental Magica* | Music with Jun Ichikawa | |
American singer, dancer, actor, television host **Donald Clark Osmond** (born December 9, 1957) is an American singer, dancer, actor, television host and former teen idol. He first gained fame performing with four of his elder brothers as the Osmonds, earning several top ten hits and gold albums. Then, in the early 1970s, Osmond began a solo career, earning several additional top ten songs. He further gained fame due to the success of the 1976–1979 variety series *Donny & Marie*, which Osmond hosted with his sister Marie Osmond. The *Donny & Marie* duo also released a series of top ten hits and gold albums, and hosted a syndicated and Daytime Emmy Award–nominated 1998–2000 talk show. Donny & Marie retired from headlining an 11-year Las Vegas residency at the Flamingo Las Vegas in 2019. He also successfully competed on two reality TV shows, winning season 9 of *Dancing with the Stars* and being named runner-up for season 1 of *The Masked Singer*. He also hosted the game show *Pyramid* from 2002 to 2004. Early life ---------- Osmond was born on December 9, 1957, in Ogden, Utah, as the seventh child of Olive May (née Davis; 1925–2004) and George Virl Osmond (1917–2007). He is the brother of Alan, Jay, Jimmy, Merrill, Wayne, Marie, Tom, and Virl Osmond. Alan, Jay, Merrill, Wayne, and Donny were members of the popular singing group the Osmonds (known as the Osmond Brothers before Donny joined them in 1963). Osmond was raised as a member of The Church of Jesus Christ of Latter-day Saints in Utah along with his siblings. In his youth, Osmond held a ham radio license, listed as KA7EVD. Music career ------------ ### Teen idol: 1971–1978 Osmond in 1974 Andy Williams's father, Jay Emerson Williams, saw the Osmond Brothers (Alan, Wayne, Merrill and Jay) perform on a Disneyland televised special as a barbershop quartet. The group was then invited to audition for *The Andy Williams Show*. Williams initially had reservations about featuring children on the program, but was encouraged by his father to try them out. The Osmond Brothers proved themselves as an asset to the program, soon becoming regulars on the show and quickly gaining popularity. In 1963, Donny Osmond made his debut on the show at the age of five singing "You Are My Sunshine". The brothers continued to perform on the show throughout the 1960s, along with an occasional visit from their sister Marie. Osmond became a teen idol in the early 1970s as a solo singer, while continuing to sing with his older brothers. Osmond was one of the biggest "cover boy" pop stars for *Tiger Beat* and *16* magazines in the early 1970s. His first solo hit was a cover of Roy Orbison's 1958 recording of "Sweet and Innocent", which peaked at no. 7 in the U.S. in 1971. Osmond's follow-ups Steve Lawrence's "Go Away Little Girl" (1971) (U.S. no. 1), Paul Anka's "Puppy Love" (U.S. no. 3), and "Hey Girl/I Knew You When" (U.S. no. 9) (1972) vaulted him into international fame, further advanced by his November 20, 1972, appearance on the *Here's Lucy* show, where he sang Nat King Cole's "Too Young" to Lucy's niece, played by Eve Plumb, and sang with Lucie Arnaz ("I'll Never Fall in Love Again"). The Osmonds in the Netherlands (1973) ### Comeback: 1989–1990 In the 1980s, all of the Osmonds abandoned their earlier image—which had originally been crafted to appeal to young viewers—hoping to reach a more adult audience. While his brothers moved toward country music to modest success, Donny was able to revive his career in popular music. He made an unlikely appearance as one of several celebrities and unknowns auditioning to sing for guitarist Jeff Beck in the video for Beck's 1985 single "Ambitious", which was produced by Paul Flattery and directed by Jim Yukich. This was followed in 1986 by an equally unlikely cameo in the animated Luis Cardenas music video "Runaway". He spent several years as a performer, before hiring the services of music and entertainment guru Steven Machat, who got Osmond together with English singer-songwriter Peter Gabriel to see whether Machat and Gabriel could turn Osmond's image into a contemporary young pop act. They succeeded, returning Osmond to the US charts in 1989 with the Billboard Hot 100 no. 2 song "Soldier of Love" (originally announced on radio stations as "from a mystery singer") and its top twenty follow-up "Sacred Emotion". Launching an extensive tour in support of the Eyes Don't Lie record, he enlisted guitarist Dick Smith of Earth Wind & Fire and Kenny Loggins, along with keyboardist Mark Jackson. ### Current music career: 1991–present Osmond was the guest vocalist on Dweezil Zappa's star-studded version of the Bee Gees' "Stayin' Alive" which appeared on Zappa's 1991 album *Confessions*. The song also included guitar solos from Zakk Wylde, Steve Lukather, Warren DeMartini, Nuno Bettencourt, and Tim Pierce. Osmond sang "No One Has To Be Alone", which was heard at the end of the film *The Land Before Time IX: Journey to Big Water*. He also sang "I'll Make a Man Out of You" for Disney's *Mulan*. In the 2000s, he released a Christmas album, an album of his favorite Broadway songs, and a compilation of popular love songs. In 2004, he returned to the UK Top 10 for the first time as a solo artist since 1973, with the George Benson-sampling "Breeze On By". The song was co-written with former teen idol Gary Barlow, from the 1990s UK boy band Take That, and reached number 8 on the UK charts. His 17th solo album (and 61st album including those with his siblings) *The Soundtrack of My Life* features a collection of cover songs with personal meaning to Osmond. He enlisted Stevie Wonder to play harmonica on the track "My Cherie Amour". ### Donny & Marie in Las Vegas "Donny & Marie" marquee at the Flamingo Las Vegas Following Marie's stint on *Dancing with the Stars* in 2007, the pair teamed up for a limited six-week engagement in Las Vegas. The residency began in September 2008, but proved so successful that it was ultimately extended for an eleven-year run through November 2019. Donny and Marie performed at the 750-seat showroom at the Flamingo Hotel. "Donny & Marie" was a 90-minute show. The singing siblings were backed by eight dancers and a nine-piece band. Donny and Marie sang together at the beginning and end of the show, and had solo segments in between. The Flamingo Hotel's showroom was updated in 2014 and renamed the Donny and Marie Theater. Osmond and the show earned three of the *Las Vegas Review-Journal*'s Best of Las Vegas Awards in 2012 including "Best Show", "Best All-Around Performer" (Donny & Marie), and "Best Singer". Osmond earned "Best Singer" for a second time in the *Las Vegas Review-Journal*'s Best of Las Vegas Awards in 2013. Film, radio and television -------------------------- Osmond with Marie Osmond in 1977 ### *Donny & Marie* In 1974, Osmond and his sister Marie co-hosted *The Mike Douglas Show* for a week. Fred Silverman offered them a show of their own, *The Donny & Marie Show*, a television variety series which aired on ABC from 1976 to 1979. In honor of their impact on American pop culture, Donny and Marie received the Pop Culture Award at the 2015 TV Land Awards. In the past, Osmond has expressed regret that the show was canceled, and that he and Marie were unable to decide when to end the show. Donny and Marie also co-hosted the eponymous and syndicated talk show *Donny & Marie* from 1998 to 2000. They would occasionally perform with musical guests. Though they received back-to-back nominations for the Daytime Emmy Award for Outstanding Talk Show Host in 2000 and 2001, the show was canceled. ### Other hosting opportunities For two seasons in the US, Osmond hosted *Pyramid* (2002–2004), a syndicated version of the Dick Clark-hosted television game show. He reprised hosting for a British version of *Pyramid* on Challenge in 2007. For his performance on *Pyramid*, Osmond was nominated for a Daytime Emmy Award for Outstanding Game Show Host in 2003; the award went to Alex Trebek. Osmond is one of two game show hosts to host two different versions of the same game show in different countries; the other being Howie Mandel for *Deal or No Deal*. Osmond returned to ABC as host of *The Great American Dream Vote*, a primetime reality-game show that debuted in March 2007. After earning lackluster ratings in its first two episodes, the program was canceled. Osmond hosted the daytime British version of the game show *Identity* on BBC Two in 2007. On April 11, 2008, he hosted the 2008 Miss USA Pageant in Las Vegas with his sister Marie. He appeared on *Entertainment Tonight* as a commentator covering the ABC show *Dancing with the Stars* during his sister Marie's run as a contestant on the 5th season of the American version of the show in 2007. ### Music Osmond is mentioned in the lyrics of Alice Cooper's song "Department of Youth" on the album *Welcome to My Nightmare*. As the song fades, Cooper can be heard asking the youth choir backing him up, "Who's got the power?" to which a crowd of young people screams "We do!" After a couple of repetitions, this changes to "We've got the power" with a cheering response. On the final repetition, Cooper changes the question to "...and who gave it to you?" The crowd answers, "Donny Osmond!" Cooper then responds "What?!" Osmond is featured in the song "Start the Par-dee" with Lil Yachty, written as a promotion for Chef Boyardee's throwback recipe ravioli. His most iconic line is "My name is Donny O, and you know I love my ravio's". ### Film and television In the animated television series *Johnny Bravo*, Osmond voiced himself as a recurring character. He has also done guest spots on numerous other television shows such as *Friends*, *Diagnosis: Murder*, and *Hannah Montana*. He also appeared in a Pepsi Twist commercial during the Super Bowl with his sister, Marie, and Ozzy and Sharon Osbourne. In 1982, he co-starred with Priscilla Barnes and Joan Collins in the television movie *The Wild Women of Chastity Gulch* for Aaron Spelling. In 1978, he appeared in *Goin' Coconuts* with sister Marie. His future wife Debbie (credited as Debbie Glenn) made a cameo appearance at the end of the film. In 1998, Osmond was chosen as the singing voice of Shang in Disney's *Mulan*. He sang "I'll Make a Man Out of You". Also in 1999, he starred as Joseph in the movie version of *Joseph and the Amazing Technicolor Dreamcoat* by Andrew Lloyd Webber's request who said, "to me, there is no better selection." In 2002, he sang "No One Has to Be Alone" for the end credits of *The Land Before Time IX: Journey to Big Water*. In the *Bob the Builder* special "Built to be Wild", he played Jackaroo the pickup truck. Osmond remarked in an interview that his movie appearance on *College Road Trip* and upcoming appearances on two Disney Channel shows would mean that he would be coming full circle since he and his family were discovered by Walt Disney. Osmond appears in the music video of "Weird Al" Yankovic's song "White & Nerdy". The song is a parody of Chamillionaire's "Ridin'"; Osmond's role is analogous to that of Krayzie Bone's role in the original video. Yankovic asked Osmond to appear because "if you have to have a white and nerdy icon in your video, like who else do you go for?" In February 2019, he was revealed to have portrayed "Peacock" on the first season of *The Masked Singer,* where he was the runner-up. Osmond was a guest on Kevin Nealon's web series on YouTube, *Hiking with Kevin*, in March 2019. The webisode begins with the two hiking and through the snow at the Sundance Resort in Utah, and ends with them walking a crowded Las Vegas Strip until Osmond brings Nealon backstage at the Donny & Marie Showroom in the Flamingo Hotel, at which he was to perform that evening. In 2020, Osmond was invited as a celebrity panelist for Fox's I Can See Your Voice, appearing on episode 5 in the first season of the show (4 November). ### *Dancing with the Stars* Osmond and professional Kym Johnson were paired for the ninth season of *Dancing with the Stars*. He participated in the show to prove he was a better dancer than his sister. It was very difficult for him to manage to get to rehearsals and host his show in Las Vegas with his sister Marie. For the first week, the two were assigned to dance a foxtrot and a 30-second salsa. His foxtrot was said to be "too theatrical" and was scored 20/30 by the judges. He, however, managed to maintain a good score when his salsa scored 10 points and was safe that week. He danced a jive the following week which was guest-judged by Baz Luhrmann. He scored 25 and was scored second place, called first to be safe. That following week he danced a rumba and scored 21. After his comments, he "toyed with" openly gay judge Bruno Tonioli, first kissing him, before embracing him and tipping him back in a mock-passionate move after Bruno called Osmond's dance "a bit airy-fairy". The following week introduced four new dances including the Charleston which he danced and scored 24. That following week, the two danced an Argentine tango which scored 29/30, the highest-scored dance to date until it was beaten by then-top scorer and future runner-up Mýa and her 70s-themed samba. He had also received that week's encore. Following that week, Osmond and Johnson danced a train-station-themed jitterbug and scored a 24. He then danced a mambo against all couples and was eliminated 6th receiving seven points for a total of 31/40. The following week, he danced a quickstep which he quotes "was one of the worst moments of my life" and scored 24 and a team tango along with Joanna Krupa and Kelly Osbourne and received 28/30 and the encore. In the 8th week of competition, Osmond was required to dance a ballroom and decade-themed Latin dance. His ballroom Viennese waltz received 26 but his 1980s themed pasodoble received 24 being quoted by judge Len Goodman as "the scariest, bizarre pasodoble we've ever seen" being awarded the last place on the judges' leaderboard for the first time. Following that week, he danced a tango and got advice from past runner-up Gilles Marini. He got tangled in Johnson's dress and received 21 saying the cause was that "I saw Marie." He then danced the samba to a song originally recorded by his brothers and himself called "One Bad Apple", receiving 26 and a Jitterbug scored 27. He once again was scored last place. For the finals week, he danced a cha-cha-cha (27), a megamix dance alongside Mya and Kelly Osbourne (28), the only perfect-scoring freestyle (30) and a repeat of his Argentine tango (30) and won the competition, making him the oldest winner. As he accepted his trophy, he hugged fellow finalist Mya and brought his wife Debbie, and sister Marie on stage. On season 18, he guest-judged week five on Disney Night. In October 2014, he guest judged on the British version of the show, *Strictly Come Dancing*, on week 3 (movie week) of the 12th series. | Week # | Dance/song | Judges' score | Result | | --- | --- | --- | --- | | Inaba | Goodman | Tonioli | | 1 | Foxtrot/"All that Jazz"Salsa Relay/"Get Busy" | 7Awarded | 610 | 7Points | Safe | | 2 | Jive/"Secret Agent Man" | 8 | \*9 | 8 | Safe | | 3 | Rumba/"Endless Love" | 7 | 7 | 7 | Safe | | 4 | Charleston/"Put a Lid on It" | 8 | 8 | 8 | Safe | | 5 | Argentine tango/"Tango a Pugliese" | 10 | 9 | 10 | Safe | | 6 | Jitterbug/"Choo Choo Ch'Boogie"Mambo Marathon/"Ran Kan Kan" | 8Awarded | 87 | 8Points | Safe | | 7 | Quickstep/"Sing, Sing, Sing"Team tango/"You Give Love a Bad Name" | 89 | 89 | 810 | Safe | | 8 | Viennese Waltz/"You Don't Know Me"Pasodoble/"You Spin Me Round (Like a Record)" | 98 | 88 | 98 | Safe | | 9Semi-finals | Tango/"Black and Gold"Samba/"One Bad Apple"Jitterbug/"Jump Shout Boogie" | 789 | 799 | 799 | Safe | | 10Finals | Cha-cha-cha/"September"Megamix/"You and Me"/ "Whenever, Wherever" / "Maniac"Freestyle/"Back in Business"Argentine Tango/"Tango a Pugliese" | 9Awarded10Awarded | 9281030 | 9Points10Points | **Winner** | Musical theater --------------- Osmond in 1998 His first foray into Broadway musical theater was the lead role in a revival of the 1904 George M. Cohan show *Little Johnny Jones*. Osmond replaced another former teen idol, David Cassidy, who left the show while it was on its pre-Broadway tour. After 29 previews and only one performance, the show closed in March 1982. Osmond found success in musical theater through much of the 1990s when he starred as Joseph in *Joseph and the Amazing Technicolor Dreamcoat* for over 2,000 performances beginning in July 1992 in the Elgin Theatre's Toronto production. He relocated to Chicago where Joseph played for 16 months in 1993–94. Osmond suffered from social anxiety disorder during his performances for the musical, which caused him to feel light-headed and extremely nervous during his performances. In 1997, Osmond left his starring role in the tour to participate with his family in the cast of the Hill Cumorah Pageant. Creator Andrew Lloyd Webber later chose Osmond to star in the 1999 film version. He returned to Broadway on 19 September 2006 as Gaston in Disney's *Beauty and the Beast*. He was scheduled to perform for nine weeks, but due to popular demand, he extended his run through December. Liz Smith of the *New York Post* wrote, "I am here to tell you he is charmingly campy, good-looking and grand as the villain 'Gaston', patterned after our old friend Elvis", and noting "Donny is divine". On 29 July 2007, Osmond played Gaston again for the final performance of *Beauty and the Beast*. Osmond and his sister Marie starred in a holiday production called *Donny & Marie – A Broadway Christmas*, originally scheduled to play on Broadway at the Marquis Theatre 9–19 December 2010. The show was extended through December 2010 and again until 2 January 2011. *Donny & Marie – Christmas in Chicago* played at the Ford Center for the Performing Arts Oriental Theatre in Chicago in December 2011. It was similar to the 2010 Broadway show. In December 2014, they again performed in a similar Broadway show, receiving very positive reviews. Osmond is set to play the role of Pharaoh, in the upcoming production of *Joseph and the Amazing Technicolor Dreamcoat* for a limited run over Christmas 2024 at the Edinburgh Playhouse opening on 3 December 2024 as part of the UK Tour going into 2025. Other ventures -------------- ### Donny Osmond Home *Donny Osmond Home* is a furniture and decor accessories collection, established in 2013 by Osmond and his wife Debbie, in collaboration with decor manufacturers. ### Author *Life is Just What You Make It: My Story So Far*, his autobiography co-written with Patricia Romanowski, is a "tell-all", Donny Osmond style. The book, released in 1999, includes stories from behind-the-scenes as a teen star, to his thought of tarnishing his "goody-two-shoes" image as he started his solo career, to him describing the full-on panic attacks he suffered on stage. Public image ------------ Osmond states that he has had a tremendous public-image struggle since *Donny & Marie* ended in 1979. Reviews from Allmusic noted that while Osmond remained a gifted singer, a series of creative missteps in the late 1970s led to his virtually disappearing from the public eye during the 1980s. He was described in the 1980s as having an "unhip image", and he said he was embarrassed that the Osmond name was not considered cool. A publicist suggested that Osmond purposely planned an arrest for drug possession in order to change his image. "I remember hiring a publicist who figured out this whole campaign to get me busted for drugs and change my image." Osmond commented on his opposition to same-sex marriage after the 2008 Proposition 8 in California. The LDS Church were one of many groups that supported Proposition 8 (to ban same-sex marriage), and Osmond stated that he opposes same-sex marriage but that he does not condemn homosexuality. He believes that homosexuals should be accepted in the LDS Church if they remain celibate. He stated on his website: > We all determine for ourselves what is right and what is not right for our own lives and how we live God's commandments. I am not a judge and I will never judge anyone for the decisions they make unless they are causing harm to another individual. I love my friends, including my homosexual friends. We are all God's children. It is their choice, not mine on how they conduct their lives and choose to live the commandments according to the dictates of their own conscience. > > In March 2010, Osmond criticized Lady Gaga and Beyoncé for using profanity and sex in their "Telephone" video. Personal life ------------- On 8 May 1978, Osmond married Debra (née Glenn) of Billings, Montana, in the Salt Lake Temple. Together they have five sons: Don, Jeremy, Brandon, Chris, and Josh. The Osmonds became grandparents in 2005 and have 14 grandchildren. Chris, who is also a musician, appeared on season 2 of the American reality series *Claim to Fame*, in which contestants have to determine their competitors' famous relative; Chris, advanced to the final episode, having repeatedly survived numerous eliminations because the other contestants could not guess Donny's identity. Like the rest of his family, Osmond is a member of The Church of Jesus Christ of Latter-day Saints (LDS Church). In retrospect, he has written, "It would have been nice to be able to have served a regular full-time mission, but when I was of that age, my career was such that everyone, including my parents and the leaders of the church, thought that I could do a lot of good in the world by continuing to be in the public eye, by living an exemplary life and sharing my beliefs in every way that I could." He continues sharing his beliefs in an extensive letters-and-comments portion of his website. Osmond's two oldest brothers Virl and Tom are deaf, and his nephew (Justin) is hearing impaired. He has talked about the experience of growing up with his brothers and their use of sign language when performing together. > My oldest brother was born 85 percent deaf and the next was born worse with almost total deafness. My parents were told by everyone, doctors included, to stop having kids. Thank God, they at least went as far as seven! Anyhow, they decided they were not going to treat my brothers differently [or lower their expectations]. My brothers talk and communicate verbally. They also sign and do have that down quite well. As a matter of fact, we used sign language when we were performing together as a group. There's this one number we did on the *Donny and Marie Show*, it was amazing—even when we were taping it. It was a huge production number and my brothers learned the routine. Obviously they couldn't really hear the music, but they could feel the beat and they'd watch us out of the corner of their eyes to make sure they were still in tempo. > > Osmond has traced some of his family ancestry back to Merthyr Tydfil in Wales; his journey was documented in a BBC Wales program, *Donny Osmond Coming Home*. On the BBC's *The One Show*, a plaque was unveiled in the town to commemorate "the ancestors of Donny Osmond." Discography ----------- Main article: Donny Osmond discography Main article: Donny and Marie Osmond discography ### Studio albums * *The Donny Osmond Album* (1971) * *To You with Love, Donny* (1971) * *Portrait of Donny* (1972) * *Too Young* (1972) * *Alone Together* (1973) * *A Time for Us* (1973) * *Donny* (1974) * *Disco Train* (1976) * *Donald Clark Osmond* (1977) * *Donny Osmond* (1989) * *Eyes Don't Lie* (1990) * *Christmas at Home* (1998) * *This Is the Moment* (2001) * *Somewhere in Time* (2002) * *What I Meant to Say* (2004) * *Love Songs of the 70s* (2007) * *The Soundtrack of My Life* (2015) * *Start Again* (2021) Filmography ----------- ### Television | Year | Title | Role | Notes | | --- | --- | --- | --- | | 1963–1970 | *The Andy Williams Show* | The Osmonds | Multiple episodes | | 1972 | *Here's Lucy* | Himself | Season 5 Episode 11 | | 1976–1979 | *Donny & Marie* | Various Characters | 78 episodes | | 1980 | *The Love Boat* | Danny Fields/Schofield | Season 3 Episodes 18, 19 | | 1982 | *The Love Boat* | Jim Markham | Season 6 Episode 11 | | 1983 | *Disney Channel Launch Program* | Host | | | 1995 | *Space Ghost Coast to Coast* | Himself | Episode: "Fire Drill" | | 1997–2004 | *Johnny Bravo* | Himself | 3 episodes | | 1998–2000 | *Donny & Marie* | Himself | All episodes | | *The King of Queens* | Himself | 2 episodes | | 1999–2000 | *Miss America Pageant* | Co-Host | | | 1999 | *Diagnosis: Murder* | Himself | Episode: "The Mouth That Roared" | | 2001 | *Fear Factor* | Contestant | Season 2 Episode 1 | | 2002–2004 | US | *Pyramid* | Host | All episodes | | 2007 | UK | | 2004 | *Friends* | Himself | Episode: "The One Where the Stripper Cries" | | *Sesame Street* | Himself | | | 2007 | *The Great American Dream Vote* | Host | 2 episodes | | *Identity* | Host | All episodes | | *Entertainment Tonight* | Commentator | Several episodes | | 2008 | *Hannah Montana* | Cameo | Episode: "We're All on This Date Together" | | *Miss USA Pageant* | Co-Host | | 2009 | *Handy Manny* | Farmer | "Handy Manny's Motorcycle Adventure" | | 2009, 2012, 2014, 2017–2018 | *Dancing with the Stars* | Contestant/Guest Performer/Guest Judge | Contestant on season 9 (winner)Guest performer on season 15Guest judge on season 18Guest performer on season 24 and season 27 | | 2014 | *Strictly Come Dancing* | Guest Judge | Guest judge on series 12 | | 2019 | *The Masked Singer* | Peacock | Runner-up | | *Hiking with Kevin* | Himself | Interview guest | | 2020 | *Celebrity Wheel of Fortune* | Himself | Episode: "Donny Osmond, Jeff Garlin, and Amber Riley" | | 2023 | *Generation Gap* | Himself | Episode: "Get outta My Dreams, Get Into My Fridge" | ### Films | Year | Title | Role | Notes | | --- | --- | --- | --- | | 1978 | *Goin' Coconuts* | Donny | Feature film | | 1982 | *The Wild Women of Chastity Gulch* | Frank Isaacs | Television film | | 1985 | *Ambitious* | Cameo | Jeff Beck music video | | 1998 | *Mulan* | Captain Li Shang | Singing voice only ("I'll Make a Man Out of You") | | 1999 | *Joseph & the Amazing Technicolor Dreamcoat* | Joseph | Direct-to-video film produced by Andrew Lloyd Webber | | 2005 | *Bob the Builder: Built to be Wild* | Jackaroo | Direct-to-video film | | 2006 | *White & Nerdy* | Dancer | "Weird Al" Yankovic music video parody of Chamillionaire's "Ridin'" feat. Krayzie Bone | | 2008 | *College Road Trip* | Doug Greenhut | Feature film |
Korean light and web novel The ***Legendary Moonlight Sculpto*r** is a Korean light novel and web novel by Heesung Nam (남희성). The series has ended with 1450 episodes on the online website as of July 2019, and the latest published book is volume 57 as of April 2020. Plot ---- The Legendary Moonlight Sculptor follows the adventures of a young man named Lee Hyun, who is an impoverished student living in a near-future Korea where virtual reality massively multiplayer online role-playing games (MMORPGs) have become the most popular form of entertainment and commerce. Lee Hyun, also known by his in-game name "Weed," was formerly known as the legendary God of War of the highly popular MMORPG, **Continent of Magic**. In an attempt to help his debt-ridden family, he auctions his character to find it sell at ₩3.1 billion. Later, an unfortunate run-up with loan sharks causes Lee Hyun to lose almost all of his money, however, this caused him to step into the new era of gaming led by the first-ever Virtual Reality MMORPG, Royal Road, to help his ailing grandmother and save enough for his sister's future college tuition. Despite starting out with nothing, he quickly proves to be a highly skilled player, making use of his real-life experience in poverty to become an expert in frugality and resourcefulness. As he explores the vast world of Royal Road, Weed also discovers the potential for creating art within the game world, and he quickly becomes famous for his ability to sculpt beautiful works of art. Along the way, he forms alliances and rivalries with other players, and he battles monsters and powerful enemies to achieve his goals. As the story progresses, Weed's reputation as a master sculptor and powerful adventurer grows, and he eventually becomes embroiled in political intrigue and the machinations of powerful corporations that seek to control the game world. Despite the many challenges he faces, Weed remains determined to succeed and protect those he cares about, leading him on a thrilling journey of discovery, adventure, and self-realization. Characters ---------- ### Famous Characters #### Weed (Lee Hyun) A high school drop-out, Lee Hyun is talented gamer with an enormous debt, primarily inherited from his deceased parents. To raise money, he places his gaming avatar, Weed from the ***Continent of Magic*** on auction, causing an uproar due its fame as the game's strongest avatar, and earns ₩3.09 billion (roughly $2.76 million) from it. Due to the inherited debt however, much of the money is collected by loan sharks, leaving Lee Hyun with around ₩90 million (roughly $75,000). With his ailing grandmother and younger sister in mind, he joins the recently launched VR-MMORPG, Royal Road to earn more money. Lee Hyun presently uses his old avatar name, Weed, on Royal Road. Over the course of the story, he is given the secret class - **Legendary Moonlight Sculptor**. His quick growth and achievements earn him a spot in the Royal Road Hall of Fame, which allows the game's top 500 players to place videos of their adventures online. Through a series of quests, he becomes the Lord of Morata, and later the King of Arpen. He is often referred to as the **Greatest Ruler in the North**. He is sometimes expressed as head priest of puljook shingyo (grass stewism) because he enslaved hundreds of gamers to build a giant sphinx. He only gives grass stew for them. #### Seoyoon (Jeong Seoyoon) Seoyoon, popularly known as the Goddess in Royal Road, is the female protagonist of the series. Described as a spectacularly beautiful woman, Seoyoon was left emotionless and mute due to childhood trauma. She started playing Royal Road as a method for trauma therapy, and plays as a silent berserker. In Volume 39, she begins dating Weed. As of Volume 42, Chapter 8, Seoyoon is at a level mark of 471. #### Yurin (Lee Hayan) Lee Hayan is Weed's younger sister, and the primary reason behind the latter's actions to make money - college tuition. She is introduced in Volume 1 as a high school student, and later proceeds to enrol to a university as a student in liberal arts. After successful acceptance, she decides to start playing Royal Road alongside her brother. She is presently a level 80, Aqualight Painter affiliated with the Arpen Kingdom. #### Da'in Weed first encounters Dain in the City of Heaven in Lavia, inside a dungeon known as the **Cave of Dead Warriors.** She is an exceptionally skilled shaman due to her unique style of training, and is a founding member of the famous Hermes Guild. Through the course of their time together, Dain is encouraged by Weed's personality to undergo a high-risk medical surgery in the real world. She was also Weed's first love. #### Hwaryeong (Jeong Hyo-Lin) Jeong Hyo-Lin is a world-renowned and successful singer, who plays the game as Hwaryeong, a dancer class, to relieve the stress of being famous yet single. Like Weed, she is familiar with the importance of increasing skill proficiency over regular levelling, making her a formidable character despite the weak profession or class. It is later revealed that she has feelings for Weed, though unrequited. #### Geomchi (Ahn Hyundo) Ahn Hyundo is a former **World Swords Fighting Champion**, having won the competition for four consecutive years before retiring to hone his skill with the sword. He joins his disciple Weed in Royal Road after witnessing the latter's improvement with the sword in the real life by experiencing combat in the game world. Known throughout Korea as the leader of the largest and finest Dojang of South Korea, Ahn Hyundo had initially decided to venture into Royal Road by himself, only to have his inner circle follow him into the game. Based on an inference from Volume 37, Chapter 10, Geomchi is estimated to be above the level mark of 400. He later unlocks the secret class profession - the Martial Artist, and is affiliated with the Arpen Kingdom. #### Bard Ray Bard Ray, translated occasionally as either Bad Ray or Bradley, is a French gamer in Royal Road of the unique Black Knight class. He's known to have arisen from being somebody's minion to a knight and then an Earl by means of treachery. Using the influence and power of the Hermes Guild, he wages a ruthless conquest, which results in him becoming the **Emperor of the Haven Empire**. Popularly known as the **God of Weapons**, he's currently at a level mark of 560. ### Famous Non-Player Characters (NPCs) #### Geihar von Arpen (The First Emperor) Having conquered the whole continent, Geihar von Arpen was the first to become Emperor in the Royal Road universe. He is a historical singularity, being a master sculptor, a master sword master, and an emperor. Due to the prejudices surrounding the sculptor class as being useless, he stated the lack of worthy successors in his legacy. After his death the empire collapsed and split into multiple kingdoms. #### Van Hawk (Death Knight) Van Hawk was a Death Knight under the direct command of the Undead Lich King, Bar Khan. He was entrusted with the task of guarding the stolen relic of Freya, Helain's Grail, which was enshrined at Bar Khan's crypt in the Sky City of Lavia. Weed defeated him en route to completing his retrieval of Helain's Grail and was awarded the Crimson Necklace of Life as a result, which he could later use to summon Van Hawk. Through the course of the story, the Death Knight is freed from the influence of Bar Khan and pledges his loyalty to Weed, which meant that the latter could now summon him even without the necklace. After being freed from the Lich King's influence, Van Hawk is able to remember parts of his life prior to becoming an Undead. #### Bahamorg (Barbarian) Bahamorg is a barbarian-class sculptural lifeform created by Geihar Von Arpen, the first emperor to have conquered the whole continent in the Royal Road lore. He currently acknowledges Weed as his master after being revived by the latter through the **Sculptural Life Bestowal** ability. He dual-wields using an axe and a mace, and of the 47 sculptural lifeforms, ranks as the strongest. Known as the Hero of Arpen, Bahamorg is known to have an astoundingly high level mark of 588. #### Hestiger (Sun Warrior) A powerful and historical figure from the warring age and the right hand of the Pallos Empire, Hesitgar was briefly resurrected by Weed to lead the battle against the Haven Empire's six imperial army divisions. Weed used the **Sculptural Resurrection** technique to resurrect him for twenty-four hours. Hestiger defended the Arpen Kingdom at the Earth Palace battle, with the command for destroying both the second and sixth army divisions of Haven's imperial army. In the battle, he killed Haven's imperial commander - Drom. After the destruction of the imperial army, Weed and Hestiger hunted through the night over three continents. As the resurrection time expired, Hestiger granted Weed an S-Rank quest. A Knight-class, Desert Warrior, he is also remembered for receiving the title - **Saviour of the World.** #### Roderick (Battle Mage) Roderick is a famous historical figure, briefly resurrected by Weed - twenty-one hours - to aid the latter's effort to free the Central Continent from **Lesser Demon Lord Montus** and an army of demon soldiers. As the legendary battle-mage, Roderick is known to utilize powerful and unique spells for combat; he is also capable of casting several spells rapidly without having to worry about mana limitations. In his battles, it is also revealed that he is capable of absorbing mana from the environment. #### Torido (True Vampire Lord) Lord Torido, also translated as Tori, is the leader of the **True Blood Vampire Clan**, and is also one of the forty-seven rules of **Todeum** - a vampire kingdom with three moons. Weed encounters Tor as a part of a questline to free the Morata region and the Paladins of Freya's Church; it was mentioned that the clan possessed more than a thousand soldiers, with the lowest ranking vampire being level 270. At the time, Lord Torido was known to hold a level mark of 400. He first appeared in Volume 3, Chapter 10. After his death at the hands of Weed, Lord Torido drops a summoning necklace similar to the one dropped by Van Hawk. He later pledges absolute loyalty to Weed in the **Plains of Despair**, having previously served Bar Khan. The pledge was undertaken through the **Power of the Blood Oath**, which granted Weed a unique item - **Vampire's Blood**; it held the power to permanently increase mana by 300 with the possibility of randomly increasing or decreasing other statistics. Lord Torido briefly became Seoyoon's follower in Volume 9, but was once again traded to Weed for a rabbit. Legacy of Geihar von Arpen -------------------------- The legacy of Geihar von Arpen was left in the Lair of Litvart, in a secret cave hidden within the dungeon, to be found by someone worthy of the secret class - **Legendary Moonlight Sculptor**. It was entrusted to Sage Rodriguez's family. Weed later discovers the legacy, and accidentally accepts the secret class as his own. Geihar left a parchment scroll and a few volumes of books for the inheritor of his legacy. Below are the excerpts of some of the letters left behind: ``` **[I] Successor to the Legendary Emperor** I am Geihar Von Arpen, the first emperor of the Continent, the one who put an end to timeless divisions. My final years of life have been far from fulfilling. No one has recognized my distress, my superiority! Why does no one understand my profession? Why does everyone look down upon my profession with disrespect? Enslaved to their prejudices, the talented have refused to understand my goodwill and succeed me in my trade. Even with my children, this form of prejudice is true! Those idiots and senseless bunch! They do not deserve to be my successor! So, I entrust my secret trade to you. ``` ``` **[II] Successor to the Legendary Emperor** I love beautiful statues. The statues that are carved with the magnificent spirit of Kvasir have never forsaken me. As long as I love and trust them, they are loyal to me. Who would believe this? That this lowly ‘Sculptor’ class became the cornerstone of my power, from a humble farmer in a country town to the man who united the Continent. Listen well, my successor who walks in the path of a sculptor. A very difficult path awaits you. The path that a hundred out of a hundred men shall give up and a nation of men will not fare any better. However, my successor, I encourage you to stay the course in the face of the toughest challenges. Hardship brings a value of its own, and toughness produces a result of its own too. Become the Grand Master of Sculpting! You must learn the secrets of Sculpture Mastery which I failed to learn. It shall remain the wish of every man who has learned the sculptural art. Therefore, I hereby entrust to you these small gifts. ``` Along with the letters, Geihar von Arpen left two rare items - **Medicine Tablet of the Emperor**, known to permanently increase mana by 200, and the **Book of Secret Sword Techniques from the Imperial Family of Arpen**, which teaches its user the *Imperial Formless Sword Skill.* Weed was dismissive of the sculptor class to begin with, just as those described in Geihar's letters, refusing the secret class - **Moonlight Sculptor** when first offered. However, he accepts the class as it represents itself as the **Legendary Emperor** class through the legacy questline. Weed discovers shortly after that the class is, in fact, that of the **Legendary Moonlight Sculptor**. He later uncovers the value of the class as amongst the most powerful within the Royal Road universe. Media ----- ### Light novels The **Legendary Moonlight Sculptor** first published as a Korean light novel authored by Heesung Nam (남희성). The series began publication in January 2007, and has published 57 volumes so far. After a hiatus in 2017, the author confirmed the resumption of the serialization in 2018 on his personal blog. Volumes 1-10| | Volume | Release Date(s) | ISBN | | 1 | Volume 1 | January 15, 2007 | ISBN 9788958579038 | | 2 | Volume 2 | January 15, 2007 | ISBN 9788958579045 | | 3 | Volume 3 | February 22, 2007 | ISBN 9788958579052 | | 4 | Volume 4 | April 6, 2007 | ISBN 9788958579069 | | 5 | Volume 5 | May 26, 2007 | ISBN 9788958579076 | | 6 | Volume 6 | June 29, 2007 | ISBN 9788925701271 | | 7 | Volume 7 | August 14, 2007 | ISBN 9788925702247 | | 8 | Volume 8 | October 9, 2007 | ISBN 9788925702254 | | 9 | Volume 9 | December 7, 2007 | ISBN 9788925703947 | | 10 | Volume 10 | February 23, 2008 | ISBN 9788925703954 | Volumes 11-20| | Volume | Release Date(s) | ISBN | | 1 | Volume 11 | June 11, 2008 | ISBN 9788925705675 | | 2 | Volume 12 | September 11, 2008 | ISBN 9788925705682 | | 3 | Volume 13 | December 22, 2008 | ISBN 9788925708102 | | 4 | Volume 14 | January 29, 2009 | ISBN 9788925708119 | | 5 | Volume 15 | March 31, 2009 | ISBN 9788925708126 | | 6 | Volume 16 | May 30, 2009 | ISBN 9788925710204 | | 7 | Volume 17 | July 23, 2009 | ISBN 9788925710211 | | 8 | Volume 18 | September 17, 2009 | ISBN 9788925710228 | | 9 | Volume 19 | November 28, 2009 | ISBN 9788925712864 | | 10 | Volume 20 | December 28, 2009 | ISBN 9788925712871 | Volumes 21-30| | Volume | Release Date(s) | ISBN | | 1 | Volume 21 | March 12, 2010 | ISBN 9788925712888 | | 2 | Volume 22 | May 20, 2010 | ISBN 9788925712895 | | 3 | Volume 23 | July 14, 2010 | ISBN 9788925716152 | | 4 | Volume 24 | September 1, 2010 | ISBN 9788925716169 | | 5 | Volume 25 | October 22, 2010 | ISBN 9788925716176 | | 6 | Volume 26 | December 1, 2010 | ISBN 9788925718149 | | 7 | Volume 27 | January 25, 2011 | ISBN 9788925718156 | | 8 | Volume 28 | March 2, 2011 | ISBN 9788925719597 | | 9 | Volume 29 | April 22, 2011 | ISBN 9788925719603 | | 10 | Volume 30 | June 15, 2011 | ISBN 9788925719610 | Volumes 31-40| | Volume | Release Date(s) | ISBN | | 1 | Volume 31 | August 18, 2011 | ISBN 9788925721699 | | 2 | Volume 32 | October 18, 2011 | ISBN 9788925721705 | | 3 | Volume 33 | December 30, 2011 | ISBN 9788925721712 | | 4 | Volume 34 | February 29, 2012 | ISBN 9788925725291 | | 5 | Volume 35 | May 1, 2012 | ISBN 9788925725307 | | 6 | Volume 36 | June 26, 2012 | ISBN 9788925727202 | | 7 | Volume 37 | September 3, 2012 | ISBN 9788925727219 | | 8 | Volume 38 | October 31, 2012 | ISBN 9788925727226 | | 9 | Volume 39 | January 31, 2013 | ISBN 9788925727233 | | 10 | Volume 40 | June 18, 2013 | ISBN 9788925727240 | Volumes 41-50| | Volume | Release Date(s) | ISBN | | 1 | Volume 41 | November 15, 2013 | ISBN 9788925732985 | | 2 | Volume 42 | January 17, 2014 | ISBN 9788925782775 | | 3 | Volume 43 | April 3, 2014 | ISBN 9788925766454 | | 4 | Volume 44 | July 30, 2014 | ISBN 9791125562863 | | 5 | Volume 45 | December 31, 2014 | ISBN 9791125562870 | | 6 | Volume 46 | August 31, 2015 | ISBN 9791125562887 | | 7 | Volume 47 | April 21, 2016 | ISBN 9791159609084 | | 8 | Volume 48 | October 31, 2016 | ISBN 9791160481921 | | 9 | Volume 49 | March 14, 2017 | ISBN 9791160481938 | | 10 | Volume 50 | June 5, 2017 | ISBN 9791160481945 | Volumes 51-58| | Volume | Release Date(s) | ISBN | | 1 | Volume 51 | August 31, 2017 | ISBN 9791129409782 | | 2 | Volume 52 | January 11, 2018 | ISBN 9791129409799 | | 3 | Volume 53 | July 4, 2018 | ISBN 9791129409805 | | 4 | Volume 54 | September 5, 2018 | ISBN 9791129409812 | | 5 | Volume 55 | March 25, 2019 | ISBN 9791129409829 | | 6 | Volume 56 | April 26, 2019 | ISBN 9791135421754 | | 7 | Volume 57 | April 1, 2020 | ISBN 9791135421761 | | 8 | Volume 58 | | | ### Webtoon A Webtoon was spun-off from the original Light Novels by writer, Grimza, and artist, Kim Tae-Hyung. The content of the webtoon doesn't deviate from the novels, with the first season (fifty-two chapters) covering the story until Volume 2, Chapter 7, and the second season (fifty-three chapters) covering the story until Volume 5, Chapter 4. The third season covers the story until Volume 8, Chapter 6. It is currently published in the KakaoPage. Impact ------ The series has sold more than a million books in a market with an estimated 3.5 million readers, and consistently ranks in first place in terms of eBook sales.
The **Argonaut Rowing Club** is an amateur rowing club in Toronto, Ontario, Canada. The club was founded in 1872. The current junior head coach is Connor Elsdon. In the past, the club fielded teams in ice hockey and football, and the football team continues today as the Toronto Argonauts of the Canadian Football League. History ------- Junior boat in 1925. The club, one of the oldest and largest of its type in Canada, dates back to 1872, founded by a group of amateur oarsmen known as the *Orioles*, which had been participating in races in southern Ontario in the 1860s. The founders chose the blue colours of Oxford and Cambridge universities (the "Double Blue") as the club colours. The first president was Henry O'Brien. The original club house was at the foot of York Street in Toronto Harbour (now filled in and part of the train tracks south of Union Station). It was only large enough for one boat, replaced by a larger clubhouse that was lost by fire in 1879 and rebuilt. The club relocated to the current Dowling Avenue location in 1921 after the harbour location was redeveloped for port usage, purchasing land along the waterfront within the new breakwater protected shoreline. In 1947, a fire gutted the club house at Dowling, and almost destroyed the Grey Cup, which was on display at the club at the time. Lotte Marks' *Argonaut Waltzes* (1899) is a musical work dedicated to the Argonaut Rowing Club of Toronto. Argonaut rowing teams have represented Canada at several Olympics. Argonaut teams represented Canada at 1904, 1908, 1912 and 1952 while Argonaut members represented Canada at other Olympics. Club membership declined in the late 1970s and by 1979, the Argonauts only had four members represent the club at the Henley Regatta. The club made a recovery in the 1980s to the current state. Clubhouse building on shore of Lake Ontario. Football -------- Club members also participated in other sports including the football Argonauts, which was founded as the Argonaut Rugby Football Club in 1873. The football team eventually became a professional club (and adopted its team colours from the rowing club, which they still use to this day) and its revenues subsidized the club as a whole. The football team was sold in 1956, and the funds from the sale were used to set up a trust which funds rowing club activities. Two years later, in 1958, the football team joined the Canadian Football League, where it has played since. Ice hockey ---------- The club also fielded ice hockey teams in the Ontario Hockey Association (OHA) on and off from 1904 to 1923. The Argonauts operated senior ice hockey, intermediate ice hockey and junior ice hockey teams during their time in the OHA. The junior team won the J. Ross Robertson Cup as OHA champions in the 1911–12 season and the 1919–20 season. The junior team also won the national championship at the 1920 Memorial Cup, participating under the name Toronto Canoe Club Paddlers. The ice hockey team is credited by Frank Selke as the originators of the modern defence pairing. Until 1906, defencemen in ice hockey were known as the *point* and *cover point*. The two points lined up one behind the other at face offs. The Argonaut team moved the players to *left* and *right* in the positions used today. The setup is considered to be originated from the style of plays of the Argonauts. The team ran set plays reminiscent of football, and moved the players to fit the set plays. The Argonauts were very successful in the first decade of the 1900s and the style caught on in the OHA. **Regular season statistics for the senior team** * 1904–05 – 3rd in Group 3, but out of playoffs * 1905–06 – 1st in Group 1, but lost in final * 1906–07 – 4th in Group 1, but out of playoffs * 1909–10 – 1st in Group 1, but lost in final * 1910–11 – 1st in Group 1, but lost in final * 1911–12 – 2nd in Group 1, but out of playoffs * 1913–14 – 4th in Group 2, but out of playoffs * 1914–15 – 3rd in Group 2, but out of playoffs * 1915–16 – tied 1st in Group 2, lost in Group Final * 1919–20 – 4th in Group 2, but out of playoffs * 1920–21 – 6th, but out of playoffs * 1921–22 – 6th, but out of playoffs * 1922–23 – 4th, but out of playoffs Facilities ---------- The club uses the 4,000 metre long Ontario Place West Channel water course running along the Western Beaches of Toronto from the west side of Ontario Place to the mouth of the Humber River within the breakwall. The current clubhouse is a two-storey brick building. Wikimedia Commons has media related to Argonaut Rowing Club. Sources ------- * Selke, Frank (1962). *Behind the cheering*. Toronto, Ontario, Canada: McClelland and Stewart.
Tropical forest preserve in Uganda. **Rwensambya Central Forest Reserve** is a tropical forest located in Kyegegwa district. It covers an area of 671 hectares. Wildlife -------- The reserve is a home to chimpanzees, monkeys such as red-tailed and black and white colobus monkeys, mangabeys and birds. Chimpanzees are among the major causes of death in this reserve. Conservation status ------------------- in 2014, the NFA started a campaign of evicting all the people who illegally stayed in the government forest reserves around Uganda including Kyegegwa and Kyenjojo after Yoweri Kaguta Museveni issued a directive to evict those people. Associations such as Kabweeza Tree Growers Association (KTGA) have been founded to preserve the forest reserve. But KTGA also rented the forest reserve land to people and they planted in maize and other crops. The staff of National Forestry Authority (NFA) slashed the crops which included coffee trees, maize plants and ovacado trees claiming them to be planted with in the demacations for the forest reserve. The natives pleaded that NFA had planted trees and branded NFA poles that acted as boundaries for the forest reserve and their land. NFA set up monitoring and supervision offices within this reserve to monitor the human activities. In 2021, the UNCHR partnered with NFA to replant trees and managed to restored 100 hectares of forest cover this reserve with the seedlings that were provided by the NFA. Threats ------- Some of the common threats to the forest reserve include human activities such as charcoal burning and production, illegal logging, cultivation/agriculture.
View of water gaps cut by the Raystown Branch of the Juniata River through Evitts Mountain and Tussey Mountain, facing west from the summit of Kinton Knob, Wills Mountain, in Bedford County, Pennsylvania, with the town of Bedford in the foreground. Oblique air photo facing north of central Bedford County, Pennsylvania, in December 2006, showing Wills, Evitts, and Tussey Mountains from center to right. Roadcut along Rt. 30 (Everett bypass) through Warrior Ridge, showing the lower Devonian sequence from the Corriganville Limestone at left to the Ridgeley Sandstone to the Needmore Shale at right, and Tussey Mountain in background at left. Outcrop of the Devonian Catskill Formation with a well-displayed thrust fault, located about 3 miles west of the village of Juniata Crossing on the north side of Route 30, Bedford County, Pennsylvania. Fossil coral of the Devonian Keyser Formation in the New Enterprise New Paris Quarry, Chestnut Ridge Bedford County, Pennsylvania. The Blue Knob massif (the summit is the snow field in the middle of the range). Prominent meander in the Raystown Branch near Breezewood **Bedford County**, Pennsylvania is situated along the western border of the Ridge and Valley physiographic province, which is characterized by folded and faulted sedimentary rocks of early to middle Paleozoic age. The northwestern border of the county is approximately at the Allegheny Front, a geological boundary between the Ridge and Valley Province and the Allegheny Plateau (characterized by relatively flat-lying sedimentary rocks of late Paleozoic age). (PA Geological Survey Map 13) The stratigraphic record of sedimentary rocks within the county spans from the Cambrian Warrior Formation to the Pennsylvanian Conemaugh Group (in the Broad Top area). No igneous or metamorphic rocks of any kind exist within the county. The primary mountains within the county (From west to east: Wills, Evitts, Dunning, and Tussey mountains) extend from the southern border with Maryland to the northeast into Blair County, and are held up by the Silurian Tuscarora Formation, made of quartz sandstone and conglomerate. Chestnut Ridge is a broad anticline held up by the Devonian Ridgeley Member of the Old Port Formation, also made of sandstone and conglomerate. Broad Top, located north of Breezewood, is a plateau of relatively flat-lying rocks that are stratigraphically higher, and thus younger (Mississippian and Pennsylvanian), than most of the other rocks within the county (Cambrian through Devonian). Broad Top extends into Huntingdon County to the north and Fulton County to the east. The Raystown Branch of the Juniata River is the main drainage in the northern two-thirds of the county. The river flows to the east through the mountains within the county through several water gaps caused by a group of faults trending east–west through the central part of the county. The river then turns north and flows into Raystown Lake in Huntingdon County. The southern third of the county is drained by several tributaries of the Potomac River. Both the Potomac and Juniata rivers are part of the Chesapeake Bay Watershed. All of Bedford County lies far to the south of the terminal moraine, and thus it was never glaciated (PA Geological Survey Map 59). However, during the Pleistocene epoch, or "Ice Age," periglacial (meaning "around glacier" or simply "cold") processes dominated. Most of the county was most likely a tundra at that time. The many boulder fields obvious as rocky and often treeless areas on mountainsides within the county formed as a result of seasonal freeze-thaw cycles during the Pleistocene. Several limestone quarries exist in Bedford County, most of which are owned and operated by New Enterprise Stone & Lime Company. Quarry locations include Ashcom, New Paris (inactive), Kilcoin (closed), and Sproul (inactive). Two coal fields exist within Bedford County. One is the Broad Top Field in the northeastern corner of the county, and the other is the Georges Creek Field along the southwestern border (PA Geological Survey Map 11). Both fields contain bituminous coal. There are abandoned mines in both areas and acid mine drainage is an environmental problem in the Broad Top area, where several fishless streams exist as a result of the discharge from the abandoned mines. Natural gas fields and storage areas exist in southeastern Bedford County, primarily within folded Devonian rocks south of Breezewood. Another deep gas field exists in the vicinity of Blue Knob on the border with Blair County to the north. (PA Geological Survey Map 10) Interesting Features -------------------- Interesting geologic features within Bedford County include some of the following: * New Enterprise New Paris quarry, where fossil corals and bryozoans may be found within the Devonian Keyser Formation. * Coral Caverns in Manns Choice. * The roadcut through Warrior Ridge on Rt. 30 (Everett Bypass), where an exposure of Silurian and Devonian rocks from limestone to shale to conglomerate can be seen. * The roadcut on the north side of the Pennsylvania Turnpike at the Narrows water gap (where the Raystown Branch cuts through Evitts Mountain) exposes a continuous section of the Reedsville Formation, Bald Eagle Formation, Juniata Formation, and the Tuscarora Formation. The beds of the Bald Eagle are overturned, folded, and faulted. The Tuscarora and Juniata are also exposed on the south side of the gap along Rt. 30. * Sweet Root Natural Area, within Buchanan State Forest and located near Chaneysville, where periglacial processes have created a bouldery landscape by eroding the Tuscarora Formation of Tussey Mountain. * Blue Knob, a notable ski resort and recreational area, is also the state's second highest point at 3146 feet/959 m (after Mount Davis in Somerset County to the west). * A transpression structure is located on the northern border of the county (shared with Blair County), about three miles east of the town of Woodbury. This structure is an up-thrust block of Cambrian and Ordovician rocks bounded on all sides by north-trending faults. The southern tip of the structure is approximately at Pulpit Hill. * An outcrop on the north side of Rt. 30 about three miles west of the village of Juniata Crossing shows an excellent example of a thrust fault within the Devonian Catskill Formation. * The Raystown Branch of the Juniata River between Breezewood and Raystown Lake to the north is an example of a river with incised (or entrenched) meanders.
The monastery church, dedicated to Saint George **Saint John the New Monastery** (Romanian: *Mănăstirea Sfântul Ioan cel Nou*) is a Romanian Orthodox monastery in Suceava, Romania. Built between 1514 and 1522, the monastery church is one of eight buildings that make up the churches of Moldavia UNESCO World Heritage Site, and is also listed as a historic monument by the country's Ministry of Culture and Religious Affairs. Its construction began during the reign of voivode Bogdan III the One-Eyed of Moldavia, after the nearby Mirăuți Church (the metropolitan cathedral of Moldavia at that moment) was devastated in 1513. The construction was completed by Stephen IV of Moldavia (also known as Ștefăniță). The monastery church served as metropolitan cathedral of Moldavia until 1677 and, since 1991, it serves as the cathedral of the Archdiocese of Suceava and Rădăuți. The church is dedicated to Saint George and it has frescoes painted on the outside, typical of the region. The monastery is dedicated to Saint John the New of Suceava, a Moldavian monk who preached during Turkish occupation and was subsequently martyred in Cetatea Albă, present-day Bilhorod-Dnistrovskyi in Ukraine. Alexander I of Moldavia brought his relics to Suceava in 1402. Besides the monumental church, the monastery complex includes a bell tower built in 1589 during the reign of Peter the Lame of Moldavia, a chapel founded by clergyman Anastasie Crimca in 1626–1629, old cells for monks (built in the 19th century), a house for the abbot (built between 1894 and 1896) and the surrounding walls.
For other people named Nicholas Tate, see Nicholas Tate (disambiguation). **Nicholas Tate** is a historian who was educated at Balliol College, University of Oxford, and at the universities of Bristol and Liverpool and until July 2011 was the Director-General of the International School of Geneva, Switzerland. Tate is known to be vocal in his education philosophy and is a fierce critic of undue reliance on standardised testing. History ------- Following a career in schools and teacher training institutions in England and Scotland, and in school examining, Tate joined England's National Curriculum Council in 1989 at the time of the establishment of the English national curriculum, and for the next 11 years worked for a succession of public bodies charged with the administration of England's school curriculum, assessment and qualifications systems. From 1994 to 1997 he was chief executive of the School Curriculum and Assessment Authority and from 1997 to 2000 chief executive of the Qualifications and Curriculum Authority (the bureau was renamed in 1997). In both of these positions he was the chief curriculum and qualifications adviser to the Secretary of State for Education. During this period he courted controversy with his attacks on cultural relativism and on its perceived influence on other educationalists' philosophy. From 2000 to 2003 (the shortest time in office since 1467) he was headmaster of Winchester College, one of England's leading independent boarding schools. In 2003 he was appointed Director-General of the International School of Geneva and from 2011 to 2013 he was Chairman of International Education Systems (IES). He was Chairman of Trustees of Richmond, The American International University in London 2017–19. Recent publications include 'What is education for?' (2015) and 'The conservative case for education. Against the current' (2017). He was appointed CBE in 2001 for services to education and training. Further reading --------------- 1. IBO.org profile 2. June, 2001 BBC News Article | Academic offices | | --- | | Preceded byJames Paley Sabben-Clare | **Headmaster of Winchester College** 2000–2003 | Succeeded byThomas Richard Cookson | | * v * t * e Headmasters of Winchester College | | --- | | * Richard Herton * John Melton * Thomas Romsey * John Pole * Thomas Romsey * Richard Darcy * Thomas Alwyn * William Waynflete * Thomas Alwyn * William Yve * John Barnard * John Grene * Clement Smyth * Richard Dene * John Rede * Robert Festham * William Horman * John Farlyngton * Edward More * Thomas Erlisman * John Twychener * Richard Twychener * John White * Thomas Bayly * William Everard * Thomas Hyde * Christopher Johnson * Thomas Bilson * Hugh Lloyd * John Harmar * Benjamin Heyden * Nicholas Love * Hugh Robinson * Edward Stanley * John Pottinger * William Burt * Henry Beeston * William Harris * Thomas Cheyney * John Burton * Joseph Warton * William Stanley Goddard * Henry Dyson Gabell * David Williams * George Moberly * George Ridding * William Andrewes Fearon * Hubert Murray Burge * Montague John Rendall * Alwyn Terrell Petre Williams * Spencer Leeson * Walter Fraser Oakeshott * Henry Desmond Pritchard Lee * John Leonard Thorn * James Paley Sabben-Clare * Edward Nicholas Tate * Thomas Richard Cookson * Ralph Douglas Townsend * Timothy Roderick Hands | |
2013 Marathi film ***Lagna Pahave Karun*** (transl. A try on marriage) is a 2013 Indian Marathi-language romantic comedy film directed by Ajay Naik, and produced by Kiran Deshpande and Mohan Damle under the banners of Solariz International and Sprints Arts Creations respectively. The film stars Umesh Kamat and Mukta Barve; it is the third collaboration between Kamat and Barve after *Eka Lagnachi Dusri Goshta* (2012) and also features Tejashri Pradhan and Siddharth Chandekar. The film follows Aditi Tilak (Barve) and Nishant Barve (Kamat) who set up their own matrimonial agency based on modern principles rather than horoscopes. The soundtrack and background score were composed by Ajay Naik while the cinematography, art direction, and editing were handled by Abhijeet Abde, Padmanabh Damle and Suchitra Sathe respectively. The film was released on 4 October 2013. Plot ---- In a tale of love and self-discovery, we follow the journey of Nishant Barve, an Indian software designer residing in America. As fate would have it, Nishant loses his job in the United States during a visit to his homeland, India. Determined to inform his fiancée, Madhura Godbole, about his predicament, Nishant sets out to meet her. However, a chance encounter alters his path when he accidentally bumps into Aditi Tilak, an aspiring entrepreneur with dreams of establishing her own matrimonial agency. Aditi shares her ambitious plans with Nishant, who becomes captivated by the idea and decides to forgo his scheduled job interview in the US. Meanwhile, Praful Patel and his girlfriend offer their assistance to Aditi in her venture. Nishant and Aditi, along with their newfound associates, brainstorm innovative ideas for helping people find love and companionship, opting not to rely on horoscope matching. Thus, the matrimonial agency "Shubhvivaah" is born. Through Shubhvivaah, Rahul Kulkarni and Aanandi, two individuals seeking life partners, find each other and decide to marry. The unconventional approach of the agency gains popularity, drawing interest from many. However, on the day of Rahul and Aanandi's wedding, Nalini Dixit, a renowned astrologer and the owner of a successful marriage bureau in Pune, delivers a disheartening prediction: their horoscopes do not align, and their marriage is destined to last no more than six months. Undeterred, Nishant and Aditi remain steadfast in their belief, while secretly falling in love with each other. Nishant takes a leap of faith and proposes to Aditi, expressing his willingness to sacrifice a promising career and a luxurious life in America for her and her incomplete matrimonial agency proposal. Aditi acknowledges Nishant's unparalleled love but admits that she hasn't contemplated their future together. Meanwhile, Rahul and Aanandi encounter difficulties in their married life due to Aanandi's inflexibility. Despite Nishant and Aditi's efforts to guide Rahul in making Aanandi happy, their attempts prove futile. One fateful day, Rahul and Aanandi have a heated argument, resulting in Rahul getting involved in an accident. Riddled with guilt over the failure of Rahul and Aanandi's marriage, Aditi decides to shut down her marriage institution. Angered by Aditi's decision, Nishant voices his disappointment and disagreement, ultimately deciding to return to America. However, a transformative moment occurs when Aanandi realizes her mistakes and reconciles with Rahul. In a twist of events, Nishant discovers Aditi's painful past—losing both her parents and experiencing the tragic demise of two prospective grooms. Blamed for these misfortunes, Aditi lives in constant fear and insecurity, hesitant to accept Nishant's marriage proposal out of concern for his well-being. Realizing the depth of Aditi's emotional turmoil, Nishant urges her to let go of her past and consider embracing marriage, whether with him or someone else, in order to find contentment. The film concludes with Nishant and Aditi sharing a heartfelt embrace, symbolizing Aditi's acceptance of Nishant's proposal, as they embark on a new journey together. Cast ---- * Mukta Barve as Aditi Tilak, owner of the matrimonial agency "Shubhvivaah" * Umesh Kamat as Nishant Barve, Aditi's love interest and partner in ownership of "Shubhvivaah" * Siddharth Chandekar as Rahul Kulkarni, he gets married with Aanadi through Shubhvivaah * Tejashri Pradhan as Aanandi Rahul Kulkarni, Rahul's wife * Swati Chitnis as Nalini "Nallutai" Dixit, an astrologer who is against Shubhvivaah * Jayant Sawarkar as Aditi's grandfather, he is an astrologer * Manasi Magikar as Nishant's mother * Seema Chandekar as Rahul's mother * Umesh Damle as Nishant's father * Shrikar Pitre as Praful Patel, Aditi and Nishant's assistant * Sayali Deodhar as Praful's girlfriend, Aditi and Nishant's assistant * Priyanka Barve as Madhura Godbole, Nishant's ex-fiancé * Rahul Navel as Vitthhal, Aditi and Nishant's assistant Production ---------- Lagna Pahave Karun was produced by Kiran Deshpande and Mohan Damle under the banner of Solariz International and Sprints Arts Creations respectively. It was co-produced by Sanjeev Langarkande and Ashish Deshpande and written by Kshtij Patwardhan and Sameer Vidwans based on a story by Ajay Naik. The film was shot at various locations in Pune and Alibaug. Umesh Kamat was the first to sign onto the film. Mukta Barve was chosen in as the female lead. Siddharth Chandekar and Tejashree Pradhan were later signed on for pivotal roles. Pradhan and Chandekar play Aanadi and Rahul, respectively. Swati Chitnis also played a vital role in the film. Reception --------- *Daily News and Analysis* wrote about the film "Clever writing, well-etched out characters, witty dialogue and brilliant performances make this film a fun watch". *Indian Nerve* stated that "Lagna Pahave Karun is the story of enduring and making things work without faltering". The film received 3.5 stars from *Marathistars.com*. Rajshri Marathi also wrote good reviews about the film. Soundtrack ---------- The music for *Lagna Pahave Karun* is composed by Ajay Naik. Ajay Naik has also composed the original background score. The lyrics are penned by Ambarish Deshpande, Ajay Naik, Vaibhav Joshi, Kshitij Patwardhan. The soundtrack which included seven songs was released on 28 August 2013 by Everest Entertainment. Track listing| No. | Title | Lyrics | Music | Singer(s) | Length | | --- | --- | --- | --- | --- | --- | | 1. | "Reshami Bandhane" | Ambarish Deshpande | Ajay Naik | Bela Shende | 4:28 | | 2. | "Jaanta Ajaanta (Male)" | Ajay Naik | Ajay Naik | Shaan | 4:51 | | 3. | "Majhya Mana" | Vaibhav Joshi | Ajay Naik | Shankar Mahadevan | 5:24 | | 4. | "Tu Shwaas Sare (Male)" | Ambarish Deshpande | Ajay Naik | Kunal Ganjawala | 5:00 | | 5. | "Jaanta Ajaanta (Female)" | Ajay Naik | Ajay Naik | Bela Shende | 4:51 | | 6. | ""Kasa Ha Majha Saajna"" | Ajay Naik Kshitij Patwardhan | Ajay Naik | Akriti Kakkar | 4:33 | | 7. | "Tu Shwaas Sare (Female)" | Ambarish Deshpande | Ajay Naik | Bela Shende | 5:00 | | Total length: | 34:07 | Awards and nominations ---------------------- | Year | Award | Category | Nominee | Result | | --- | --- | --- | --- | --- | | 2014 | Screen Marathi Awards | Best Actress | Mukta Barve | Nominated |
**Richard Griffiths** (November, 1827 – April 28, 1891) was a Welsh-born American labor union leader. Born in Swansea in Wales, Griffiths was inspired by the writings of James Cook, and he ran away from home at the age of 14 to become a cabin boy. After several trips to the West Indies, Griffiths settled in the United States, where he enrolled in the United States Marine Corps. He served on the USS *United States* and was later promoted to sergeant. After leaving the marines, Griffiths settled in Hopkinton, Massachusetts, where he became a boot crimper. He moved to Milwaukee in 1864, and then to Chicago. He was a founder member of the Order of the Knights of St. Crispin, an early trade union, becoming its Deputy Grand Sir Knight in 1869. By 1871, the union was struggling, and Griffiths lost his job. He briefly moved to Detroit but soon returned to Chicago. In 1876, the union was revived, and Griffiths refounded the Chicago local, although the union soon become defunct. In 1877, Charles H. Litchman inducted Griffiths into the Knights of Labor, and Griffiths established its first local in Chicago. He became its Master Workman, and from 1878 was the first person to serve as District Master Workman. In 1879, he was elected as Grand Worthy Foreman of the Knights of Labor, the union's second-in-command, serving until 1882, when he became treasurer. In 1884, he again became Grand Worthy Foreman, serving until 1888. From 1878 to 1880, Griffiths actively supported the Greenback Party.
For other uses of "IHOP", see IHOP (disambiguation). iHOP logo **Information Hyperlinked over Proteins** (or **iHOP**) is an online text mining service that provides a gene-guided network to access PubMed abstracts. The service was established by Robert Hoffmann and Alfonso Valencia in 2004. The concept underlying iHOP is that by using genes and proteins as hyperlinks between sentences and abstracts, the information in PubMed can be converted into one navigable resource. Navigating across interrelated sentences within this network rather than the use of conventional keyword searches allows for stepwise and controlled acquisition of information. Moreover, this literature network can be superimposed upon experimental interaction data to facilitate the simultaneous analysis of novel and existing knowledge. As of September 2014, the network presented in iHOP contains 28.4 million sentences and 110,000 genes from over 2,700 organisms, including the model organisms *Homo sapiens*, *Mus musculus*, *Drosophila melanogaster*, *Caenorhabditis elegans*, *Danio rerio*, *Arabidopsis thaliana*, *Saccharomyces cerevisiae* and *Escherichia coli*. The iHOP system has shown that by navigating from gene to gene, distant medical and biological concepts may be connected by only a small number of genes; the shortest path between two genes has been shown to involve on average four intermediary genes. The iHOP system architecture consists of two separate parts: the 'iHOP factory' and the web application. The iHOP factory manages the PubMed source data (text and gene data) and organises it within a PostgreSQL relational database. The iHOP factory also produces the relevant XML output for display by the web application. iHOP is free to use and is licensed under a Creative Commons BY-ND license.
Canadian musician and composer Musical artist **Bruce Clinton Haack** (listenⓘ) (May 4, 1931 – September 26, 1988) was a Canadian musician and composer in the field of electronic music. Biography --------- ### From Alberta to New York (1931-1963) Bruce Haack played on his family's piano at the age of three, and was providing piano lessons for others by the time he was a teenager. While attending college in Edmonton, Canada, at the University of Alberta, Haack began performing in local venues with a then-popular local band called The Swing Tones. While the band played primarily modern and old-time music, they also performed Ukrainian Folk music, which introduced Haack to Eastern musical motifs and themes. This exposure would prove to have a significant influence on Haack's work later in life. Prior to leaving Alberta to move to New York City, Haack assembled a large record collection of music from many parts of the world. Bruce Haack is remembered[*according to whom?*] at this time in his development as having a surprising ability to hear music and play it back immediately from memory, and would often compose innovative riffs through improvisation. Haack was also invited by Aboriginal peoples in Canada to participate in their pow-wows, experimenting with peyote, which influenced his music for years to come. His upbringing in the isolated town of Rocky Mountain House in Alberta, Canada, gave him plenty of time to develop his musical talents. Seeking formal training to hone his ability, Haack applied to the University of Alberta's music program. Though that school rejected him because of his poor notation skills, at Edmonton University he wrote and recorded music for campus theater productions, hosted a radio show, and played in a band. He received a degree in psychology from the university; this influence was felt later in songs that dealt with body language and the computer-like ways children absorb information. New York City's Juilliard School offered Haack the opportunity to study with composer Vincent Persichetti; thanks to a scholarship from the Canadian government, he headed to New York upon graduating from Edmonton in 1954. At Juilliard, Haack met a like-minded student, Ted "Praxiteles" Pandel, with whom he developed a lifelong friendship. However, his studies proved less sympathetic, and he dropped out of Juilliard just eight months later, rejecting the school's restrictive approach. Throughout the rest of his career, Haack rejected restrictions of any kind, often writing several different kinds of music at one time. He spent the rest of the 1950s scoring dance and theater productions, as well as writing pop songs for record labels like Dot Records and Coral Records. Haack's early scores, like 1955's Les Etapes, suggested the futuristic themes and experimental techniques Haack developed in his later works.[] Originally commissioned for a Belgian ballet, Les Etapes mixed tape samples, electronics, soprano, and violin; the following year, he finished a musique concrète piece called "Lullaby for a Cat". As the 1960s began, the public's interest in electronic music and synthesizers increased, and so did Haack's notoriety.[] Along with songwriting and scoring, Haack appeared on TV shows like *I've Got a Secret* and *The Tonight Show starring Johnny Carson*, usually with Pandel in tow. The duo often played the Dermatron, a touch- and heat-sensitive synthesizer, on the foreheads of guests; 1966's appearance on *I've Got a Secret* featured them playing 12 "chromatically pitched" young women. Meanwhile, Haack wrote serious compositions as well, such as 1962's "Mass for Solo Piano", which Pandel performed at Carnegie Hall, and a song for Rocky Mountain House's 50th anniversary. One of his most futuristic pieces, 1963's "Garden of Delights", mixed Gregorian chants and electronic music. This work was never broadcast or released in its complete form. #### From Children's Music to Electric Lucifer (1963-1976) Haack found another outlet for his creativity as an accompanist for children's dance teacher Esther Nelson. Perhaps inspired by his own lonely childhood, he and Nelson collaborated on educational, open-minded children's music. With Pandel, they started their own record label, Dimension 5 Records, on which they released 1962's *Dance, Sing, and Listen*.[] Two other records followed in the series, 1963's *Dance, Sing, and Listen Again* and 1965's *Dance, Sing, and Listen Again & Again*. The records included activity and story songs typical of those found on other children's records at the time. The music moves freely between country, medieval, classical, and pop, and mixes instruments like piano, synthesizers, and banjo. Lyrics deal with music history or provide instructions like, "When the music stops, be the sound you hear", which resulted in an often surreal collage of sounds and ideas. The otherworldly quality of Haack's music was emphasized by the instruments and recording techniques he developed with the Dance, Sing, and Listen series. Though he had little formal training in electronics, he made synthesizers and modulators out of any gadgets and surplus parts he could find, including guitar effects pedals and battery-operated transistor radios. Eschewing diagrams and plans, Haack improvised, creating instruments capable of 12-voice polyphony and random composition. Using these modular synthesizer systems, he then recorded with two two-track reel-to-reel decks, adding a moody tape echo to his already distinctive pieces. As the 1960s progressed and the musical climate became more receptive to his kind of whimsical innovation, Haack's friend, collaborator, and business manager Chris Kachulis found mainstream applications for his music. This included scoring commercials for clients like Parker Brothers Games, Goodyear Tires, Kraft Cheese, and Lincoln Life Insurance; in the process, Haack won two awards for his work. He also continued to promote electronic music on television, demonstrating his homemade device encased in a suitcase on *Mister Rogers' Neighborhood* in 1968, where he sampled a song by the Rolling Stones entitled "Citadel". He released *The Way-Out Record for Children* later that year. Kachulis did another important favor for his friend by introducing Haack to psychedelic rock. Acid rock's expansive nature was a perfect match for Haack's style, and in 1969 he released his first rock-influenced work, *The Electric Lucifer*. A concept album about the earth being caught in the middle of a war between heaven and hell, *The Electric Lucifer* featured a heavy, driving sound complete with Moog synthesiser, Kachulis' singing, and Haack's homegrown electronics including a prototype vocoder and unique lyrics, which deal with "powerlove" — a force so strong and good that it will not only save mankind but Lucifer himself. Kachulis helped out once more by bringing Haack and Lucifer to the attention of Columbia Records, who released it as Haack's major-label debut. As the 1970s started, Haack's musical horizons continued to expand. After the release of *The Electric Lucifer*, he continued on Lucifer's rock-influenced musical approach with 1971's *Together*, an electronic pop album that marked his return to Dimension 5. Perhaps in an attempt to differentiate this work from his children's music, he released it under the name Jackpine Savage, the only time he used this pseudonym. Haack continued making children's albums as well, including 1972's *Dance to the Music*, 1974's *Captain Entropy*, and 1975's *This Old Man*, which featured science fiction versions of nursery rhymes and traditional songs. After relocating to West Chester, Pennsylvania, to spend more time with Pandel, Haack focused on children's music almost exclusively, writing music for Scholastic Corporation like "The Witches' Vacation" and "Clifford the Small Red Puppy." He also released *Funky Doodle* and *Ebenezer Electric* (an electronic version of Charles Dickens' *A Christmas Carol*) in 1976, but by the late 1970s, his prolific output slowed. Two works, 1978's *Haackula* and the following year's *Electric Lucifer Book II*, were never released. ### From Party Machine to Death (1977–1988) *Haackula*, Haack's darkest album, struck out into dark, yet playful territory. It seems to have inspired Haack's final landmark work, 1981's *Bite*. The albums share several song titles and lyrics tone different from Haack's usually idealistic style. Though *Bite* is harsher than his other works, it features his innovative, educational touch: A thorough primer on electronics and synthesizers makes up a large portion of the liner notes, and Haack adds a new collaborator for this album, 13-year-old vocalist Ed Harvey. Haack's failing health slowed Dimension 5's musical output in the early 1980s, but Nelson and Pandel kept the label alive by publishing songbooks, like *Fun to Sing* and *The World's Best Funny Songs*, and re-released selected older albums as cassettes which are still available today. In 1982, Haack recorded his swan song, a proto hip-hop collaboration with Def Jam's Russell Simmons, entitled "Party Machine". Haack died in 1988 from heart failure, but his label and commitment to making creative children's music survives. While Dimension 5's later musical releases — mostly singalong albums featuring Nelson — may lack the iconoclastic spark of the early records, Nelson and Pandel's continued work reveals the depth of their friendship with Haack, a distinctive and pioneering electronic musician. Musical Inventions ------------------ * Mid 1950s: Peopleodian - an analog synthesizer ran on a 9 volt battery and used to play tones and pitches on people. Different versions of the device included 'M' and the Dermatron * Mid 1960s: Mr C - an analog synthesizer in the form of a robot and programmed to play music for live audiences * 1967: The Musical Computer - a home-built digital/analog synthesizer and digital sampler encased in a suitcase which used sensors and skin touch to trigger lights and sounds, named by Fred Rogers * 1968: Farad - a motion-controlled vocoder, named after Michael Faraday Documentaries ------------- *Haack: The King of Techno* is a documentary film about Bruce Haack by Philip Anagnos. It was released in 2004 at the Slamdance Film Festival, distributed by Koch Vision and televised on DOC: The Documentary Channel, Sky Italia, and Sveriges Television. It features interviews with some of Haack's associates and collaborators such as Ted "Praxiteles" Pandel, Esther Nelson and Chris Kachulis as well as contemporary artists including Eels, Mouse On Mars, Money Mark, and Peanut Butter Wolf. Additionally, the film includes archival footage of Haack's appearances on various talk shows and *Mister Rogers' Neighborhood*. In 2013, the documentary was re-released by Bleep.com, a division of Warp Records. Tribute albums -------------- In 2005, a tribute album was released entitled *Dimension Mix*. A tribute to Dimension 5 Records featuring covers of Bruce Haack songs by Beck, Stereolab, and others, the project was produced by longtime friend and Beck collaborator, Ross Harris, whose autistic child, and godson to Beck, inspired the album. Discography ----------- ### Albums | Year | Album | UK | US | Additional information | | --- | --- | --- | --- | --- | | 1963 | *Dance Sing and Listen* | - | - | | | 1964 | *Dance Sing and Listen Again* | - | - | | | 1965 | *Dance Sing and Listen Again and Again* | - | - | | | 1968 | *The Way-Out Record for Children* | - | - | Identified by Nick DiFonzo as having one of the worst album covers of all time. | | 1969 | *Electronic Record for Children* | - | - | | | 1970 | *The Electric Lucifer* | - | - | | | 1971 | *Together* | - | - | as Jackpine Savage | | 1972 | *Dance to the Music* | - | - | | | 1974 | *Captain Entropy* | - | - | | | 1975 | *This Old Man* | - | - | | | 1976 | *Funky Doodle* | - | - | | | 1976 | *Ebenezer Electric* | - | - | | | 1978 | *Haackula* | - | - | Unreleased because of content | | 1979 | *Electric Lucifer Book II* | - | - | Released in 2001 | | 1981 | *Bite* | - | - | Reversioning of *Haackula* | | 1981 | *Zoot Zoot Zoot Here Comes Santa In His New Space Suit* | - | - | Commissioned work w/ Tiny Tim | | ### Singles * 1955: "Les Etapes" * 1956: "Lullaby for a Cat" * 1979: "Icarus" * 1983: "Party Machine" - collaboration w/ Russell Simmons ### Compilations * 1998: *Hush Little Robot* - QDK Media * 1999: *Listen Compute Rock Home* - Emperor Norton Records * 2002: *Electronic 01 - Mean Old Devil* - Mute Records * 2007: *Badd Santa - I Like Christmas* - Stones Throw Records * 2010: *Farad: The Electric Voice* - Stones Throw Records * 2011: *Bruce Haack Remixed* - Stones Throw Records * 2018: *Preservation Tapes EP* - Telephone Explosion Records ### Covers * 2005: *Dimension Mix: A Tribute to Dimension 5 Records* - Eenie Meenie Records ### Samples * 1968: Bruce samples and loops the Rolling Stones' "Citadel" on a homemade instrument on *Mister Rogers' Neighborhood* * 2006: Cut Chemist samples Bruce Haack's "School For Robots" on *(My 1st) Big Break* * 2019: Kanye West samples Bruce Haack's "Snow Job" on *Water* ### Film and television * 1958: *I've Got a Secret* * 1965: *The Mike Douglas Show* * 1965: *The Tonight Show* * 1968: *Mister Rogers' Neighborhood* ### Music videos * 2005: "Funky Lil Song" - Beck, Dir. Joel Fox/Ross Harris, Eenie Meenie Records * 2005: "Rain of Earth" - Stones Throw Singers, Dir. Joel Fox/Ross Harris, Eenie Meenie Records * 2011: "Party Machine" - Prince Language Afterparty Edit, Dir. Philip Anagnos, Stones Throw Records
American art educator (born 1955) **Karen Keifer-Boyd** (born December 7, 1955) is an American art educator. She has written and co-written several articles and books in the field of art education, focusing on feminist pedagogy, inclusion, disability justice, transdisciplinary creativity, transcultural dialogue, and social justice arts-based research. So co-founded, with Deborah Smith-Shank, the art education journal *Visual Culture and Gender*. She has received many awards for leadership and teaching. Education --------- Keifer-Boyd holds a bachelor's of fine art from the Kansas City Art Institute and a master's of science and doctorate in art education from the University of Oregon. Career ------ Karen Keifer-Boyd is the current professor of art education and of women's studies at Penn State University. She has written articles on feminist pedagogy. The articles are found in more than 45 peer-reviewed research publications and translated into many different languages. Her pedagogy articles include: Judy Chicago's content-based art pedagogy, CyberNetculture, intertextuality, cyberNet activism art pedagogy, arts-based and action research, transcultural dialogues, CyberHouse and identity speculative fiction. She is also the co-author of InCITE, InSIGHT, InSITE (NAEA, 2008), Engaging Visual Culture (Davis, 2007), and was the editor of the Journal of Social Theory in Art Education, and guest editor for Visual Art Research. She has been the co-authors to other readings as well. Keifer-Boyd also co-founded International Multimedia Journal Visual Culture & Gender. Artwork ------- Karen Keifer-Boyd created a piece in 2001 called, Write/Erase. This piece was an interactive watercolor installation. She used this piece to call attention to the erased cultural memory of women's contribution to society by filling the "hole" with water. The viewers could take a cloth and erase another's history written on the stones by her feet, and then write their own. Another work is Cyberhouse, created in 2013 with PHP, Flash, and PhotoShop. Cyberhouse is a computer game of inquiry, it gives the viewer reflections on self and possibilities to restore themselves. The players' identity changes constantly through cyborging (through sensory translation, extensions, and transformations through human interactions. Keifer-Boyd used building attributes to reflect human experiences and creates a metaphorical use in everyday language (e.g. one step at a time, frame your ideas, a window of opportunity). Books ----- Keifer-Boyd co-wrote *Including Difference* with Michelle Kraft in 2013. *Including Difference* is about co-creating inclusive classroom communities for a range of different learners. Awards ------ Karen Keifer-Boyd has been honored with leadership and teaching awards including the National Art Education Distinguished Fellow 2013.[] She is the 2005 recipient of the Kathy Connors Teaching Award from the National Art Education Association Women's Caucus. She received the 2013 National Ziegfeld Award from the United States Society for Education through Art. Keifer-Boyd became a Distinguished Fellow of the National Art Education Association in 2013. Keifer-Boyd is a regional, national and international influence. She has one of the most important private collections of archival materials on feminist art education,[] she was the president of the Women's Caucus[] and the co-founder of the Graduate Research in Art Education annual conference.[] In an article on the Penn State webpage Keifer-Boyd stated: "Ziegfeld's work is a commitment to ideas of social justice, and that the visual arts can speak across borders: national, political, cultural, geographical, disciplinary, linguistic, and personal—a belief that I share and embed in all the work I do."
Early six legged insect-like robot from the 1970s Genghis Robot **Genghis** was a six legged insect-like robot that was created by roboticist Rodney Brooks at MIT around 1991. Brooks wanted to solve the problem of how to make robots intelligent and suggested that it is possible to create robots that displayed intelligence by using a "subsumption architecture" which is a type of reactive robotic architecture where a robot can react to the world around them. His paper "*Intelligence Without Representation*", which is still widely respected in the fields of robotics and Artificial Intelligence, further outlines his theories on this. Design ------ The design of the Genghis robot was inspired by insects who have limited brain functions yet possess tremendous functionality. In order to mimic this trait found in insects Brooks "removed all cognition processors from Genghis and left only the sensors and the code/hardware to allow it to walk". This enabled Genghis to link sensation to an action taken where the robot did not have any pre-planned path to follow but took action as each sensor detected an obstacle. With Genghis, Brooks pioneered his "sensation-action theory of intelligence which was to bypass explicit cognition hubs in favor of pairing perception more directly with action". Genghis was not designed to have a central controller to direct all possible functions in the robot, particularly in the legs. Instead, each leg had its own built-in sensors that would sense the various obstacles in its path. Each leg was programmed with a few basic behaviors and knew how to react under different scenarios based on sensor feedback. The act of walking became a coordinated effort between all of the legs resulting in the robots movement. These processes exist independently, run at all times and fire whenever the sensory preconditions are true. Genghis was designed to navigate difficult terrain with many obstacles and elevations. In order to achieve this type of functionality while reducing overall complexity Brooks created a method of finite state machine thought which relied on "layered processing"; a basic layering of new traits over older ones. In Genghis the control system was organized into "eight incremental layers: Stand up, Simple Walk, Force Balancing, Leg Lifting, Whiskers, Pitch Stabilization, Prowling and Steered Prowling". On a processing level the complexity of each of the eight layers of the final movement are addressed separately by each layer, reducing the burden of complex processing from the processors at each level. Genghis now resides in the Smithsonian Air and Space Museum.
**The Hipster Orchestra** is a chamber group formed by Jared Gutstadt, the CEO of Jingle Punks Music, the New York-based music production, licensing, and creative agency. The band is known for their arrangements of contemporary music and established classics for a string-based chamber group. The Hipster Orchestra was initially launched as a way to garner more composing and arranging work for the parent company Jingle Punks' creative studio, but has gone on to make numerous records and perform throughout the world. The group has released albums on Razor and Tie Records and independently. Style ----- The Hipster Orchestra arranges contemporary pop, indie, and hip-hop songs into chamber music, occasionally augmenting the sound with rock and folk instruments. History ------- The Hipster Orchestra was formed in 2011 by Jingle Punks Music CEO Jared Gutstadt along with employees from the company. While the group features outside members, the personnel is primarily rooted in the Jingle Punks company. The group began posting videos of songs in April 2011, beginning with a cover of the Strokes then-newly released "Under Cover Of Darkness." *New York* magazine described the cover as "classy." In May 2011, covers of MGMT's "Time To Pretend" and the Black Keys' "Tighten Up" followed, also premiered via online video. On September 27, 2011, the Hipster Orchestra released two albums: *Hipster Dinner Party Vol. 1* and *The Nirvana Sessions*, the latter of which was made to commemorate the 20th anniversary of Nirvana's *Nevermind*, commissioned by Primary Wave, Nirvana's publishing company. MTV described the record as "incredible" and "pretty inspiring to say the least." The group's cover of "Lithium" was featured on the front page of YouTube as part of the site's celebration of *Nevermind'*s twentieth anniversary. The band made a similar EP of covers in 2013 for Nirvana's *In Utero* called *The In Utero Sessions*. Jingle Punks CEO Jared Gutstadt performing with Nas in Johannesburg, South Africa In January 2012 the Hipster Orchestra released a medley of hip-hop covers called "4 Strings and an 808." The medley includes snippets of material from major hip-hop artists including Jay Z and Eminem, as well as a quote from Bruce Hornsby's pop hit "The Way It Is." On January 20, 2012, the Hipster Orchestra debuted "Blue Ivy Lullabies," a medley of Jay-Z and Beyoncé tracks performed as a lullaby to the couple's then-newborn daughter Blue Ivy Carter. On June 7, 2014, the Hipster Orchestra performed with Nas for a Castle Lite-sponsored show in Johannesburg, South Africa. Appearances ----------- The Hipster Orchestra have played shows in New York at the Soho House and Rockwood Music Hall, in Chicago at Schuba's, and in Los Angeles at the Soho House. Additionally, the Hipster Orchestra has drawn attention from media outlets such as the New York Times for performing in non-traditional venues, specifically the offices of major advertising houses such as Ogilvy and Mather Worldwide (Los Angeles), Wieden and Kennedy (New York), DDB (Chicago), Leo Burnett (Chicago), and Grip (Toronto). In 2014, the band played at Castle Lite's Extra Cold Music concert backing Nas, where they played the rapper's 1994 album *Illmatic* in its entirety among other songs. On television, the Hipster Orchestra has made several appearances on NBC's Last Call with Carson Daly. Discography ----------- * *Hipster Dinner Party Vol. 1* (2011) * *The Nirvana Sessions* (2011) * *The King of Instruments* (w/ Alex Collier) (2012) * *The In Utero Sessions* (2013)
Armenian journalist, publicist, and writer **Garabed Utudjian** (Armenian: Կարապետ Իւթիւճեան; 1823 in Constantinople, Ottoman Empire – 1904) was a prominent Armenian journalist, translator, and writer. Garabed Utujian, undated photo In the 1840s, Utujian taught history, geography, Classical Armenian and French in a series of Armenian schools in Constantinople and worked as a private tutor in the homes of two wealthy Armenian families. In 1848, he traveled to Paris and studied at the École supérieure de commerce, where he specialized in economics and earned a diploma in 1851. During his time in Paris, he also attended lectures by the critic Saint-Marc Girardin, the political economist Michel Chevalier and the historian Jules Michelet at the Sorbonne and the Collège de France. Before returning to Constantinople, Utujian traveled to London and visited the Great Exhibition, the first World Fair. In 1852, Utujian was appointed editor of the long-running Ottoman-Armenian newspaper Masis. He served as its editor uninterrupted for 32 years until 1884 when, after having lost an eye to disease, he was forced to cease all work in the realms of writing and publishing. In his role as editor of Masis, Utujian is credited with helping to shape journalistic norms for the Ottoman Armenian press and with helping to develop modern Armenian as a written medium. In honor of his longtime service to journalism and letters, he was awarded the Ottoman Order of the Medjidie (third class) in 1903. Front page of an issue of Utudjian's Masis During his time as editor, Utujian published a number of translations from European languages, many of which were also serialized in Masis. Among these translations figure schoolbooks such as Joseph Garnier’s Éléments de l’économie politique (1873), as well as popular European literary and political works: Silvio Pellico’s Le mie prigioni (1862), Oliver Goldsmith’s The vicar of Wakefield (1863) and Eugène Sue’s eight-volume Le Juif errant (1867-1869). Concurrently, he also held a series of positions within Armenian communal governing bodies. Like Rusinian, he was an inaugural member of the Education Council in 1853, served as a deputy in the Armenian National Assembly and was part of cultural associations that strove to spread a sense of national consciousness among Ottoman Armenians. He also belonged to the Armenian masonic lodge Ser ("Love"). After leaving his editorship, Utujian worked as the superintendent of schools affiliated with the Armenian Apostolic Patriarchate of Constantinople from 1885 to 1895. Utujian serialized his own childhood memories in Masis in seven installments between 27 February and 17 April 1893.
Historic site in Ontario, Canada The **Studio Building** in Toronto, Ontario, Canada, was the home and working studio of several of the Group of Seven painters, their predecessors, and their artistic descendants, and is of enormous significance in the history of Canadian art. The building was designated a National Historic Site of Canada in 2005. It was also designated by the City of Toronto under the *Ontario Heritage Act* through By-law 115-2003. Situated at 25 Severn Street, it is located in the Rosedale ravine immediately east of the above-ground Ellis portal that brings subway trains into and out of the north end of the Bloor-Yonge subway station. The site and positioning takes advantage of the northern exposure that illuminates the artist's canvas with very even, neutral light. History ------- Financed by Lawren Harris, heir to the Massey-Harris farm machinery fortune, and Dr. James MacCallum, the Studio Building was conceived as a nonprofit facility where the rents were pegged at $22 per month, a level that would cover only expenses. Harris and MacCallum intended the building to be a living, meeting, socializing and, most importantly, a working facility for artists to foster and promote a uniquely Canadian art movement based largely on portraying the landscape of the country. The building was designed by Arts and Crafts architect Eden Smith. Harris, overseeing construction of the building, was too busy to concentrate on his own artistic endeavours and loaned his own studio space, over the Commerce Bank branch at the northwest corner of Yonge and Bloor streets, to a newly arrived Montrealer, A.Y. Jackson. Construction was completed in January 1914. Tom Thomson was another of the first residents of the building. The epitome of the starving artist, he had been persuaded to quit the Grip Ltd art design agency, take up residence in the Studio Building, and devote his energies, full-time, to his art. MacCallum financially supported Thomson, who initially shared studio 1 with A.Y. Jackson, for the first twelve months. When Jackson left to work for the government documenting Canadians fighting World War I and Harris departed to be a gunnery instructor, Thomson moved in to share a studio with Franklin Carmichael. When Carmichael married and left a few months later, Thomson, still commercially unsuccessful (he would never, in his lifetime, earn enough to make a living from painting alone), could not afford the $22 monthly studio rental fee. There was another factor: Thomson had never really enjoyed working in the city, felt that a studio was "pretentious," and wanted to work in an environment closer to his beloved wilderness settings. His obvious talent was a great inspiration to the other, older artists, and they were unwilling to see their friend move away. MacCallum spent $176 (a considerable sum in those days) to refurbish a workmen's shed on the east side of the building; it was there, for $1 a month, that Thomson spent his last winters. (Thomson would spend the summers in Algonquin Park as a ranger and fire-fighter and then decamp, during the winter, to Toronto and the Studio Building to work oil sketches made during the summer and fall into full canvases.) A.Y. Jackson at work in the building On his return from World War I, Jackson again took up residence, but this time on the top floor, in Studio 6. He removed Thomson's easel, made by Thomson's own hand, from the shed and used it for all the subsequent pictures he produced in the Studio Building. Shortly after he returned from wintering on Georgian Bay, he learned that in his absence he had been included in an informal group of Studio Building artists, exhibiting for the first time, called the Group of Seven. The resulting show had mixed results, but the Group was able to capitalize on the criticism they received; they were seen as vanguards of a new art style that was uniquely Canadian and challenging dated tastes. By 1940, Harris was living in Vancouver, and his ties to the Studio Building, except emotional, were for all intents and purposes severed. In 1948, he sold the Studio Building to lawyer-turned-artist Gordon MacNamara and a partner for $20,000. The building was once nestled in a serene valley, but trains now rattle along the nearby subway line The Studio Building was well beyond its heyday. A.Y. Jackson, who by now was the only remaining member of the original tenants and even of the Group of Seven still living in the building, said in his autobiography "A Painter's Country", that MacNamara slipped notes under the door of his studio complaining about the noise of his hammering while stretching canvases - MacNamara was a watercolourist working on paper - and mandating that Jackson would have to do his prep work in the basement. He left other notes, admonishing Jackson for walking about in his studio, insisting that he wear felt-soled shoes to muffle the noise. An unhappy Jackson left the building in 1955 with Lawren Harris mourning, in a letter from Vancouver: > > Your moving from the Studio Building marks the end of an era, the one era of creative art that has the greatest significance for Canada... You were the real force and inspiration that led all of us into a modern conception that suited this country, and the last to leave the home base of operations. > > > It was only after lengthy negotiations with MacNamara that art collector Robert McMichael, in 1962, was able to purchase Tom Thomson's old shack and have it removed for exhibit at the McMichael gallery in Kleinberg, northwest of the city. MacNamara was concerned that locals, who were well aware of the shed's historic significance, might think him too eager to dispose of it. The terms, when finalized, stipulated that McMichael would pay MacNamara $800 and landscape the resulting vacant spot so as to remove any trace of the shed's presence. MacNamara himself faced challenges near the end of his long life when the City of Toronto approved a proposal by Canadian Tire in 2003 to construct 18- and 25-storey condominium towers on the western side of the ravine. As the condominium buildings threatened to destroy the quality of light that artist tenants had enjoyed for nine decades, MacNamara appealed the approval to the Ontario Municipal Board. MacNamara eventually withdrew his appeals, and the condominium approvals came into full force and effect. As a condition of his withdrawal, he received a $75,000 settlement from Canadian Tire.[] Backed by endorsements from the National Gallery of Canada, the Art Gallery of Ontario, and the Architectural Conservancy of Ontario, MacNamara applied for — and won — National Historic Site status for the building. Gordon MacNamara died in 2006, leaving the future of the building in some question. His son has expressed interest in selling the building, appraised for $1.37 million. While its designation as an historic site protects only the outside of the building, many hope that a new owner will do as much as possible to protect its legacy as a Canadian art treasure. Bibliography ------------ * Jackson, A.Y.: *A Painter's Country: The Autobiography of A.Y. Jackson*, Clarke Irwin & Company Ltd.; Toronto, 1958. ISBN 0772011028 * Larsen, Wayne: *A.Y. Jackson: A Love for the Land*, XYZ Publishing; Lantzville, B.C. 2003. ISBN 1-894852-06-0 * McMichael, Robert: *One Man's Obsession*, Prentice-Hall Canada Inc.;Scarborough Ontario, 1986. ISBN 0-13-566944-8
**Culinology**, according to Jeff Cousminer in *Food Product Design Magazine*, is a term that was coined by the first president and founder of the Research Chefs Association, Winston Riley. The original meaning of the word was quite different from what it has come to mean today. Originally, the word was designed to be a combination of two words: "culinary" and "technology". So the first meaning of the word was the convergence of culinary arts and all technology, which includes communications, chemistry, physiology, economics and many others.[] There are accredited culinology educational programs offered by many institutions. The curriculums of such courses combine the disciplines of cooking and food science. According to industry professionals, such as Harry Crane, culinology should "help jump-start product development." Culinologists work in diverse aspects of food—from experimental chefs and menu planners to food manufacturing to fine dining. The word is protected by the professional association, the Research Chefs Association, which owns the registered trademark.
The **chain of survival** refers to a series of actions that, properly executed, reduce the mortality associated with sudden cardiac arrest. Like any chain, the chain of survival is only as strong as its weakest link. The six interdependent links in the chain of survival are early recognition of sudden cardiac arrest and access to emergency medical care, early CPR, early defibrillation, early advanced cardiac life support, and physical and emotional recovery. The first three links in the chain can be performed by lay bystanders, while the second three links are designated to medical professionals. Currently, between 70 and 90% of cardiac arrest patients die before they reach the hospital. However, a cardiac arrest does not have to be lethal if bystanders can take the right steps immediately. Background ---------- According to the American Heart Association, out-of-hospital cardiac arrest can affect more than 300,000 people in the United States each year. Three minutes after the onset of cardiac arrest, a lack of blood flow starts to damage the brain, and 10 minutes after, the chances of survival are low. Therefore, bystanders have only a few minutes to act to optimize a person's chances of survival and recovery.[] To improve survival outcomes for people who have experienced out-of-hospital cardiac arrest, the American Heart Association–International Liaison Committee on Resuscitation recommended the chain of survival concept in the early 2000s. Originally, the chain consisted of four steps: early access to emergency medical care was the first link, the second link was early CPR, early defibrillation was the third link, and the final link was early advanced cardiac life support. Over the years, the American Heart Association has added two new links to the chain: post-resuscitation care in 2010, and physical and emotional recovery in 2020. Also in 2020, the American Heart Association issued a new pediatric chain of survival for infants, children, and adolescents.   Mary M. Newman, co-founder and president/CEO of the Sudden Cardiac Arrest (SCA) Foundation and previous executive director of the National Center for Early Defibrillation at the University of Pittsburgh, developed the chain of survival metaphor and first described it in an article she wrote for the *Journal of Emergency Medical Services* in 1989, and further promoted in an editorial she wrote for the first issue of *Currents in Emergency Cardiac Care* in 1990. The American Heart Association later adopted the concept and elaborated on it in its 1992 guidelines for cardiopulmonary resuscitation and emergency cardiac care, The International Liaison Committee on Resuscitation (ILCOR) echoed the concept in 1997. The links of the Chain of survival are described below. Early access to emergency medical care -------------------------------------- Ideally, someone must recognize an impending cardiac arrest or otherwise witness the cardiac arrest and activate the EMS system as early as possible with an immediate call to the emergency services. Unfortunately, many persons experiencing symptoms (for example, angina) that may lead to a cardiac arrest ignore these warning symptoms or, recognizing these warning symptoms correctly, fail to activate the EMS system, preferring to contact relatives instead (e.g. the elderly often contact their adult offspring rather than contact emergency services).[] Early CPR --------- To be most effective, bystanders should provide CPR immediately after a patient collapses. In their 2015 guidelines, the American Heart Association re-emphasized the importance of more bystanders performing hands-only CPR until EMS personnel arrive because, at present, fewer than 40% of people who have an out-of-hospital cardiac arrest receive CPR from a bystander. The guidelines recommend lay rescuers start CPR on a person with presumed cardiac arrest because the overall risk of harm to patients from CPR is low, even if their heart hasn't stopped beating. Properly performed CPR can keep the heart in a shockable rhythm for 10–12 minutes longer.[] Early defibrillation -------------------- Most adults who can be saved from cardiac arrest are in ventricular fibrillation or pulseless ventricular tachycardia, which means their heart has fallen out of rhythm. Early defibrillation is the link in the chain most likely to improve survival since defibrillation can help shock the heart back into a regular beat. Early, rapid defibrillation is considered the most important link in the chain of survival. Rapid defibrillation outside of the hospital improves the chances of survival by as much as 30%, and involves using an automated external defibrillator (AED) to shock the patient's heart. While CPR keeps blood flowing artificially, rapid defibrillation is the only way to restart the heart and reset it to a healthy rhythm. And while only 40% of adults experiencing cardiac arrest receive CPR, fewer than 12% receive shocks from an AED before EMS arrival. What is more, the chances of the patient's survival decrease by as much as 10% with every minute that they do not receive rapid defibrillation. AEDs are becoming more common in businesses, schools, and even the home as the public becomes more aware of the importance of rapid defibrillation. AEDs come with pre-recorded instructions and are easy to use. If an AED is not available, bystanders will need to continue CPR until emergency responders arrive with a defibrillator, which is why it is important to recognize cardiac arrest and call for help quickly. Public access defibrillation may be the key to improving survival rates in out-of-hospital cardiac arrest, but is of the greatest value when the other links in the chain do not fail. Early advanced care ------------------- Early advanced cardiac life support by paramedics is another critical link in the chain of survival. In communities with survival rates > 20%, a minimum of two of the rescuers are trained to the advanced level.[] Some ACLS ambulance providers will administer medications to manage pain, arrhythmias, shock, and pulmonary congestion; monitor the heart rhythm to identify any potentially lethal cardiac arrhythmias; or initiate transcutaneous pacing. ACLS ambulance providers use the mnemonic "MONA" (morphine, oxygen, nitroglycerin, and aspirin) to reflect the out-of-hospital therapies they will use for cardiac arrest. Often, ACLS ambulance providers will attach an electrocardiogram to the patient and transmit its findings to the receiving hospital or care facility, which leads to earlier diagnosis of a heart attack, and significantly reduces time to treatment at the hospital. This prearrival ECG and notification has been shown to improve patient outcomes. In the event of a complication at the scene of the event or on the way to the hospital, ACLS ambulance providers can administer life saving therapies, including CPR, rapid defibrillation, airway management, and intravenous medications. Recovery -------- In October 2020, the American Heart Association added the recovery phase as the sixth link in the chain of survival. Recovery consists of cardiac arrest survivors receiving treatment, surveillance, and rehabilitation at a hospital. It also includes an assessment for anxiety, depression, and post-traumatic stress, which can all lead to future repeated events. Before being discharged from the hospital, the American Heart Association recommends that cardiac arrest survivors receive rehabilitation assessment and treatment for physical, neurologic, cardiopulmonary, and cognitive impairments. They also recommend that cardiac arrest survivors and their caregivers receive comprehensive, multidisciplinary discharge planning to include medical and rehabilitative treatment recommendations and return to activity and work expectations. A patient's recovery from cardiac arrest continues long after their initial hospitalization following the event, so the American Heart Association recommended in their 2020 guidelines that patients have formal assessment and support for their physical, cognitive, and psychosocial needs.
Destroyer of the Regia Marina ***Carlo Mirabello*** was one of three *Mirabello*-class destroyers built for the *Regia Marina* (Royal Italian Navy) during World War I. Design and description ---------------------- The ships were designed as scout cruisers (*esploratori*), essentially enlarged versions of contemporary destroyers. They had an overall length of 103.75 meters (340 ft 5 in), a beam of 9.74 meters (31 ft 11 in) and a mean draft of 3.3 meters (10 ft 10 in). They displaced 1,784 tonnes (1,756 long tons) at standard load, and 2,040 tonnes (2,010 long tons) at deep load. Their complement was 8 officers and 161 enlisted men. The *Mirabello*s were powered by two Parsons geared steam turbines, each driving one propeller shaft using steam supplied by four Yarrow boilers. The turbines were rated at 44,000 shaft horsepower (33,000 kW) for a speed of 35 knots (65 km/h; 40 mph) and *Carlo Mirabello* reached a speed of 33.74 knots (62.49 km/h; 38.83 mph) from 44,026 shp (32,830 kW) during her sea trials. The ships carried enough fuel oil to give them a range of 2,300 nautical miles (4,300 km; 2,600 mi) at a speed of 12 knots (22 km/h; 14 mph). Their main battery consisted of eight Cannone da 102 mm (4 in)/35 S Modello 1914 guns in single mounts protected by gun shields, one each fore and aft of the superstructure on the centerline and the remaining guns positioned on the broadside amidships. *Carlo Mirabello* exchanged a Cannone da 152 mm (6 in)/40 A Modello 1891 for the forward 102 mm gun; *Carlo Mirabello* received hers in 1917. The gun proved to be too heavy for the ships and its rate of fire was too slow. Anti-aircraft (AA) defense for the *Mirabello*-class ships was provided by a pair of 40-caliber Cannone da 76 mm (3 in)/40 Modello 1916 AA guns in single mounts. They were equipped with four 450-millimeter (17.7 in) torpedo tubes in two twin mounts, one on each broadside. The ship could also carry 100 mines. ### Modifications The 152 mm gun proved to be too heavy for the ships and its rate of fire was too slow so it was replaced when the *Mirabello*-class ships were rearmed with eight 45-caliber Cannone da 102/45 S, A Modello 1917 guns arranged as per *Carlo Mirabello*'s original configuration in 1919. The 76 mm guns were replaced by a pair of 39-caliber Cannone da 40 mm (1.6 in)/39 AA guns in single mounts in 1920–1922. Citations --------- 1. ↑ Whitley, p. 158 2. 1 2 3 4 5 Gray, p. 265 3. 1 2 Fraccaroli 1970, p. 51 4. 1 2 McMurtrie, p. 283 Bibliography ------------ * Brescia, Maurizio (2012). *Mussolini's Navy: A Reference Guide to the Regina Marina 1930–45*. Annapolis, Maryland: Naval Institute Press. ISBN 978-1-59114-544-8. * Fraccaroli, Aldo (1970). *Italian Warships of World War I*. London: Ian Allan. ISBN 0-7110-0105-7. * Fraccaroli, Aldo (1968). *Italian Warships of World War II*. Shepperton, UK: Ian Allan. ISBN 0-7110-0002-6. * Gray, Randal, ed. (1985). *Conway's All the World's Fighting Ships 1906–1921*. Annapolis, Maryland: Naval Institute Press. ISBN 978-0-87021-907-8. * Roberts, John (1980). "Italy". In Chesneau, Roger (ed.). *Conway's All the World's Fighting Ships 1922–1946*. New York: Mayflower Books. pp. 280–317. ISBN 0-8317-0303-2. * Rohwer, Jürgen (2005). *Chronology of the War at Sea 1939–1945: The Naval History of World War Two* (Third Revised ed.). Annapolis, Maryland: Naval Institute Press. ISBN 1-59114-119-2. * Whitley, M. J. (1988). *Destroyers of World War 2: An International Encyclopedia*. Annapolis, Maryland: Naval Institute Press. ISBN 1-85409-521-8.
British artist (c. 1773–1857) **Jane Beetham Read** (c. 1773 – 16 January 1857) was an English portrait painter who began by working in the studio of her mother, Isabella Beetham, painting silhouette portraits in the 1790s. She studied under John Opie and exhibited her works at the Royal Academy of Arts between 1794 and 1797. Early life ---------- Jane Beetham was born about 1773 to Edward and Isabella Beetham. She was the granddaughter of William Betham of Little Strickland in Cumbria, England. Mary Matilda Betham was her cousin. Jane was the first of six children. Her brother, William was born in 1774. Her other siblings were Harriet, Charles, Cecilia, and Alfred. The Beethams first lived in Cow Lane, Clerkenwell, London and then Little Queen Street, Holborn, London. They moved to 26 and 27 Fleet Street in 1785. Her mother operated a silhouette portrait studio and her father sold his patented washing machines in the buildings that housed their residence. Education and career -------------------- Jane Read, Unknown Gentleman Read painted portraits from the 1790s until 1815. She painted silhouettes, generally on glass, for her mother from the early 1790s until 1797. Read's work was influenced by her mother's style and was often framed in pearwood or papier-mache. Her name (Miss Beetham) appeared on the sixth of seven trade labels issued by Isabella's business. The sixth label was used in the 1790s. In the late 1790s, Jane developed her own business with her own trade label. She added brass or ormolu frames as her career progressed. Jane Read, Unknown Gentleman She studied painting under John Opie and was the only female student that he taught. He painted her portrait between 1790 and 1800. Using a painting made by Opie, Read painted a portrait of Dr. Priestly. They may have had a romantic relationship. It was a concern of her uncle, Rev. William Betham (1749–1839) who warned Isabella about Jane and Opie spending too much time together. His comments soured William's relationship with the Beetham's. Opie's wife, the former Mary Bunn, ran off with another man and the Opies were divorced on 23 December 1796. Opie was adamantly rejected when he asked Edward Beetham if he could marry Jane. Soon after, Jane married John Read. As she began painting miniature portraits, she developed her own personal style. She often framed sitter's faces with dark foliage of landscaped backgrounds. She used a combination of techniques to depict bone structure, used stippling and hatching to capture the subject's features, and used a combination of thick and thin paint brush strokes. Her tools included two sizes of needles, for details, and two sizes of brushes. Read also created works using her own aquatint method. Read exhibited portraits at the Royal Academy in London for four consecutive years, from 1794 to 1797. A total of 15 paintings were shown, including *Cordelia Angelica Read*, *A Lady Reading a Letter*, *Andromeda*, *Eloisa*, and *King Lear and Cordelia*. Personal life ------------- Jane Read, Portrait painted on glass of Mrs. Maria Fitzherbert, a widow who married George, Prince of Wales (later King George IV). She married John Read, a solicitor from London around 1797 or in 1798. He was much older, wealthy, and eccentric. They had a daughter, Cordelia Angelica Read and lived on Lamb's Conduit Street. Jane's father died in 1809 and his estate was divided equally amongst her mother and the six Beetham children. John died in 1847. Jane and Cordelia, known as the "old sisters" for their eccentric behavior, lived together in Stamford Street, London. The house was suggested to be haunted, according to newspaper articles. Cordelia remained single her entire life. Jane died in London on 16 January 1857. Upon her death in December 1871, Cordelia left her mother's pictures and a legacy of £100,000 (equivalent to £10,192,000 in 2019) to the Brompton Consumption Hospital, which was used to build an extension to the hospital. A memorial slab was laid in her honor under a central window. The hospital also received the Read's art collection which included a number of paintings by Opie and by Beetham. Cordelia had lived as if she was destitute and was negligent in the care of material items. Many of the paintings needed to be refurbished and preserved, which was funded by selling off some of the paintings. The hospital kept the paintings that Opie painted of his mother, Jane, and her sisters Cecelia and Harriet. They sold the painting of Mary Betham Bligh, Admiral William Bligh's wife; *The Card Players*; and a self-portrait. Another £100,000 was given to a relative in accordance with Cordelia's will.
This article is about a former Australian coach operator. For the current New Zealand coach operator, see InterCity (New Zealand) § Newmans Coach Lines. **Newmans Coach Lines** was an Australian coach charter company with operations in Sydney and Cairns. History ------- In 1987, the Sydney coach operations of Chester Coaches were purchased by New Zealand-based Newmans Coach Lines. Newmans also purchased the Cairns business of Carah Coaches. In late 1989, Newmans commenced operating services from Sydney to Melbourne and Brisbane under the *Scenic Intercapital* brand. Rather than operating as express services like other coach operators, the services operated with overnight stops in Albury and Coffs Harbour. These ceased in 1990. In 1990, Newmans commenced operating coaches for Contiki Tours following the demise of Deluxe Coachlines. In 1992, the inbound tour business was sold to Australian Pacific Tours and the Great Sights business to Manly Bus Service. Newmans ceased trading in February 1993. Fleet ----- When operations ceased, the fleet consisted of 21 coaches. Depots ------ Newmans was initially based in Chester Hill. In July 1988, it relocated to Arncliffe.
English painter **Edward Middleditch** RA (1923–1987) was an English artist. He was born in Chelmsford, Essex. In the 1930s his family moved to Nottingham, where he attended the Mundella Grammar School from 1934 to 1939. He then served in the British Army during the Second World War, serving overseas in France, Germany, Burma and West Africa, and being awarded the Military Cross (MC) in 1945. From 1949 to 1952 he attended Royal College of Art, where his teachers were Ruskin Spear, Carel Weight and John Minton. His fellow students included Derrick Greaves and Jack Smith. Middleditch associated early on with the so-called 'Kitchen Sink' school of realist painters in the 1950s. He held teaching posts at Chelsea School of Art, St Martins School of Art, and Norwich School of Art (where he became head of fine art). He was elected a member of the Royal Academy in 1973, later as Keeper of the Royal Academy (in charge of the schools). Middleditch exhibited widely and is represented in major and regional collections in UK, US, Canada, and Australia. Style ----- Middleditch was a painter, draughtsman and printmaker. He drew his motifs from the natural world: grasses, water, feathers, opening petals, reflections etc. Gradually shifting observed patterns became fleeting abstracted movements often caught from water currents and light effects. His later work became much more abstracted, concerned with repeating patterns as if seen from above and filling the picture-frame; drawing influence from kilims and Persian carpets. Middleditch died in 1987 in Chelmsford, Essex.
Australian field hockey player **Geoff Boyce** (born 31 December 1981) is a field hockey player from Australia. Early years ----------- Boyce was born in Perth, Western Australia, son of Craig Boyce who was a member of the Australian national hockey team (the Kookaburras). One of his brothers is Michael Boyce who also represented the Kookaburras. Another brother is Steven Boyce, who was a member of the Australian Development squad in 2005. His sister Fiona was a member of the SmokeFree WA Diamonds squad and represented Australia. An uncle Grant Boyce has represented Kookaburras, including 1984 Olympic Games. His aunt, Adele Boyce was a member of the Hockeyroos. At school level Boyce represented Scotch College in the Public Schools Association Ray House Hockey Cup competition. He was selected to represent the PSA Combined XI against the Hotspurs in 1999. He was a member of the Ray House Hockey Cup winning teams 1997–1999. InterVarsity ------------ Boyce represented The University of Western Australia at the 2004 Australian University Games winning a gold medal, and was selected in the Green and Gold Hockey team. Club ---- At club level Geoff plays for The University of Western Australia Hockey Club (UWAHC), where he was selected at Fullback in the Legends Team at the club's 80th anniversary in 2004. He has represented the Club more than 150 times at 1st Grade level, and played in Premiership teams in 2002, 2004 & 2005. Geoff "Jiffy" Boyce is the game's record player for the first division for UWAHC in June 2014, and currently still playing. National -------- Boyce has represented Western Australia at underage and open level, having played for the SmokeFree WA Thundersticks between 2001 and 2007, including a National title in 2002. International ------------- Boyce has represented Australia at senior and junior (under 21) level. He has represented his country three times at senior level, and many times at junior level, including the 2001 Junior Hockey World Cup. Along with his brother Michael, Geoff was named in the original squad for the 2004 Summer Olympics, but was not selected in the final squad.
Act of state entity involving restrictive political freedom of citizens **Political repression** is the act of a state entity controlling a citizenry by force for political reasons, particularly for the purpose of restricting or preventing the citizenry's ability to take part in the shops of civic you can fart ef>Wang, Y. (2021). The Political Legacy of Violence During China's Cultural Revolution. British Journal of Political Science, 51(2), 463-487. doi:10.1017/S0007123419000255</ref> It is often manifested through policies such as human rights violations, surveillance abuse, police brutality, imprisonment, involuntary settlement, stripping of citizen's rights, lustration, and violent action or terror such as the murder, summary executions, torture, forced disappearance, and other extrajudicial punishment of political activists, dissidents, or general population. Direct repression tactics are those targeting specific actors who become aware of the harm done to them while covert tactics rely on the threat of citizenry being caught (wiretapping and monitoring). The effectiveness of the tactics differ: covert repression tactics cause dissidents to use less detectable opposition tactics while direct repression allows citizenry to witness and react to the repression. Political repression can also be reinforced by means outside of written policy, such as by public and private media ownership and by self-censorship within the public. Where political repression is sanctioned and organised by the state, it may constitute state terrorism, genocide, politicide or crimes against humanity. Systemic and violent political repression is a typical feature of dictatorships, totalitarian states and similar regimes. While the use of political repression varies depending on the authoritarian regime, it is argued that repression is a defining feature and the foundation of autocracies by creating a power hierarchy between the leader and citizenry, contributing to the longevity of the regime. Repressive activities have also been found within democratic contexts as well. This can even include setting up situations where the death of the target of repression is the end result. If political repression is not carried out with the approval of the state, a section of government may still be responsible. Some examples are the FBI COINTELPRO operations from 1956 to 1971 and the Palmer Raids from 1919-1920. In some states, "repression" can be an official term used in legislation or the names of government institutions. The Soviet Union had a legal policy of repression of political opposition defined in its penal code and Cuba under Fulgencio Batista had a secret police agency officially named the Bureau for the Repression of Communist Activities. According to Soviet and Communist studies scholar Stephen Wheatcroft, in the case of the Soviet Union terms such as "the terror", "the purges" and "repression" are used to refer to the same events. He believes the most neutral terms are *repression* and *mass killings*, although in Russian the broad concept of repression is commonly held to include mass killings and is sometimes assumed to be synonymous with it, which is not the case in other languages. In political conflict --------------------- Political conflict strongly increases the likelihood of state repression. This is arguably the most robust finding in social science research on political repression. Civil wars are a strong predictor of repressive activity, as are other forms of challenges from non-government actors. States so often engage in repressive behaviors in times of civil conflict that the relationship between these two phenomena has been termed the "Law of Coercive Responsiveness". When their authority or legitimacy is threatened, regimes respond by overtly or covertly suppressing dissidents to eliminate the behavioral threat. State repression subsequently affects dissident mobilization, though the direction of this effect is still an open question. Some strong evidence suggests that repression suppresses dissident mobilization by reducing the capacity of challengers to organize, yet it is also feasible that challengers can leverage state repressive behavior to spur mobilization among sympathizers by framing repression as a new grievance against the state. Violence -------- Members of the right-wing Lapua Movement assault a former Red Guard officer and the publisher of the communist newspaper at the Vaasa riot on June 4, 1930, in Vaasa, Finland. Political repression is often accompanied by violence, which might be legal or illegal according to domestic law. Violence can both eliminate political opposition directly by killing opposition members, or indirectly by instilling fear. Intolerance ----------- See also: Infrahumanisation Political repression is sometimes accompanied with intolerance. This intolerance is manifested through discriminatory policies, human rights violations, police brutality, imprisonment, extermination, exile, extortion, terrorism, extrajudicial killing, summary execution, torture, forced disappearance and other punishments against political activists, dissidents, and populations in general. State terrorism --------------- When political repression is sanctioned and organized by the state, situations of state terrorism, genocide and crimes against humanity can be reached. Systematic and violent political repression is a typical feature of dictatorships, totalitarianisms and similar regimes. In these regimes, acts of political repression can be carried out by the police and secret police, the army, paramilitary groups and death squads. Sometimes regimes considered democratic exercise political repression and state terrorism to other states as part of their security policy. Direct vs. indirect repression ------------------------------ Direct repression is a form of repression where the state targets an opposing political actor by obvious violent action. The target is clearly aware of the harm that is caused to their life and livelihood. Direct repression does not exclusively occur within the boundaries of a state, but also across borders. In personalist dictatorships, initiating conflicts with other states and people outside their own borders is more common because of lack of accountability via extremely limited or no competitive elections. Indirect repression relies on the threat of violence which constitutes harassment, intimidation, and administrative blockages. These tactics tend to be non-violent, yet still are built to control citizenry. Repressive success and monitoring --------------------------------- Individuals indirectly exposed to repression self-report higher trust in the leader and ruling party. This phenomenon was observed in Zimbabwe under Robert Mugabe, where the effects of repression increased approaching elections, even with deteriorating social and economic conditions. A large signifier of whether or not repression is successful in a state is evidence of preference falsification– where the preference expressed by an individual in public diverges from their private preference. In North Korea, accused of highly repressive activity in media and public culture, 100% of citizens vote in ‘no choice’ parliamentary elections so the state can identify defectors. Citizens are required to show complete devotion to North Korea's current leader and sacrifice their safety if they choose to speak out. Repressive measures including prison camps, torture, forced labor, and threats of execution are just some of the costs of defection. The Chinese Communist Party implements extensive surveillance measures in the People's Republic of China, including Internet censorship, camera monitoring, and other forms of mass surveillance. These practices involve the use of technologies such as AI, facial recognition, fingerprint identification, voice and iris recognition, big data analysis, DNA testing, and are closely linked to the Social Credit System in mainland China. At the same time, many domestic Chinese technology companies are also involved in the country's large-scale surveillance programs. These primarily include companies such as Hikvision, Sensetime, Huawei, ZTE, and others. Further reading --------------- Articles * Understanding Covert Repressive Action: The Case of the U.S. Government against the Republic of New Africa (**186kb PDF file**) by Christian Davenport, Professor, University of Maryland. * *State Repression and Political Order* by Christian Davenport, Professor, University of Maryland. Journals * Special issue of *Interface: a journal for and about social movements* on repression and social movements. Books * Davenport, Christian; Appel, Benjamin (2022). *The Death and Life of State Repression: Understanding Onset, Escalation, Termination, and Recurrence*. Oxford University Press. * Goldstein, Robert Justin, *Political Repression in Modern America* (University of Illinois Press, 1978, 2001) ISBN 0-8467-0301-7. * Jensen, Joan M. *Army Surveillance in America, 1775 - 1980.* New Haven. Yale University Press. 1991. ISBN 0-300-04668-5. * Talbert Jr. Roy. *Negative Intelligence: The Army and the American Left, 1917 - 1941.* Jackson. University Press of Mississippi, 1991. ISBN 0-87805-495-2. * Irvin, Cynthia L. *Militant Nationalism between movement and party in Ireland and the Basque Country.* University of Minnesota Press, 1999. * Seigel, Micol. 2018. *Violence Work: State Power and the Limits of Police*. Duke University Press. | | | | --- | --- | | Authority control databases: National Edit this at Wikidata | * Germany * Israel * United States * Czech Republic |
The **1982 Irish Greyhound Derby** took place during June and July with the final being held at Shelbourne Park in Dublin on 24 July 1982. The winner Cooladine Super won £25,500 and was trained by Colm and Mary McGrath and owned by Siobhan Kenny. The competition was sponsored by Carrolls. Final result ------------ At Shelbourne, 24 July (over 525 yards): | Position | Winner | Breeding | Trap | SP | Time | Trainer | | --- | --- | --- | --- | --- | --- | --- | | 1st | Cooladine Super | Tranquility Sea - Cooladine Ruby | 6 | 2-1f | 29.34 | Colm & Mary McGrath | | 2nd | Milwaukee Prince | Nameless Star - Lovely Blend | 4 | | 29.38 | Neilus Buckley | | 3rd | Rushwee Heights | Blackers Height - Young Tina | 1 | | 29.52 | Maureen Hurley | | 4th | Bolton Prince | Hunday Champion - Virgil Kane | 5 | | 29.74 | Paddy Keane | | 5th | Lisbryan Gent | Liberty Lad - Kilcaragh Signal | 2 | | | Michael Conroy | | 6th | Supreme Tiger | Knockrour Tiger - Rising Tide | 3 | 3-1 | | Matt O'Donnell | ### Distances ½, 1¾, 2¾ (lengths) Competition Report ------------------ Fearless Mover was sent over from England following a decent English Derby effort. Colm McGrath had purchased a greyhound called Cooladine Super for Charlie Kavanagh after the 1981 Irish Greyhound Derby and had high hopes for him because he had won the Dundalk International. Other leading Irish contenders included the Matt O'Donnell pair of Supreme Tiger and Brilliant Merry. McGrath had a double in the first round with Kilacalla winning in 29.12 and Cooladine Super in 29.28. Supreme Tiger and Kool Dude also won their heats. The main English hope Fearless Mover was eliminated in round two but the other big names all won, Supreme Tiger went best in 29.18. In one of the quarter-finals Supreme Tiger and Cooladine Super but Kool Dude was eliminated from the competition. There was a surprise in the first semi-final after Rushwee Heights defeated Supreme Tiger in 29.18. In the second semi-final a puppy called Milwaukee Prince won by 17 lengths after a terrible mess of a race, Lisbryan Gent claimed second place. Finally Cooladine Super gained victory from Bolton Prince. In the final Supreme Tiger came away first from trap three but Cooladine Super drawn in a perfect trap six for the third consecutive race overtook him on the back straight. Milwaukee Prince, Bolton Prince and Rushwee Heights all started to make headway but Cooladine Super stayed on to win with Supreme Tiger fading badly. A post competition criticism was that only one trap one winner materialised in 46 races.
Austrian left-liberal politician **Ferdinand Kronawetter** (26 February 1838 – 20 January 1913) was an Austrian left-liberal politician. Life ---- Kronawetter was born in Vienna, the son of a master locksmith. He studied law at the University of Vienna and became a magistrate. In 1873, he founded a democratic association in Josefstadt and was elected to the Reichsrat. While initially affiliated with the Christian Social Party, he came into conflict with the party due to his support for the revolutions of 1848 as well as his opposition to Karl Lueger's Christian antisemitism. Kronawetter resigned his mandate in 1882, was re-elected in 1885, and appeared alongside Engelbert Pernerstorfer as a representative of the workers' movement on the Imperial Council. Kronawetter was closely affiliated with the Social Democratic Party of Austria, although he never officially joined the party. By 1879, he advocated for universal suffrage, campaigned against corruption, supported self-determination for stateless nations, and supported separation of church and state as a radical anti-clerical. According to British historian Richard Evans, Ferdinand Kronawetter is the likely originator of the phrase "Antisemitism is the socialism of fools", despite the phrase being commonly attributed to the German social democrat August Bebel and sometimes to Karl Marx.
Bishop of the Orthodox Church in America **Bishop Basil** (Russian: Епископ Василий) with the secular name **Vladimir Mikhaylovich Rodzianko** (Russian: Владимир Михайлович Родзянко) lived 22 May 1915 to 17 September 1999 and was a bishop serving the Orthodox Church in America from 1980 to 1999. As a priest, he was imprisoned by the Communist Party in Yugoslavia. With the help of friends in the United Kingdom, including the Archbishop of Canterbury, Basil was released. Later, as a bishop, he became a spokesperson for Orthodox Christianity with an international radio audience. Rodzianko's 1996 book *The Theory of the Big Bang and the Faith of the Holy Fathers* (or *Теория распада вселенной и вера Oтцов*) defended a meta-historical fall and argued that the fall and exile of the first humans from paradise resulted in the Big Bang and the formation of our current universe. Spouse - Maria Vasilievna, née Kolyubaeva, daughter of a priest, died in 1978. Son - Vladimir, grandson - Igor (died in a car accident in the late 1970s). Early life ---------- Vladimir Rodzianko in 1926Vladimir Rodzianko in 1926 when he was 11 (Belgrade, Serbia, Yugoslavia). He was born on May 22, 1915, in the family estate of Otrada, which was located near the village of Popasnoye in Novomoskovsky Uyezd, Yekaterinoslav Governorate. His father, Mikhail Rodzianko (1884–1956), was a graduate of Moscow University, while his grandfather, Mikhail Rodzianko, was chairman of the 3rd and 4th State Duma of the Russian Empire. This relationship played an extremely important role in the fate of the future Bishop Basil. Vladimir's mother is Elizaveta Rodzianko, born Baroness Meyendorff (1883–1985). Protopresbyter John Meyendorff was his second cousin on his mother's side. In 1920, Rodziankos were forced to leave Russia and settle in the Kingdom of Serbs, Croats and Slovenes, first in Pančevo, then in Beodra (now Novo Miloševo, Vojvodina), where his grandfather died. In 1925-1933 Vladimir studied at the 1st Russian-Serbian Classical Gymnasium in Belgrade; he enjoyed the special patronage of Metropolitan Anthony (Khrapovitsky), with whom he was distantly related. In 1926, he met hieromonk John (Maximovich), who had a huge spiritual influence on him. In 1933-1937 he studied at the Faculty of Theology of the University of Belgrade and graduated with the degree of Candidate of Theology. At that time, he and his family members were being cared for by priests who were under the jurisdiction of Russian Orthodox Church Outside of Russia. In August 1937, after completing his education at the Faculty of theology, he married Maria Kolyubaeva, the daughter of a priest who managed to leave the USSR illegally with his family. Professional career ------------------- In 1937–1939, with the blessing of the hierarchy of the Serbian Orthodox Church, having received a scholarship from the Church of England, Rodzianko continued his postgraduate studies at the University of London, where he studied Western faiths and theology, wrote a dissertation "The Most Holy Trinity and Its image - humanity". During his postgraduate studies, he met an Englishman, Archimandrite Nicholas (Gibbes), a former teacher of the Nicholas II children, and took part in the activities of the Fellowship of Saint Alban and Saint Sergius. After receiving his diploma in 1939, he was invited to Oxford to give a course of lectures on Russian theology. However, this was prevented by the outbreak of the World War II. Interned for some time in the UK, Vasily Rodzianko returned to Yugoslavia in early 1940. Returning to Yugoslavia, he taught the Law of God at the Serbian-Hungarian school in Novi Sad. On March 30, 1941, at the Russian Holy Trinity Church in Belgrade, Patriarch Gabriel of Serbia ordained him a priest and appointed to the Serbian parish at the secondary school in Novi Sad; he also served in other Serbian and Russian rural parishes of the Diocese of Bačka. He had good relations with Bishop Irinej (Ćirić) of Bačka. After the Axis occupation of Vojvodina, the Orthodox inhabitants of the region, Serbs and Russians, were subjected to severe repression. The priest Vladimir Rodzianko took part in the Serbian resistance and rescued the Serbs from concentration camps, adopted an orphaned Ukrainian girl. The proposal to care one of the parts of the Russian Protective Corps in Yugoslavia, created with the blessing of Metropolitan Anastasius (Gribanovsky), was rejected by him, he tried not to take part in politics. After Communist Party led by Josip Broz Tito came to power in the Yugoslavia, Russian emigrants began to leave to other countries, many of them returned to the USSR. Some of the Russian clerics were transferred to the jurisdiction of the Serbian Orthodox Church. Vladimir, being a cleric of the Serbian Orthodox Church, remained in his parish, was a law teacher in Serbian secondary schools in Subotica and secretary of the Russian missionary council of the local branch of the Red Cross. Through this organization, he helped people to travel to the West. After the death of Metropolitan Anthony (Khrapovitsky) fr. Vladimir has largely revised his attitude to the ROCOR. On April 3, 1945, he sent a letter to the Patriarch of Moscow and All Russia Alexius I, in which he informed about his desire to serve the Russian Orthodox Church. Due to the deterioration of relations between Yugoslavia and the USSR, persecution fell on the Russians who remained in the country. In July 1949 fr. Vladimir, who cared 2 parishes, was arrested and sentenced to 8 years of correctional labor for "illegal religious propaganda" (he was charged with a certificate of miraculous renewal of icons in his church). Sentenced to eight years hard labor, Fr. Vladimir was stripped of his cassock and cross and shared the hard prison life with his fellow prisoners, enduring with them a plague of fleas. While forbidden to perform any divine services, with the help of even the non-Orthodox prisoners, he was able to fulfill the requests of the Orthodox prisoners in "blessing of the waters" on Theophany. Thanks to the personal petition of Archbishop Geoffrey Fisher of Canterbury to the Yugoslav authorities and the change in Tito's policy towards the West in 1951, Fr. Vladimir was released early from the camp and together with his family went to Paris, where his parents lived, who left Yugoslavia in 1946. In 1953, at the invitation of Bishop Nicholas (Velimirović), who was then living in London, Fr. Vladimir moved to the UK and became the second priest in the Cathedral of St. Sava of Serbia of the Western European Diocese of the SPC (Notting Hill district in London). He had friendly relations with the Serbian Royal House in exile. Fr. Vladimir was acquainted with many famous people, including Alexander Kerensky, whom he confessed during a serious illness. Priest Vladimir joined the BBC Russian Service. In 1955, at his suggestion, religious radio broadcasting was opened to the USSR and Eastern Europe; these broadcasts broadcast divine services for the Twelve Great Feasts from the Russian Dormition Cathedral in London, theological talks and sermons were heard, detailed information about the events of religious life in the world was given; the broadcasts became so popular that the management of the ВВС decided to make their weekly. Fr. Vladimir also preached on the radio of the Association "Slavic Bible", "Voice of Orthodoxy" in Paris and on the Vatican Radio. He taught theology at Oxford University at the St. Sergius Theological Institute in Paris, participated in various inter-Christian projects and events, and lectured on various theological issues through the Fellowship of Saint Alban and Saint Sergius. At age sixty-three, called to serve as a bishop in the United States after the death of his wife, Rodzianko accepted monastic tonsure from Metropolitan Anthony Bloom with the new name Basil. The research topics of Priest Vladimir concerned such issues as the doctrine of the Holy Trinity, the difference in approaches to understanding the exodus of the Holy Spirit in the Eastern and Western Churches, the doctrine of the Kingdom of Heaven, apologetics, the meaning of the Divine Liturgy, Russian spirituality, the place of prayer, especially Jesus prayer, in the life of a Christian, creation and evolution, creativity of Fyodor Dostoevsky, the Shroud of Turin, etc. The effectiveness of his broadcasts made him a target of the Soviet KGB. This attention would bring tragedy to the family when his teenage grandson was killed in an assassination attempt upon Fr. Vladimir's life. This tragedy was followed by the death of his wife, Maria, in 1978. Then, on January 12, 1980, after his arrival in the United States, Hieromonk Basil was consecrated Bishop of Washington as auxiliary to Metropolitan Theodosius (Lazor), the primate of the OCA. On November 1, 1980, Bishop Basil became bishop of the Diocese of San Francisco and West. He served the San Francisco diocese until his retirement on April 25, 1984, which was forced as a result of what Archimandrite Tikhon (Shevkunov) has described in his chapter on the bishop's life in his book *Everyday Saints* as opposition to him by a clique within the jurisdiction. Yet his stature within world Orthodoxy only continued to grow. Later life ---------- After his retirement Bp. Basil returned to Washington, DC where he again began his religious broadcasts to the Soviet Union. As conditions changed in Russia with the fall of the Bolshevik government Bp. Basil was able to present his broadcasts directly over the Russian radio and television facilities. Then, in May 1991, Patriarch Alexius asked Bp. Basil to lead a pilgrimage to the Holy Land to bring back to Russia for a celebration commemorating Ss. Cyril and Methodius the Holy Fire from the tomb of Christ that ignites each Pascha. Bishop Basil and his pilgrims returned, first stopping in Constantinople for the blessing of the Ecumenical Patriarch, then traveling through the countries of southeastern Europe where Cyril and Methodius preached arriving at the Dormition Cathedral in the Kremlin. After the Liturgy, the Patriarch with Bishop Basil led through the streets of Moscow a procession that had not been seen in Moscow for over seventy years. Rodzianko's 1996 book *The Theory of the Big Bang and the Faith of the Holy Fathers* was written after almost half a year of study at the Holy Trinity Sergius Monastery and published in Russian. It defends a meta-historical fall and argues that the fall and exile of the first humans from paradise resulted in the Big Bang and the formation of our current universe. A brief portion of the book called "Modern Cosmology and Ancient Theology" was translated into English by Marilyn Swezey. Bishop Basil remained active among the Orthodox of Washington DC, especially among the new Russian immigrants, until his death on September 17, 1999. He was 84 years old. He was buried at Rock Creek Cemetery in Washington, DC. Legacy ------ The Washington, DC-based Holy Archangels Foundation has held annual retreats focused on his legacy and commemorating his life and works, starting in 2010, and maintains a website about him. The bestselling book *Everyday Saints* by Archimandrite Tikhon Shevkunov includes a chapter on him entitled "His Eminence the Novice." Bp. Basil's apartment in Washington is maintained much as he left it, and faithful gather for services often at his home chapel there.
**Muga silk** is a variety of wild silk geographically tagged to the state of Assam in India. The silk is known for its extreme durability and has a natural yellowish-golden tint with a shimmering, glossy texture. It was previously reserved for the use of royalty.[*failed verification*] In the Brahmaputra Valley, the larvae of the Assam silkmoth feed on aromatic *Som* (*Machilus bombycina*) and *Sualu* (*Litsea polyantha*) leaves. Muga silk can be dyed after bleaching. This silk can be hand-washed with its lustre increasing after every wash. Muga silk, like other Assam silks, is used in products like saris, mekhalas and chadors. History ------- Muga cocoon Sericulture in Assam is an ancient industry without a precise time of origin. Assam was well known for the production of high quality silk since ancient times. The craft of weaving goes along with the production of silk. It grew to such sophistication in Assam that it was known all over India and abroad. The first reference to Assam silk was probably in Valmiki's *Ramayana*. In the *Kishkindha Kanda* of *Ramayana*, it is stated that one travelling towards the east has to first pass through Magadha, Anga, Pundra and then the *Kosha-karanam-bhumi* ("the country of cocoon rearers"). Kautilya's *Arthashastra*, a political literature of the 3rd century BC, makes references to the highly sophisticated silk clothing from Assam. Kautilya mentions the production of *Suvarnakudyaka* (from Kamrupa) along with *Vangika* (from Vanga/southern Bengal), *Magadhika* (from Magadha) and *Paundrika* (from Pundra/northern Bengal), of which Suvarnakudyaka, Magadhika and Paundrika fabrics were types of *Kauseya* (Tussar/Muga) and *Cina-patta* (Mulberry silk). The fact that Kamrupa produced Suvarnakudyaka is confirmed by the 8th century writer Kumārila Bhaṭṭa who, in his commentary of Arthashatra, said that Kamrupa was Suvarnakudya (*Kamarupeschaiva Suvarna Kudyah*). As per the Arthashatra, the fibres of Suvarnakudyaka were of 'the colour of butter', 'as red as the sun', and of the best quality. Due to this description of colour, the type of silk can be easily identified as Muga. The text also refers to four trees (*Vakula*, *Likucha*, *Vata* and *Naga-vriksa*) which the silkworms feed on. Out of these, *Vakula* and *Naga-vriksa* belong to the genus Ericales and Magnolia which the Muga silkworm Antheraea assamensis is known to feed on; while *Likucha* (Artocarpus lakucha) and *Vata* belong to the genus Moraceae (Mulberry) which the Pat Silkworm feeds on. This is further confirmed from the 9th century thesaurus Amara-kosha which mentions that the worms of the fibre *Patrorna* (a form of white silk), fed on the leaves of *Vata*, *Lakucha*, etc. The Arthashastra also states that the fibre was spun while the threads were wet, indicating that the production method was still the same at that period. The ancient text Kalika Purana(dated between 10th-11th century) well records the use of silk in the worship of deities in ancient Kamrupa. As per the text, while worshipping the deities at the *Dikkarvasini pitha*(also known as Tamreswari of Sadiya), red, yellow and white *Kauseya*(meaning wild silk, probably Muga) were used to drap the idols of the presiding deities of the temple. It is known that Muga, in olden times, was available in yellow(natural), white(*Mejankari muga*) and often dyed red with lac. The knowledge of sericulture probably arrived with the Tibeto-Burman groups which arrived from China around the period of 3000-2000 BC. Moreover, there was another trade of Silk through the Southwestern Silk road which started from China, passed through Burma and Assam, finally getting connected to the main silk road in Turkmenistan. There are various other records to show that Silk came to India through Assam. As per the Sanskrit text *Harshacharita* (biography of North Indian ruler Harshavardhan written by the court poet Banabhatta in the 7th century), during the coronation ceremony of King Harshavardhan, king Bhaskarvarman of Kamrupa gifted many precious items to the North Indian king. Out of this the most important ones include the precious fabrics and jewels. These included an umbrella wrapped by a *dukula* cloth, sacks of *patta-sutra* cloth as well as *ksoma* fabrics which were as pure as the autumn moon's light (*sharada chandrama shaucha ksamani*). These fabrics could either be silk or linen. It is also mentioned in the text that the loin fibres were so even and polished that it resembled *Bhoj-patra*, which could indicate silk as well. There are also references of Assam silk in the records written by Huen Sang where he has written the use and trade of silk in Kamrupa during the rule of king Bhaskar Varman. Ram Mohan Nath in his book "The Background of Assamese culture states that: *"The Kiratas,(an early Mongoloid race in Assam, were traders in silk, a word that was derived from the Mongolian original word ‘sirkek’. The Indian word ‘sari’ is probably derived from the same word. "It is therefore clear that in ancient times traders from different parts of Tibet, Central Asia and China flocked to Assam through various routes, and as they traded mostly in silk, they were generally called Seres – Cirrahadoi – Syrities – Cirata-Kirata. The word Kirata therefore, is a general term referring to the people of the Mongolian origin and it refers specially to the Bodos."* These Bodos referred by Nath are today known as Bodo-Kacharis which includes groups such as Bodos, Chutias, Dimasas,Thengal, Rabhas, Sonowal, Garo, Koch and many more. J.Geoghegan in his book "Silk in India" states that: *"It is the Kiratas who introduced the cultivation of silk with its different varieties in Assam and it is from Assam that Silk was later introduced to mainland India. Whatever may be the date of the introduction of the worm, its geographical distribution at present day, and the fact species first introduced was a multivoltine, seem to me to lead to the conclusion that the insect was first introduced into India from the north-east (i.e. Assam)*". Genetic research on silkworms show that Assam silk originated in two specific regions of Assam. One was Garo Hills in the ancient Kamrupa kingdom and the other was Dhakuakhana in the ancient Chutia kingdom. As per Buranjis, the Chutia king in 1524 AD gifted some golden coloured cloth(*Sunali kapur* in Assamese, *Kham-sin* in Tai) as a peace offering to the Ahom king, which may indicate the use of Muga(golden fibre) as royal clothing in the Chutia kingdom. As per the *Naoboicha Phukanar Buranji*, Muga was adopted in the Ahom courts at later period. As per the text, one of the Ahom kings upon the advice of his ministers took the decision of introducing Muga, Paat clothing and employed a *thousand Muga producers and weavers* from the Chutia community to weave royal garments in the capital. Before that the Ahoms are said to have worn black-coloured clothes. In the Assam Buranji, the Ahoms are mentioned as *"Lunda-Munda Kula Kapur pindha luk"* (black-clothed men) in the 16th century, which denotes they wore black cotton clothes till the 16th century similar to the other Tais of Yunnan and Burma. Due to this adoption of the clothing style of native rulers, Muga production received patronage from the Ahom dynasty in the later period of their rule. Royalty and senior mandarins were prescribed clothing made of the silk. Ahom kings were known to keep many costly muga sets in the royal storehouse for presentation to distinguished visitors to their court. Queens were personally involved in training weavers. The fabric was also a chief export of the Ahoms.[] Although Silk was cultivated and woven by women all around Assam, the silk clothes of a particular place named Sualkuchi achieved much fame during the Kamarupa as well as Ahom rule. Sualkuchi is said to have been established in the 11th Century by King Dharma Pala of the Pala dynasty that ruled western Assam from 900 AD to about 1100 AD. Dharmapala, the story goes, brought 26 weaver families from Tantikuchi in Barpeta to Sualkuchi and created a weavers' village close to modern-day Guwahati. Silk was given royal patronage during that period and Sualkuchi was made an important centre of Silk weaving. The Hand-loom industry of Sualkuchi encompasses cotton textile, silk textile as well as Khadi cloth which are, in fact, traditional cloth endowing high social and moral value in and outside the state. However, Sualkuchi is well known for silk textiles both mulberry and muga silk. In fact muga, "the golden fibre" is produced only in Assam and it has also tremendous export potentiality. Such activities are intimately linked with the culture and tradition of the Assamese people since long past. Muga silk was recognized as a protected geographical indication (GI) in 2007, and was granted a GI logo for trademark purposes in 2014. The logo has been registered with the Assam Science Technology and Environment Council. The Central Silk Board of India has been granted the authority to inspect muga silk products, certify their authenticity and allow producers to use the GI logo. This board is also involved in R&D and infrastructure development for Assamese silk, including muga, through the Central Muga Eri Research & Training Institute (CMER&TI) in Jorhat, Assam. In 2015, Adarsh Gupta K of Nagaraju's research team at Centre for DNA Fingerprinting and Diagnostics, Hyderabad, India, discovered the complete sequence and the protein structure of muga silk fibroin and published it in *Nature* Scientific Reports. India produced 158 tonnes of muga silk in FY 2014–15, out of which 136 tonnes were produced in Assam. India's total silk output in the same period amounted to 28,708 tonnes.
**Zero-waste fashion** is defined as a fashion design strategy that aims to reduce or eliminate textile waste during the garment production process, particularly focusing on the pattern making and cutting stages. Zero-waste fashion can be divided into two general approaches: pre-consumer zero-waste fashion, which eliminates waste during manufacture, and post-consumer zero-waste fashion, which generates clothing from garments such as second-hand clothing. Historically, zero-waste models have been utilised in folk clothing, including the kimono, sari, and chiton, among others. Pre-consumer zero-waste design ------------------------------ In zero-waste pattern design, the designer creates a garment through the pattern-cutting process, working only within the space allotted by the fabric width. This approach directly influences the design of the final garment, as the pattern-cutting process is a primary design step. Alternatively, zero-waste manufacturing is an approach that aims to eliminate textile waste without modifying garment patterns. This approach allows garments and fabric to be fully used with no fabric wasted. ### Gradable zero-waste apparel design The Carrico Zero-waste Banded Grading technique is one proposed solution that utilizes bands to cut patterns without wasting textiles. In this technique, carefully planned seam placements grow or shrink allowing sizing of the clothing item up or down to create three different sizes of a garment. After conducting the study, they found that the technique was successful at creating one- or two-piece items. Some issues with this practice include the proportion of the differently sized garments and inconsistencies in seam allowances. ### Differences from standard fashion production A standard garment production process may begin with a drawing of the desired garment, a pattern is then generated to achieve this design, a marker is made to most efficiently use the fabric, and the pattern pieces are then cut from the cloth, sewn, packed, and distributed to retailers. Standard garment production generates an average of 15% textile waste. Waste elimination hierarchy --------------------------- The waste hierarchy consists of the three 'R's' - Reduce, Reuse, Recycle - in order of impact. Zero-waste fashion design reduces or even eliminates pre-consumer textile waste. However, it does not necessarily address waste created during the use life and disposal phase of the garment's life cycle. During textile production, many pollutants are emitted into the environment. The textile and apparel industry are some of the most polluting, and both have a low recycling rate of about 15%. Zero-waste fashion design could significantly reduce gaseous emissions during the production process and help to reuse material waste. Notable contributions --------------------- * Dorothy Burnham: *Cut My Cote* from 1973 was a seminal text that summarized decades of Burnham's research into cuts of traditional dress. * Madeleine Vionnet's design approach aligns well with zero-waste fashion design; many of her garments had minimal waste.
**Sârbu** (Romanian pronunciation: [/sɨrbu/]; also **Sârbul**, **Sîrbu**, and **Sărbu**) is a Romanian-language surname, used in both Romania and Moldova, as well as throughout the Balkans. Meaning "Serb", it is one of the most common surnames denoting ethnic origin; according to folklorist Pericle Papahagi, it has a very early presence among the Aromanians, evidencing their direct contacts with the White Serbs. "Unusually popular among the Daco-Romanians", it makes its first recorded appearance among the boyardom of 1430s Moldavia, distinguishing "Bodea Sârbul" from another Bodea, nicknamed *Rumârul* [*sic*], "the Romanian". Philologist Ioan Bilețchi-Albescu argues that "Sârbu" and other related surnames indicate voluntary Romanianization, or "merging into the Romanian mass", on the part of Romanian Serbs. It is conceptually related to the name "Rațiu", which is much more widespread in Transylvania and ultimately derives from the Hungarian-language *rác* ("Rascian"). History ------- Like a number of related surnames and place names, "Sârbu" failed to distinguish between Serbs and other South Slavs, being equally used for Serbs and Bulgarians, and peaking in usage as both communities migrated to Moldavia and Wallachia during the Russo-Turkish Wars (1711–1878). Building on observations made by scholars such as Valentin Moshkov and Ivan Grec, historian Ivan Duminică argues that local bureaucrats intentionally mislabeled Bulgarians as "Serbs": as tributary states of the Ottoman Empire, Wallachia and Moldavia risked penalties for their contribution to the exodus from Turkish Bulgaria. Bulgarian Romanian linguist Iorgu Iordan suggests that Bulgarians voluntarily mislabeled themselves as "Serbs" to obtain fiscal privileges that Wallachia only guaranteed to Serbs. Iordan notes that, before being "Serbs", members of this community were primarily known as *Șchei*, from the Latin *Sclaveni*, which was a record of their inferior social status. In 1994, the University of Craiova database counted 33,958 citizens of Romania with the surname "Sârbu", well ahead of some derivatives—including "Sârbulescu" (467 namesakes) and "Sârbescu" (401). "Sârbu" has had some attested usage as a first name, in contexts where it evidenced national origin or expressed Serbophilia; it has alternatively been used as an occupational surname, originally as a nickname for gardeners, some of whom were Romanian locals. It is also one of several Romanian anthroponyms calqued into Ukrainian by the Hutsuls of Bukovina, where its only current use is as a dog's name. In the Banat region, which was for long part of the Habsburg monarchy, there was a coexistence of Serbs and Romanians, which also contributed to the name's geographical spread. The presence of a "Romanianized Serb population" outside Șiria contributed to a (factually disputed) legend that the 19th and early-20th-century novelist Ioan Slavici was born "Ioan Sârbu". Alongside "Sârbin", "Sârbu" has been perpetuated as a surname among the Romanians of Serbia (more specifically, those of Vojvodina). Its immediate origin here is unclear—possibly derived from the ethnonym, it may also indicate that the bearers originated in Transylvania or Wallachia, in any of the places that were already known as "Sârbi". Slightly to the north of this area, the Romanians of Hungary also preserve variants of the name. Scholars such as Mihai Cozma of Szeged University propose that this and other evidence may prove that the Romanians of Méhkerék were originally Serbs. The name enjoyed popularity in Moldavia's eastern region of "Bessarabia", most of which is currently folded into the Republic of Moldova. In 1774, immigrants who populated the villages around Orhei were designated with their first name and the lowercase *sârbul*, indicative of their status. Following the 1812 Treaty of Bucharest, Russian Empire annexed those areas, ruling them as the "Bessarabia Governorate", which was home to a distinct Bulgarian community, as well as being an area of Serb emigration. As noted by historian Iurie Colesnic, the Sârbus of Bessarabia evoked that region's status as a "bridgehead for Serbs to prepare their liberation from the Ottoman yoke". There were also documented arrivals of Bulgarians with the surname Sârbu—from as early as 1815, when Bratan Sârbul and his family settled in Izmail. Late-19th-century arrivals include Ion Sîrbu, né Zaharović, who participated in the Russian Revolution of 1905; his daughter, Victoria, was noted as the lover and secretary of Ștefan Foriș, General Secretary of the Romanian Communist Party in 1940–1944. In 2013, Moldova was home to 14,719 people named "Sârbu". People with the surname ----------------------- * Adrian Sârbu (born 1955), Romanian media executive * Andrei Sârbu (1950–2000), Moldovan painter * Cristian Sârbu (1897–1961), Romanian poet * Daciana Sârbu (born 1977), Romanian politician * Eugene Sârbu (born 1950), Romanian violinist * Filimon Sârbu (1916–1941), Romanian communist and anti-fascist * Ilie Sârbu (born 1950), Romanian politician and theologian * Ion Dezideriu Sîrbu (1919–1989), Romanian philosopher and diarist * Iosif Sîrbu (1925–1964), Romanian athlete * Isidor Sârbu (1887–1980), Moldovan Romanian anti-communist * Marian Sârbu (born 1958), Romanian politician * Mariana Sîrbu (1948/9 – 2023), Romanian classical violinist * Oana Sârbu (born 1968), Romanian singer and actress * Radu Sîrbu (born 1978), Moldovan-born Romanian singer and producer * Sergiu Sîrbu (born 1960), Moldovan football manager and former player
**Luis Rossi** is an internationally renowned clarinetist. He performed as Principal clarinetist in symphony orchestras throughout South America for twenty years before he founded a clarinet workshop in Santiago, Chile, in 1986. Since then he has also focused on his work as a soloist and has offered master classes at institutions such as Indiana University (Bloomington, USA), Michigan State University (Lansing, USA), Ohio State University (Columbus, USA), Royal College of Music (London, England), the International Clarinet and Saxophone Connection at the New England Conservatory of Music (2002) and the Belgian Clarinet Academy (Ostend Conservatory). He has recorded four compact discs using Rossi Rosewood and African Blackwood clarinets. The professional Rossi clarinet is a very popular instrument for artists throughout the world. In his 20 years of making clarinets, Mr. Rossi has become one of the very few clarinet designers in the world, and an acknowledged expert in clarinet acoustics. In 2005, Luis Rossi partnered with the Brazilian factory Weril Instrumentos Musicais and the Gemstone Musical Instruments to create Andino Clarinets, a student-level version of his professional instruments.
Terrestrial ecoregion in Indonesia The **Mentawai Islands rain forests** is a tropical moist broadleaf forest ecoregion in Indonesia. It covers the Mentawai Islands, an archipelago in the Indian Ocean off the west coast of Sumatra. The islands have been separated from Sumatra since the mid-Pleistocene period, and their geographic isolation allowed the evolution of several endemic species, including 17 endemic mammals. Geography --------- Mentawai Islands topography The ecoregion has an area of 6,513 square kilometers, which includes all the Mentawai Islands, the largest of which are Siberut, Sipura, North Pagai, and South Pagai, as well as Enggano Island further to the southeast. The islands lie 80 to 120 km from the west coast of Sumatra. Climate ------- The islands have a tropical rainforest climate. Average annual rainfall is approximately 4,500 mm, with an October to March wet season. Temperatures average about 30°C year-round. Flora ----- The forests have a closed canopy about 36 metres high, with emergent trees rising 45 metres or more. Trees of the dipterocarp family are common canopy and emergent trees. Emergent trees include species of the dipterocarp genera *Dipterocarpus* and *Shorea*, and species of *Koompassia, Sindora*, and *Dialium*. Canopy trees include species of *Mallotus, Knema, Santiria, Bhesa, Eugenia, Baccaurea, Dillenia, Artocarpus*, and *Horsfieldia*. Fauna ----- There are six endemic primates in the ecoregion – Kloss's gibbon (*Hylobates klossii*), Mentawai macaque (*Macaca pagensis*), Siberut macaque (*Macaca siberu*), Mentawai langur (*Presbytis potenziani*), Siberut langur (*Presbytis siberu*), and pig-tailed langur (*Simias concolor*). Other endemic mammals include the Mentawai treeshrew (*Tupaia chrysogaster*), Sipora flying squirrel (*Hylopetes sipora*), Mentawai long-tailed giant rat (*Leopoldamys siporanus*), Pagai spiny rat (*Maxomys pagensis*), Mentawai rat (*Rattus lugens*), Mentawi flying squirrel (*Iomys sipora*), Siberut flying squirrel (*Petinomys lugens*), and short-headed leaf-nosed bat (*Hipposideros breviceps*). Other native mammals include the Asian palm civet (*Paradoxurus hermaphroditus*) and crab-eating macaque (*Macaca fascicularis*). There are ver 250 native species of birds on the islands. the Mentawai scops owl (*Otus mentawi*) is the only known endemic species. Protected areas --------------- 30.94% of the ecoregion is in protected areas. These include Siberut National Park, which covers the western portion of Siberut, including the islands' largest areas of intact forest in northwestern Siberut.
2013 film ***Puppylove*** is a 2013 coming-of-age film directed by Delphine Lehericey, written by Lehericey and Martin Coiffier, and starring Solène Rigot, Audrey Bastien, and Vincent Pérez. It is an international co-production of Belgium, France, Luxembourg, and Switzerland. Rigot plays a 14-year-old girl who, after she meets her new neighbor, played by Bastien, explores her sexuality. The film premiered at the San Sebastián International Film Festival and was released 7 May 2014 in Belgium. It won a Magritte Award for Best Original Score. Plot ---- Diane, a 14-year-old girl who lives with her younger brother Marc and her father Christian, is eager to explore her sexuality. When she visits her friend Antoine, the two strip naked and get into bed together. As Antoine kisses her and calls her beautiful, she tells him that she would prefer not to talk. He apologizes, and the two try to get comfortable in various sexual positions. Eventually, they are overcome by awkwardness and decide not to have sex. Antoine takes her back home. There, her father catches her watching hardcore pornography, and she ignores his demands that she turn it off. Exasperated, he leaves. During school, Diane's friends discuss whether losing one's virginity is painful. Diane meets with Antoine again, and they briefly hang out together at his house. He requests that she stays, but she leaves for her own. Through her window, she sees her new neighbor, Julia, as the girl's father berates her. Annoyed, Julia pulls her curtains shut. As Diane and her family eat dinner, Julia introduces herself and requests help finding a local piano teacher. Christian and Diane promise to help. At school, Diane approaches Julia with the name of a piano teacher, but Julia says that she only said that to meet Diane. The two strike a friendship, and Diane invites Julia to a party. Julia tells her parents that she is sleeping over at Diane's house, but Christian expresses no concerns with Diane's attendance. Diane brushes off Antoine and leaves to find Julia, who is about to go on a car ride with two boys. Julia invites Diane to join her on condition that Diane does not attempt to stop Julia from doing anything. As Julia and a boy have sex, Diane and the other boy exit the car. After the second boy becomes aggressive and sexually harasses Diane, the girls walk home. Diane is hurt when she sees Antoine and Julia together at school. After football practice, Diane wanders into the male showers completely naked, and the coach calls her father to pick her up. As they drive home, Diane asks Christian whether he is sexually attracted to her, and she becomes annoyed as Christian fumbles to find an appropriate answer. As Julia and Diane grow closer, they flirt with each other and kiss. Their families also become more friendly, and Diane goes on a vacation with Julia and her parents. There, Julia seduces a bartender. Although Diane initially refuses to join the two in a threesome, she later knocks on the door and watches the two have sex. Julia encourages Diane to have casual sex with a man at a club, but after he demands that she perform oral sex on him, Diane insists that she and Julia leave. Diane is surprised to find her father has a woman in the house, and the noise of their sex kept her awake all the night. In the morning, she berates her father for his irresponsible behavior, as he has not woken up Marc and gotten him prepared for school. Later, the two girls went on a trip with Christian and Marc. Julia flirts with Christian despite Diane's discomfort, and the girls engage in a threesome with a local man, Paul. Julia flashes Christian, and as he stares at Julia, Diane chastises him. After Christian becomes drunk that night, Julia kisses and undresses him. Christian weakly pushes her away and tells her that it is a bad idea, but she continues to seduce him. Christian eventually caves in, and the two had sex outside against a tree. As Diane looks for her friend, she is disgusted to see the two having sex, and she slaps her father. Christian apologizes to her, and as she storms off, he drives after her. After he picks her up again, Diane asks Julia whether she would run away with her if she asked. Uninterested, Julia says that she would not, and Diane walks into the traffic at a busy road, much to the horror of the others. The film ends as Diane stands on the other side of the road and smiles. Cast ---- * Solène Rigot as Diane * Audrey Bastien as Julia * Vincent Pérez as Christian * Vadim Goldberg as Marc * Theo Gladsteen as Antoine * Joel Basman as Paul * Thomas Coumans as the bartender * Jan Hammenecker as Yann * Valérie Bodson as Catherine Soundtrack ---------- The soundtrack is by the Belgian duo Soldout. Release ------- *Puppylove* premiered on 21 September 2013 at the San Sebastián International Film Festival and was released 7 May 2014 in Belgium. Reception --------- Jonathan Holland of *The Hollywood Reporter* wrote, "More a forum for debate than fully achieved piece of work, this intriguing, misguided film is unsettling in ways it may not itself understand." ### Awards | Organization | Award | Result | Ref | | --- | --- | --- | --- | | 5th Magritte Awards | Best Original Score | Won | | | Best First Feature Film | Shortlist | | Further reading --------------- * Duplan, Antoine (2014-04-02). "Mignonne, allons voir si l'Eros…". *Le Temps* (in French). Retrieved 2015-04-18. * Danvers, Louis (2014-05-06). "Critique ciné: Puppy Love". *Le Vif/L’Express* (in French). Retrieved 2015-04-18. * De Pedro, Jorge M. (2014-05-01). "'Puppylove' y 'Les apaches': cine sobre nínfulas y periferias". *La Vanguardia* (in Spanish). Retrieved 2015-04-18.
5th episode of the 3rd season of What We Do in the Shadows "**The Chamber of Judgement**" is the fifth episode of the third season of the American mockumentary comedy horror television series *What We Do in the Shadows*, set in the franchise of the same name. It is the 25th overall episode of the series and was written by William Meny, and directed by co-executive producer Kyle Newacheck. It was released on FX on September 23, 2021. The series is set in Staten Island, New York City. Like the 2014 film, the series follows the lives of vampires in the city. These consist of three vampires, Nandor, Laszlo, and Nadja. They live alongside Colin Robinson, an energy vampire; and Guillermo, Nandor's familiar. The series explores the absurdity and misfortunes experienced by the vampires. In the episode, Nandor and Nadja preside their first Tribunal, while Laszlo tries to help Sean with a problem. According to Nielsen Media Research, the episode was seen by an estimated 0.399 million household viewers and gained a 0.14 ratings share among adults aged 18–49. The episode received positive reviews from critics, who praised the performances and callback to previous episodes. Plot ---- While Nandor (Kayvan Novak) and Nadja (Natasia Demetriou) prepare to preside over their first Vampiric Council Tribunal, Laszlo (Matt Berry) and Colin Robinson (Mark Proksch) join Sean (Anthony Atamanuik) for a "boys night out" at his house. Colin Robinson also brings along a board game, intending for them to play for hours. As the Tribual requires someone on the throne, Guillermo (Harvey Guillén) manipulates his way in convincing Nadja and Nandor in letting him sit. As they begin the sentences, Guillermo is shocked when they bring Derek as a prisoner, a former member of the Mosquito Club of amateur vampire hunters. After the raid at the vampire house, he was turned into a vampire, and has now brought public attention to the vampires, even buying a hellhound. Despite Guillermo's suggestion of mercy, they sentence Derek to be sent to the Well of Daylight, where he will be exposed to the sunrise and die. Feeling guilty, Guillermo provides him a wardrobe to cover himself from the sunlight. Meanwhile, Sean tries to get his friends in buying a pillow he recently bought, which is priced at $49.99. When no one complies, Sean angrily leaves. Laszlo talks to him, discovering that Sean got involved in a pyramid scheme. After he failed to repay the man for the enormous amount of pillows he acquired, Sean is being taken to a small claims court. Laszlo decides to help Sean at the court, presenting himself and Colin Robinson as his representatives. Nevertheless, Sean loses the case, forced to pay $12,700. Angry, Laszlo feeds on drunk people, causing him to get drunk himself. Seizing this, Guillermo has him act as Derek's attorney, explaining that he will guide Derek through his vampire process. Although reluctant, Nandor and Nadja agree to the terms and allow Derek to walk free. Guillermo also decides to unleash the hellhound, which is revealed to be a normal dog. Despite the vampires' fear of the dog, Guillermo decides to adopt it. As part of the deal, Derek is assigned to sell all of Sean's pillows in order to recoup the investment, using hypnosis on many residents. Production ---------- ### Development In August 2021, FX confirmed that the fifth episode of the season would be titled "The Chamber of Judgement", and that it would be written by William Meny, and directed by co-executive producer Kyle Newacheck. This was Meny's second writing credit, and Newacheck's eighth directing credit. Reception --------- ### Viewers In its original American broadcast, "The Chamber of Judgement" was seen by an estimated 0.399 million household viewers with a 0.14 in the 18-49 demographics. This means that 0.14 percent of all households with televisions watched the episode. This was a 14% decrease in viewership from the previous episode, which was watched by 0.462 million household viewers with a 0.13 in the 18-49 demographics. ### Critical reviews "The Chamber of Judgement" received positive reviews from critics. Katie Rife of *The A.V. Club* gave the episode a "B" grade and wrote, "This week, it's back to work for everyone, for an episode that hit certain key themes and moved certain parts of the plot forward, but didn't come together as dazzlingly as 'The Casino' did. I still laughed out loud at several points, don't get me wrong — as I've said before, this show is like pizza, in that it's never anything less than pretty good. It's just that some episodes are a little spicier (and more quotable) than others." Tony Sokol of *Den of Geek* gave the episode a 4 star rating out of 5 and wrote, "'The Chamber of Judgement' weighs heavily in *What We Do in the Shadows*' favor. We've had our fill of the neighbors, and the energy vampire needs an inspiration infusion, but Nadja's intolerance, Nandor's indecisiveness, and Laszlo's indiscretions overrule the objections." Melody McCune of *Telltale TV* gave the episode a 4 star rating out of 5 and wrote, "This show continues to push the horror-comedy envelope in every way, from its top-tier acting to its consistent writing and perfectly (un)deadpan humor, and the only direction *What We Do in the Shadows* can go is up (and out of the Well of Daylight)." Alejandra Bodden of *Bleeding Cool* gave the episode a 8.5 out of 10 rating and wrote, "This week's episode of FX's *What We Do in the Shadows*, 'The Chamber of Judgement', was another success for this season so far. The show has had a pretty strong start this season. The episode had me laughing from beginning to end, and of course, feeling uncomfortable because of situation's our vampires find themselves in." Greg Wheeler of *Review Geek* gave the episode a 4 star out of 5 rating and wrote, "*What We Do In The Shadows* rolls round with another fine episode, one that continues to pile on the humour while progressing the lore nicely across this show."
Species of flowering plant ***Eremophila ionantha*** is a flowering plant in the figwort family, Scrophulariaceae and is endemic to Western Australia. It is a shrub with many sticky branches, narrow, light green leaves and blue, purple or violet flowers. Description ----------- *Eremophila ionantha* is an erect shrub growing to a height of between 0.4 and 2.5 m (1 and 8 ft) with many spreading or ascending branches. The branches are sticky due to the presence of resin and have many small, wart-like lumps and glandular hairs. The leaves are arranged in opposite pairs along the branches and are light, olive-green in colour, linear in shape, mostly 9–30 mm (0.4–1 in) long and about 1.0 mm (0.04 in) wide, curved, sometimes S-shaped and sticky, at least when young. The flowers are borne singly or in pairs on a glabrous, sticky stalk usually 4–10 mm (0.2–0.4 in) long. There are 5 green, tinged reddish-brown sepals which are linear to narrow-triangular in shape, mostly 2.5–4 mm (0.1–0.2 in) long and hairy on the inner surface only. The petals are 15–28 mm (0.6–1 in) long and are joined at their lower end to form a tube. The flower buds are brown but when it opens the petal tube is pale lilac-coloured to violet on the outside and white to pale lilac inside. The outside surface of the petal tube is glabrous and often shiny but the middle part of the lower petal lobe and the inside of the petal tube are covered with matted hairs. The 4 stamens are fully enclosed in the petal tube. Flowering occurs from late September to February and is followed by hairy, woody, oval-shaped or cone-shaped fruits with a pointed end. The fruits are about 5 mm (0.2 in) long. Taxonomy and naming ------------------- *Eremophila ionantha* was first formally described in 1905 by Ludwig Diels and Ernst Georg Pritzel and the description was published in *Botanische Jahrbücher für Systematik, Pflanzengeschichte und Pflanzengeographie*. The specific epithet (*ionantha*) is derived from Ancient Greek adjective, *ion*, meaning "violet", and the noun, *anthos*, meaning "flower". Distribution and habitat ------------------------ *E. ionantha* grows in Eucalyptus woodland between Merredin and Balladonia in the Avon Wheatbelt, Coolgardie, Esperance Plains, Mallee and Murchison biogeographic regions. Conservation status ------------------- This species is classified as "not threatened" by the Western Australian Government Department of Parks and Wildlife. Use in horticulture ------------------- This eremophila is a hardy plant needing little maintenance and is long lived - garden specimens of this species have been known to survive for more than 40 years. It is a medium-sized shrub with attractive blue to purple flowers. It can be propagated easily from cuttings taken at any time of the year and will grow in most soils, including heavy clay. It will grow in full sun or heavy shade, is both drought and frost tolerant, is tolerant of windy conditions and useful as a low-density windbreak.
Extinct genus of arthropods ***Oelandocaris*** is an extinct genus of stem-mandibulate, or possibly a megacheiran, within the monotypic family **Oelandocarididae**. Description ----------- *Oelandocaris* has a large head segment with a possible median eye, similar to peytoiids, making up roughly one half of its body. It has five tergites, each with a biramous limb pair and a spike on their ends, and a cylindrical tail segment. In addition, the head has two biramous limb pairs, antennae and antennules, the posterior similar in structure to the bodily limbs, the anterior including the possible mandibles. It also has a pair of possible great appendages. The whole animal only measures about a millimetre long, similar in size to other Orsten fauna. Ecology ------- As the exopods of *Oelandocaris'*s limbs are large and flattened, it is very likely that it was a swimming animal, and presumably planktonic, based on its size. Etymology --------- *Oelandocaris* derives from the island of Öland in Sweden, a primary location for Orsten fossils, and the Greek word *καρίς*, meaning "shrimp" or "crab". Distribution ------------ *Oelandocaris* is known from six specimens, all from the Orsten lägerstatten. The original specimen only preserved the body, however more complete specimens including limbs have been found.
The **Science Laureates of the United States Act of 2013** (H.R. 1891) is a bill that would create the position of Science Laureate of the United States, meant to be similar to the United States Poet Laureate. The Science Laureate would spend their term traveling around the country promoting science and research to students and the general public. The bill was introduced into the United States House of Representatives during the 113th United States Congress. Provisions of the bill ---------------------- *This summary is based largely on the summary provided by the Congressional Research Service, a public domain source.* The Science Laureates of the United States Act of 2013 would establish the position of Science Laureate of the United States. The bill would require the President of the United States to appoint a Science Laureate on the basis of: (1) merit, particularly the ability of such individual to foster and enhance public awareness and interest in science and to provide ongoing significant scientific contributions; and (2) recommendations received by the National Academy of Sciences (NAS) based on those factors. The bill would also encourage each Science Laureate to continue his or her scientific work and directs the NAS to facilitate such Science Laureate's duties. Finally, the bill would require each Science Laureate to serve a term of one or two years. Procedural history ------------------ ### House The Science Laureates of the United States Act of 2013 was introduced by Rep. Zoe Lofgren (D, CA-19) on May 8, 2013. It was referred to the United States House Committee on Science, Space and Technology and the United States House Science Subcommittee on Research and Technology. House Majority Leader Eric Cantor placed H.R. 1891 on the House calendar for the week of September 9, 2013. Debate and discussion --------------------- Supporters of the bill argued that it would bring important attention to the importance of science and the benefits of scientific research, hopefully inspiring more Americans to pursue scientific careers. One commentator, on learning of the proposed position of "Science Laureate of the United States," immediately nominated Neil deGrasse Tyson for the position, listing several humorous and serious qualifications. Neil deGrasse Tyson was also mentioned on a *Wired* magazine list of potential nominees alongside Brian Greene, Jill Tarter, Mike Brown, and Sylvia Earle. Several concerns about the effectiveness of the bill were raised. First, objections were made to the fact that the position lacked a salary, with one commentator pointing out that this would make things very difficult on the scientist who was simultaneously supposed to continue performing their own research (and finding grants for it) and fulfill the role of Science Laureate. A second objection was raised to the decision to make the National Academy of Sciences as the group selecting the official list of candidates since, while they would be well placed to choose an excellent scientist, they might not do a good job of choosing an excellent communicator. A third objection was the possibility for the position to become heavily politicized. Another source speculated on what considerations should be used to choose a Science Laureate. These included avoiding unrelated controversy, diversity (to better represent a diverse American public), active research, diversity (in research fields, from one laureate to the next), and finding someone willing to do it, despite the position being unpaid. Notes/References ---------------- 1. 1 2 3 4 5 Marlow, Jeffrey (May 9, 2013). "The Science Laureate of the United States". *Wired Magazine*. Retrieved September 12, 2013. 2. 1 2 3 4 "H.R. 1891 – Summary". United States Congress. June 24, 2013. Retrieved September 11, 2013. 3. ↑ "H.R. 1891 – All Actions". United States Congress. June 24, 2013. Retrieved September 11, 2013. 4. ↑ "H.R. 1891 – Committees". United States Congress. June 24, 2013. Retrieved September 11, 2013. 5. ↑ "Leader's Weekly Schedule – Week of September 9, 2013" (PDF). Majority Leader's Office. Retrieved September 11, 2013. 6. 1 2 S. Beth (May 24, 2013). "Congress Roots for STEM, Proposes Science Laureate Position". *Pocket Full of Liberty*. Retrieved September 12, 2013. 7. ↑ raatz (May 8, 2013). "I nominated Neil deGrasse Tyson as U.S. Science Laureate". *The Daily Kos*. Retrieved September 11, 2013. 8. 1 2 Shipman, Matt (May 22, 2013). "Picking a National Champion for Science". *SciLogs*. Retrieved September 12, 2013.
**Quantization**, involved in image processing, is a lossy compression technique achieved by compressing a range of values to a single quantum (discrete) value. When the number of discrete symbols in a given stream is reduced, the stream becomes more compressible. For example, reducing the number of colors required to represent a digital image makes it possible to reduce its file size. Specific applications include DCT data quantization in JPEG and DWT data quantization in JPEG 2000. Color quantization ------------------ Main article: Color quantization Color quantization reduces the number of colors used in an image; this is important for displaying images on devices that support a limited number of colors and for efficiently compressing certain kinds of images. Most bitmap editors and many operating systems have built-in support for color quantization. Popular modern color quantization algorithms include the nearest color algorithm (for fixed palettes), the median cut algorithm, and an algorithm based on octrees. It is common to combine color quantization with dithering to create an impression of a larger number of colors and eliminate banding artifacts. Frequency quantization for image compression -------------------------------------------- The human eye is fairly good at seeing small differences in brightness over a relatively large area, but not so good at distinguishing the exact strength of a high frequency (rapidly varying) brightness variation. This fact allows one to reduce the amount of information required by ignoring the high frequency components. This is done by simply dividing each component in the frequency domain by a constant for that component, and then rounding to the nearest integer. This is the main lossy operation in the whole process. As a result of this, it is typically the case that many of the higher frequency components are rounded to zero, and many of the rest become small positive or negative numbers. As human vision is also more sensitive to luminance than chrominance, further compression can be obtained by working in a non-RGB color space which separates the two (e.g. YCbCr), and quantizing the channels separately. ### Quantization matrices A typical video codec works by breaking the picture into discrete blocks (8×8 pixels in the case of MPEG). These blocks can then be subjected to discrete cosine transform (DCT) to calculate the frequency components, both horizontally and vertically. The resulting block (the same size as the original block) is then pre-multiplied by the quantization scale code and divided element-wise by the quantization matrix, and rounding each resultant element. The quantization matrix is designed to provide more resolution to more perceivable frequency components over less perceivable components (usually lower frequencies over high frequencies) in addition to transforming as many components to 0, which can be encoded with greatest efficiency. Many video encoders (such as DivX, Xvid, and 3ivx) and compression standards (such as MPEG-2 and H.264/AVC) allow custom matrices to be used. The extent of the reduction may be varied by changing the quantizer scale code, taking up much less bandwidth than a full quantizer matrix. This is an example of DCT coefficient matrix: \begin{bmatrix} -415 & -33 & -58 & 35 & 58 & -51 & -15 & -12 \\ 5 & -34 & 49 & 18 & 27 & 1 & -5 & 3 \\ -46 & 14 & 80 & -35 & -50 & 19 & 7 & -18 \\ -53 & 21 & 34 & -20 & 2 & 34 & 36 & 12 \\ 9 & -2 & 9 & -5 & -32 & -15 & 45 & 37 \\ -8 & 15 & -16 & 7 & -8 & 11 & 4 & 7 \\ 19 & -28 & -2 & -26 & -2 & 7 & -44 & -21 \\ 18 & 25 & -12 & -44 & 35 & 48 & -37 & -3 \end{bmatrix} A common quantization matrix is: \begin{bmatrix} 16 & 11 & 10 & 16 & 24 & 40 & 51 & 61 \\ 12 & 12 & 14 & 19 & 26 & 58 & 60 & 55 \\ 14 & 13 & 16 & 24 & 40 & 57 & 69 & 56 \\ 14 & 17 & 22 & 29 & 51 & 87 & 80 & 62 \\ 18 & 22 & 37 & 56 & 68 & 109 & 103 & 77 \\ 24 & 35 & 55 & 64 & 81 & 104 & 113 & 92 \\ 49 & 64 & 78 & 87 & 103 & 121 & 120 & 101 \\ 72 & 92 & 95 & 98 & 112 & 100 & 103 & 99 \end{bmatrix} Dividing the DCT coefficient matrix element-wise with this quantization matrix, and rounding to integers results in: \begin{bmatrix} -26 & -3 & -6 & 2 & 2 & -1 & 0 & 0 \\ 0 & -3 & 4 & 1 & 1 & 0 & 0 & 0 \\ -3 & 1 & 5 & -1 & -1 & 0 & 0 & 0 \\ -4 & 1 & 2 & -1 & 0 & 0 & 0 & 0 \\ 1 & 0 & 0 & 0 & 0 & 0 & 0 & 0 \\ 0 & 0 & 0 & 0 & 0 & 0 & 0 & 0 \\ 0 & 0 & 0 & 0 & 0 & 0 & 0 & 0 \\ 0 & 0 & 0 & 0 & 0 & 0 & 0 & 0 \end{bmatrix} For example, using −415 (the DC coefficient) and rounding to the nearest integer \mathrm{round} \left( \frac{-415}{16} \right) = \mathrm{round} \left( -25.9375 \right) =-26 Typically this process will result in matrices with values primarily in the upper left (low frequency) corner. By using a zig-zag ordering to group the non-zero entries and run length encoding, the quantized matrix can be much more efficiently stored than the non-quantized version.
**William S. Dalton** is an American physician and oncologist, who is board certified in internal medicine and oncology. Since 2002 he has been the President, CEO, and Center Director of the H. Lee Moffitt Cancer Center and Research Institute at the University of South Florida (USF). He served as dean of the University of Arizona College of Medicine, 2001-2002. Education --------- Dalton obtained a Ph.D. in toxicology and medical life sciences as well as an M.D. at Indiana University, where he also completed his internship in medicine. He then completed a residency in medicine, a fellowship in oncology and a fellowship in clinical pharmacology at the University of Arizona. Career ------ Dalton became a professor of oncology, biochemistry and medicine at USF in 1997. He was the founding chair of what is now the "Department of Oncologic Sciences". He also served as associate center director for clinical investigations at the Moffitt Cancer Center, becoming deputy director in 1999, and he served as associate vice president of health sciences at USF. In 2001, Dalton became dean of the University of Arizona College of Medicine, where he had earlier been the founding director of the Bone Marrow Transplant Program. In 2002, after only seven months, he returned to USF as president, chief executive officer, and director of the Moffitt Cancer Center. He established an initiative called Total Cancer Care with an emphasis on a personalized approach to the treatment of cancer. Dalton also serves as chair of the Science Policy and Legislative Affairs Committee for the American Association for Cancer Research. Research -------- Dalton's research concerns drug discovery, the biochemical mechanisms of drug resistance, and the biology and treatment of multiple myeloma. He has published over 250 articles in peer-reviewed scientific and medical journals, which have been cited over 12,000 times, resulting in an h-index of 58. Awards ------ * K.K. Chen Award in Pharmacology, Indiana University * Raymond R. Paradise Memorial Lecturer, Department of Pharmacology, Indiana University * 10th Annual Theodore Segal Memorial Lecturer, Department of Medicine, University of Louisville * Fellowship in the American College of Physicians-American Society of Internal Medicine * 2010 Leadership in Personalized Medicine Award, Personalized Medicine Coalition
1999 British film by Michael Winner ***Parting Shots*** is a 1999 British dark comedy film starring Chris Rea, Felicity Kendal, Oliver Reed, Bob Hoskins, Diana Rigg, Ben Kingsley, John Cleese and Joanna Lumley. It was the final film directed by Michael Winner. Upon release in the UK, the film gained controversy over its plot, and was widely criticised in the national press. It has since been evaluated as one of the worst films ever made. Plot ---- Photographer Harry Sterndale (Chris Rea) is diagnosed with stomach cancer and told he has just six weeks to live. Once a successful photographer, Harry was bankrupted by an investment scam pushed on him by his shallow ex-wife Lisa (Diana Rigg), who promptly left him for another man. After brooding for a few days, the usually mild-mannered Harry becomes set on revenge. With nothing to lose, he obtains a gun from the black market and embarks on a mission to kill all those who have wronged him, starting with Lisa. After the shooting, the police question him, but do not believe he is a killer. Harry next targets Gerd Layton (Bob Hoskins), the corrupt financier behind the investment scam. Posing as a repair man, he sneaks into Layton's home and drowns him in his own pool. His secretary, Jill (Felicity Kendal), is aware of the murder but covers for Harry since her own parents were a victim of Layton's scam. Brought together by the crime, Harry and Jill begin a relationship. They visit an upscale restaurant together but are abused and thrown out by the snobbish chef (Ben Kingsley). Later that night, Harry returns to the restaurant and shoots the chef in the car park. The next day Harry decides to hire a hitman, Jamie (Oliver Reed), to kill him so he can give Jill the resulting life insurance payout. Meanwhile, the police determine the gun used in the killing of the chef was the same one used to kill Lisa. The police raid Harry's house, but with no physical evidence they reluctantly let him go. He borrows from the bank as much money as he can and spends it on lavish hotels and a new car. The last two victims of his killing spree are a bully from his school days and a back-stabbing former boss. Upon returning to London, he passes the gun to Jamie since he no longer needs it. Harry is subsequently hospitalised by his cancer, but after operating they discover he has been misdiagnosed and his stomach pains were due to a simple ulcer. After the good news, Harry and Jill decide to marry. As they are leaving their hotel, Jamie takes a shot at Harry, however he misses and accidentally kills a foreign head-of-state staying in the same hotel. Jamie is apprehended and since he was using Harry's gun and has no chance of release, he takes responsibility for all of Harry's murders in a last act of charity. Cast ---- * Chris Rea as Harry Sterndale * Felicity Kendal as Jill Saunders * Oliver Reed as Jamie Campbell-Stewart * Bob Hoskins as Gerd Layton * Diana Rigg as Lisa Sterndale * Ben Kingsley as Renzo Locatelli * John Cleese as Maurice Walpole * Joanna Lumley as Freda Armstrong * Gareth Hunt as Inspector Charles Bass * Nicholas Gecks as Detective Constable Ray * Patrick Ryecart as Graham Cleverley * Peter Davison as John Fraser * Nicky Henson as Askew * Caroline Langrishe as Vanessa * Edward Hardwicke as Dr. Phil Joseph * Nicola Bryant as Beverley * Brian Poyser as President Zlomov * Sheila Steafel as President's Wife * Timothy Carlton as Commissioner Grosvenor * Roland Curram as Lord Selwyn * Jenny Logan as Lady Selwyn * Sarah Parish as Ad Agency Receptionist * Mildred Shay as Old Lady at Wedding * Andrew Neil as TV Newsreader * Taryn Kay as Ruth Layton * Michael Ayers as Young Harry Sterndale Background ---------- Winner came up with the basic storyline after a relationship of his had ended. Speaking to Tim Sebastian of the BBC in June 1999, Winner revealed: "We all have people we'd like to kill. Sometimes we want to kill them for a long time and sometimes it just lasts the few seconds that they're cutting you up, or being a nuisance. A girlfriend parted very nastily, and I thought 'I really wouldn't mind killing you' and five or six years later I thought, 'I still wouldn't mind.'" The majority of the cast was chosen personally by Winner, and included friends, those he had worked with professionally before, or other actors/actresses he wished to work with. Early discussions for the lead role suggested Neil Morrissey or Martin Clunes; however, when Winner met Chris Rea on a beach at Sandy Lane, Barbados, he was chosen instead. After filming had come to an end, Winner had told his personal assistant, Dinah May, that *Parting Shots* was likely to be his last film. Regardless, he had said working with Rea was "a real pleasure" and that he had enjoyed making the film more than any of his past ones. According to Peter Davison, John Alderton was offered the role of John Fraser. Alderton turned it down because of the violence, and the part went to Davison instead. Reception --------- *Parting Shots* was not well received by critics, with *Total Film* describes Winner's work as "offensive", "incompetent" and "bad in every possible way". Andrew Collins gave a strongly negative review of the film: "*Parting Shots*... is going to set the course of British film-making back 20 years. It is not only the worst British film produced in this country since *Carry On Emmannuelle* (quite a feat in itself), it is a thoroughbred contender for the crown of Worst Film Ever Made". In a hostile overview of Winner's films, Christopher Tookey claimed "*Parting Shots* is not only the most horrible torture for audiences that Winner has ever devised. It is also profoundly offensive, even by Winner's standards". Charlotte O'Sullivan, *The Independent's* film editor, claimed *Parting Shots* was "the worst film I've ever seen". O'Sullivan also took issue with the film for glorifying vigilantism: "It's Michael Winner and you know, he doesn't have any sense of irony. He seems to be saying it is okay to go and kill people". The journalist Miles Kington later claimed that despite the film's "glittering cast", it "was possibly the worst film ever made". In its entry on Michael Winner, the book *Contemporary British and Irish Film Directors* claimed *Parting Shots* "makes a bold challenge for the hotly contested mantle of worst British film ever made." British film historian I.Q. Hunter, discussing the question "What is the worst British film ever made?", listed *Parting Shots* as one of the candidates for that title.
Heritage listed school in Queensland **Roadvale State School** is a heritage-listed state school at 111 Roadvale Road, Roadvale, Scenic Rim Region, Queensland, Australia. It was designed by John Ferguson and Robert Ferguson of the Department of Public Works (Queensland) and was built from 1889 to 1899. It was added to the Queensland Heritage Register on 31 May 2019. History ------- Roadvale State School is located 8.5 kilometres (5.3 mi) north of Boonah and 65 kilometres (40 mi) south-west of Brisbane. It opened in 1889, soon after closer settlement commenced in the district. The school was established 2 kilometres (1.2 mi) east of the small township of Roadvale in a rural setting. It retains an 1889 Ferguson Teaching Building and an 1899 playshed. Its grounds are surrounded by open farmland. The school has been in continuous operation since its establishment and has been the focus for the local community as a place of important social and cultural activity. Roadvale forms part of the traditional land of the Yuggera Ugarapul people. When European settlement began in the area in the 1840s, large pastoral runs were established and the district became known as the Fassifern Valley. In the 1870s several of these were divided and made available for closer settlement. In the Roadvale area, German settlers cleared the land and began farming. As rural settlement increased throughout the Fassifern Valley, the Dugandan railway line was constructed in 1886–87 to provide an efficient means for farmers to transport produce to markets in Brisbane and Ipswich. The line branched from Ipswich to Dugandan via Boonah, and a station was built at Roadvale. This proved a catalyst for further settlement in the Roadvale area, attracting more immigrants, mainly from Germany, who established farms. The small township of Roadvale emerged to provide goods and services to the farmers. By the early 1900s Roadvale had become a bustling centre in the Fassifern Valley and boasted three hotels, several stores, banks, a post office, bakery, blacksmith's shop and a butcher. In the 1880s, as the population in Roadvale increased, so too did the need for a school. Although there were several earlier schools established in the district, including Blantrye, Milbong and Milora, all were several miles from Roadvale and the children found it difficult to travel that far every day. As a result, attendance at these schools by children from Roadvale was inconsistent. The settlers at Roadvale recognised the value of education for their children and in 1888, following the formation of a school building committee, an application was submitted to the Department of Public Instruction (the department) for a separate school for Roadvale. The department was assured that there would be at least 46 enrolments, with an age range from five to fourteen years. The provision of state-administered education was important to the colonial governments of Australia. National schools, established in 1848 in New South Wales, were continued in Queensland following the colony's creation in 1859. Following the introduction of the Education Act 1860, which established the Board of General Education and began standardising curriculum, training and facilities, Queensland's national and public schools grew from four in 1860 to 230 by 1875. The State Education Act 1875 provided for free, compulsory and secular primary education and established the department. This further standardised the provision of education, and despite difficulties, achieved the remarkable feat of bringing basic literacy to most Queensland children by 1900. The establishment of schools was considered an essential step in the development of early communities and integral to their success. Locals often donated land and labour for a school's construction and the school community contributed to maintenance and development. Schools became a community focus, a symbol of progress, and a source of pride, with enduring connections formed with past pupils, parents, and teachers. When the application was made for a school at Roadvale, the community had raised £70 and by November 1888, £130 had been raised. A 2-acre (0.81 ha) site on Portion 141 was donated by Roadvale settler, Rudolph Beitzel, with the department's assurance that he would be reimbursed £24 for the land. This occurred several years later. Initially, the department had reservations about a school at Roadvale, due to the number of schools in the district. However, following further requests from the Roadvale community, and consideration of the potential growth of the area, the department approved the construction of the school. On 7 February 1889 tenders were called for "the erection of new state school buildings at Roadvale". The successful contractor was Charles Newman and would cost £610. The announcement was made in the Brisbane Courier: "the Government having decided to establish a state school at Roadvale, near Blantyre, have accepted the tender of Charles Newman". To help ensure consistency and economy, the Queensland Government developed standard plans for its school buildings. From the 1860s until the 1960s, Queensland school buildings were predominantly timber-framed, an easy and cost-effective approach that also enabled the government to provide facilities in remote areas. Standard designs were continually refined in response to changing needs and educational philosophy and Queensland school buildings were particularly innovative in climate control, lighting, and ventilation. Standardisation produced distinctly similar schools across Queensland with complexes of typical components. View from the north-west, 2018 The new building at Roadvale State School was built to a standard design (B/T4) that had been introduced in 1880 and constructed across the colony until 1893. Employed by the Department of Public Instruction, Robert Ferguson was responsible for school building design between 1879 and 1885 and he was the first to give serious consideration to the ventilation of interiors. Into the low-set, timber-framed buildings Ferguson introduced a coved ceiling and vented the roof space, improving internal temperatures. The number of windows and their size was increased; however, they were few in number and sill heights were typically over 4'6" (1.3m) above floor level, well above eye level of students. Modestly-decorative timber roof trusses were exposed within the space. Built to this standard design, the new school building at Roadvale State School was a lowset, timber-framed structure with gable roof, verandahs front and back, and modest "carpenter gothic" timber detailing. It had a single classroom space, naturally lit and ventilated by windows on the east and west gable-end walls. In 1885 Robert Ferguson was replaced by his brother John Ferguson who continued to implement his brother's designs until John's death in 1893, when responsibility for school buildings passed back to the Department of Public Works. The Ferguson period (1879-1893) is distinct and marked by extensive redesign of school buildings including associated structures and furniture. The Ferguson brothers' designs were reflective of education requirements of the time, responsive to criticism of previous designs, revolutionary in terms of internal environmental quality, technically innovative, popular and successful and provided a long-lasting legacy of good educational design. Roadvale State School was opened on the 14 November 1889 with William Seeley appointed the school's first head teacher, and an enrolment of 31 students. Seeley taught at the school until 1899. By 1899 the enrolments had increased to 51 students. A teacher's residence was also constructed in 1889. Unfortunately, this was destroyed by fire in 1917. The school became the centre for the Roadvale district's social life with dances, fund-raising events and community group meetings held in the school building. In 1904, following the construction of the Roadvale School of Arts on the main street of town, many of these activities were then carried out in the new hall. Playshed from the north-west, 2018 In 1899 the playshed was built. The Queensland education system recognised the importance of play in the school curriculum and, as school sites were typically cleared of all vegetation, the provision of all-weather outdoor space was needed. Playsheds were designed as free-standing shelters, with fixed timber seating between posts and earth or decomposed granite floors that provided covered play space and doubled as teaching space when required. These structures were timber-framed and generally open sided, although some were partially enclosed with timber boards or corrugated galvanised iron sheets. The hipped (or less frequently, gabled) roofs were clad with timber shingles or corrugated iron. Playsheds were a typical addition to state schools across Queensland between c. 1880s and the 1950s, although less frequently constructed after c. 1909, with the introduction of highset school buildings with understorey play areas. Built to standard designs, playsheds ranged in size relative to student numbers. In 1948 the Roadvale State School playshed was partially enclosed with iron sheeting which had come from the recently closed Obum Obum State School's playshed, and in 1956 the playshed floor was concreted. A major problem that affected the small township of Roadvale was the lack of an efficient water supply. In the late 19th century it had been reported by the school inspector, that "there is no water ... the inhabitants of the scrub have to cart water from the Teviot Brook". By the turn of the century, most residents and businesses had erected water tanks. A crisis unfolded in the town on 29 October 1915, when a fire began in the Humphreys and Tow store on the main street. The district had experienced particularly dry and hot conditions and the fire quickly spread to neighbouring businesses and homes. With water tanks running low, effectively fighting the fire proved challenging, "Roadvale was particularly unfortunate in this matter, as it had not water supply beyond the tanks, and these must have been fairly low from the protracted dry spell". The fire destroyed most of the buildings in the main street including several stores, the Royal Hotel, the Royal Bank and its manager's residence, and a number of houses. Although some of the buildings were rebuilt and businesses re-opened, the township's prominence as a district centre had been diminished. From as early as the late 19th, and into the 20th century, Arbor Day was celebrated at Roadvale State School with tree planting, sports activities, luncheons in the playshed and dances held at night. The early plantings are no longer extant. Other social and fund-raising events held at the school included concerts, picnics, sports days and fancy-dress balls. From November 1920 until the end of January 1921, the school was temporarily closed due to a diphtheria outbreak. The district medical officer reported twenty students carrying the disease. Four of the children became sick. The school became a temporary isolation hospital, with the parents of the afflicted children providing the beds and other comforts to the school while the children recovered. A nurse was provided by the Health Department. All four children recovered, and following a thorough sterilisation of the school, it was reopened for the 1921 school year. Roadvale State School's enrolments remained steady throughout the early 20th century with an average of 30 students enrolled per year. In 1939 the school celebrated its Golden Jubilee (50th anniversary). A committee was formed to organise the celebrations, and in October 1939 an invitation was published in local newspapers, "Roll Up!! Roadvale State School, Golden Jubilee Celebrations ... Past scholars, all friends welcome". The celebrations were held on Saturday 11 November 1939 and attended by up to 500 people, including 26 original former pupils. Speeches were made by visiting dignitaries including two state parliamentarians and the Chairman of the Boonah Shire Council. A lunch was served in the decorated playshed and a temporary marquee was set up beside it. The local Milbong brass band provided the entertainment. After lunch a roll-call was held, with the names of all the original pupils present read out; speeches were then made. As the day was held on Armistice Day (Remembrance Day), two minutes of silence was observed. Only a few months before the Golden Jubilee, war had again broken out in Europe, and in his speech, EB Maher MLA reflected the community's concern, "Let us hope and pray that Divine Providence will animate the hearts and minds of rulers in Europe, so that the present struggle will come to a speedy end". Ten years later in 1949, the school celebrated its Diamond Jubilee in a similar fashion. For the school's centenary in 1989, celebrations were held at the school on Saturday 11 November, a commemorative plaque placed in the school grounds and a school history published to commemorate the occasion, Roadvale State School Centenary, 1889–1989. School bell on the front verandah, 2018 The teaching building (called Block A in 2019) remained largely unaltered until 1970 when it had a small enclosure made on its northern verandah for a new store room and library, and all of its windows were altered to increase internal lighting conditions. Banks of awning windows with flat sunhoods replaced the original windows on the gable ends, doubling the window areas here, and banks of glass louvres replaced the windows in the southern verandah wall. The windows of the northern verandah wall were removed and closed over. Designed in 1965, this alteration also included replacing the length of the north verandah balustrade and bag racks. In 1978 the front verandah was further enclosed for a wet area space at the east end and the verandah wall between it and the classroom was opened up. In 1987 the front wall between it and the classroom was opened up. Other small buildings were added to the site over time. In 1975 a modular building (Block B) was constructed behind Block A and in the 1990s and 2000s two more modular buildings were constructed on the site (Block C and D). In 1982 a teacher's residence (constructed c. 1957) was moved from Nerang State School to Roadvale to the site beside the school. In 2019, the school encompasses a 4.29-hectare (10.6-acre) site, having been extended to the south east in 1994. Roadvale State School has played an important role in the Roadvale district community since 1889 and continues to do so. Generations of students have been taught there and many social events held in the school's grounds and teaching building since its establishment. The school continues to be a centre for social, sporting and community events. Description ----------- Site map, 2019 Roadvale State School occupies a 4.29ha site in Roadvale, a rural township in the Fassifern Valley, approximately 35 km south of Ipswich The school site is located 2 km east of the Roadvale township centre, and addresses Roadvale Road to the north with rural properties bounding all other sides.  The significant school buildings are located in the northwest corner of the site. Playshed (left) and school building (right), 2018 The heritage boundary incorporates the northwest corner of the school site (total area of 1629m2). Features of state-level cultural heritage significance are: * Ferguson Teaching Building (Block A, 1889) * Playshed (1899) * Open school yard between significant buildings and Roadvale Road, including a concrete footpath from front entrance to Block A * Views and open space between Block A, the Playshed and Roadvale Road The two structures stand in their original locations, in alignment with each other and set back an equal distance from Roadvale Road. ### Ferguson Teaching Building (1889) Block A is a lowset, single-storey, timber-framed and -clad teaching building, with a gable roof. Along its long sides, the building has front (north) and rear (south) verandahs (now partially and fully enclosed, respectively). The building is accessed via a small timber stair centred with the front verandah, at the end of a footpath aligned with the school entrance. The interior of the building comprises a former teaching room (now an administration office and staff room, divided by a non-significant part-height partition), with the single former classroom space clearly identifiable. Windows in the gable end walls provide natural light and ventilation to the interior. Evidence of the changes made over time can be read in the building fabric, particularly at the joins in weatherboards in gable end walls where verandahs have been enclosed, and where original fabric survives from hat room enclosures within the rear verandah. ### Playshed (1899) Playshed interior, 2018 The playshed is a 10-post, timber-framed, rectangular sheltered play space, located directly east of and aligned with Block A. Heritage listing ---------------- Roadvale State School was listed on the Queensland Heritage Register on 31 May 2019 having satisfied the following criteria. **The place is important in demonstrating the evolution or pattern of Queensland's history.** Roadvale State School (established in 1889) is important in demonstrating the evolution of state education and its associated architecture in Queensland. The place retains good, representative examples of standard government designs that were architectural responses to prevailing government educational philosophies. These buildings at Roadvale include: a Ferguson teaching building (Block A, 1889) and a playshed (1899), with play areas. The Ferguson-designed, timber Teaching Building demonstrates an early standardised design that sought to address the practicality and comfort of school buildings; with later modifications that improved natural lighting and ventilation. The playshed is representative of Queensland Government's recognition of the importance of play in the education of children. **The place is important in demonstrating the principal characteristics of a particular class of cultural places.** Roadvale State School is important in demonstrating the principal characteristics of a Queensland state school, including building designs by the Queensland Government, with play areas. The school is a good example of a modest country school. The Ferguson Teaching Building (Block A, 1889) is a good, intact example of a Ferguson-designed timber country school building and demonstrates the principal characteristics of its type. These include its lowset form with gable roof; front and rear verandahs; timber-framed and -clad construction; vents to the apexes of gable end walls; lofty classroom of original width and length with coved ceiling; exposed timber tie beams; and early timber joinery. The playshed (1899) is a good, intact example of a standard 10-post Department of Public Works-designed playshed. It demonstrates the principal characteristics of its type through its hip roof with exposed timber framing, timber posts and braces; and its surrounding of open space. **The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.** Roadvale State School has a strong and ongoing association with past and present pupils, parents, staff members, and the surrounding community through sustained use since its establishment in 1889. The place is important for its contribution to the educational development of Roadvale, with generations of children taught at the school, and has served as a prominent venue for social interaction and community focus. Contributions to its operations have been made though repeated local volunteer action, donations, and an active Parents and Citizens Association. Further reading --------------- Wikimedia Commons has media related to Roadvale State School. * *Roadvale State School centenary 1889 - 1989*, Roadvale State School, 1989
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It is generally referred to as a **comic** or a **comic magazine**, and historically as a **comic paper**. In 2014, the three longest-running comics in history were all British. British comics are usually comics anthologies which are typically aimed at children, and are published weekly, although some are also published on a fortnightly or monthly schedule. The two most popular British comics, *The Beano* and *The Dandy*, were released by DC Thomson in the 1930s. By 1950 the weekly circulation of both reached two million. Explaining the enormous popularity of comics in British popular culture during this period, Anita O’Brien, director curator at London's Cartoon Museum, states: "When comics like *The Beano* and *Dandy* were invented back in the 1930s – and through really to the 1950s and 60s – these comics were almost the only entertainment available to children." In 1954, *Tiger* comics introduced *Roy of the Rovers*, the hugely popular football based strip recounting the life of Roy Race and the team he played for, Melchester Rovers. The stock media phrase "real 'Roy of the Rovers' stuff" is often used by football writers, commentators and fans when describing displays of great skill, or surprising results that go against the odds, in reference to the dramatic storylines that were the strip's trademark. Other comics such as *Eagle*, *Valiant*, *Warrior*, *Viz* and *2000 AD* also flourished. Some comics, such as *Judge Dredd* and other *2000 AD* titles, have been published in a tabloid form. Underground comics and "small press" titles have also appeared in the UK, notably *Oz* and *Escape Magazine*. While the bestselling comics in the UK have historically been native products,[] American comic books and Japanese manga are also popular.[*quantify*] Overview -------- Cover to 27 December 1884 edition of *Ally Sloper's Half Holiday*. The description *comics* derived from the names of popular titles such as *Comic Cuts*, and from the fact that in the beginning all the titles presented only comical (i.e. humorous) content. British comics typically differ from the American comic book. Although historically they shared the same format size, based on a sheet of 30 x 22 inch imperial paper, folded, British comics have moved away from this size, adopting a standard magazine size. Until that point, the British comic was also usually printed on newsprint, with black or a dark red used as the dark colour and the four colour process used on the cover. *The Beano* and *The Dandy* both switched to an all-colour format in 1993. Originally aimed at the semi-literate working class (in that it replaced the text-based stories of the story papers with picture-based stories, which were less challenging for a poorly educated readership), the comic gradually came to be seen as childish (in part because, due to gradual improvements in public education, children were eventually the only remaining market for a format designed to be unchallenging for the reader). Hence by the mid 20th Century it was being marketed exclusively towards children. Historically, strips were of one or two pages in length, with a single issue of a comic containing upwards of a dozen separate strips, featuring different characters. In more recent times, strips have become longer and have tended to continue over a number of issues and periods of time. Whilst some comics contained only strips, other publications such as *Jackie* have had a slightly different focus, providing their girl readers with articles about, and photographs of, pop stars and television/film actors, plus more general articles about teenage life, whilst throwing in a few comic strips for good measure. For boys there were, historically, similar publications based upon soccer, such as *Shoot!*, which featured non-fiction picture articles about popular footballers, league clubs, and general football news, accompanied by a limited range of football-based comic strips. In British comics history, there are some extremely long-running publications such as *The Beano* and *The Dandy* published by D. C. Thomson & Co. a newspaper company based in Dundee, Scotland. *The Dandy* began in 1937 and *The Beano* in 1938. *The Beano* is still going today while *The Dandy* ceased print publication in 2012. The *Boys' Own Paper*, another long-running publication which was aimed at boys in a slightly older age group, lasted from 1879 to 1967. There has been a continuous tradition, since the 1950s, of black and white comics, published in a smaller page size format, many of them war titles such as *Air Ace*, inspiring youngsters with tales of the exploits of the army, navy and Royal Air Force, mainly in the two world wars. There have also been some romance titles and some westerns in this format. On 19 March 2012, the British postal service, the Royal Mail, released a set of stamps depicting characters and series from British comics. The collection featured *The Beano, The Dandy, Eagle, The Topper, Roy of the Rovers, Bunty, Buster, Valiant, Twinkle* and *2000 AD*. History ------- ### 19th century In the 19th century, story papers (containing illustrated text stories), known as "penny dreadfuls" from their cover price, served as entertainment for British children. Full of close-printed text with few illustrations, they were essentially no different from a book, except that they were somewhat shorter and that typically the story was serialised over many weekly issues in order to maintain sales. These serial stories could run to hundreds of instalments if they were popular. And to pad out a successful series, writers would insert quite extraneous material such as the geography of the country in which the action was occurring, so that the story would extend into more issues. Plagiarism was rife, with magazines profiting from competitors' successes under a few cosmetic name changes. Apart from action and historical stories, there was also a fashion for horror and the supernatural, with epics like *Varney the Vampire* running for years. Horror, in particular, contributed to the epithet "penny dreadful". Stories featuring criminals such as 'Spring-Heeled Jack', pirates, highwaymen (especially Dick Turpin), and detectives (including Sexton Blake) dominated decades of the Victorian and early 20th-century weeklies. Cover of *Illustrated Chips* in 1896 featuring the first appearance of the long-running comic strip of the tramps Weary Willie and Tired Tim. Comic strips—stories told primarily in strip cartoon form, rather than as a written narrative with illustrations—emerged only slowly. Scottish-born newspaper proprietor James Henderson began publishing *Funny Folks* in 1874. Writer Denis Gifford considered *Funny Folks* to be the first British comic, though at first it tackled topical and political subjects along the same lines as *Punch*. The magazine was heavily illustrated, with cartoons by John Proctor, known as Puck, among others, and benefitted from innovations in the use of cheap paper and photographic printing. *Ally Sloper's Half Holiday* (1884) is regarded as the first comic strip magazine to feature a recurring character (Ally Sloper). This strip cost one penny and was designed for adults. Ally, the recurring character, was a working-class fellow who got up to various forms of mischief and often suffered for it. In 1890 two more comic magazines debuted before the British public, *Comic Cuts* and *Illustrated Chips*, both published by Amalgamated Press. These magazines notoriously reprinted British and American material, previously published in newspapers and magazines, without permission. The success of these comics was such that Amalgamated's owner, Alfred Harmsworth, was able to launch the *Daily Mirror* and the *Daily Mail* newspapers on the profits. Comics were also published as accompaniments to women's magazines at the end of the century. *Jungle Jinks,* which held the honor of being the longest running British comic until 1954, first appeared in 1898 as a supplement to *Home Chat;* drawn by Mabel F. Taylor, it was the first anthropomorphic animal British comic. ### 20th century Cover to *The Beano*, January 6, 1940 edition. Over the next thirty years or so, comic publishers saw the juvenile market as the most profitable, and thus geared their publications accordingly, so that by 1914 most comics were standalone booklets aimed at eight- to twelve-year-olds. The interwar period is notable mainly for the publication of annuals by Eagle Press, and also the emergence of D. C. Thomson & Co. Ltd. D. C. Thomson launched both *The Beano* and *The Dandy* in the late 1930s, which thrived during the Second World War. Their successful mix of irreverence and slapstick led to many similar titles, notably *Buster*, *Topper* and *Beezer*. However the originators of this format have outlasted all rivals, and *The Beano* is still published today. > The problem which now faces society in the trade that has sprung up of presenting sadism, crime, lust, physical monstrosity, and horror to the young is an urgent and a grave one. > > — *The Times*, 12 November 1954 In the early 1950s, "lurid American 'crime' and 'horror comics' reached Britain", prompting what in retrospect has been characterised as a moral panic. Copies of *Tales from the Crypt* and *The Vault of Horror*, which arrived as ballast in ships from the United States, were first only available in the "environs of the great ports of Liverpool, Manchester, Belfast and London", but by "using blocks made from imported American matrices", British versions of *Tales from the Crypt* and *The Vault of Horror* were printed in London and Leicester (by companies like Arnold Book Company) and sold in "small back-street newsagents." The ensuing outcry was heard in Parliament, and at the urging of the Most Reverend Geoffrey Fisher, the Archbishop of Canterbury, Major Gwilym Lloyd George, the Home Secretary and Minister of Welsh Affairs, and the National Union of Teachers, Parliament passed the Children and Young Persons (Harmful Publications) Act 1955. The act prohibited "any book, magazine or other like work which is of a kind likely to fall into the hands of children or young persons and consists wholly or mainly of stories told in pictures (with or without the addition of written matter), being stories portraying (a) the commission of crimes; or (b) acts of violence or cruelty; or (c) incidents of a repulsive or horrible nature; in such a way that the work as a whole would tend to corrupt a child or young person into whose hands it might fall." Although the act had a sunset clause, in 1969 the Act was made permanent, and continues to be in force today, represented, for example, in the Royal Mail prohibition against mailing horror comics and the matrices used to print them. Cover of *Eagle*, 12 October 1963. During the 1950s and 1960s, the most popular comic for older age-group boys was *Eagle* published by Hulton Press. *Eagle* was published in a more expensive format, and was a gravure-printed weekly. This format was used originally by *Mickey Mouse Weekly* during the 1930s. *Eagle*'s success saw a number of comics launched in a similar format — *TV Century 21*, *Look and Learn* and *TV Comic* being notable examples. Comics published in this format were known in the trade as "slicks." At the end of the 1960s, these comics moved away from gravure printing, preferring offset litho due to cost considerations arising from decreasing readership. However, the boys' adventure comic was still popular, and titles such as *Valiant* and *Tiger*, published by IPC Magazines, saw new adventure heroes become stars, including *Roy of the Rovers* who would eventually gain his own title. Odhams Press was a company that mainly printed (adventure-oriented) new material; it also reprinted American Marvel Comics material in its Power Comics line, which included the titles *Smash!* and *Fantastic*. By 1970 the British comics market was in a long-term decline, as comics lost popularity in the face of the rise of other popular pastimes for children. Initially, the challenge was the rising popularity of television, a trend which the introduction of colour television to Britain during 1969 set in stone. In an effort to counter the trend, many publishers switched the focus of their comics to television-related characters. The television shows of Gerry Anderson, such as *Thunderbirds* and *Captain Scarlet and the Mysterons*, had begun this in the mid-1960s with the launch of tie-in comics such as *TV Century 21* and *Lady Penelope*, which included strips related to Anderson's TV shows (as well as other popular programs of the era). Polystyle Publications already published a TV-related comic for young children called *TV Comic*, and in 1971 moved into the older market with *Countdown* (later retitled *TV Action*). The teenage market saw *Look-in* magazine feature strips solely based on popular television programs. Another strand of the reaction to television was the launch of comics focused entirely on association football (a sport as popular as television amongst boys), with titles such as *Shoot* and *Scorcher and Score*. Those comics that didn't compete with the popularity of television began to close down, merging with the few survivors. In the 1970s very few boys' comics in the "slick" format were launched, although Polystyle's *Countdown* was one exception, launching in 1971 with content similar to *TV21* (which had disappeared by then) and *TV Comic*. *Vulcan*, a reprint title, was another, in 1976. Girls' titles which had launched in the slick format in the 1960s continued in that format into the 1970s; and others, such as *Diana* and *Judy*, changed to become slicks. They found themselves in the same market as teenage titles for girls such as *Boyfriend* and *Blue Jeans*, which had changed their content and were featuring mainly product-related articles and photo comics. In 1972, Marvel set up a publishing arm in the UK, Marvel UK, reprinting American superhero strips. These proved extremely popular, and a range of weekly titles was being published by 1975. So much so that in 1976 the parent company briefly published a minimal amount of new material specifically for the UK market in *Captain Britain*. The American reprint material proved to be more successful and continued to appear into the 1980s, at which stage Marvel UK also began diversifying into home-produced original material, both UK-originated strips featuring American created characters such as Captain Britain, the Hulk and the Black Knight, and wholly original strips like *Night Raven*. They also began producing television-based material, initially with *Doctor Who Weekly*, launched in 1979. In the late 1960s and into the 1970s, the underground comics movement inspired two new comics in the UK: *Oz* and *Nasty Tales* were launched with the underground premise of counter-culture rebellion. *Oz* notoriously featured the children's character *Rupert the Bear* performing sexual acts. Both magazines were tried at the Old Bailey under the Obscene Publications Act because of their content. The *Oz* defendants were convicted, although the conviction was overturned on appeal. The *Nasty Tales* defendants were cautioned.[] However, both these comics ceased publication soon after their trial, as much due to the social changes at the end of the counter-culture movement as any effect of the court cases. These were always adult magazines, not aimed at the mainstream children's market. In the mid-1970s, British comics became more action-oriented. The first such title to be launched was *Warlord* in 1974. Published by DC Thomson, it proved to be a success, and led to its then-rival, IPC Magazines Ltd, producing *Battle Picture Weekly*, a comic notably grimmer in style than its competitor. *Battle's* success led to IPC launching another, similarly styled title, *Action*, which became a success too but also became controversial, due to its violent content, such as a front cover illustration which appeared to show armed children beating up a helpless police officer. Complaints about its tone eventually led to questions being asked in the House of Commons. As a result, and despite the comics' popularity, IPC decided to drastically tone down the content after 36 issues, and issue 37 was pulped. When it returned to newsstands it was far less violent, which neutered the comic's appeal. The title quickly declined and was merged with *Battle*. Cover of the first issue of *2000 AD*, 26 February 1977. *Action's* position as the UK's most popular title was taken over by *2000 AD*, a science-fiction comic launched in 1977 by IPC. Created as a comic for older boys, it also held appeal for teenage and even adult readers. In the 1960s IPC began to source comic art from Spain, mainly for financial reasons. This trend was continued through to the launch of *2000 AD*. Carlos Ezquerra is the most notable Spanish artist to have worked in British comics, having worked on both *Battle* and *2000 AD*, and is credited with the creation of the look of Judge Dredd. *Star Wars Weekly*, published by Marvel UK, launched in 1977, lasted until 1986. In 1982 *Eagle* was relaunched, this time including photo comics, but still with *Dan Dare* as the lead story. The comic moved it from the front page to the centre pages to allow a more magazine-style cover. In 1978 *The Adventures of Luther Arkwright* by Bryan Talbot began serialisation in *Near Myths* (and continued in other comics after that title folded). *Luther Arkwright* was later collected as a graphic novel, and has been called the first British graphic novel. In 1982 Dez Skinn launched *Warrior*, possibly the most notable comic of the period, as it contained both the *Marvelman* and *V for Vendetta* strips, by Alan Moore. *Warrior* was a British equivalent of *Heavy Metal* magazine. Marvelman was a Captain Marvel clone that Skinn acquired, although the legality of that acquisition has been questioned. In Moore's hands, the strip became an "adult" style superhero, and was later reprinted, with the story continued, in an American full-color comic, with the name changed from "Marvelman" to "Miracleman" to avoid any lawsuits that Marvel Comics may have considered. Eventually, *Warrior* succumbed to copyright issues. Adult comics also witnessed a slight resurgence with *psst!*, an attempt to market a French-style monthly bande dessinée, and *Escape* magazine, published by Paul Gravett, former *psst!* promotions man. *Escape* featured early work from Eddie Campbell and Paul Grist, amongst others. Neither comic managed to survive in the vagaries of the comics market, *Escape* beset by lack of publisher interest. During this period a number of smaller publishers were formed to provide inventive publications appealing to niche markets. Congress Press was one of these companies, releasing titles such as *Birthrite*, *Heaven & Hell* and a graphic novel, *Spookhouse*. Other small publishers of the era included Harrier Comics (1984–1989) and Acme Press (1986–1995). Most of the surviving titles published by IPC, Fleetway, and DC Thomson were merged into each other in the late 1980s and early 1990s, as the popularity of comics waned further in response to a surge in the popularity of television (a popularity which received another major boost from the late 1970s onward as domestic videocassette recorders became available), and due to the popularity of video games (as inexpensive home computers such as the ZX Spectrum, mainly used for gaming, became available from 1980). Although new comics titles were launched in this period, none seemed to find a sustainable audience. Notable comics of the period included *Deadline*, *Toxic!*, *Crisis*, and *Revolver*. *Deadline* was conceived by Steve Dillon and Brett Ewins, and mixed original strips with reprints of U.S. strips, notably *Love & Rockets*, and articles and interviews on the British independent music scene of the time. *Tank Girl* was its most notable strip. *Crisis* was published by Fleetway Publications, a company formed from IPC's comics holdings. It was aimed at readers who had outgrown *2000 AD*, and featured first works by Garth Ennis and Sean Phillips amongst others. One publication of that period did find an audience. *Viz* began life in 1979 as a fanzine style publication, before, in 1989, becoming the biggest selling comic in the country. Based upon bad taste, crude language, crude sexual innuendo, and the parodying of strips from *The Dandy* (among them *Black Bag – the Faithful Border Bin Liner*, a parody of *The Dandy's* *Black Bob* series about a Border Collie), the popularity of *Viz* depended entirely upon a variant of Sixties counter-culture; and it promptly inspired similarly themed titles, including *Smut*, *Spit!*, *Talking Turkey*, *Elephant Parts*, *Gas*, *Brain Damage*, *Poot!*, *UT* and *Zit*, all of which failed to achieve *Viz'*s longevity and folded, while *Viz* remained one of the United Kingdom's top-selling magazines. ### 21st century Beginning in 2000, the British market arrested its long decline. However, there is no sign of any great growth in circulation for the few remaining titles, and no sign of any new launches from mainstream publishers into the comics arena. An ever-increasing number of small press and fanzine titles are being produced, such as *Solar Wind* or *FutureQuake*, aided by the cheapness and increasingly professional appearance of desktop publishing programs. It is from this scene that the UK's new talents now tend to emerge (e.g. Al Ewing, Henry Flint or Simon Spurrier). The English musician Peter Gabriel issued in 2000 The Story of OVO which was released in a CD-booklet-shaped comic book as part of the CD edition with the title "OVO The Millennium Show". The 2000 Millennium Dome Show based on it. After they were purchased by Rebellion Developments, both *2000 AD* and the *Judge Dredd Megazine* have seen the release of more adaptations and trade paperbacks, including complete reprint collections of the entire runs of *Judge Dredd*, *Strontium Dog* and *Nemesis the Warlock*. Starting in 2006 the *Megazine* began a regular small press section which usually features an article on a title by Matthew Badham or David Baillie and a small press story. While British companies and creators have helped create the market for collected volumes there have, with a few exceptions like Raymond Briggs, been very few British original graphic novels published. Briggs himself has said "On the Continent, graphic novels have been as accepted as films or books for many years, but England has had a snobby attitude towards them. They've always been seen as something just for children". However, thanks to the strong sales for Briggs' *Ethel and Ernest*, and *Jimmy Corrigan* winning *The Guardian'*s best first novel award, publishers have started expanding into this area. Random House UK's imprint Jonathan Cape has tripled its graphic novel output and Random House has also established Tanoshimi to publish manga. Other publishers have also been increasing their output, which, as well as producing original works like *Alice in Sunderland*, have also been included adaptations of works of literature. There are a number of new publishers who are specifically targeting this area, including Classical Comics and Self Made Hero, the latter having an imprint focused on manga adaptations of the works of Shakespeare. This highlights another recent change, as there has been an increase in British original English-language manga. Self Made Hero's 'Manga Shakespeare' imprint draws on talent discovered in Tokyopop's UK/Irish version of *Rising Stars of Manga*, including members of the UK collective Sweatdrop Studios, who have also contributed to other British-based efforts like ILYA's *Mammoth Book of Best New Manga* and *MangaQuake*. Creators involved in those collections who have gone on to do several manga style graphic novels include British based Japanese creators such as Chie Kutsuwada and Michiru Morikawa, as well as, conversely, a British writer based in Japan, Sean Michael Wilson. Released at the start of the 21st century was *Toxic*, a comic which mixed comic strips alongside game reviews and other articles. Beginning in 2002, this comic proved very successful and is still running. Its influence can be felt on other comics as well most notably when *The Dandy*, Britain's longest-running comic at the time, became the *Dandy Xtreme* in August 2007; it borrowed many of the features prevalent in *Toxic*, mixing articles alongside comic strips. However, *The Dandy* eventually moved away with this strategy in October 2010, when the comic was revamped, and published its final issue on its 75th anniversary in 2012. The *BeanoMAX* (which also started in 2007) also borrowed some of *Toxic'*s features. That title was then replaced by *The 100% Official Dennis the Menace and Gnasher Megazine*, which was later renamed *Epic* before ending in 2019. *The DFC* launched at the end of May 2008 drawing together creators from the small press and manga, as well as figures from mainstream British comics and other fields, including author Philip Pullman. As it transpired, it didn't make it to its first birthday, ending with issue 43. A new more successful comic, however, *The Phoenix*, began in January 2012, a successor to *The DFC* which has already reached 500 issues. Starting in May 2023, Rebellion published a five-issue series of *Battle Action*, with each issue featuring two complete stories. Reprint market for US comics ---------------------------- After World War II, the UK was intent on promoting homegrown publishers, and thus banned the direct importation of American periodicals, including comic books. As a result, U.S. comic books typically arrived in the UK as ballast on ships. Although the comics-reading public in the UK was not always able to get reliable supplies of American comics, it has always enjoyed the different approach to comics writing from the other side of the Atlantic. *Sheena, Queen of the Jungle* — a female version of Tarzan (with an element of H. Rider Haggard's *"She who must be obeyed"* – She... Na!) — was licensed from the Eisner & Iger studio for a British/Australasian tabloid, *Wags*, in 1937. The success of this character led to the Sheena stories being repackaged for publication in the United States for Fiction House's *Jumbo Comics*, thus exporting the character back to her country of origin. Beginning in the 1940s, the available American comics were supplemented by a variety of black-and-white reprints of Fawcett's Captain Marvel, characters such as Sheena, Mandrake the Magician, The Phantom, and Marvel Comics' 1950s monster comics. Several reprint companies were involved in this repackaging American material for the British market, notably L. Miller & Son, the Arnold Book Company, Alan Class Comics, and the importer/distributor/publisher Thorpe & Porter. Thorpe & Porter began by publishing Dell's *Four Color* series and *Classics Illustrated* in the UK. They also republished similar formatted titles under various names. Thorpe & Porter' Stratos imprint published a long-running Western comics series, *Kid Colt, Outlaw*, which contained black-and-white reprints from both Atlas Comics and DC. T & P also published some material never published in the US. When Captain Marvel ceased publication in the United States because of a lawsuit, L. Miller & Son copied the entire Captain Marvel idea in every detail, and began publishing their own knock-off under the names Marvelman and Young Marvelman, taking advantage of different copyright laws. These clone versions, created by British writer/artist Mick Anglo, continued for a few years and, as seen above, were revived years later in *Warrior*. The British publishers reprinted many other American series, including the early 1950s *Eerie* and *Black Magic* in black-and-white format. These usually contained the American stories related to the cover but also additional backup stories to fill up the 64 pages.[] In 1959, the UK ban on direct importation was lifted. Thorpe & Porter became the sole UK distributor of both DC and Marvel comics. The comics were printed on American printing presses — along with a special cover giving the British price instead of the price in cents — and shipped across the Atlantic. Thus it was that brand-new American-printed copies of *Fantastic Four* #1, *Amazing Fantasy* #15, and countless others appeared in the UK. Thorpe & Porter went bankrupt in 1966 and was purchased by the distribution arm of DC Comics, then known as IND. As a result, T & P's output became almost exclusively reprints of DC titles. Marvel Comics superhero reprints appeared in Odhams Press' Power Comics line in 1966–1969, overlapping for a period with Alan Class Comics' reprinting of some of Marvel's superhero characters. Marvel reprints also appeared in City Magazines' *TV21* in 1970–1971. And in 1972 Marvel launched Marvel UK, cornering the market on Marvel reprints; key titles included *The Mighty World of Marvel* and *Spider-Man Comics Weekly*. The importation of Marvel's American comics continued to be erratic due to Marvel UK's promotion of their own reprints, which meant some titles were not offered for periods — *The Amazing Spider-Man* being a prime example. The reprint market really took off in the 1980s with Titan Books releasing collections of British material, as well as signing deals with DC Comics to release that company's titles in the UK. Igor Goldkind was Titan's (and Forbidden Planet's, which was owned by the same company) marketing consultant at the time; he helped popularise the term "graphic novel" for the trade paperbacks they were releasing, which generated a lot of attention from the mainstream press. Panini Comics took over in 1994, reprinting many of Marvel's titles, as well as Marvel UK reprints. Panini's titles include *Ultimate Spider-Man* (originally holding two issues of either *Ultimate Spider-Man* or *Ultimate Marvel Team-Up*, now existing as a double feature with *Ultimate X-Men*) and also a Collector's Edition line of comics, featuring a cardboard cover, three stories and a letters page on the inside back cover. Other titles include *Astonishing Spider-Man*, *Essential X-Men*, and *Mighty World of Marvel*, which reprints a variety of Marvel Comics. Beginning in 2003, Panini also published one DC comic, *Batman Legends*, reprinting various *Batman* adventures (e.g. two parts of a multi-title crossover and an issue of *Batman: Year One)*; this title is now published by Titan Magazines. ### Reprints of Japanese and European comics Since 2005, a small selection of American translations of the most popular Japanese comics have been reprinted in the UK by major publishers such as Random House (through their Tanoshimi imprint) and the Orion Publishing Group. Both no longer publish British versions of Japanese comics; Random House abandoned all Japanese comics translations in early 2009, while Orion switched to publishing the original American versions. Simultaneously, the very small press Fanfare/Ponent Man published a few UK-exclusive English-language editions of alternative Japanese manga and French bande dessinée. List of British comics ---------------------- This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources. There have been hundreds of comics in the UK over the years, including: * *2000 AD* (1977–current) * *Action* (1976–1977) * *Action Man* (1996–2006) * *Adventure* (1921–1961) * *Air Ace Picture Library* (1960–1970) * *Battle Picture Weekly* (1975–1988) * *The Beano* (1938–current) * *BeanoMAX* (2007–2013) * *The Beezer* (1956–1993) * *Blast!* (1991) * *Bonnie* (1974–1975) * *Boyfriend* (1959–1966) * *The Boy's Own Paper* (1879–1967) * *Boys' World* (1963–1964) * *Bullet* (1976–1978) * *Bunty* (1958–2001) * *Buster* (1960–2000) * *Buzz* (1973–1975) * *The Champion* (1922–1955 and 1966) * *Cheeky Weekly* (1977–1980) * *Classics from the Comics* (1996–2010) * *Cometman* (1951–1956) * *Comic Cuts* (1890–1953) * *Commando Comics* (1961–current) * *Cor!!* (1970–1974) * *Countdown* (1971–1972) * *Cracker* (1975–1976) * *Crisis* (1988–1991) * *The Dandy* (1937–2012) * *The Daredevils* (1983) * *Deadline* (1988–1995) * *Death's Head* (1988–1989) * *The DFC* (2008–2009) * *Diana* (1963–1976) * *Diceman* (1986) * *Doctor Who Magazine* (1979–current) * *Dragon's Claws* (1988–1989) * *Eagle* (1950–1969 and 1982–1994) * *Escape* (1983–1989) * *Fantastic* (1967–1968) * *Fast Forward* (1989–1995) * *Film Fun* (1920–1962) * *Fun Size Beano* (1997–2010) * *Fun Size Dandy* (1997–2010) * *Funny Wonder* (1914–1942) * *Girl* (1951–1964 and 1981–1990) * *Hoot* (1985–1986) * *Hornet* (1963–1976) * *The Hotspur* (1933–1981) * *Illustrated Chips* (1890–1953) * *Jackpot* (1979–1982) * *Jack and Jill* (1885–1887 and 1954–1985) * *Jackie* (1964–1993) * *Jeff Hawke* (1955–1974) * *Jinty* (1974–1981) * *Judge Dredd Megazine* (1990–current) * *Judy* (1960–1991) * *June* (1961–1974) * *Knockout* (1939–1963 and 1971–1973) * *Krazy* (1976–1978) * *Lion* (1952–1974) * *Look and Learn* (1962–1982) * *Look-in* (1971–1994) * *The Magic Comic* (1939–1941) * *Mandy* (1967–1991) * *Mickey Mouse Weekly* (1936–1955) * *Mirabelle* (1956–1977) * *Misty* (1978–1980) * *Monster Fun* (1975–1976, 2022–current) * *Near Myths* (1978–1979) * *Nikki* (1985–1988) * *Nipper* (1987) * *Nutty* (1980–1985) * *Oink!* (1986–1988) * *The Phoenix* (2012–current) * *Picture Politics* (1894–1914) * *Picture Fun* (1909–1920) * *Pippin* (1966–1986) * *Playhour* (1954–1987) * *Plug* (1977–1979) * *Poot!* (1985–1990 and 2009–2011) * *Pow!* (1967–1968) * *Prehistoric Peeps* (1890s) * *Princess* (1960–1967; merged with *Tina*) and *Princess Tina* (1967–1973) * *Puck* (1904–1940) * *Radio Fun* (1938–1961) * *Rainbow* (1914–1956) * *Ranger* (1965–1966) * *Red Dwarf Smegazine* (1992-1994) * *Revolver* (1990–1991) * *Robin* (1953–1969) * *Romeo* (1957–1974) * *Roy of the Rovers* (1976–1993) * *School Friend* (1950–1965) * *School Fun* (1983–1984) * *Scorcher* (1970–1974) * *Scream!* (1984) * *Shift* (2020–current) * *Shiver and Shake* (1973–1974) * *Smash!* (1966–1971, 2023) * *Smut* (1989–2007) * *Sonic the Comic* (1993–2002) * *Sparky* (1965–1977) * *Speed* (1980; merged into *Tiger*) * *Starblazer* (1979–1991) * *Starlord* (1978) * *Star Wars Weekly* (1978–1986) * *Swift* (1954–1963) * *Tammy* (1971–1984) * *Terrific* (1967–1968) * *Tiger* (1954–1985 when merged into *The Eagle*) * *Tiger Tim's Weekly* (1920–1940) * *The Topper* (1953–1990) * *Tornado* (1978–1979) * *Toxic!* (1991) * *Toxic* (2002–current) * *The Transformers* (1984–1992 and seasonal reprints until the late 1990s) * *TV Action* (1972–1973) * *TV Century 21* (1965–1971) * *TV Comic* (1951–1984) * *Twinkle* (1968–1999) * *Valentine* (1957–1974) * *Valiant* (1962–1976) * *The Victor* (1961–1992) * *Viz* (1979–current) * *Vulcan* (1975 to 1976) * *War Picture Library* (1958–1984) * *Warlord* (1974–1986) * *Warrior* (1982–1985) * *Wham!* (1964–1968) * *Whizzer and Chips* (1969–1990) * *Whoopee!* (1974–1985) * *Wildcat* (1988–1989) * *Wonder* (1942–1953) * *Wow!* (1982–1983) * *Zit* (1991–2002)
American attorney **Dave Tyler** is an American attorney, who was elected Director Emeritus in 2007 after serving 32 years USA Hockey's Board of Directors. He served the last 25 of them as the Vice President. He also served 12 years as the President of the United States Hockey League from 1982 to 1994. Career ------ Tyler has been involved with ice hockey since moving to Waterloo, Iowa and started working with the Waterloo Black Hawks. He was elected to the USA Hockey board of directors in 1975, along with current President Ron DeGregorio. He also served as the organization's secretary for a time. He held those positions until 2007, when he decided to not seek re-election. He has represented the US at numerous international events, including the Winter Olympics. He was part of the 1980 Olympic delegation at Lake Placid, and escorted the Japanese team into the Olympic Village. Tyler led the US national junior team to their first ever gold medal in the Viking Cup in 2000, along with longtime friend Joe Benedetto. He also has an award named after him, the Dave Tyler Junior Player of the Year Award, which is presented annually to the most outstanding American-born player in junior hockey. Tyler is included as a featured person in the 2010 publication *"American Ice Hockey Administrators"* ISBN 1-158-33024-3
Village in Missouri, United States **Arcola** is a village in Dade County, Missouri, United States. The population was 37 at the 2020 census. History ------- A post office called Arcola has been in operation since 1873. The village's name commemorates the Battle of the Bridge of Arcole, in Italy. Geography --------- According to the United States Census Bureau, the village has a total area of 0.30 square miles (0.78 km2), all land. Demographics ------------ Historical population| Census | Pop. | Note | %± | | --- | --- | --- | --- | | 1970 | 80 | | — | | 1980 | 136 | | 70.0% | | 1990 | 72 | | −47.1% | | 2000 | 45 | | −37.5% | | 2010 | 55 | | 22.2% | | 2020 | 37 | | −32.7% | | U.S. Decennial Census | ### 2010 census As of the census of 2010, there were 55 people, 31 households, and 16 families living in the village. The population density was 183.3 inhabitants per square mile (70.8/km2). There were 53 housing units at an average density of 176.7 per square mile (68.2/km2). The racial makeup of the village was 100.0% White. Hispanic or Latino of any race were 1.8% of the population. There were 31 households, of which 9.7% had children under the age of 18 living with them, 38.7% were married couples living together, 6.5% had a female householder with no husband present, 6.5% had a male householder with no wife present, and 48.4% were non-families. 48.4% of all households were made up of individuals, and 32.2% had someone living alone who was 65 years of age or older. The average household size was 1.77 and the average family size was 2.38. The median age in the village was 63.2 years. 12.7% of residents were under the age of 18; 3.6% were between the ages of 18 and 24; 12.7% were from 25 to 44; 25.4% were from 45 to 64; and 45.5% were 65 years of age or older. The gender makeup of the village was 50.9% male and 49.1% female. ### 2000 census As of the census of 2000, there were 45 people, 23 households, and 12 families living in the village. The population density was 155.0 inhabitants per square mile (59.8/km2). There were 31 housing units at an average density of 106.8 per square mile (41.2/km2). The racial makeup of the village was 100.00% White. There were 23 households, out of which 21.7% had children under the age of 18 living with them, 43.5% were married couples living together, 4.3% had a female householder with no husband present, and 47.8% were non-families. 43.5% of all households were made up of individuals, and 39.1% had someone living alone who was 65 years of age or older. The average household size was 1.96 and the average family size was 2.67. In the village, the population was spread out, with 22.2% under the age of 18, 15.6% from 25 to 44, 26.7% from 45 to 64, and 35.6% who were 65 years of age or older. The median age was 56 years. For every 100 females, there were 95.7 males. For every 100 females age 18 and over, there were 84.2 males. The median income for a household in the village was $15,938, and the median income for a family was $33,250. Males had a median income of $0 versus $22,500 for females. The per capita income for the village was $13,123. There were 36.4% of families and 34.0% of the population living below the poverty line, including 50.0% of under eighteens and 35.3% of those over 64.
The **Milwaukee Press Club,** in Milwaukee, Wisconsin, is the oldest continuously operating press club in the United States. The club comprises journalists and others in the media in the Milwaukee area, as well as journalism educators, public relations and marketing professionals, students, and members of the general public. Club history ------------ After efforts to establish a press club in Milwaukee failed in 1860, 1882, and 1883, four journalists formally established the Milwaukee Press Club on Nov. 1, 1885. The club was to be a means of bringing together newspaper professionals, as well elevate the profession in general. Since its founding, the club has expanded its membership to include journalists working in other media, editors, publishers and individuals with a specific professional interest in the press. Harriet L. Cramer was an honorary life member of the club, the first woman to be so honored. Prior to 1971, the only female member of the club was Edna Dunlop who joined near the turn of the 20th century. Later, a "men only" policy was adopted. It was finally overturned in August 1971, after female journalists and the general public created an outcry against the antiquated practice, and picketed the club's meeting place. Mary Spletter was the first woman to cross the club's threshold, and in addition to having lunch at the club, she was asked to sign a plaque in honor of the occasion, adding to the club's historic collection. While the Milwaukee Press Club prides itself on its steadfast tradition of fostering journalistic camaraderie, it's led a vagabond existence in terms of its physical home. The first Milwaukee Press Club headquarters were in the Herold building at the corner of Mason and Broadway streets. The club moved several times in the next 19 years before settling into the third floor of the Miller Building at the corner of Mason and Water streets in 1904. In 1914, the Press Club moved again, this time to the eighth floor of the Jung Building on Water Street. The club remained there for more than 30 years until 1948, when it relocated to the Fine Arts building on Wells Street. At some time during its years in the Fine Arts building, the club established a separate business headquarters, while the Fine Arts location remained a social gathering place for club members. In 1983, the club moved to the Marc Plaza (now Hilton) hotel on Wisconsin Avenue. Several more moves occurred after 1983, including stints at the Brown Bottle Pub, the Germania building, the Posner building, and the Park East Hotel. Finally, in May 2000, the club unveiled its current meeting place, the Newsroom Pub, in cooperation with the nationally recognized Safe House restaurant and night club, at 137 E. Wells St. in the heart of the city's vibrant theatre district. Anubis the Cat -------------- Anubis the Cat, in the MPC logo One of the most interesting elements of the Newsroom Pub is Anubis, the club's mascot encased in an elaborate frame above the bar. Anubis, named after an Egyptian god, is a petrified cat that came into the Press Club's hands through means that remain murky. One story has it that two reporters in the 1890s came across the cat at the State Historical Society in Madison, where it was taken after being found between the walls of a building being demolished in Darlington, Wis. The two stole the cat – an act that apparently did not upset the Historical Society. The Newsroom Pub hosts club Newsmaker Luncheons, evening socials and events, and serves as a gathering place for the media and the general public. A secret passageway connects the Newsroom Pub to the Safe House bar and restaurant. Signature collection -------------------- One of the longest surviving traditions of the club is the collection of signatures of visiting dignitaries. The signature collection, which numbers more than 1,300, dates back to the 1890s. Originally, dignitaries signed their names on the wooden walls of the Press Club. When that facility was vacated, club members sneaked in and cut out the signatures. Since then, dignitaries have signed their names on mat board. The entire collection was donated to the Urban Archives of the University of Wisconsin–Milwaukee in 2000. The signatures currently on display at the Newsroom Pub are on loan from UW–Milwaukee. The club continues to collect signatures of visiting dignitaries and renowned journalists. The signatures of numerous U.S. presidents - many left-handed - are presented along with other world leaders, such as Lech Walesa and former Mexican President Vicente Fox. Historic Site in Journalism --------------------------- In 2006, the Society of Professional Journalists designated the Milwaukee Press Club a national Historic Site in Journalism.