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Beshara Doumani () is a Palestinian-American academic currently serving as the president of Birzeit University. Prior to that, he was the Mahmoud Darwish Professor of Palestinian Studies at Brown University. His research focuses on groups, places, and time periods marginalized by mainstream scholarship on the early modern and modern Middle East. He is also a public intellectual who writes on the topics of displacement, academic freedom, politics of knowledge production, and the Palestinian condition.
Biography
Doumani is a Palestinian whose family was dispossessed from Haifa during the 1947–1949 Palestine war. He was born in Saudi Arabia but spent his youth in Lebanon until moving to the United States in 1970. He received his B.A. in History from Kenyon College in Ohio in 1977. In 1980, he earned an M.A. from Georgetown University, where he would later receive his Ph.D. in 1990.
Academic career
Before coming to Brown University Department of History in 2012, and establishing the Brown Middle East Studies Program, he was a faculty member at the University of California, Berkeley from 1998-2012, and a tenured professor at the University of Pennsylvania in Philadelphia from 1989-1998.
From 1996 to 1997 he was a fellow at the Woodrow Wilson International Center for Scholars in Washington, DC. From 2001-2002, he was a fellow at the Wissenschaftskolleg zu Berlin, and from 2007-2008 at Harvard University's Radcliffe Institute for Advanced Study in Cambridge, Massachusetts. He was a fellow at the Institute for Advanced Study in Princeton, New Jersey from 2018-2019.
From 2012 to 2018, Doumani was the founding director of Brown University's Center for Middle East Studies. From 2012 to 2020 he was the Joukowsky Family Distinguished Professor of Modern Middle East History at Brown. In July 2020, he became the inaugural Mahmoud Darwish Professor of Palestinian Studies, the first named chair of Palestinian Studies in an American university. The position is named for the Palestinian poet Mahmoud Darwish.
Doumani's specialty is the social, cultural, and legal history of the early modern and modern Middle East.
His books include Family Life in the Ottoman Mediterranean: A Social History (2017), Rediscovering Palestine: Merchants and Peasants in Jabal Nablus 1700-1900, Academic Freedom After September 11 (editor), and Family History in the Middle East: Household, Property and Gender (editor). Doumani has also published numerous articles on Palestinian history and historiography, including "Archiving Palestine and the Palestinians: The Patrimony of Ihsan Nimr", "Palestine Versus the Palestinians? The Iron Laws and Ironies of a People Denied", and "Rediscovering Ottoman Palestine: Writing Palestinians into History", among others.
Doumani is the founder of the New Directions in Palestinian Studies research initiative, and editor of its open-access book series, published by the University of California Press. He serves on the editorial committees of the Journal of Palestine Studies and the Jerusalem Quarterly. In 2017, he received the Sawyer Seminar award from the Andrew W. Mellon Foundation for his proposal, "Displacement and the Making of the Modern World: Histories, Ecologies, and Subjectivities," and organized the yearlong series of workshops, seminars, courses, and cultural activities for the Seminar.
From 2008-2010, Doumani led a team that produced a strategic plan for the establishment of a Palestinian museum in Birzeit.
Bibliography
Rediscovering Palestine: Merchants and Peasants in Jabal Nablus, 1700-1900, University of California Press, 1995.
Family History in the Middle East: Household, Property, and Gender (editor), SUNY Press, 2003.
Academic Freedom After September 11 (editor), Zone Books/MIT Press, 2006.
Family Life in the Ottoman Mediterranean: A Social History, Cambridge University Press, 2017.
References
Sources
Profile of Beshara Doumani at the Institute for Middle East Understanding
21st-century American historians
Historians of the Middle East
Writers on the Middle East
American political writers
American male non-fiction writers
Kenyon College alumni
Georgetown University alumni
University of Pennsylvania faculty
University of California, Berkeley faculty
American people of Palestinian descent
1957 births
Living people
Brown University faculty
Historians from California
Academic staff of Birzeit University | https://en.wikipedia.org/wiki/Beshara%20Doumani |
Thomas Scheibitz (born 1968 in Radeberg, East Germany) is a German painter and sculptor. Together with Tino Sehgal he created the German pavilion on the 51st Venice Biennale in 2005. He lives and works in Berlin.
Life and work
The son of an East German stonemason, Thomas Scheibitz was born in Radeberg, Germany in 1968. A student of Professor Ralf Kerbach, he studied alongside Frank Nitsche and Eberhard Havekost at the Dresden Art Academy. He started painting and producing sculpture in 1990 and quickly gained international recognition. Through the use of both mediums, he explores the boundary between figuration and abstraction, playing with the traditional genres of landscape, still life and portraiture. According to Roberta Smith, "his sculptures resemble architectural models or fragments of logos; his paintings are vaguely figurative".
Exhibitions
Solo shows include the Institute of Contemporary Arts, London (1999), Berkeley Art Museum, San Francisco (2001), Museum der bildenden Künste, Leipzig (2001), the Stedelijk Museum, Amsterdam (2001), Centre d’Art Contemporain, Geneva (2004), Irish Museum of Modern Art, Dublin (2007), Camden Arts Centre, London (2008), and Musée d' Art Moderne, Luxembourg (2008).
In 2010, the Drawing Room, London, presented "A moving plan B - chapter ONE", a group exhibition of drawings selected by Scheibitz. As well as artists of his own generation - Dirk Bell, Tacita Dean, Thomas Demand, Mathew Hale, Manfred Pernice, Andreas Slominski and Peter Stauss – he also selected those of an older generation born in East Germany - Carl Friedrich Claus, Hermann Glöckner, Manfred Kuttner, A.R. Penck and Eugene Schönebeck.
Select solo shows
ONE-Time Pad, BALTIC Centre for Contemporary Art, Newcastle, GB, 2013
ONE-Time Pad, MMK Museum für Moderne Kunst Frankfurt am Main, D, 2012
A Panoramic View of Basic Events, Tanya Bonakdar Gallery, New York, USA, 2012
mk/Ultra, Sprüth Magers Berlin, D, 2011
Lineage ONE / Stilleben & Statistics, Jarla Partilager, Berlin, D, 2011
Il fiume e le sue fonti, Collezione Maramotti, Reggio Emilia, I, 2011
Der ungefegte Raum, Galerie im Taxispalais, Innsbruck, A, 2010
A moving plan B – chapter TWO, Sprüth Magers, London, GB, 2010
A moving plan B — chapter ONE, ausgewählt von / selected by Thomas Scheibitz, Drawing Room, London, GB, 2010
A.C.G.T., Produzentengalerie Hamburg, D, 2009
The Missing Link in Delphi, Tanya Bonakdar Gallery, New York, USA, 2009
The Goldilocks Zone, Sprüth Magers Berlin, D, 2008
about 90 elements / TOD IM DSCHUNGEL, Camden Arts Centre, London, GB, IMMA Irish Museum of Modern Art, Dublin, IE, 2007
, 51. Biennale Venedig, Deutscher Pavillon, I, 2005
ABC - I II III, Centre d'Art Contemporain, Genf, CH, 2004
, Tanya Bonakdar Gallery, New York, USA, 2002
I-geometrica B, Matrix i95 Berkeley Art Museum, San Francisco, USA, 2001
BANNISTER DIAMOND, Stedelijk Museum, Amsterdam, NL, 2001
Pablo Picasso x Thomas Scheibitz: Sign Scene Lexicon, Berggruen Museum, Berlin, 2019–2020
Select group shows
William S. Burroughs: Retrospective, Deichtorhallen Hamburg, Falckenberg Collection, Hamburg, D, 2013
Don’t Be Shy, Don’t Hold Back – The Logan Collection at SMOMA, San Francisco Museum of Modern Art, San Francisco, CA, USA, 2012
Fruits de la Passion, Centre Georges Pompidou, Paris, F, 2012
Common Ground, 13th International Architecture Exhibition, La Biennale di Venezia, IT, 2012
If not in this period of time — Contemporary German Painting, Museu de Arte de São Paulo, BR, 2010
cargo, Autocenter, Berlin, D, 2009
Constellations: Paintings from the MCA Collection, Museum of Contemporary Art, Chicago, USA, 2009
, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, D, 2009
, Pinakothek der Moderne, München / Munich, D, 2009
WALL ROCKETS: Contemporary Artists and Ed Ruscha, The FLAG Art Foundation, New York, USA, 2008
The Krautcho Club / In and out of Place, Forgotten Bar Project, Berlin, D, 2008
Multiplex: Directions in Art, 1970 to Now, MoMA — Museum of Modern Art, New York, USA, 2007
Sculptors Drawing, Aspen Art Museum, USA, 2007
The Artist Dining Room, Tate Modern, Level 2 Gallery, London, GB, 2007
, Kunstmuseum Winterthur, CH, 2006
Construction New Berlin, Phoenix Art Museum, USA, 2006
The Addiction, Gagosian Gallery Berlin, D, 2005
Drawing from the Modern 1975–2005, MoMA — Museum of Modern Art, New York, USA, 2005
An Aside, Camden Arts Centre, London, GB, 2005
26th Biennale São Paulo, BR, 2004
Art contemporain, de 1960 à nos jours, Centre Pompidou, Paris, F, 2004
Supernova, Art of the 1990s from the Logan Collection, SFMOMA — San Francisco Museum of Modern Art, USA, 2003
Berlin-Moskau, Martin-Gropius-Bau, Berlin, D, 2003
, Museo Correr, 50. Biennale Venedig, I, 2003
, Frankfurter Kunstverein, D, 2003
Collections
Scheibitz' works are included in major collections, including the Museum of Modern Art, New York; the Albright-Knox Art Gallery, Buffalo; and the National Galleries of Scotland, Edinburgh.
References
External links
Homepage of the Artist including latest exhibition views, images of his sculptures and paintings, and a full biography
Thomas Scheibitz at ArtFacts.net
Thomas Scheibitz at Berliner Poster Verlag
Thomas Scheibitz on re-title.com
Review of Scheibitz at Tanya Bonakdar, The Brooklyn Rail
1968 births
Living people
People from Radeberg
20th-century German painters
20th-century German male artists
German male painters
21st-century German painters
21st-century German male artists
German contemporary artists | https://en.wikipedia.org/wiki/Thomas%20Scheibitz |
George White (August 20, 1911 – February 15, 1998) was an American film editor.
Life and career
George White first became a Hollywood editor in 1942, spending most of his career at Metro-Goldwyn-Mayer.
Among his more well known efforts were the war film Bataan (1943), Vincente Minnelli’s The Clock (1945), Tay Garnett’s steamy version of The Postman Always Rings Twice (1946), the epic special effects extravaganza Green Dolphin Street (1947), for which he was nominated for an Academy Award for Film Editing, and Challenge to Lassie in 1949.
The 1950s saw him working on such films as A Life of Her Own (1950), The Naked Spur (1953), generally considered to be one of Anthony Mann’s finest Westerns, and the Biblical epic The Silver Chalice (1954), which helped launch the career of Paul Newman.
White's stock, however, waned considerably in the 1960s and he spent most of the decade working on potboilers. His last film was The Navy vs. the Night Monsters (1966), which has become something of a cult classic. He retired in 1966.
Selected filmography
One Way Wahine (1965)
Indian Paint (1965)
References
External links
1911 births
1998 deaths
American film editors | https://en.wikipedia.org/wiki/George%20White%20%28film%20editor%29 |
The Bromley by Bow Centre is a community centre in Bromley-by-Bow, in East London. It was founded by Andrew Mawson in 1984 alongside community members such as Chilean artist Santiago Bell, with the aim of transforming the local community. Over the years, the centre has grown to encompass a GP surgery where Sam Everington is an enthusiastic advocate of the centre, church, nursery, children's centre, community facilities and a cafe. It is the site of the UK's first Healthy Living Centre, and around 2,000 people use the Centre each week. In addition to team members such as psychologists, nurses, counsellors, and phlebotomists, the centre also houses artists, stonemasons, gardeners, and stained-glass makers.
The Bromley by Bow Centre works in partnership with Poplar HARCA to deliver community regeneration work in its local neighbourhood.
The conversion of the church, the health centre, cafe, enterprise and training barn, and layout of the adjacent Bob's Park were designed by Wyatt MacLaren architects. The principal entrance to the centre is formed by an archway that formerly stood in Northumberland House, designed by William Kent. The archway was sold on the demolition of the building and stood in the garden of Tudor House, a local house that was purchased for the creation of the park. The archway was moved to its current location in 1998.
On 22 December 2011 the church building suffered major damage in a fire.
"Bob's Park" is next to Kingsley Hall and forms part of the Bromley by Bow Centre. In 1993 the park was shown on Land Registry maps as Bromley Recreation Ground and was also known as Grace Street Park. It was later renamed by local people after the park keeper, Robert Grenfell.
See also
Healthcare in London
Andrew Mawson, Baron Mawson
Social entrepreneurship
References
External links
Bromley by Bow Centre
, BBC article on the Centre
, 13 September 2006 article on local authority website about the centre as a model for action on social exclusion
Bromley by Bow Community Organisation
Buildings and structures in the London Borough of Tower Hamlets
Health in the London Borough of Tower Hamlets
Community centres in London
Bromley-by-Bow | https://en.wikipedia.org/wiki/Bromley%20by%20Bow%20Centre |
The volcano hummingbird (Selasphorus flammula) is a species of hummingbird in tribe Mellisugini of subfamily Trochilinae, the "bee hummingbirds". It is found in Costa Rica and Panama. This hummingbird is the one that appears on the 20 thousand colones bill from Costa Rica.
Taxonomy and systematics
The volcano hummingbird has three subspecies, the nominate S. f. flammula, S. f. torridus, and S. f. simoni. All three have at times been treated as color morphs rather than subspecies and at other times as individual species.
Description
The volcano hummingbird is long. Males weigh about and females . Both sexes of all subspecies have a short, straight, black bill and a small white spot behind the eye. The adult male of the nominate subspecies has bronze-green upperparts and rufous-edged black outer tail feathers. Its gorget is mauve-purple and the rest of the underparts mostly white. The sides of the breast have a buffy to pale cinnamon wash and green speckles. The adult female is also bronze-green above. Its central tail feathers are green and the rest have rufous bases, a black band near the end, and buffy to white tips. The throat is whitish with dusky bronze speckles and the rest of the underparts are like the male's. Juveniles are similar to the adult female but have buffy fringes on the upperparts' feathers.
Both sexes of subspecies S. f. torridus are whiter below than the nominate, and males have a purplish-gray gorget. Both sexes of S. f. simoni are buffier below than the nominate and have more black on the tail. The male's gorget is rose red.
Distribution and habitat
The nominate subspecies of volcano hummingbird is found on Volcanoes Irazú and Turrialba in central Costa Rica. Subspecies S. f. torridus is found on the Cordillera de Talamanca of southern Costa Rica and on Volcán Barú in extreme western Panama. S. f. simoni is found on Volcanes Poás and Barva (or Barba) in central Costa Rica.
The species inhabits a variety of semi-open to open habitats on high mountain slopes. Examples include páramo, second growth on landslide scars or ashfall areas, scrubby pastures, and the edges of elfin forest and taller forest. It is found mostly between elevations of but occurs locally down to and seasonally as low as .
Behavior
Movement
The volcano hummingbird breeds at the higher elevations of its range, and after breeding some descend much lower and may even move to an adjacent mountain. The latter allows some mixing of the subspecies.
Feeding
The volcano hummingbird forages for nectar at a wide variety of flowers, mostly small ones on shrubs, vines, herbs, and small trees. It also feeds from larger flowers that bees or flowerpiercers (Diglossa) have made holes in. Males commonly defend clusters of flowers and females do so less frequently. In addition to nectar the species feeds on small arthropods taken on the wing or, for the female especially, by gleaning from foliage or picking from spider webs.
Breeding
The volcano hummingbird's breeding season spans from August or September to February. The male defends small territories that are independent of nectar resources though flowers are usually nearby, and makes dive displays directed at females. The female makes a cup nest of plant down and spider web covered with moss and lichens. It is placed at the outermost end of a twig, usually between above the ground. Nests are sometimes also attached to a rootly drooping from a projecting earth bank such as by a road. The incubation period and time to fledging are not known.
Vocal and non-vocal sounds
The volcano hummingbird makes "soft chip notes" while foraging. Males make "a thin whistled 'teeeeeuu'" whose purpose is not noted and "a twittering 'scolding'" call during agonistic encounters with other males. During the dive display the male's tail feathers make a series of broad-frequency pulses.
Status
The IUCN has assessed the volcano hummingbird as being of Least Concern. It has a fairly large range and an apparently stable population between 20,000 and 50,000 mature individuals. All three subspecies occur in protected areas, and outside them they might benefit from human activity as they are more abundant in open areas than forest.
References
Further reading
Stiles and Skutch, A Guide to the Birds of Costa Rica
External links
Volcano hummingbird photo; Article
volcano hummingbird
Birds of the Talamancan montane forests
Hummingbird species of Central America
volcano hummingbird
volcano hummingbird
Páramo fauna | https://en.wikipedia.org/wiki/Volcano%20hummingbird |
Cold Chillin' Records was a record label that released music during the golden age of hip hop from the late 1980s to the early 1990s. A producer-and-crew label founded by manager Tyrone Williams and run by Len Fichtelberg (d. November 4, 2010), most of the label's releases were by members of the Juice Crew, a loosely knit group of artists centered on producer Marley Marl. In 1998, the label shut down, and the majority of its expansive catalog was bought by Massachusetts-based LandSpeed Records (now Traffic Entertainment).
History
Initially, Cold Chillin’ was a subsidiary of Prism Records, but label head Tyrone Williams and Fichtelberg decided to merge their companies, and Prism was absorbed by Cold Chillin’. In 1988, it signed a five-year distribution deal with Warner Bros. Records, which remained intact for its full duration. However, since Kool G. Rap and D.J. Polo's third album, Live And Let Die, was rejected by Warner Bros. on behalf of parent company Time Warner because of the anti-gangsta and anti-Time Warner sentiments that followed in the footsteps of the Cop Killer controversy involving hip hop artist Ice-T, Cold Chillin' opted to distribute the album independently. And, as such, it did so with various projects throughout the remaining years of activity, including its short-lived distribution deal with the Epic Street division of Epic Records, which released two albums by the label: the second album by Grand Daddy I.U. and the debut solo effort by Kool G. Rap.
Cold Chillin' also formed a sub-label named Livin’ Large, which released Roxanne Shanté's and YZ's second albums along with several titles by other artists, and was distributed by former Warner Bros. Records subsidiary Tommy Boy Records as part of its deal with Warner.
After it closed down in 1998, rights of the Cold Chillin' catalogue were purchased by Massachusetts-based LandSpeed Records, now known as Traffic Entertainment Group. Along with Ruthless Records, Death Row Records, and Rap-a-Lot Records, Cold Chillin' Records is widely respected for serious contributions to hip hop music during its formative years. In 2006, LandSpeed started releasing new versions of the classic albums in Cold Chillin’s’ catalog with their original artwork intact. However, the albums recorded by Big Daddy Kane remained with Warner Bros. Records, and Kool G. Rap's 4,5,6 remained with Epic Records.
Discography
Albums
Albums marked with (+) were distributed by Warner Bros. Records' sister label Reprise Records.
Albums marked with (*) were distributed by Epic Street.
Albums marked with (§) were on sub-label Livin’ Large and distributed by Tommy Boy Records
1987
M.C. Shan—Down by Law
1988
Biz Markie—Goin' Off
Big Daddy Kane—Long Live the Kane
Marley Marl—In Control Volume 1
MC Shan—Born to be Wild
1989
Kool G Rap & DJ Polo—Road to the Riches
Big Daddy Kane—It's a Big Daddy Thing +
Biz Markie—The Biz Never Sleeps
Roxanne Shanté—Bad Sister +
1990
2 Deep—Honey, That's Show Biz +
M.C. Shan—Play it Again, Shan
Master Ace—Take a Look Around +
Kool G Rap & DJ Polo—Wanted: Dead or Alive
Grand Daddy I.U.—Smooth Assassin +
Big Daddy Kane—Taste of Chocolate +
1991
Big Daddy Kane—Prince of Darkness +
Kid Capri—The Tape
Diamond Shell—The Grand Imperial Diamond Shell +
Biz Markie—I Need a Haircut
Marley Marl—In Control Volume II (For Your Steering Pleasure)
The Genius—Words from the Genius +
1992
Kool G Rap & DJ Polo—Live and Let Die
Roxanne Shanté—The Bitch is Back §
Nubian M.O.B. - Nubian M.O.B. +
1993
Big Daddy Kane—Looks Like a Job For… +
Biz Markie—All Samples Cleared!
TBTBT—One Track Mind
YZ—The Ghetto’s Been Good to Me §
T.C.F. Crew—Come & Play with Me
1994
Grand Daddy I.U.—Lead Pipe *
King Sun—Strictly Ghetto
1995
Kool G Rap—4,5,6 *
Non-album singles
Juice Crew All-Stars—"Juice Crew All-Stars"
Big Scoob—"Suckaz Can't Hang"
Big Scoob—"Champagne on the Block"
Juice Crew All-Stars—"Cold Chillin' Christmas"
Juice Crew All-Stars featuring TJ Swan—“Evolution”
See also
Roxanne Wars
The Bridge Wars
Prism Records
References
Further reading
Hip hop record labels
American record labels
1985 establishments in New York (state)
1998 disestablishments in New York (state)
Record labels established in 1985
Record labels disestablished in 1998
Warner Records
Epic Records
American companies established in 1985
American companies disestablished in 1998
Defunct companies based in New York City | https://en.wikipedia.org/wiki/Cold%20Chillin%27%20Records |
Michael Raedecker (born 12 May 1963) is a Dutch artist who works in the United Kingdom.
Raedecker was born in Amsterdam, in the Netherlands. From 1985 to 1990 he studied fashion design at the Gerrit Rietveld Academie in Amsterdam, and then, from 1993 to 1994, at the Rijksakademie van Beeldende Kunsten there. In 1996 and 1997 he studied art at Goldsmiths College in London. After a period working as an apprentice to Martin Margiela, he began to make pictures that included textiles or embroidery as well as paint.
In 1999 Mirage, a painting incorporating sequins and thread, received first prize in the John Moores Prize Exhibition held at the Walker Art Gallery in Liverpool during the Liverpool Biennial. The following year, Raedecker was on the short-list for the Turner Prize.
References
1963 births
Living people
Painters from Amsterdam
Dutch contemporary artists
Dutch embroiderers | https://en.wikipedia.org/wiki/Michael%20Raedecker |
Mario's Game Gallery (later re-released as Mario's FUNdamentals) is an American compilation of games published by Interplay Productions and developed by Presage Software, Inc. for DOS, Windows and Macintosh. It was released in 1995 in the United States. It was later re-released as Mario's FUNdamentals for Macintosh in 1996, and for Windows in January 1997, though it was published by Mindscape for the DOS and Windows versions and by Stepping Stone for the Macintosh version. It was also developed by Brainstorm Entertainment.
The game includes five traditional games: checkers, backgammon, Go Fish, dominoes, and "yacht", a version of Yahtzee. Players play against Mario in these games, which play similarly to their real world counterparts, though with themes based on the Mario universe.
Since their releases, both versions have received mixed reception; while publications such as The State and the Los Angeles Times found the game to be a good educational game, authors David Wesley and Gloria Barczak blamed it in part for almost destroying the Mario brand. Official Nintendo Magazine listed it as one of the rarest Mario games as well.
Gameplay
Mario's Game Gallery consists of five games: checkers, Go Fish, dominoes, backgammon, and "yacht", a version of Yahtzee. In these games, players face off against Mario. The games all play similarly to their real world counterparts, featuring pieces based on the Mario universe. Mario's Game Gallery is the first game in the series to feature Charles Martinet as Mario's voice actor; Martinet had since voiced Mario in all speaking appearances in video games until he stepped back from the role to take a new role as an ambassador for the character, in 2023.
Development
Mario's Game Gallery was published by Interplay Entertainment Corp. and developed by Presage Software, Inc. for the PC. It was released in 1995. It was later re-released as Mario's FUNdamentals, though it was published by Mindscape for the PC version and by Stepping Stone for the Macintosh version. The game was also developed by Brainstorm Entertainment. It was released for the Macintosh in 1996, and for the PC in January 1997.
Reception
Since their releases, both Mario's Game Gallery and its revision, Mario's FUNdamentals, have received mixed reception. The State praised it for providing fun for whole family, describing the games included as "excellent". The Miami Herald praised its "sharp" graphics and "fun" animations, as well as the music, which they claim to be based on music from the Mario series. Like The State, they describe it as "fun for the whole family", though they criticized it for being too difficult at times. However, they recommend it for first-time PC users who want an "easy-to-install product for the new CD-ROM". The Advocate called it a fun game, and praised Martinet for his Mario voice, stating that small children will "giggle with delight". The Los Angeles Times included it in an article of educational video games that would appeal to younger gamers.
Authors David Wesley and Gloria Barczak cited Mario's Game Gallery as one of the games released in a "flood of ill-conceived Mario spin-offs", stating that it and the others nearly destroyed the series. Official Nintendo Magazines Tom East featured it as part of his "Rare Mario games" article, commenting that though it featured Martinet as Mario first, most identify Super Mario 64 as his first role as Mario. It was deemed the sixth-worst Mario game of all time by ScrewAttack, concluding that there was "nothing fun about FUNdamentals".
References
External links
1995 video games
Classic Mac OS games
Digital board games
Digital card games
DOS games
English-language-only video games
Interplay Entertainment games
Mario educational games
Mindscape games
North America-exclusive video games
Presage Software games
Single-player video games
Tile-based video games
Video games developed in the United States
Windows games | https://en.wikipedia.org/wiki/Mario%27s%20Game%20Gallery |
Inka Essenhigh (born 1969) is an American painter based in New York City. Throughout her career, Essenhigh has had solo exhibitions at galleries such as Deitch Projects, Mary Boone Gallery, 303 Gallery, Stefan Stux Gallery, and Jacob Lewis Gallery in New York, Kotaro Nukaga, Tomio Koyama Gallery in Tokyo, and Il Capricorno in Venice.
Education
Essenhigh graduated from Upper Arlington High School and studied at the Columbus College of Art and Design in Ohio (1991) and earned a Master of Fine Arts from the School of Visual Arts in New York (1992–94). She has taught at the New York Academy of Art and was a Master Artist at the Atlantic Center for the Arts.
Work
In the mid-1990s, Essenhigh was among the first generation of American artists to return to figuration. Stylistically, her paintings have been described as ranging from completely flat to rendering deep pictorial space, blending abstraction and figuration and going back and forth between the two. In the late 1990s, Essenhigh's work attracted attention as one of a generation of young painters in New York, including Cecily Brown, Damien Loeb and Will Cotton. Her early work was sometimes characterized as "Pop Surrealism" for its strangely attenuated cartoon forms and flat, simple colors. She was included in the influential 1998 Pop Surrealism exhibition at the Aldrich Museum of Contemporary Art, which Steven Henry Madoff described in Artforum as follows: “The mutant sensibility at work in this droll, smartly curated exhibition proposes the marriage of Surrealism's dream-laden fetish for the body eroticized and grotesque and Pop art's celebration of the shallower, corrosively bright world given over to the packaged good.”
A decade later, Essenhigh was included in another groundbreaking exhibition — The Museum of Modern Art’s Comic Abstraction: Image Making, Image Breaking (2007). The mid 2000s brought on a distinct shift in Essenhigh’s style and materials, from her use of very flat enamel paints in the 1990s, to a more atmospheric application of oil paint in the new decade. (see Born Again, 1999, enamel on canvas, in the collection of the Tate Modern versus Spring, 2006, oil on canvas, in the collection of the Smithsonian American Art Museum.) For Essenhigh, these changes in materials not only differed aesthetically, but pointed to clear references in art history: “I stopped painting in oil for a time and started using enamel. At the time I needed to get away from all that history, that search for deeper emotions. I needed to drop all the baggage that comes with oil paint and do something completely contemporary, which I found in the slick, bright, flat surfaces of enamels.” Essenhigh has most recently moved back to enamel painting, but completed in such a manner as to retain the qualities of light found in her earlier work with oil (as seen in Midsummer Night’s Dream, enamel on canvas, 2017).
While Essenhigh often made use of automatic drawing early on in her career, the work has since shifted to a very intentional use of narrative content. In an interview with the Smithsonian American Art Museum, Essenhigh explains, “Maybe I don’t need to take whatever comes out of my imagination and be ok with that. Maybe I can start to form the world that I want to live in.” Mythology, landscape and the urban versus pastoral are recurring motifs in her work, although Essenhigh does not limit herself by subject. She has blended abstraction and figuration in an investigation of psychological and metaphysical realities. In a 2018 Hyperallergic review, the artist/writer Peter Malone describes, “Essenhigh reveals a freedom that resonates with all manner of fusion: of figure and design, of abstraction and narrative, of sentiment and humor, and more generally, of ambitious painting with a readable narrative.” Essenhigh states, “I think about the archetypes and stories that we tell ourselves, and reenact in some way. We change our consciousness through storytelling all the time. If you want to change how people are thinking about something, you can tell a story about it. It does the job really fast. I don’t think I’m necessarily changing consciousness, but I’m painting another place. I would like my paintings to have that feeling — that other worlds are possible.”
In 2018, Essenhigh completed a mural at the Drawing Center in New York, NY and had two solo exhibitions, one at Miles McEnery Gallery in New York, NY and a retrospective at the Virginia Museum of Contemporary Art in Virginia Beach, VA, "A Fine Line", which traveled to the Kalamazoo Institute of Arts. Essenhigh’s first monograph was published by MOCA in conjunction with the exhibition.
Selected exhibitions
2019 “A Fine Line,” Kalamazoo Institute of Arts, Kalamazoo, MI.
2018 "Manhattanhenge," The Drawing Center, New York, NY.
“A Fine Line,” Virginia Museum of Contemporary Art, Virginia Beach, VA.
Miles McEnery Gallery, New York, NY
"The New Frontiers of Painting," Fondazione Stelline, Milan, Italy.
2016 “Between Worlds,” Frist Art Museum, Nashville, TN.
2015 "The Ukrainian Diaspora: Women Artists 1908–2015." The Ukrainian Museum, New York, NY.
“Disturbing Innocence,” Curated by Eric Fischl, The FLAG Art Foundation, New York, NY.
2014 “Comet Dust & Crystal Shards,” Jacob Lewis Gallery, New York, NY.
2012 "The Natural and the Man-made," Tomio Koyama Gallery, Tokyo, Japan.
2011 "Inka Essenhigh: New Editions & Monoprints," Pace Prints, New York, NY.
"UN/Natural Splendor," Center for Maine Contemporary Art, Rockport, ME.
2010 "The Old New Age," 303 Gallery, New York, NY.
2007 "Comic Abstraction: Image-Breaking, Image-Making." Museum of Modern Art, New York, NY.
2006 303 Gallery, New York, NY.
“The Compulsive Line: Etching 1900 to Now,” Museum of Modern Art, New York, NY.
2004 SITE Santa Fe 5th International Biennial (curated by Robert Storr), Santa Fe, New Mexico.
Universes in Universes, The 26th São Paulo Biennial, Sao Paulo, Brazil.
2003 "Recent Paintings," Museum of Contemporary Art, Miami, FL.
2002 Victoria Miro Gallery, London, England.
303 Gallery, New York, NY.
2000 Mary Boone Gallery, New York, NY.
1999 Deitch Projects, New York, NY.
"American Landscape: Recent Paintings by Inka Essenhigh," Albright Knox Art Gallery, Buffalo, NY.
1998 "Pop Surrealism," Aldrich Contemporary Art Museum, Ridgefield, CT.
Collections
Inka Essenhigh's work is included in the following permanent collections:
Albright Knox Art Gallery, Buffalo, NY
Denver Art Museum, Denver, CO
Museum of Contemporary Art, North Miami, FL
Museum of Modern Art, New York, NY
Smithsonian American Art Museum, Washington, D.C.
Seattle Art Museum, Seattle, WA
Tate Modern, London, England
Virginia Museum of Fine Arts, Richmond, VA
Whitney Museum of American Art, New York, NY.
Selected works
Spring, 2006, Oil on Canvas at the Smithsonian Museum of American Art
Collection at the Whitney Museum of American Art
Collection at the Museum of Modern Art
Installation at the Drawing Center
Artist's Website
References
1969 births
Living people
People from Bellefonte, Pennsylvania
Columbus College of Art and Design alumni
20th-century American painters
21st-century American painters
Painters from New York (state)
20th-century American women artists
21st-century American women artists
American women painters | https://en.wikipedia.org/wiki/Inka%20Essenhigh |
Studia Academica Slovaca – the centre for Slovak as a foreign language (SAS) is a specialised department at the Faculty of Arts at Comenius University in Bratislava, teaching foreigners the Slovak language. It also regularly prepares the summer school. The first summer school was held in Bratislava in 1965.
External links
http://www.fphil.uniba.sk/sas/ – official SAS page
Education in Slovakia | https://en.wikipedia.org/wiki/Studia%20Academica%20Slovaca |
Barney Sedran (born Sedransky; nicknamed "Mighty Mite"; January 28, 1891 – January 14, 1964) was an American professional basketball player in the 1910s and 1920s who is in the Basketball Hall of Fame.
Career
Nicknamed "Mighty Mite", the New York City native was Jewish and grew up on the Lower East Side. Sedran (shortened from Sedransky) was a member of the well-known New York Whirlwinds and Cleveland Rosenblums, among many other teams in New York as well as in Carbondale, Pennsylvania.
Sedran played for the Lower East Side's University Settlement House because he was too small to make his DeWitt Clinton High School (Bronx, New York) team. The Settlement team won the 115-pound division championship in 1905–06, and the Metropolitan AAU title 1906–07.
At City College of New York(CCNY) Sedran was the school's leading scorer for three consecutive seasons, 1909–11, and was named to various college all-star teams.
The smallest player enshrined in the Naismith Memorial Basketball Hall of Fame, “The Mighty Might of Basketball” turned pro after leaving CCNY, teaming successfully and often with 5’ 7” hall of famer (Naismith and IJSHOF) Max Friedman. They were known as the “Heavenly Twins”. In an era of barnstorming, short-lived leagues, and schedules that often called for as many as three games a day, Sedran is said to have been pro basketball's highest paid star.
His many teams of record include: Newburgh Tenths 1911–12 (Hudson Valley League), Utica Utes/Indians 1912–14 (New York State), Carbondale Pioneers 1914–18 (Pennsylvania), Brooklyn Trolley Dodgers 1915–16 (Interstate), Kensington Jaspers 1915–17 (Pennsylvania), Jersey City Skeeters 1917–18 (Central), Scranton Miners 1918–19 (Pennsylvania), Albany Senators 1919-20/1921-24 (New York), Passaic Athletic Association 1919–20 (Interstate), Turners Falls Athletics 1919–20 (Interstate), New York Whirlwinds 1919–21 (Eastern), Bridgeport Blue Ribbons 1920–21 (Central), Trenton Tigers 1920–21 (Eastern), Easthampton Hampers 1920–22 (Interstate), Mohawk Indians 1921-2) (New York), Cohoes Cohosiers 1921–22 (New York), New York Giants 1921–22 (Eastern), Brooklyn Dodgers 1921–23 (Metropolitan), Philadelphia DeNeri 1922–23 (Eastern), Yonkers Chippewas 1923–24 (Metropolitan), Cleveland Rosenblums 1924–26 (American Basketball League), Brooklyn Jewels 1932–36 (Metropolitan), New York Whirlwinds 1936–38 (Metropolitan).
Among Sedran's court highlights: He led Newburgh in 1912, Utica 1913–15, Carbondale, PA in 1917, Easthampton 1920–21, and Albany in 1921 to League championships. After his Utica club won the 1913–14 New York State League title, the Utes defeated Trenton, champions of the Eastern League, to claim the World Professional Championship. Sedran once scored 34 points on a court without backboards; another time, 34 points shooting at rims without a net. He averaged 7.3 points per game during his career, with a single season high 13.2 ppg in 1917.
As a pro coach, Sedran was player-coach of the Passaic Athletic Association (1919–20) in the Interstate League, and coach of the following American Basketball League (ABL) teams: Kingston Colonials (1938–40), Kate Smith Celtics (1938–40), Troy Celtics (1939–41), Wilmington Blue Bombers (1941–45), and New York Gothams (1945–46). The Kate Smith Celtics won 1939 and 1940 ABL championships. Wilmington won ABL titles 1941–42 and 1943–44. In 1946-47 he coached the Albany Senators of the New York State Professional League. ((NOTE: Depending upon the league, basketball seasons often lap over from one year to another. Other times a season begins and ends in the same calendar year.)
Sedran's New York Whirlwind team of 1919–21 is considered by many to have been the greatest professional basketball team of the first half of the 20th century.
Fellow Jewish Hall of Famer Nat Holman, considered by many experts to be the greatest player of the 1920s, said, Barney Sedran, in my humble opinion, was the greatest little man who ever played the game. He could do everything. A great outside and inside shooter, smart passer, great ball handler, and very fast. He was always in motion, setting up play situations which resulted in baskets. He used his mind at all times and for a little man withstood the punishment that was characteristic of the rough and tumble contact game of the pros in the early days of the sport. He could do everything. He was the most complete player of his time. He was afraid of none and dared all.
Halls of Fame
In 1962, the Sedran was enshrined to the Naismith Memorial Basketball Hall of Fame as a player, becoming the smallest player to ever achieve this.
He was inducted posthumously into the International Jewish Sports Hall of Fame in 1989.
His story is featured in The First Basket, the first and most comprehensive documentary on the history of Jews and basketball.
See also
List of select Jewish basketball players
References
Further reading
1891 births
1964 deaths
American men's basketball players
Basketball players from New York City
CCNY Beavers men's basketball players
Cleveland Rosenblums players
Jewish American sportspeople
Jewish men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Collegiate Basketball Hall of Fame inductees
New York Whirlwinds players
DeWitt Clinton High School alumni
Guards (basketball)
20th-century American Jews | https://en.wikipedia.org/wiki/Barney%20Sedran |
Giuseppe Pancaro (; born 26 August 1971) is a former Italian football defender turned coach.
A strong, reliable, and tenacious left-back, who was effective in the air, he was known for his stamina and work-rate, which allowed him to contribute both offensively and defensively. A versatile player, although he was usually deployed along the left flank, he was also capable of playing on the right. His discipline in training ensured that he was rarely injured throughout his career. In addition to his footballing abilities, he was also known for his consistency, correct behaviour, and leadership.
Club career
Born in Cosenza, Calabria, Pancaro started his youth career with Acri. He later moved to the Torino F.C. Youth squad remaining with the club for two seasons, before being loaned to Serie C2 club Avezzano. Pancaro made his professional debut with Cagliari Calcio, after the club's owner Massimo Cellino acquired him in 1992; although he only made 10 appearances during his first two seasons, he soon established himself as a key member of the starting line-up. In the 1993–94 UEFA Cup, Pancaro made his European debut, scoring the match winning goal in the first leg of the semi-final, after coming on as a substitute, as Cagliari beat eventual champions Inter 3–2.
After Cagliari were relegated in 1997, he transferred to S.S. Lazio, where he remained for six seasons, winning the 1999–2000 Serie A title, two Coppa Italia titles (1997–98 and 1999–2000), two Italian Supercups, the 1998–99 UEFA Cup Winners' Cup, and the 1999 UEFA Super Cup, also reaching the final of the UEFA Cup in 1998.
In the summer of 2003, Pancaro transferred to A.C. Milan in exchange for Demetrio Albertini, where he played for two seasons. His consistency and work-rate made him an important part of Milan's squad, as he won his second Serie A title, as well as an Italian Supercup, also reaching the final of the 2004–05 UEFA Champions League, notably scoring a goal in an away victory over Brescia in 2003. In 2004, he signed a one-year extension for the club.
In 2005, Pancaro moved to ACF Fiorentina on a free transfer, for two seasons, making 18 appearances, as his former Lazio teammate Giuseppe Favalli was brought in to replace him at Milan. He then moved onto Torino F.C. the following season, retiring at the end of the 2006–07 season, at the age of 36.
International career
Pancaro was first capped for Italy in 1999, making his debut in a 0–0 draw against Croatia on 28 April. In total, he won 19 caps with the Azzurri between 1999 and 2005, but he never took part at a major tournament with Italy. Injury blocked him from playing in UEFA Euro 2004, and he was also in the provisional 26 man squad for UEFA Euro 2000 before missing the final cut.
Coaching career
Pancaro took his first coaching role in July 2012, working as assistant to Dario Marcolin at Serie B outfit Modena and leaving the club together with the whole coaching staff after the latter's dismissal in March 2013.
In June 2014, he was named new head coach of recently relegated Lega Pro club Juve Stabia.
On 16 July 2015, Pancaro was assigned new head coach of Catania.
On 6 March 2018, he was hired as the head coach of Serie C side Catanzaro. He left Catanzaro at the end of the 2017–18 season.
On 28 June 2019, he was hired by Serie C club Pistoiese. He left the club at the end of the season.
On 21 October 2022, he was announced as the new head coach of Serie C club Monopoli. He was dismissed on 19 March 2023 after a home loss to Giugliano.
Personal life
On 27 June 2007, Pancaro married the Italian former show-girl Vincenza Cacace, with whom he has two children: a son Riccardo, born in December 2005, and a daughter Virginia, born in January 2009.
Honours
Torino
Mitropa Cup: 1991
Lazio
UEFA Cup Winners' Cup: 1998–99
UEFA Super Cup: 1999
Coppa Italia: 1997–98, 1999–2000
Serie A: 1999–2000; runner-up 1998–99
Supercoppa Italiana: 1998, 2000
UEFA Cup runner-up: 1997–98
A.C. Milan
Serie A: 2003–04; runner-up: 2004–05
Supercoppa Italiana: 2004; runner-up: 2003
UEFA Super Cup: 2003
UEFA Champions League runner-up: 2004–05
Intercontinental Cup runner-up: 2003
References
External links
National Team stats at FIGC.it
Fiorentina profile
VoetbalInternational stats
1971 births
Living people
Sportspeople from Cosenza
Footballers from the Province of Cosenza
Men's association football fullbacks
Italian men's footballers
Italian football managers
Italy men's international footballers
Torino FC players
Cagliari Calcio players
SS Lazio players
AC Milan players
ACF Fiorentina players
Avezzano Calcio players
Serie A players
Serie C players
US Catanzaro 1929 managers
US Pistoiese 1921 managers | https://en.wikipedia.org/wiki/Giuseppe%20Pancaro |
The International Committee on Taxonomy of Viruses (ICTV) authorizes and organizes the taxonomic classification of and the nomenclature for viruses. The ICTV develops a universal taxonomic scheme for viruses, and thus has the means to appropriately describe, name, and classify every virus taxon. The members of the International Committee on Taxonomy of Viruses are considered expert virologists. The ICTV was formed from and is governed by the Virology Division of the International Union of Microbiological Societies. Detailed work, such as identifying new taxa and delimiting the boundaries of species, genera, families, etc. typically is performed by study groups of experts in the families.
History
The International Committee on Nomenclature of Viruses (ICNV) was established in 1966, at the International Congress for Microbiology in Moscow, to standardize the naming of virus taxa. The ICVN published its first report in 1971. For viruses infecting vertebrates, the first report included 19 genera, 2 families, and a further 24 unclassified groups.
The ICNV was renamed the International Committee on Taxonomy of Viruses in 1974.
Organisational structure
The organisation is divided into an executive committee, which includes members and executives with fixed-term elected roles, as well as directly appointed heads of seven subcommittees. Each subcommittee head, in turn, appoints numerous 'study groups', which each consist of one chair and a variable number of members dedicated to the taxonomy of a specific taxon, such as an order or family. This structure may be visualised as follows:
Executive committee
President
Vice-president
Secretaries
Business Secretary
Proposals Secretary
Data Secretary
Chairs – positions: 7 (one for each subcommittee)
Elected members – positions: 11
Subcommittees
Animal DNA Viruses and Retroviruses Subcommittee – study groups: 18
Animal dsRNA and ssRNA- Viruses Subcommittee – study groups: 24
Animal ssRNA+ Viruses Subcommittee – study groups: 16
Bacterial Viruses Subcommittee – study groups: 20
Archaeal Viruses Subcommittee – study groups: 11
Fungal and Protist Viruses Subcommittee – study groups: 12
Plant Viruses Subcommittee – study groups: 22
Objectives
The objectives of the International Committee on Taxonomy of Viruses are:
To develop an internationally agreed taxonomy for viruses.
To establish internationally agreed names for virus taxa.
To communicate the decisions reached concerning the classification and nomenclature of viruses to virologists by holding meetings and publishing reports.
To maintain an official index of agreed names of virus taxa.
To study the virus effects in modern society and their behaviour.
Principles of nomenclature
The ICTV's essential principles of virus nomenclature are:
Stability
To avoid or reject the use of names which might cause error or confusion
To avoid the unnecessary creation of names
The ICTV's universal virus classification system uses a slightly modified version of the standard biological classification system. It only recognises the taxa order, family, subfamily, genus, and species. When it is uncertain how to classify a species into a genus but its classification in a family is clear, it will be classified as an unassigned species of that family. Many taxa remain unranked. There are also, as of 2005, GenBank sequences assigned to 3,142 "species" which are not accounted for in the ICTV report (due to the way GenBank works, however, the actual number of proper species is probably significantly smaller). The number of unidentified virus sequences is only expected to increase as the rate of virus sequencing increases dramatically.
The ICTV has been strikingly successful in achieving stability, since their inception in 1962. Every genus and family recognized in the 1980s continued to be in use as of 2005, for example.
Naming and changing taxa
Proposals for new names, name changes, and the establishment and taxonomic placement of taxa are handled by the executive committee of the ICTV in the form of proposals. All relevant ICTV subcommittees and study groups are consulted prior to a decision being taken.
The name of a taxon has no official status until it has been approved by ICTV, and names will only be accepted if they are linked to approved hierarchical taxa. If no suitable name is proposed for a taxon, the taxon may be approved and the name be left undecided until the adoption of an acceptable international name, when one is proposed to and accepted by ICTV. Names must not convey a meaning for the taxon which would seem to either exclude viruses which are rightfully members of that taxon, exclude members which might one day belong to that taxon, or include viruses which are members of different taxa.
Rules for taxa
Species
A species name shall consist of as few words as practicable but must not consist only of a host name and the word virus. A species name must provide an appropriately unambiguous identification of the species. Numbers, letters, or combinations thereof may be used as species epithets where such numbers and letters are already widely used. However, newly designated serial numbers, letters or combinations thereof are not acceptable alone as species epithets. If a number or letter series is in existence it may be continued.
Genera
A virus genus is a group of related species that share some significant properties and often only differ in host range and virulence. A genus name must be a single word ending in the suffix -virus. Approval of a new genus must be accompanied by the approval of a type species.
Subfamilies
A subfamily is a group of genera sharing certain common characters. The taxon shall be used only when it is needed to solve a complex hierarchical problem. A subfamily name must be a single word ending in the suffix -virinae.
Families
A family is a group of genera, whether or not these are organized into subfamilies, sharing certain common characters with each other. A family name must be a single word ending in the suffix -viridae.
Orders
An order is a group of families sharing certain common characters. An order name must be a single word ending in the suffix -virales.
Rules for sub-viral agents
Rules concerned with the classification of viruses shall also apply to the classification of viroids. The formal endings for taxa of viroids are the word viroid for species, the suffix -viroid for genera, the suffix -viroinae for sub-families, should this taxon be needed, and -viroidae for families.
Retrotransposons are considered to be viruses in classification and nomenclature. Satellites and prions are not classified as viruses but are assigned an arbitrary classification as seems useful to workers in the particular fields.
Rules for orthography
In formal taxonomic usage the accepted names of virus orders, families, subfamilies, and genera are printed in italics and the first letters of the names are capitalized.
Species names are printed in italics and have the first letter of the first word capitalized. Other words are not capitalized unless they are proper nouns, or parts of proper nouns.
In formal usage, the name of the taxon shall precede the term for the taxonomic unit.
Classification of viruses discovered by metagenomics
Acknowledging the importance of viral metagenomics, the ICTV recognizes that genomes assembled from metagenomic data represent actual viruses and encourages their official classification following the same procedures as those used for viruses isolated and characterized using classical virology approaches.
ICTV reports
The ICTV has published reports of virus taxonomy about twice a decade since 1971 (listed below - "Reports"). The ninth ICTV report was published in December 2011; the content is now freely available through the ICTV website. Beginning in 2017 the tenth ICTV report will be published online on the ICTV website and will be free to access with individual chapters updated on a rolling basis. The 2018 taxonomy is available online, including a downloadable Excel spreadsheet of all recognized species.
ICTVdb database
ICTVdb is a species and isolate database that has been intended to serve as a companion to the ICTV taxonomy database. The development of ICTVdB has been supported by the ICTV since 1991 and was initially intended to aid taxonomic research. The database classifies viruses based primarily on their chemical characteristics, genomic type, nucleic acid replication, diseases, vectors, and geographical distribution, among other characteristics.
The database was developed at the Australian National University with support of the US National Science Foundation, and sponsored by the American Type Culture Collection. It uses the Description Language for Taxonomy (DELTA) system, a world standard for taxonomic data exchange, developed at Australia's Commonwealth Scientific and Industrial Research Organisation (CSIRO). DELTA is able to store a wide diversity of data and translate it into a language suitable for traditional reports and web publication. For example, ICTVdB does not itself contain genomic sequence information but can convert DELTA data into NEXUS format. It can also handle large data inputs and is suited to compiling long lists of virus properties, text comments, and images.
ICTVdB has grown in concept and capability to become a major reference resource and research tool; in 1999 it was receiving over 30,000 combined online hits per day from its main site at the Australian National University, and two mirror sites based in the UK and United States.
In 2011, the ICTV decided to suspend the ICTVdb project and web site. This decision was made after it became apparent that the taxonomy provided on the site was many years out of date, and that some of the information on the site was inaccurate due to problems with how the database was being queried and processed to support the natural language output of the ICTVdb web site. The ICTV has begun discussions on how best to fix these problems, but decided that the time frame for updates and error correction were sufficiently long that it was best to take the site down rather than perpetuate the release of inaccurate information. As of August 2013, the database remains on hold. According to some views, "ICTV should also promote the use of a public database to replace the ICTV database as a store of the primary metadata of individual viruses, and should publish abstracts of the ICTV Reports in that database, so that they are 'Open Access'."
Reports
Also available online.
ICTV 10th (online) Report
See also
Glossary of scientific naming
Virus classification
Bioinformatics
References
External links
Viral Bioinformatics Resource Center
Taxonomy (biology) organizations
Nomenclature codes
Systems of virus taxonomy
Organizations established in 1966
Virology organizations | https://en.wikipedia.org/wiki/International%20Committee%20on%20Taxonomy%20of%20Viruses |
Daniel Richter (born 1962) is a German artist. He is based in Berlin, and was previously active in Hamburg. He is known for large-scale oil paintings.
Life and work
Daniel Richter was born in 1962 in Eutin, West Germany. Richter attended Hochschule für bildende Künste Hamburg from 1991 to 1995. Between 1992 and 1996 he studied with Werner Büttner, one of the protagonists, along with Martin Kippenberger, of the revival of expressive trends in painting during the 1980s, and worked as assistant to Albert Oehlen.
Between 2004 and 2006 he served as Professor for Painting at the Universität der Künste, Berlin. Since 2006, he has been Professor of Fine Arts at Akademie der bildenden Künste, Vienna.
Richter's early work was abstract and colorful, described as, "psychedelic – somewhere between graffiti and intricate ornamentation". Since 2002, he has painted large-scale scenes filled with figures, often inspired by reproductions from newspapers or history books.
He was previously married to theatre director Angela Richter, together they have a son. In 2019, he founded the publishing Company PAMPAM Publishing with his current wife, Viennese photographer Hanna Putz.
Stage design
Working for the Salzburg Festival, Richter created the stage design for two stages: for Bluebeard's Castle (2008) and for Lulu (2010). In 2010, Richter designed a series of stage sets for the Salzburg Opera's production of Lulu in conjunction with his solo museum exhibition at the Rupertinum Museum of Modern Art, Salzburg, Austria.
Awards
1998 Otto-Dix-Award, Gera
2001 Award for Young Art, Schleswig-Holstein, Germany
2002 Preis der Nationalgalerie, Hamburger Bahnhof, Berlin, Germany
2009 Kunstpreis Finkenwerder, Hamburg, Germany
References
External links
El control del azar en Daniel Richter, por Enrique Castaños
Tal R on Daniel Richter - Daniel Richter on Tal R – Video interview by Louisiana Channel
Daniel Richter talks about Emil Nolde Video by Louisiana Channel
1962 births
Living people
People from Plön (district)
20th-century German painters
20th-century German male artists
German male painters
21st-century German painters
21st-century German male artists
German contemporary artists
University of Fine Arts of Hamburg alumni | https://en.wikipedia.org/wiki/Daniel%20Richter%20%28artist%29 |
The second Jassy–Kishinev offensive, named after the two major cities, Iași ("Jassy") and Chișinău ("Kishinev"), in the staging area, was a Soviet offensive against Axis forces, which took place in Eastern Romania from 20 to 29 August 1944 during World War II. The 2nd and 3rd Ukrainian Fronts of the Red Army engaged Army Group South Ukraine, which consisted of combined German and Romanian formations, in an operation to reoccupy Bessarabia and destroy the Axis forces in the region, opening the way into Romania and the Balkans.
The offensive resulted in the encirclement and destruction of the German forces, allowing the Soviet Army to resume its strategic advance further into Eastern Europe. It also pressured Romania to switch allegiance from the Axis powers to the Allies. For the Germans, this was a massive defeat, which can be compared to the defeat at Stalingrad.
Background
The Red Army had made an unsuccessful attack in the same sector, an operation referred to as the first Jassy–Kishinev offensive, from 8 April to 6 June 1944. In 1944, the Wehrmacht had been pressed back along its entire front line in the East. By May 1944, the South Ukraine Army Group (Heeresgruppe Südukraine) was pushed back towards the prewar Romanian frontier, and managed to establish a line on the lower Dniester River, which was however breached in two places, with the Red Army holding bridgeheads. After June, calm returned to the sector, allowing the rebuilding of the German formations.
Heeresgruppe Südukraine had been, until June 1944, one of the most powerful German formations in terms of armour. However, during the summer most of its armoured units were transferred to the Northern and Central fronts to stem Red Army advances in the Baltic states, Belarus, northern Ukraine, and Poland. On the eve of the offensive, the only armoured formations left were the 1st Romanian Armored Division (with the Tiger I tank), and the German 13th Panzer and 10th Panzergrenadier Divisions.
Failure of German intelligence
Soviet deception operations prior to the attack worked well. The German command staff believed that the movement of Soviet forces along the front line was a result of a troop transfer to the north. Exact positions of Soviet formations were also not known until the final hours before the operation. By contrast, the Romanians were aware of the imminent Soviet offensive and anticipated a rerun of Stalingrad, with major attacks against the 3rd and 4th Armies and an encirclement of the German 6th Army. Such concerns were dismissed by the German command as "alarmist". Marshal Ion Antonescu suggested a withdrawal of Axis forces to the fortified Carpathian–FNB (Focșani–Nămoloasa–Brăila)–Danube line, but Friessner, the commander of Army Group South Ukraine, was unwilling to consider such a move, having already been dismissed by Hitler from Army Group North for requesting permission to retreat.
Order of battle
Soviet
2nd Ukrainian Front – Army General Rodion Malinovsky
6th Guards Tank Army – Major General Andrei Kravchenko
18th Tank Corps – Major General V. I. Polozkov
Cavalry-Mechanized Group Gorshkov – Major General Sergey Gorshkov
5th Guards Cavalry Corps
23rd Tank Corps – Lieutenant General Alexey Akhmanov
4th Guards Army – Lieutenant General Ivan Galanin
27th Army – Lieutenant General Sergei Trofimenko
52nd Army – Colonel General Konstantin Koroteyev
7th Guards Army – Colonel General Mikhail Shumilov
40th Army – Lieutenant General Filipp Zhmachenko
53rd Army – Lieutenant General Ivan Managarov
3rd Ukrainian Front – Army General Fyodor Tolbukhin
5th Shock Army – Lieutenant General Nikolai Berzarin
4th Guards Mechanized Corps – Major General Vladimir Zhdanov
7th Mechanized Corps – Major General Fyodor Katkov
57th Army – Lieutenant General Nikolai Gagen
46th Army – Lieutenant General Ivan Shlemin
37th Army – Major General Mikhail Sharokhin
6th Guards Rifle Corps
66th Rifle Corps
Black Sea Fleet – Sergey Gorshkov
Axis forces
Army Group South Ukraine – Generaloberst Johannes Friessner
Army Group Dumitrescu (East)
Romanian 3rd Army – Colonel General Petre Dumitrescu
XXIX. Army Corps (Generalleutnant Anton von Bechtoldsheim): 9th Infantry, Romanian 4th Mountain and 21st Infantry Divisions,
Romanian II Corps: 4th Infantry Division and 15th Infantry Division
Coastal Defence: Romanian II Corps: 9th Infantry Division and 110th Infantry Brigade.
6th Army – General der Artillerie Maximilian Fretter-Pico
VII Corps (General der Artillerie Ernst-Eberhard Hell) : 106th, 370th and Romanian 14th Infantry Divisions,
XXXXIV Corps (Generalleutnant Ludwig Müller) : 62nd, 258th, 282nd and 335th Infantry Divisions,
LII Corps (General der Infanterie Erich Buschenhagen) : 161st, 294th and 320th Infantry Divisions,
XXX Corps (Generalleutnant Georg-Wilhelm Postel) : 384th, 302nd, 257th, 15th and 306th Infantry Divisions,
Reserve
13th Panzer Division – Generalleutnant Hans Tröger
Romanian 1st Cavalry Division
Army Group Wohler (West)
8th Army – General der Infanterie Otto Wöhler
XVII Army Corps (General der Gebirgstruppe Hans Kreysing) : 8th Jäger-Division and 3rd Mountain Division
Romanian VII Corps : 8th Infantry Division, 103rd and 104th Mountain Brigade
Romanian I Corps : 6th Infantry Division and 20th Infantry Division
Romanian V Corps : Guards Division and 4th Infantry Division
LVII Panzer Corps (General der Panzertruppe Friedrich Kirchner) : 46th, Romanian 1st and 13th Infantry Division and Romanian 1st Armoured Division "Groß-Rumänien"
Romanian 4th Army – Lieutenant General Ioan Mihail Racoviță, replaced by Ilie Șteflea on 23 August
Romanian VI Corps : 5th Infantry Division, 102nd Mountain Brigade and German 76th Infantry Division,
Romanian IV Corps : 3rd Infantry Division, 7th Infantry Division and 102nd Mountain Brigade
IV Corps (General der Infanterie Friedrich Mieth) : 79th, 376th and Romanian 11th Infantry Divisions.
Reserve
10th Panzergrenadier Division – Generalleutnant August Schmidt
153rd Feldausbildungs-Division - Generalleutnant Friedrich Bayer
1st Romanian Armoured Division
The 1st Romanian Armored Division did not have all of its units immediately available for opposing the Soviet offensive. Some of its units were still in the interior as of 20 August. Therefore, an ad hoc organization of the Division's units which were actually available for opposing the Soviet offensive lists the Division's 80 front line tanks as follows (not including the Division's 12 armored cars):
The Division also had a dedicated anti-tank battalion. Its main weapons were entirely of Romanian origin: 10 TACAM T-60 tank destroyers and 24 75 mm Reșița field/anti-tank guns. The 24 guns were the first ones produced of this model.
The 1st Romanian Armored Division had lost 34 armored fighting vehicles by 23 August, but claimed 60 Soviet tanks on 20 August alone.
Soviet strategy
Stavka's plan for the operation was based on a double envelopment of German and Romanian armies by the 2nd and 3rd Ukrainian Fronts.
The 2nd Ukrainian Front was to break through north of Iași, and then commit mobile formations to seize the Prut River crossings before withdrawing German units of the 6th Army could reach it. It was then to unleash the 6th Tank Army to seize the Siret River crossings and the Focșani Gate, a fortified line between the Siret River and the Danube.
The 3rd Ukrainian Front was to attack out of its bridgehead across the Dniester near Tiraspol, and then release mobile formations to head north and meet the mobile formations of the 2nd Ukrainian Front. This would lead to the encirclement of the German forces near Chișinău.
Following the successful encirclement, the 6th Tank Army and the 4th Guards Mechanised Corps were to advance towards Bucharest and the Ploiești oil fields.
Progress of the offensive
General
Both the 2nd and the 3rd Ukrainian Fronts undertook a major effort, leading to a double envelopment of the German Sixth Army and parts of the Eighth Army. The German–Romanian front line collapsed within two days of the start of the offensive, and 6th Guards Mechanized Corps was inserted as the main mobile group of the offensive. The initial breakthrough in the 6th Army's sector was deep, and destroyed rear-area supply installations by the evening of 21 August. By 23 August, the 13th Panzer Division was no longer a coherent fighting force, and the German 6th Army had been encircled to a depth of . The Red Army mobile group managed to cut off the retreat of the German formations into Hungary. Isolated pockets of German units tried to fight their way through, but only small remnants managed to escape the encirclement.
Detailed study of the Soviet breakthrough
The main effort of the front was in the sector of the 37th Army, commanded by Lieutenant General Sharokhin, by the 66th and 6th Guards Rifle Corps. The 37th Army had a -wide breakthrough frontage assigned to it. It was divided in two groupings, two corps in the first echelon, and one in reserve. According to the plan, it was to break through the German–Romanian defence lines in seven days, to a distance of , with the goal of covering per day during the first four days.
The 66th Rifle Corps, under Major General Kupriyanov, consisted of the 61st Guards Rifle and 333rd Rifle Divisions in the first echelon and the 244th Rifle Division in reserve. Attached were the 46th Gun Artillery Brigade, 152nd Howitzer Artillery Regiment, 184th and 1245th Tank Destroyer Regiment, 10th Mortar Regiment, 26th Light Artillery Brigade, 87th Recoilless Mortar Regiment, 92nd and 52nd Tank Regiment, 398th Assault Gun Regiment, two pioneer assault battalions, and two light flamethrower companies.
Corps frontage:
Corps breakthrough frontage: (61st Rifle Division , 333rd Rifle Division )
Troop density per kilometer of frontage:
Rifle battalions – 7.7
Guns/mortars – 248
Tanks and assault guns – 18
Superiority:
Infantry – 3:1
Artillery – 7:1
Tanks and assault guns – 11.2:1
There is no manpower information on the divisions, but they probably had between 7,000 and 7,500 men each, with the 61st Guards Rifle Division perhaps mustering 8,000–9,000. The soldiers were prepared over the course of August by exercising in areas similar to those they were to attack, with emphasis on special tactics needed to overcome the enemy in their sector.
Troops density in the 61st Guards Rifle Division's sector per kilometer of frontage was:
Rifle battalions – 6.0
Guns/mortars – 234
Tanks and assault guns – 18
Troops density in the 333rd Rifle Division's sector per kilometer of frontage was:
Rifle battalions – 4.5
Guns/mortars – 231
Tanks and assault guns – 18
Initial attack
The 333rd Rifle Division put three regiments in the first echelon and had none in reserve. The 61st Guards Rifle Division attacked in a standard formation, with two regiments in the first echelon and one in reserve. This proved to be fortunate, because the right wing of the 188th Guards Rifle Regiment was unable to advance past the Plopschtubej strongpoint. The 189th Guards Rifle Regiment on the left wing made good progress though, as did 333rd Rifle Division on its left. The commander of the 61st Guards Rifle Division therefore inserted his reserve (the 187th Guards Rifle Regiment) behind the 189th Guards Rifle Regiment to exploit the breakthrough. When darkness came, the 244th Rifle Division was assigned to break through the second line of defense. It lost its way, and only arrived at 23:00, by which time elements of the 13th Panzer Division were counterattacking.
The German–Romanian opposition was XXX. and XXIX. AK, with the 15th and 306th German Infantry Divisions, the 4th Romanian Mountain Division, and the 21st Romanian Infantry Division. The 13th Panzer Division was in reserve. At the end of the first day, the 4th Romanian Mountain (General de divizie, (Major General) Gheorghe Manoliu), and 21st Romanian Divisions were almost completely destroyed, while the German 15th and 306th Infantry Divisions suffered heavy losses (according to a German source, the 306th Infantry lost 50% in the barrage, and was destroyed apart from local strong-points by evening). Almost no artillery survived the fire preparation.
The 13th Panzer Division counterattacked the 66th Rifle Corps on the first day, and tried to stop its progress the next day to no avail. A study on the division's history says 'The Russians [Soviets] dictated the course of events.' The 13th Panzer Division at the time was a materially underequiped, but high manpower unit, with a high proportion of recent reinforcements. It only had Panzer IVs, StuG IIIs and self-propelled anti-tank guns. By the end of the second day, the division was incapable of attacking or putting up meaningful resistance.
At the end of the second day, the 3rd Ukrainian Front stood deep in the rear of the German 6th Army. No more organised re-supply of forces would be forthcoming, and the 6th Army was doomed to be encircled and destroyed again. Franz-Josef Strauss, who was to become an important German politician after the war, served with the Panzer Regiment of the 13th Panzer Division. He comments that the division had ceased to exist as a tactical unit on the third day of the Soviet offensive: 'The enemy was everywhere.'
In Mazulenko, results of the operations of the 66th Rifle Corps were described: "Because of the reinforcement of the Corps and the deep battle arrangements of troops and units the enemy defenses were broken through at high speed."
German survivors of the initial attack stated "By the end of the barrage, Russian [Soviet] tanks were deep into our position." (Hoffman). A German battalion commander, Hauptmann Hans Diebisch, Commander II./IR579, 306.ID, commented "The fire assets of the German defense were literally destroyed by the Soviet fighter bombers attacking the main line of resistance and the rear positions. When the Russian infantry suddenly appeared inside the positions of the battalion and it tried to retreat, the Russian air force made this impossible. The battalion was dispersed and partly destroyed by air attacks and mortar and machine gun fire."
Alleged Romanian collapse
It is often alleged that the speed and totality of the German collapse were caused by Romanian betrayal, for example, in Heinz Guderian's 1952 autobiography Panzer Leader. The study of the combat operations by Mazulenko indicates that this is probably not correct. Romanian formations did resist the Soviet attack in many cases, but were ill-equipped to defend themselves effectively against a modern army due to a lack of modern anti-tank, artillery, and anti-air weapons. In contrast to German claims, for instance, in the symposium notes published by David Glantz, or in the history of the offensive published by Kissel, it appears that the Romanian 1st Armoured Division did offer resistance against the Soviet breakthrough. However, Mark Axworthy states in his book that the battered 1st Armoured Division maintained cohesion, experiencing some local, costly successes before being forced to cross the Moldova River. Axworthy claims that the postwar Communist government would have obviously used this act of "betrayal" for propaganda purposes. Also, there are no Soviet reports of collaboration before 24 August 1944. The Soviet rates of progress imply an ineffective defense of the Romanian troops, rather than active collaboration and en-masse surrender.
Ion. S. Dumitru was a Romanian tank commander in the battle of the Romanian 1st Armoured Division against Soviet tanks and he described the battle in his book. According to Dumitru, fighting took place near the village of Scobâlțeni in the vicinity of a town called Podu Iloaiei on 20 August. The Romanian division destroyed 60 Soviet tanks and lost 30 tanks. At the end of the day, Romanians decided to retreat to the south after an analysis of the military results of the day.
The complete collapse of the German 6th Army and the Romanian 4th Army was more likely caused by the inability of the numerous horse-drawn infantry divisions to maintain cohesion while retreating and under attack of the Soviet mechanized troops. This claim is reinforced by the fact that the only Romanian division which retained its cohesion under the Soviet attack was the 1st Armoured Division, which had the mobility and the anti-tank weapons needed to do so.
The surrender of Romania took place at a time when the Soviet Army had already moved deep inside Romania, and the German 6th Army had been cut off from the rest of the Wehrmacht in Romania. The opening of hostilities between the Wehrmacht and the Romanian Army commenced after a failed coup d'état by the German ambassador.
German–Romanian combat
Simultaneously, a coup d'état led by King Michael of Romania on 23 August deposed the Romanian leader Ion Antonescu and withdrew Romania from the Axis. By this time, the bulk of the German and Romanian armies had either been destroyed or cut off by the Soviet offensive, with only residual and rear-echelon forces present in the Romanian interior. Hitler immediately ordered special forces under the command of Otto Skorzeny and Arthur Phleps, stationed in nearby Yugoslavia, to intervene in support of the remaining German troops, which were mostly concentrated around Bucharest, Ploiești, Brașov, and Giurgiu. General Alfred Gerstenberg, commander of the Luftwaffe defenses around the oilfields at Ploiești, had already ordered a column of motorized troops to attack Bucharest on the evening of 23 August. Open hostilities between German and Romanian forces began the following morning on the city's northern outskirts. After capturing the airfield at Otopeni, the attack stalled, and by 28 August Gerstenberg and the remaining German forces in the vicinity of Bucharest surrendered. The fighting here featured the only instance of cooperation between Romanian and Western Allied forces during the campaign, when Romanian ground troops requested a USAAF bombing raid on the Băneasa Forest. Poor coordination however led to friendly fire when American bombers accidentally hit a company of Romanian paratroopers.
Meanwhile, Brandenburger special forces landed at Boteni and Țăndărei airfields on 24 August in an attempt to immobilize the Romanian aircraft there, but they were overpowered by Romanian paratroopers and security companies before they could achieve their objectives. A proposed operation to rescue Antonescu, led by Skorzeny and inspired by the Gran Sasso raid which liberated Benito Mussolini in 1943, could not materialize as Antonescu's whereabouts were unknown even to the Romanian government until 30 August, when he was handed over to the Soviets and shipped to Moscow. Another group of Brandenburgers joined Gerstenberg's unsuccessful drive on Bucharest on 25 August and were captured three days later. Altogether, these events constituted one of the worst defeats suffered by the German special forces in the war.
The German situation was further complicated by the loss of Brașov and the Predeal Pass, both of which were secured by the Romanian 1st Mountain Division by 25 August, thus cutting off the most direct route of reinforcement or retreat for the remaining Wehrmacht formations to the south. The following day, the Romanian 2nd Territorial Corps captured Giurgiu and neutralized the German AA units there, taking 9,000 prisoners in the process. The 25,000-strong German presence around Ploiești, consisting mostly of flak troops and their security companies, was at first locked in a stalemate with the Romanian 5th Territorial Corps, which had a similar numerical strength. Over the following days however, the Germans were gradually confined to the city's immediate surroundings and became heavily outnumbered as Romanian reinforcements began arriving from Bucharest and also from the east, together with lead elements of a Soviet motorized brigade. On 30 August, an attack by the 5th Territorial Corps, now numbering over 40,000 men, reduced the Germans to a pocket around the village of Păulești, roughly north of Ploiești. They surrendered the following day after a failed breakout attempt. About 2,000 Germans were able to escape to the Hungarian lines across the Carpathians. Other major cities and industrial centers, such as Constanța, Reșița, and Sibiu were secured by the Romanians with relative ease. By 31 August, all German resistance in Romania had been cleared.
During the fighting between 23 and 31 August, the Romanian Army captured 56,000 German prisoners, who were later surrendered to the Soviet Army. A further 5,000 Germans were killed in action, while Romanian casualties amounted to 8,600 killed and wounded.
Romanian sources claim that internal factors played a decisive role in Romania's switch of allegiance, while external factors only gave support; this version is markedly different from the Soviet position on the events, which holds that the offensive resulted in the Romanian coup and "liberated Romania with the help of local insurgents".
Aftermath
The German formations suffered significant irrecoverable losses, with over 115,000 prisoners taken, while Soviet casualties were unusually low for an operation of this size. The Red Army advanced into Yugoslavia and forced the rapid withdrawal of the German Army Groups E and F from Greece, Albania, and Yugoslavia to avoid being cut off. Together with Yugoslav partisans and Bulgaria, they liberated the capital city of Belgrade on 20 October.
On the political level, the Soviet offensive triggered King Michael's coup d'état in Romania, and the switch of Romania from the Axis to the Allies. Almost immediately, border hostilities between Romania and Germany's ally Hungary erupted over territory that Romania had been forced to cede to Hungary in 1940 as a result of the Second Vienna Award. Romania's defection meant the loss of a vital source of oil for Germany, leading to serious fuel shortages in the Wehrmacht by the end of 1944 and prompting Hitler's first admission that the war was lost.
Following the success of the operation, Soviet control over Bessarabia and Northern Bukovina, which had been occupied by the USSR in 1940, was re-established. Soviet forces proceeded to collect and expel the remaining Romanian troops. According to Anatol Petrencu, President of the Historians' Association of Moldova, over 170,000 Romanian soldiers were deported, 40,000 of which were incarcerated in a prisoner-of-war camp at Bălți, where many died of hunger, cold, disease, or execution.
Legacy
In Moldova and the breakaway state Transnistria, August 24 is a public holiday, and is known officially as Liberation Day. King Michael's Coup on August 23 was also celebrated in neighboring Romania as Liberation from Fascist Occupation Day until 1990. In 1970, a street in Botanica was named in honor of Aleksei Belsky, a Hero of the Soviet Union and a participant in the second Jassy–Kishinev offensive. After the collapse of the USSR, the street was renamed to honor Alexandru Ioan Cuza. The village of Malinovscoe, in the Rîșcani District, named in honor of the Marshal Rodion Malinovsky was dedicated to the anniversary of the end of the operation.
Monuments
On 23 August 1969, during the 25th anniversary of the offensive, a liberation monument at the Academy of Sciences of Moldova was opened. It has been renovated three times, in 1975, 2014, and 2019. The monument to the second Jassy–Kishinev offensive in the village of Chițcani was opened on 9 May 1972 and is currently the site of the monument is a mass grave, in which 1,495 soldiers who died during the operation are buried. The Capul de pod Șerpeni Memorial Complex was opened in 2004. Two years later, the Eternity Memorial Complex in Chișinău was opened on Liberation Day, acting as the Soviet war memorial in Moldova.
Events
In 2019, President Igor Dodon dedicated the year to the 75th anniversary of the Liberation of Moldova, and ordered that a National Coordination Committee plan national events and celebrations throughout the country in honor of the anniversary. On the actual anniversary, celebrations were held, led by Dodon and attended by Russian Defence Minister Sergey Shoigu at the request of Moldovan Defence Minister Pavel Voicu. A ceremony with Dodon, Shoigu and Voicu in attendance at the Capul de pod Șerpeni Memorial Complex was held, in which Shoigu ceremonially handed Voicu the military flags of two Moldovan regiments who participated in the offensive, which until then, were kept at the Central Armed Forces Museum. A separate ceremony at the Transnistria-based Operational Group of Russian Forces was also held.
Notes
References
Bibliography
Art of War Symposium, From the Dnepr to the Vistula: Soviet Offensive Operations – November 1943 – August 1944, A transcript of Proceedings, Center for Land Warfare, US Army War College, 29 April – 3 May 1985, Col. D.M. Glantz ed., Fort Leavewnworth, Kansas, 1992
Ziemke, E.F. Stalingrad to Berlin: The German Defeat in the East, Office of the Chief of Military History, U.S. Army; 1st edition, Washington D.C., 1968
Roper, Steven D. Romania: The Unfinished Revolution (Postcommunist States and Nations), Routledge; 1 edition, 2000,
External links
Soldiers of the Great War
Second Jassy–Kishinev offensive operation (20.08 – 29.08.1944)
Освобождение Кишинев
1944 in Romania
1944 in the Moldavian Soviet Socialist Republic
1944 in Ukraine
Jassy-Kishinev, Second Offensive
Jassy-Kishinev, Second Offensive
Jassy-Kishinev, Second Offensive
History of Iași
History of Chișinău
Jassy-Kishinev, Second Offensive
Romania–Soviet Union relations
Soviet occupation of Bessarabia and Northern Bukovina
Jassy-Kishinev, Second Offensive
Jassy-Kishinev, Second Offensive
August 1944 events
German–Romania military relations
Jassy-Kishinev, Second Offensive | https://en.wikipedia.org/wiki/Second%20Jassy%E2%80%93Kishinev%20offensive |
Lorenz or Lorents Lange (; c. 1690 – 1752) was an official in 18th-century Siberia who dealt with Russo-Chinese trade and diplomacy. His reports were a major influence on Russian policy and an important early source of European knowledge of Siberia, Mongolia and China. He is usually said to have been a cornet in the Swedish cavalry who was taken prisoner at the Battle of Poltava in 1709.
At this time Russo-Chinese trade and diplomacy went through the western border to “Manchuria” since Mongolia was not fully under Chinese control. When the Manchus gained control of Mongolia after the First Oirat-Manchu War this created a long undefined border and opened a more practical trade route through the future Kyakhta.
Lange entered Russian service in 1712 as an engineer Lieutenant. In 1715-17 he was sent by Peter the Great as a special envoy to China, his mission being to promote Russian commercial interests. His journal was one of the most important early European descriptions of the Gobi Desert. In 1719 he returned to Peking on the staff of the Ismailov mission and lived there as a trade agent until 1722 when the Manchus blocked trade to force a settlement of the Mongolian border. At about this time he accompanied Tulishen to the border to investigate the problem of “deserters”, as the Manchus called Mongols who crossed the border without permission. In 1724 he was appointed to negotiate with the Manchus, but the next year he was made second to the more senior Sava Vladislavich. This led to the Treaty of Kyakhta in 1727.
He accompanied the state caravans from Kyakhta to Peking in 1727, 1731 and 1736. Lange was made vice-governor of Irkutsk (1739-1749) and met many of the famous explorers of the time, including Vitus Bering, Johann Georg Gmelin and George Wilhelm Steller. In 1739 he proposed that Siberian trade be given over to a private monopoly on the model of the Dutch East India Company. The proposal was accepted by the government, but had to be dropped when no merchants could be found to invest in it.
Works and collections
His journal of his 1715-1717 travels was first published in German as part of Friedrich Christian Weber's "Das veränderte Russland", and translated into English as "Journal of Laurence Lange's Travels to China" in 1723. A French report of his 1720-22 sojourn appeared in 1726, an English translation in 1763. The Izmailov mission was described by Georg Johann Unverzagt (1725). His state caravan journeys were reported on in Peter Simon Pallas' "Neue Nordische Beyträge" (1781).
During his travels to China Lange acquired an important collection of objects, which were added to the collections of the Imperial Kunstkamera in St. Peterburg. Gottlieb Siegfried Bayer described these objects in his "Museum Sinicum" (1730).
Literature
Lange, Lorenz, Reise nach China. Mit einem Nachwort von Conrad Grau und 12 zeitgenössischen Illustrationen. Berlin: Akademie-Verlag 1986. Review by Harmut Walravens, Berlin, NOAG 1989: http://www.uni-hamburg.de/oag/noag/noag_1989_rez_04.pdf
Lange, Lorenz, Journal of Laurence Lange's Travels to China. In: Friedrich Christian Weber, The Present State of Russia. London: Taylor, vol. 2, 1723.
Lange, Lorenz, Journal de la residence du Sieur Lange, agent […] à la cour de la Chine. Leyde [Leiden] 1726.
Unverzagt, Georg Johann, Die Gesandtschaft Ihro Käyserl. Majest. von Groß-Rußland an den Sinesischen Käyser. Lübeck: Schmidt, 1725.
Lorenz Lange, Journal of the Residence of Mr. de Lange, Agent of his Imperial Majesty of all the Russias, Peter the Great, at the Court of Pekin, During the Years 1721 & 1722. In: John Bell, Travels from St. Petersburg in Russia to Diverse Parts of Asia. Vol. 2, 1763, pp. 169–321. Translated from the French report of 1726.
Lange, Lorenz, in Peter Simon Pallas (Hg.) Neue Nordische Beyträge 2 (1781): Tagebuch einer in den Jahren 1727 und 1728 über Kjachta nach Peking unter Anführung des Agenten Lorenz Lange gethanen Karawanenreise, pp. 83–159; Tagebuch einer im Jahr 1736 unter Anführung des Kanzleyraths Lange und des Commissars Firsof von Zuruchaitu durch die Mongoley nach Peking verrichteten Karawanenreise, pp. 160–207.
References
Mancall, Mark, Russia and China: Their Diplomatic Relations to 1728. Cambridge, MA: Harvard University Press, 1971.
Foust, Clifford M, "Muscovite and Mandarin: Russia's Trade with China and its Setting, 1727-1805", 1969
Swedish explorers
Swedish diplomats
Swedish male writers
Year of birth uncertain
1752 deaths
Writers about Russia
Caroleans | https://en.wikipedia.org/wiki/Lorenz%20Lange |
John Gerrard or Gerard may refer to:
John Gerard (c. 1545–1612), English herbalist
John Gerard (Jesuit) (1564–1637), English Jesuit priest
John Gerard (Royalist) (1632–1654), Royalist during the English Civil War
John Gerrard (1720–1787), American Baptist preacher and church founder, after whom Gerrardstown, West Virginia is named
John Gerrard (police officer) (1920–2003), British police officer
Jon Gerrard (born 1947), Canadian politician and doctor
John M. Gerrard (born 1953), American judge
John Gerrard (artist) (born 1974), Irish artist
See also | https://en.wikipedia.org/wiki/John%20Gerrard |
Stefan Kürten (born 1963) is a contemporary German artist who lives and works in Düsseldorf. Known for his intricate paintings of domestic and urban landscapes, Kürten has exhibited extensively since 1984 and his work is held in a number of collections in Europe and the United States.
Life and career
Stefan Kürten was born in 1963 in Düsseldorf. After studying Philosophy and English at Heinrich Heine University, he enrolled at Kunstakademie Düsseldorf and studied painting with Michael Buthe, receiving his MA in 1989. He then moved to San Francisco, where he studied and taught at the San Francisco Art Institute during the early 1990s. Kürten has since taught at various institutions, such as Hochschule für Künste, Bremen (from 2002-2003), Bauhaus-Universität Weimar (2010), School of Art and Design, Alfred University (2012), and Kunstakademie Düsseldorf (since 2014).
Kürten's paintings depict natural and built environments or interiors while often incorporating decorative or ornamental motifs culled from wallpaper and textile design. Devoid of any human presence, Kürten's work typically showcases spaces and buildings marked by daily life and use but seemingly abandoned or vacated, in many cases allowing plants and natural life to encroach and overtake the space. However, he rejects a strictly futuristic or prophetic reading of his work; in a conversation with Lawrence R. Rinder, director of BAM/PFA, he speaks to the hauntological nature of his paintings: "It is more concerned with the present, the way we feel and experience ourselves and our environments now, and of course the past, as we access our memories be they 'true' or 'false.' The futuristic quality in my images is something from the future, but it's a future from the past, an optimism laden with bright promises and bedeviled by moral imperatives."
Alongside his career in painting, Kürten also makes music under his own name and with the band Elena Farr, and played guitar in the group Superbilk from 1995 to 1999.
Selected exhibitions
Selected solo exhibitions
2017: Through the mirror, NextLevel Galerie, Paris
2014-15: Heimlich, Galerie der Stadt Backnang, Backnang, Germany
2012-13: Come on home-Arbeiten auf Papier, Kunstmuseum Mülheim an der Ruhr
2010: Darker with the Day, Parkhaus im Malkasten, Düsseldorf
2008: Always, Künstlerverein Malkasten, Düsseldorf
2007: Shadowtime, Museum Haus Esters, Krefeld; Royal Hibernian Academy, Dublin
2005: Say Hello, Wave Goodbye, Thomas Dane, Ltd., London
2003: The Nearest Thing to Heaven, Museum im Kulturspeicher Würzburg
2002: Perfect Day, Alexander and Bonin, New York
2001: In einem anderen Land, an einem anderen Ort, Galerie Michael Cosar, Düsseldorf
1998: Die Lüge der Erinnerung/The Lie of Memory, Hosfelt Gallery, San Francisco
1998: Different Worlds, Goethe-Institut, Hong Kong
1996: Aus Wiedersehen Bielefeld, Galerie Raab, Berlin
1993: Das ABC des Lebens, Kulturforum Alte Post, Neuss, Germany
1993: Dietmar Werle, Cologne
1993: Life Cycles, Artspace, San Francisco
1991: The Diversity of Life, Dorothy Goldeen Gallery, Los Angeles
1991: Aschenbach Galerie, Amsterdam
1990: One Thousand and One Mornings, Rena Bransten Gallery, San Francisco
1989: Matrix 131: Stefan Kürten, Berkeley Art Museum, Berkeley, CA
1988: Galerie Ute Parduhn, Düsseldorf
1984: Fun Gallery, San Francisco
Selected group exhibitions
2016-17: The Adventure of our Collection I, Kaiser Wilhelm Museum, Krefeld
2013: La Peintre de la Vie Moderne, Galerie Jochen Hempel, Leipzig, Germany
2011-12: Gesamtkunstwerk, New Art From Germany, Saatchi Gallery, London
2010: Optical Shift – Illusion und Täuschung / Illusion and Deception, B-05 Kunst und Kulturzentrum, Montabaur
2010: Collecting the New, Irish Museum of Modern Art, Dublin
2007-08: Garten Eden: Der Garten in der Kunst seit 1900, Kunsthalle Emden
2007: Early Retirement, Mai 36 Galerie, Zürich
2007: Die Kunst zu sammeln, Museum Kunstpalast, Düsseldorf
2005: Le peintre de la vie moderne/De schilder van het moderene leven/The Painter of Modern Life, Museum De Paviljoens, Almere, Netherlands
2004: Come back in one piece, Galerie Anna Klinkhammer, Düsseldorf
2000: Of the Moment, San Francisco Museum of Modern Art
2000: Extraordinary Reality, Columbus Museum of Art, OH
1995: New Acquisitions, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
1994: On Paper, The Drawing Room, Amsterdam
1985: Perspektiven 3, Kunstverein Düsseldorf
Selected collections
Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
Birmingham Museum of Art, AL
The Irish Museum of Modern Art, Dublin
Artothek, Wilhelm-Lehmbruck-Museum, Duisburg
Stiftung Museum Kunst Palast, Düsseldorf
Kunsthalle in Emden
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY
Knoxville Museum of Art, TN
Kunstmuseen Krefeld
Los Angeles County Museum of Art, Los Angeles
Montreal Museum of Fine Arts
Kunstmuseum Mülheim an der Ruhr
Clemens Sels Museum, Neuss
Museum of Modern Art, New York
New York Public Library, New York
San Francisco Museum of Modern Art
Selected bibliography
Shick, Martin and Simone Scholten, Eds. Running to Stand Still: Stefan Kürten. ex cat. Stadt Backnang: VG Bild-Kunst, Bonn, 2015
Zybok, Oliver, ed. Here Comes the Night. Works on Paper 2009–2013, ex. cat. Ostfildern: Hatje Cantz, 2013
Hentschel, Martin. Stefan Kürten, Black Mirror, Drucke/Prints 1991-2009; Bielefeld, Kerber Verlag, 2010
Thomas, Elizabeth. Matrix / Berkeley, A changing exhibition of Contemporary Art. University of California. Berkeley Art Museum and Pacific Film Archive
Hentschel, Martin, Ed. Shadowtime, ex. cat. Krefeld: Kunstmuseum Krefeld; Dublin: Royal Hibernian Academy; Bielefeld: Kerber Verlag, 2007
Kürten, Stefan and Rebecca Solnit. Inside Out. San Francisco: Artspace Books, 2006
Frankel, David and David Gray. Stefan Kürten: Blue days, black nights. New York: Alexander and Bonin; San Francisco: Hosfelt Gallery; Düsseldorf: Galerie Michael Cosar, Galerie Ute Parduhn, 2004
Reese, Beate. Stefan Kürten (translated by Julia Thorson). Würzburg: Museum in Kulturspeicher, 2003
McCormick, Carlo, Jens-Peter Koerver, Lawrence Rinder. Stefan Kürten: Every day is like Sunday. Düsseldorf: Galerie Michael Cosar, Galerie Ute Parduhn; San Francisco: Todd Hosfelt Gallery, 2001
References
External links
Official Website
German contemporary artists
1963 births
Kunstakademie Düsseldorf alumni
Academic staff of Kunstakademie Düsseldorf
20th-century German painters
20th-century German male artists
21st-century German painters
21st-century German male artists
Living people | https://en.wikipedia.org/wiki/Stefan%20K%C3%BCrten |
Brian Todd (15 December 1921 – 21 October 1992), known professionally as Bob Todd, was an English comedy actor, mostly known for appearing as a straight man in the sketch shows of Benny Hill and Spike Milligan. For many years, he lived in Tunbridge Wells, Kent.
Life and career
Todd was born in Faversham, Kent. One of the stooges of television comedy, Todd was best known for his lugubrious expression and talent for slapstick, and was known to fellow comedians by the nickname 'Silly Todd'.
Before working in television, Todd trained to be a dentist. The outbreak of the Second World War saw him enlist in the Royal Air Force, where he became a navigator stationed at RAF North Killingholme, Lincolnshire. He had ambitions of becoming a farmer—making money from cattle breeding, whilst working as a manager at London Airport. The farming business, once begun, failed and almost made him bankrupt. Meeting scriptwriters Ray Galton and Alan Simpson in a pub, he bluffed them into believing that he was in fact an actor and ended up with the part of a policeman in the Sid James comedy series Citizen James. He appeared as several characters in Milligan and John Antrobus' stage play The Bed-Sitting Room, which opened at the Mermaid Theatre on 31 January 1963.
He consequently stooged in The Dick Emery Show and The Mike and Bernie Winters Show amongst others, before joining The Benny Hill Show in 1968. He stayed with the programme, on and off, until Thames Television ended the show twenty-one years later. Todd was a regular on the 1971 The Marty Feldman Comedy Machine, appearing in 13 of the 14 episodes. In 1973, he appeared as Bill Thompson, the referee at a regimental boxing tournament in Adolf Hitler: My Part in His Downfall.
Todd gained a reputation for drunkenness while working on The Benny Hill Show. He once failed to turn up for a London Palladium show after a drinking episode, and found himself in a Dublin hospital five days later. After this was reported in the media, Hill had Todd dropped from the show. Producer Dennis Kirkland persuaded Hill to rescind the decision, saying Todd brought much to the show and his drinking rarely affected his work.
Todd's only starring role was as Dan the lavatory attendant in his own 1972 series In for a Penny, although he did appear in the Jimmy Jewel series Funny Man. He appeared in Eric Sykes's television series, in the episode "Sykes and A Bath", broadcast on 25 January 1961, in series three of Sykes and A..., in which he played a sad-faced man with one hand stuck inside a vase. He appeared in Sykes' film Rhubarb Rhubarb in 1980, as well as making guest appearances on shows by Jim Davidson and Allan Stewart and Spike Milligan's Q9. He was seen in cinema films, including Carry On Again Doctor, The Return of the Musketeers, and Mutiny on the Buses. He appeared in the 1980s series of The Sooty Show playing the part of The Black Hand, in the adventure film The Case of the Black Hand. He appeared in Gabrielle and the Doodleman as Merlin as well as an Ugly Sister with Windsor Davies in 1984.
Personal life
Todd and his wife, Monica, had one daughter and two sons. He died (six months after Benny Hill did) at the age of 70 in Sussex.
Selected filmography
Raising the Wind (1961) – Street Musician – Accordionist (uncredited)
Postman's Knock (1962) – District Superintendent
The Intelligence Men (1965) – Policeman (uncredited)
Hot Millions (1968) – British Commissionaire (uncredited)
Carry On Again Doctor (1969) – Patient on Breathing Apparatus (uncredited)
Scars of Dracula (1970) – Burgomaster
She'll Follow You Anywhere (1971) – Car salesman
Burke & Hare (1972) – Guard Campbell
Mutiny on the Buses (1972) – New Inspector
That's Your Funeral (1972) – Arthur (Funeral Director)
Go for a Take (1972) – Security Man
Adolf Hitler – My Part in His Downfall (1973) – Bill Thompson, Referee
Digby, the Biggest Dog in the World (1973) – The Great Manzini
The Flying Sorcerer (1973) – Crabtree
The Over-Amorous Artist (1974) – Postman
The Best of Benny Hill (1974) - Various roles
The Four Musketeers (1974) – Firing Squad Officer
Confessions of a Pop Performer (1975) – Mr. Barnwell
The Ups and Downs of a Handyman (1976) – Squire Bullsworthy
Come Play with Me (1977) – Vicar
Rosie Dixon - Night Nurse (1978) – Mr. Buchanan
Le Pétomane (1979, Short) – Joseph's Father
The Sooty Show (1980, 8 Episodes: "The Case of The Black Hand") – The Black Hand
Funny Man (1981, TV series) – Billy Strothers
Superman III (1983) – Dignified Gent
The Steam Video Company (1984, TV Series) – Calliban Spong / Loretta Del Rio
Gabrielle and the Doodleman (1984) – Merlin / Ugly Sister
The Return of the Musketeers (1989) – High Bailiff (final film role)
References
External links
Benny's Place tribute to Bob Todd
1921 births
1992 deaths
English male comedians
English male television actors
People from Faversham
Male actors from Kent
20th-century English male actors
20th-century English comedians
Royal Air Force personnel of World War II | https://en.wikipedia.org/wiki/Bob%20Todd |
Herbert Windt (15 September 1894, Senftenberg, Brandenburg – 2 November 1965, Deisenhofen, now a part of Oberhaching, Bavaria) was a German composer who became one of the most significant film score composers of the Third Reich. He was best known for his collaborations with the director Leni Riefenstahl on films Triumph of the Will and Olympia.
Biography
Windt studied at the Sternsches Konservatorium in Berlin but left to enlist in the army at the start of World War I. Severely wounded, he spent two years in hospital, during which he began composing chamber music.
In 1920 Windt received a grant to study with the renowned Franz Schreker in the composer's master class at the Berlin Academy of Music. Windt joined the NSDAP in 1931. A grant by the government of the Weimar Republic led to his opera Andromache, which was first performed in 1932. An UFA film producer in the audience took notice of Windt's music. Windt was offered a commission to write the music for UFA's 1933 film Morgenrot (Red Morning), a story about a gallant World War I U-boat crew.
Windt became one of the most significant film score composers of the Third Reich along with Wolfgang Zeller, Michael Jary, Franz Grothe, and Georg Haentzschel. He composed music for several Nazi public events and radio programs. He was best known for his collaborations with Leni Riefenstahl, the director of Triumph of the Will (1934/35), Olympia (1938), and Tiefland (1945/54), but he also worked with directors like Wolfgang Liebeneiner (Die Entlassung), Georg Wilhelm Pabst (Paracelsus), Frank Wisbar (The Unknown, Fährmann Maria, Stalingrad: Dogs, Do You Want to Live Forever?), and Gustav Ucicky (Morgenrot).
Windt's film scores for propaganda films drew the attention of the sociologist Siegfried Kracauer, who analysed the composer's works in the tracts From Caligari to Hitler: A Psychological History of the German Film and Theory of Film: The Redemption of Physical Reality.
Despite the warm reception for his music in Nazi party circles, Windt himself fell into disfavor with the rulers of Germany in that period. He was completely cleared in the post-war de-Nazification trials.
Works
Cantata
Andante religioso, eine Kammersinfonie nach sechs Sonaten (premiered in 1921) (Wien: Universal-Edition, 1942)
Opera
Andromache (1932 premiere in Berlin)
Film scores
Morgenrot (1933)
Refugees (1933)
Der Sieg des Glaubens (1933)
William Tell (1934)
The Riders of German East Africa (1934)
The Four Musketeers (1934)
Triumph of the Will (1935)
My Life for Maria Isabella (1935)
The Unknown (1936)
Fährmann Maria (1936)
Home Guardsman Bruggler (1936)
Olympia (1938)
The Mystery of Betty Bonn (1938)
Frau Sixta (1938)
By a Silken Thread (1938)
Pour le Mérite (1938)
Cadets (1939)
Midsummer Night's Fire (1939)
Legion Condor (1939)
Friedrich Schiller – Triumph eines Genies (1940)
Feldzug in Polen (1940)
Sieg im Westen (1941)
Above All Else in the World (1941)
Die Entlassung (1942)
The Red Terror (1942)
Paracelsus (1943)
The Crew of the Dora (1943)
Die Degenhardts (1944)
Anna Alt (1945)
The Woman from Last Night (1950)
Stips (1951)
Fight of the Tertia (1952)
When the Heath Dreams at Night (1952)
Christina (1953)
Tiefland (1954)
Heroism after Hours (1955)
Stalingrad: Dogs, Do You Want to Live Forever? (1958)
Heart Without Mercy (1958)
Im Namen einer Mutter (1960)
References
Bibliography
Volker, Reimar. "Von oben sehr erwünscht" : die Filmmusik Herbert Windts im NS-Propagandafilm. Trier: WVT, Wissenschaftlicher Verlag Trier, 2003.
Walter, Michael. "Die Musik des Olympiafilms von 1938". Acta Musicologica 62, no. 1 (Jan-Apr 1990): 82-113 .
External links
1894 births
1965 deaths
People from Senftenberg
Musicians from the Province of Brandenburg
Nazi Party members
German film score composers
Male film score composers
Nazi culture
German opera composers
Male opera composers
German male classical composers
20th-century German composers
20th-century German male musicians | https://en.wikipedia.org/wiki/Herbert%20Windt |
Stanley H. Watts (August 30, 1911 – April 6, 2000) was an American basketball coach. He served as the head basketball coach at Brigham Young University (BYU) from 1949 to 1972. The Murray, Utah native was inducted into the Naismith Memorial Basketball Hall of Fame in 1986.
Watts became the sixth coach in history to win 100 games in his first five years. Watts' BYU teams were disciplined and well-drilled units that favored an up-tempo style and relentless defensive pressure. In 23 seasons, Watts compiled a 371–254 (.594) record and established a strong basketball tradition and a national athletic identity for the school representing the Church of Jesus Christ of Latter Day Saints. His Cougars teams won eight conference titles, appeared in 11 postseason tournaments, and captured the 1951 and 1966 National Invitation Tournament championships.
Watts began his coaching career in 1938 at Millard High, then coached Dixie Junior College from 1941 to 1945 and Jordan High School from 1945 to 1947. Watts was chosen as BYU's freshman coach in 1947 and inherited the varsity team in 1949. Watts' book, Developing an Offensive Attack in Basketball (1958), became a standard manual on the fast break offense. From 1965 to 1966, Watts' "Runnin' Cougars" scored more than 100 points 21 times and at least 95 points 32 times. Watts' teaching skills were in constant demand at coaching clinics across the nation and in Europe, the Far East and South Africa. Watts served his coaching organization, the National Association of Basketball Coaches (NABC), on numerous committees. He served on the Board of Directors from 1958 to 1968 and as president in 1970.
Head coaching record
College basketball
References
External links
1911 births
2000 deaths
American Latter Day Saints
American men's basketball coaches
American men's basketball players
Basketball coaches from Utah
Basketball players from Utah
BYU Cougars athletic directors
BYU Cougars baseball coaches
BYU Cougars men's basketball coaches
BYU Cougars men's basketball players
College men's basketball head coaches in the United States
Utah Tech University people
Utah Tech Trailblazers men's basketball coaches
High school basketball coaches in the United States
Naismith Memorial Basketball Hall of Fame inductees
National Collegiate Basketball Hall of Fame inductees
People from Murray, Utah
Sportspeople from Salt Lake County, Utah | https://en.wikipedia.org/wiki/Stan%20Watts |
Stanley Watts may refer to:
Stan Watts (1911–2000), American basketball
Stanley J. Watts (born 1961), American artist and sculptor | https://en.wikipedia.org/wiki/Stanley%20Watts |
Saint Barbara's Church () is a Roman Catholic church in Kutná Hora (Bohemia) in the style of a cathedral, and is sometimes referred to as the Cathedral of St Barbara (). It is one of the most famous Gothic churches in central Europe and it is a UNESCO world heritage site. St Barbara is the patron saint of miners (among others), which was highly appropriate for a town whose wealth was based entirely upon its silver mines.
Construction began in 1388, but because work on the church was interrupted several times, it was not completed until 1905. The first architect was probably Johann Parler, son of Peter Parler. Work on the building was interrupted for more than 60 years during the Hussite Wars and when work resumed in 1481, Matěj Rejsek, Benedikt Rejt and Mikuláš Parler, assumed responsibility.
The original design was for a much larger church, perhaps twice the size of the present building. Construction, however, depended on the prosperity of the town's silver mines, which became much less productive. So, in 1588, the three-peaked roof had been completed, and a provisional wall was constructed. A little later it was occupied by Jesuits who gradually changed the structure into Baroque style, though parts still remain in Gothic style.
The final process of repair and completion took place at the end of the 19th century, under architects J. Mocker and L. Labler.
Originally there were eight radial chapels with trapezoidal interiors. Later on, the choir was constructed, supported by double-arched flying buttresses.
Internal points of note are the glass windows, altars, pulpits and choir stalls. Medieval frescoes depicting the secular life of the medieval mining town and religious themes have been partially preserved.
Gallery
See also
List of Gothic Cathedrals in Europe
References
External links
History and photos of St. Barbara's Church
Kutná Hora
World Heritage Sites in the Czech Republic
Gothic architecture in the Czech Republic
Buildings and structures in Kutná Hora
Tourist attractions in the Central Bohemian Region
National Cultural Monuments of the Czech Republic | https://en.wikipedia.org/wiki/St.%20Barbara%27s%20Church%2C%20Kutn%C3%A1%20Hora |
Leeds Building Society is a building society based in Leeds, England. It serves approximately 719,000 customers across the United Kingdom, who together hold £9.9 billion in savings balances and is the fifth largest building society in the UK.
History
The society was registered as the Leeds and Holbeck (Permanent) Building Society in 1875, though the society originated from a group called the Leeds Union Operative Land and Building Society which formed in 1845. The society was renamed to Leeds Building Society in September 2005. It has 65 branches across the UK, with 29 located in Yorkshire, and previously had two international branches located in Gibraltar and Dublin, Ireland. The head office is located on Sovereign Street in Leeds city centre. It is a member of the Building Societies Association.
It should not be confused with the defunct Leeds Permanent Building Society, which was also known as The Leeds, which merged with the Halifax Building Society on 1 August 1995.
On 1 August 2006, following approval by the Mercantile members and confirmation by the Financial Services Authority (FSA), Leeds Building Society merged with Mercantile Building Society, in North Shields, an area of North Tyneside, in Tyne and Wear.
Sponsorship
The Leeds Building Society is also the main shirt sponsor of the Super League rugby league side Leeds Rhinos.
Arms
References
External links
Building societies of England
Banks established in 1875
Organizations established in 1875
Companies based in Leeds
1875 establishments in England | https://en.wikipedia.org/wiki/Leeds%20Building%20Society |
Lothar Hempel (born 1966 in Cologne) is a German artist based in Berlin. He attended Kunstakademie Düsseldorf from 1987 to 1992.
Artistic practice
Hempel transforms the exhibition space into a stage on which the visitor becomes an actor in a story full of cross-references and contradictions. The works are at once the synopsis, the set, the characters and the props of a play. They represent the different parts of a narrative created out of references to German history, psychology, Greek tragedy, cinema, music, political and social history, neurology, and modern dance, for instance..
Hempel borrows a number of different styles and strategies, whether invented by Dada, Constructivism, the Bauhaus or Joseph Beuys. He uses visual metaphors by incorporating images or found objects.
Exhibition history
In 2007 Hempel's work was the subject of the retrospective exhibition 'Alphabet City' curated by Florence Derieux at Le Magasin, Grenoble. Museum exhibitions include Casanova, The Douglas Hyde Gallery, Dublin (2008); Concentrations 42, Dallas Museum of Art, Dallas (2002), and Propaganda, Institute of Contemporary Arts, London (2002). Lothar Hempel's work has been included in the exhibitions Heaven, Athens Biennale (2009), Le Song D’un Poete, Frac des Pays de la Loire, Nantes (2009); Beaufort 03, Triennial for Contemporary Art, Blankenberge (2009); 7th Gwangju Biennial (2008); Pale Carnage, Arnolfini, Bristol and DCA, Dundee (2007); Imagination becomes Reality. Werke aus der Sammlung Goetz, ZKM – Museum für Neue Kunst, Karlsruhe (2007).
Hempel has exhibited regularly since 1991, during which time his work has been seen in exhibitions at art institutions, among them: the Venice Biennale; Tate Liverpool, ICA, London; Stedelijk Museum, Amsterdam; MoMA PS1, New York; Museum of Contemporary Art, Chicago; Portikus, Frankfurt am Main; Secession, Vienna; Centre Georges Pompidou, Paris.
Solo Exhibitions
2018
Le Terrain Vague, Modern Art, London
Koexistenz, Window on Broad project space, Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, PA, USA
Gargoyle, Italic, Berlin, Germany
2017
Oral Heart, Anton Kern Gallery, New York, NY, USA
FUTURE MUSIC, Casado Santapau, Madrid, Spain
2016
Working Girl, Sies + Höke, Düsseldorf, Germany
Sex and the City, Art : Concept, Paris, France
2015
Tropenkoller, Modern Art, London
2014
PEOPLE LIKE YOU MAKE IT EASY, Anton Kern Gallery, New York, NY, USA
Luggage and Observations, Galerie Klaus Gerrit Friese, Stuttgart, Germany
2013
Loneliness is a cloak you wear, a deep shade of blue is always there, Gerhardsen Gerner, Berlin, Germany
Songs for the Blind, Hezi Cohen Gallery, Tel Aviv, Israel
Art Basel Parcours, Museum Kleines Klingental, Basel, Switzerland
2012
The Story of the Old New Girls, Art : Concept, Paris, France
Opium, La Conservera, Ceuti, Spain
2011
Suedehead, Anton Kern Gallery, New York, NY, USA
2010
Silberblick / Squint, Modern Art, London
ZOO, Sadler's Wells, London
Pyramix Pix, c/o – Gerhardsen Gerner, Berlin, Germany
2009
Kats, Nerves, Shadows & Gin, Anton Kern Gallery, New York, NY, USA
Rise and Fall, MGM, Oslo, Norway
Cafe Kaputt, Gio Marconi, Milan, Italy
2008
Casanova & Other Problems, Modern Art, London
Casanova, Douglas Hyde Gallery, Dublin, Ireland
Signal, Art : Concept, Paris, France
2007
Alphabet City, Magasin – Centre National d’Art Contemporain, Grenoble, France
Modern Art, London
Effetti Speciali, Atle Gerhardsen, Berlin, Germany
2006
Vanessa Baird - Me, myself and the other one, Atle Gerhardsen, Berlin, Germany
Umbrella, Anton Kern Gallery, New York, NY, USA
Tarantella, Bar Ornella, Cologne, Germany
2005
Casa Musica (extrema), Atle Gerhardsen, Berlin, Germany
Butterfly, c/o Alte Gerhardsen, Art Nova, Art Basel Miami Beach, Miami, FL, USA
2004
Fieber/Fever: 5 New Paintings and Other Stories, Anton Kern Gallery, New York, NY, USA
Ikarus, Art : Concept, Paris, France
On The Olympus, Unlimited Contemporary Art, Athens, Greece
Versteck!, with Petra Hollenbach, Parkhaus, Düsseldorf, Germany
2003
Der Gesang der Vögel ist Sinnlos!, The Song of the Bird is Nonsense, Anton Kern Gallery, New York, NY, USA
2002
Diamanten, c/o Atle Gerhardsen, Berlin, Germany
Fleisch: Maschine, Magnani, London
Concentrations 42, Dallas Museum of Art, Dallas, TX, USA
Propaganda, Institute of Contemporary Arts, London
Wespennest, Dallas Museum of Art, Dallas, TX, USA
2001
Magnet, Art : Concept, Paris, France
2000
Das Orakel l’chelt. das Orakel lacht. das Orakel l’chelt, Ars Futura Galerie, Zurich, Switzerland
An Schlaf ist Nicht zu Denken, Lab of Gravity, Hamburg, Germany
Wespennest (Wasps Nest) Anton Kern Gallery, New York, NY, USA
1999
Amerika Verschwindet nur das L’cheln Bleibt (America Disappears Only the Smile Remains), Anton Kern Gallery, New York, NY, USA
KAPUTT und die Folgen (Kaputt and the Consequences), Robert Prime, London
Videos, Centre Saint Gervais, Geneva, Switzerland
1998
Ein Sandstrand voll Glas (A Beach Full of Glass), Galerie Daniel Buchholz, Cologne, Germany
Kunstschnee will Schmelzen, Bureau Amsterdam, Stedelijk Museum, Amsterdam, Netherlands
1997
Samstag Morgen, Zuckersumpf, Robert Prime, London
This Bittersweet Disaster, Anton Kern Gallery, New York, NY, USA
1996
Strom, Anton Kern Gallery, New York, NY, USA
The Bienenkorb Times, Galerie Daniel Buchholz, Cologne, Germany
FRAC Languedoc Roussillon, Montpellier, France
1994
LOW, Artistbooth, Cologne Art Fair, Cologne, Germany
LA BOUM, with Thorsten Slama, New Reality Mix, Stockholm, Sweden2007
Alphabet City, Magasin – Centre National d’Art Contemporain, Grenoble, France
Modern Art, London
Effetti Speciali, Atle Gerhardsen, Berlin, Germany
2006
Vanessa Baird - Me, myself and the other one, Atle Gerhardsen, Berlin, Germany
Umbrella, Anton Kern Gallery, New York, NY, USA
Tarantella, Bar Ornella, Cologne, Germany
2005
Casa Musica (extrema), Atle Gerhardsen, Berlin, Germany
Butterfly, c/o Alte Gerhardsen, Art Nova, Art Basel Miami Beach, Miami, FL, USA
2004
Fieber/Fever: 5 New Paintings and Other Stories, Anton Kern Gallery, New York, NY, USA
Ikarus, Art : Concept, Paris, France
On The Olympus, Unlimited Contemporary Art, Athens, Greece
Versteck!, with Petra Hollenbach, Parkhaus, Düsseldorf, Germany
2003
Der Gesang der Vögel ist Sinnlos!, The Song of the Bird is Nonsense, Anton Kern Gallery, New York, NY, USA
2002
Diamanten, c/o Atle Gerhardsen, Berlin, Germany
Fleisch: Maschine, Magnani, London
Concentrations 42, Dallas Museum of Art, Dallas, TX, USA
Propaganda, Institute of Contemporary Arts, London
Wespennest, Dallas Museum of Art, Dallas, TX, USA
2001
Magnet, Art : Concept, Paris, France
2000
Das Orakel l’chelt. das Orakel lacht. das Orakel l’chelt, Ars Futura Galerie, Zurich, Switzerland
An Schlaf ist Nicht zu Denken, Lab of Gravity, Hamburg, Germany
Wespennest (Wasps Nest) Anton Kern Gallery, New York, NY, USA
1999
Amerika Verschwindet nur das L’cheln Bleibt (America Disappears Only the Smile Remains), Anton Kern Gallery, New York, NY, USA
KAPUTT und die Folgen (Kaputt and the Consequences), Robert Prime, London
Videos, Centre Saint Gervais, Geneva, Switzerland
1998
Ein Sandstrand voll Glas (A Beach Full of Glass), Galerie Daniel Buchholz, Cologne, Germany
Kunstschnee will Schmelzen, Bureau Amsterdam, Stedelijk Museum, Amsterdam, Netherlands
1997
Samstag Morgen, Zuckersumpf, Robert Prime, London
This Bittersweet Disaster, Anton Kern Gallery, New York, NY, USA
1996
Strom, Anton Kern Gallery, New York, NY, USA
The Bienenkorb Times, Galerie Daniel Buchholz, Cologne, Germany
FRAC Languedoc Roussillon, Montpellier, France
1994
LOW, Artistbooth, Cologne Art Fair, Cologne, Germany
LA BOUM, with Thorsten Slama, New Reality Mix, Stockholm, Sweden
OMRON: six videos by Lothar Hempel, Preview Theatre Wardour Street, London
Bewegungslehre (No Future), Buchholz und Buchholz, Cologne, Germany
1992
240 Minuten, with George Graw, Galerie Esther Schipper, Cologne, Germany
Galleries
Lothar Hempel is represented by Art:Concept, Paris; Giò Marconi Gallery, Milan; Gerhardsen Gerner, Berlin/Oslo; Anton Kern Gallery, New York; Stuart Shave/Modern Art, London, and Casado Santapau Gallery, Madrid.
Selected Collections
Astrup Fearnley Museum of Modern Art, Oslo, Norway
David Roberts Art Foundation, London
Centre national des arts plastiques, Paris, France
Fondazione Morra Greco, Naples, Italy
Fondazione Sandretto Re Rebaudengo, Turin, Italy
FRAC Champagne-Ardenne, Reims, France
FRAC Limousin, Limoges, France
FRAC des Pays de la Loire, Carquefou, France
Galerie für Zeitgenössische Kunst GfZK, Leipzig, Germany
Honart Museum / Ebrahim Melamed Collection, Tehran, Iran
Museum of Contemporary Art, Los Angeles, CA, USA
Museum of Modern Art, New York, NY, USA
Sammlung Goetz, Munich, Germany
The Saatchi Gallery, London
Zabludowicz Collection, London
References
External links
https://www.artforum.com/print/reviews/200706/lothar-hempel-15382
Lothar Hempel at Gerhardsen Gerner, Berlin/Oslo
Lothar Hempel at Stuart Shave/Modern Art
Lothar Hempel in Frieze (magazine)
Lothar Hempel – Painting – Saatchi Gallery
Artfacts
1966 births
Living people
Kunstakademie Düsseldorf alumni
German contemporary artists | https://en.wikipedia.org/wiki/Lothar%20Hempel |
Karikala Chola () often referred to as Karikala the Great was a Tamil king of the Early Cholas of the Chola dynasty who ruled ancient Tamilakam in the Southern India from Uraiyur. He is credited with the construction of the flood banks of the river Kaveri. He is recognised as the greatest of the Early Cholas. In Thiruvalangadu plates of Rajendra Chola I, Medieval Tamil Cholas listed Karikala Chola as one of their ancestors. In Malepadu plates (7th century CE) of Renati Chola king Punyakumara, Telugu Cholas claimed that they belong to the family of Karikala Chola and praises him for stopping the overflow over the banks of river Kaveri. Kakatiya king Ganapati-deva's Garavapadu charter traces the family's ancestry to Durjaya, a descendant of Karikala Chola who arrived at a town called Kakati during a hunting expedition, and set up his camp there.Many other Andhra dynasties also claimed descendant from Karikala.
Sources
The story of Karikala is mixed with legend and anecdotal information gleaned from Sangam literature. The only sources available are the numerous mentions in Sangam poetry. The period covered by the extant literature of the Sangam is not easy to determine with any measure of certainty.
Paṭṭiṉappālai, Poruṇarāṟṟuppaṭai and a number of individual poems in the Akanaṉūṟu and Purananuru have been the main source for the information that is attributed to Karikala.
No authentic records of Karikala's reign have been found so far. However many rulers and petty chiefs who came after him claimed him as their ancestor and decorated themselves as belonging to the Chola race of Karikala and of the Kashyapa gotra. The following lines are taken from the Malepadu plates of Telugu Chola king Punyakumara,
"Dinakara-kula-mandar-achala-mandara-padapassya
Kavera-tanaya-velollamghanaprasamana-pramukn-adyanak-atisaya-karinah
Trairajya-sthitim-atmasat-kritavatah-karikala"
The above lines are translated as:"In the family of Karikala, who was the Mandara tree on the Mandara mountain, viz., the solar race; who was the worker of many wonders like controlling the daughter of Kaveri"
Early life
Karikala was the son of Ilamcetcenni. The name Karikalan has been held to mean "the man with the charred leg" and perpetuates the memory of a fire accident in the early years of his life. Some scholars also hold the view kari and kalan are Tamil words meaning "slayer of elephants". Poruṇarāṟṟuppaṭai describes the back-formed origin legend of this incident as follows:Old Sangam Age inscriptions and also sthala puranam of great ancient Saiva shrine at Parasalur, near Mayavaram says that in order to escape the murder plot hatched by conspirators Karikal Valavan stayed there in disguise of a vedic and agama sastra lecturer for eight years.
Paṭṭiṉappālai, written in praise of Karikala also describes this incident, but without mention of the fable of the burnt limb:
Military conquests
Battle of Venni
According to the Poruṇarāṟṟuppaṭai, Karikala Chola fought a great Battle of Venni in which both Pandyan and Cheran king Uthiyan Cheralathan suffered a defeat. Although we know very little about the circumstances leading to this battle, there can be no doubt that it marked the turning point in Karikala’s career, for in this battle he broke the back of the powerful confederacy formed against him. Besides the two crowned kings of the Pandya and Chera countries, eleven minor chieftains took the opposing side in the campaign and shared defeat at the hands of Karikala. The Chera king, who was wounded on his back in the battle, committed suicide by starvation. Venni was the watershed in the career of Karikala which established him firmly on his throne and secured for him some sort of hegemony among the three crowned monarchs. Venni is also known as Vennipparandalai and now it is known as Kovilvenni and is situated near Thanjavur.
Further wars and conquests
After the battle of Venni, Karikala had other opportunities to exercise his arms. He defeated the confederacy of nine minor chieftains in the battle of Vakaipparandalai. Paranar, a contemporary of Karikala, in his poem from Agananuru mentions this incident without giving any information on the cause of the conflict. According to legends Karikala was one of the few Chola kings who won the whole of Ceylon (Lanka). The Grand anicut was built after his conquest over the Singalese kingdom and he used Singalese war prisoners for the hard task of moving stones from the mountains to the river bed of the Kaveri. The Pattinappalai also describes the destruction caused by Karikala’s armies in the territories of his enemies and adds that as the result of these conflicts, the "Northerners and Westerners were depressed… and his flushed look of anger caused the Pandya’s strength to give way…".
Northern Expedition and Conquests
After subduing the south Karikala went on an expedition to the north and engraved his tiger emblem in the Himalayas. The king of the great Vajra whose sway extended as far as the roaring sea (in the east), gave him a pearl canopy as a tribute while the king of Magadha famous for his sword-play, and his enemy a while ago, presented to him an audience hall (pattimandapam). The king of Avanti gave him a friendly present of a tall and beautiful arch on the gateway. Though all these were made of gold and gems, their technique was not known to human artists even of exceptional skill; they were long ago given to the ancestors of these three monarchs by the divine Maya in return for some valuable service rendered to him.
Grand Anicut
Sometime between the reign of Sinhalese monarch Vankanasika Tissa, Karikala, with a large army, invaded the island and took away 12,000 Sinhalese men to work as slaves to build the Kaveri Dam.
Later Chola kings attributed the building of dikes along the banks of the Kaveri to Karikala.<ref name="Proceedings of the Indian History Congress, Volume 39, page 156">Proceedings of the Indian History Congress, Volume 39, page 156</ref> The raising of the banks of the river Kaveri by Karikala is also mentioned by the Malepadu plates (seventh century CE) of the Telugu Chola sovereign of Renadu, Erigal-Mutturaju Punyakumara, who claims descent from Karikala: karuna – saroruha vihita – vilochana – pallava – trilochana pramukha kilapritvisvara karita kaveri tira'' (he who caused the banks of the Kaveri to be constructed by all the subordinate kings led by the Pallava Trilochana whose third eye was blinded by his lotus foot).
The Grand Anicut, also known as the Kallanai was built by Karikala and is considered one of the oldest water-diversion or water-regulator structures in the world which is still in use. The Kallanai is a massive dam of unhewn stone, 329 metres (1,080 ft) long and 20 metres (60 ft) wide, across the main stream of the Kaveri. A later Chola record from Tiruvaduturai refers to this event that is raising the banks of the Kaveri by Parakesari Karikala Chola.
Perur Patteeswarar Temple
After his victory over the Northern kingdoms of Vatsa, Magadha and Avantika, Karikala returned back to Tamil land and worshipped Lord Shiva at the Perur Pateeswarar Temple located at the banks of river Noyyal in present day Coimbatore. Karikala was an ardent devotee of Lord Shiva. He is said to have done the Kumbhabhishekham (sanctification ritual) of the temple through hundred golden vessels. A famous text named Perur Puranam was composed by Kachiyappa Munivar in Tamil on the origin of the temple.
Karikala Cholan Manimandapam
Karikala Cholan Manimandapam (memorial hall) was built in honour of the king who built the Grand Anicut. The hall designed as per Chola architecture style was built at a cost of 21 million. It features a bronze statue of the king.
Dating Karikala
According to Nilakanta Sastri Karikala reigned in 190 CE.
However, V. R. Ramachandra Dikshitar states that the Karikala mentioned in Silappadikaram and Sangam literature are two different kings and the Karikala mentioned in Silappadikaram has nothing to do with Trilocana Pallava and nothing prevents another Karikala having flourished in Puhar a few centuries later.
The copper-plate charters and stone inscription of the 10th and 11th centuries also mention two different Karikala thus unable to determine his exact reign.
See also
Legendary early Chola kings
Tamil history from Sangam literature
List of Tamil monarchs
References
Further reading
Chola kings | https://en.wikipedia.org/wiki/Karikala |
Roberto Sosa (18 April 1930 – 23 May 2011) was an author and poet born in Yoro, Honduras. He spent his early life working hard to help provide for his poor family. When he was almost thirty years old, he published his first book.
Sosa published Los Pobres in 1969, which won the Adonais Prize in Spain. Un Mundo Para Todos Dividido, published in 1971, won the Casa de las Americas Prize in Cuba. By 1990, he had published six books of poetry, three of prose, and two anthologies of Honduran literature. In 1990, he published Obra Completa (Complete Works).
The Difficult Days, Poems, The Common Grief, and The Return of the River have all been translated into English.
At the time of his death, Sosa lived in Tegucigalpa, the capital city of Honduras. He was the editor of a magazine, Presente, and the president of the Honduras Journalists’ Union. He also taught literature at the Universidad Nacional Autónoma de Honduras.
Literary work
1959: Caligramas (Tegucigalpa).
1966: Muros (Tegucigalpa).
1967: Mar interior'' (Tegucigalpa).
1967: Breve estudio sobre la poesía y su creación
1968: Los pobres (Madrid).
1971: Un mundo para todos dividido (La Habana).
1981: Prosa armada
1985: Secreto militar
1987: Hasta el sol de hoy
1990: Obra completa
Antología personal
Los pesares juntos
1994: Máscara suelta
1995: El llanto de las cosas
2011: Antología póstuma Honduras, poesía negra, editada por el Centro Cultural de España en Tegucigalpa y SEDINAFRO
2016: Antología de la poesía amorosa hondureña
References
1930 births
2011 deaths
20th-century Honduran poets
20th-century male writers
Honduran male poets
People from Yoro Department
Academic staff of Universidad Nacional Autónoma de Honduras | https://en.wikipedia.org/wiki/Roberto%20Sosa%20%28poet%29 |
St George is a district of Bristol, England on the Eastern edge of the city boundary.
St George was originally outside the city boundary in Gloucestershire, the terminus of the tram line from Bristol was in Beaconsfield Road. It became a civil parish (Bristol St George) in 1866, and briefly an urban district from 1894 to 1898. The parish and urban district were absorbed into Bristol in 1898.
Troopers' Hill chimney is a local landmark. St George was a mining area from the early 19th century (coal and fireclay) until 1904 when the last fireclay mines were abandoned. Troopers Hill was declared as a Local Nature Reserve (LNR) on 22 June 1995.
John Armitstead, a colliery proprietor, had a pit between Church Road and Whitehall Road, where he installed a pumping engine for raising coal. Power was generated from water by means of a fire and the device was called a fire engine. It stood on land which came to be known as the Engine Ground, this is reflected in the name of a local public house, the Fire Engine.
The St George Fountain is a Victorian water fountain on the main Church Road which forks at this point to become Clouds Hill Road to Kingswood and Summerhill Road to Hanham.
St George, along with other east Bristol suburbs such as Hanham, Kingswood and Brislington, is currently unserved by rail. The nearest stations are Lawrence Hill and Stapleton Road.
References
Areas of Bristol
Wards of Bristol | https://en.wikipedia.org/wiki/St%20George%2C%20Bristol |
Trillium is a genus of flowering plants. It may also refer to:
Trillium Brewing Company, an American brewery
Trillium CNG, a subsidiary of WEC Energy Group
Trillium Corporation, the former name of Telarium, a publisher of adventure games in the 1980s
Trillium Cup, an annual two-team cup rivalry between Major League Soccer's Toronto FC and the Columbus Crew
Trillium Digital Systems, a software company providing portable communications software products
Trillium Model, a software engineering model for telecommunications systems
Trillium (Buckeye), a planned community in Buckeye, Arizona, US
Trillium (series), a series of fantasy novels by Andre Norton, Marion Zimmer Bradley and Julian May
Trillium (Vertigo), an 8-issue comic series by Jeff Lemire
Trillium Software, a suite of software products from Harte Hanks
Telereal Trillium a British property company
Trillium, a heavy metal band founded and fronted by Amanda Somerville
Trillium, imprint of Ohio State University Press
Canada
The white trillium (Trillium grandiflorum) has been Ontario's official floral emblem since 1937.
Trillium Book Award, a literature prize sponsored by the Government of Ontario
Trillium Gift of Life Network, government agency regulating organ donation in Ontario
Trillium Health Partners, a group of three hospitals serving Mississauga and western Toronto
Trillium Line, a Diesel-powered light-rail line in Ottawa
Trillium Park, a provincial park in Toronto
Trillium Party of Ontario, a social conservative political party in Ontario
Trillium Railway, a Canadian short-line railway operating in the Niagara Region of Ontario
Ships
, passenger ferry on Lake Ontario
, Royal Canadian Navy vessel
- class of bulk carriers owned by Canada Steamship Lines
See also
Trillian (disambiguation)
Trillion (disambiguation) | https://en.wikipedia.org/wiki/Trillium%20%28disambiguation%29 |
Jonathan Meese (born January 23, 1970 in Tokyo) is a German painter, sculptor, performance artist, and installation artist based in Berlin and Hamburg. Meese's (often multi-media) works include paintings, collages, drawings and writing. He also designs theater sets and wrote and starred in a play, De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur in 2007 at the Volksbühne Theater. He is mainly concerned with personalities of world history, primordial myths and heroes. Jonathan Meese lives and works in Ahrensburg and Berlin.
Life and work
Childhood and youth (1970–1995)
Jonathan Meese was born as a third child of his parents, a German and a Welsh, in Tokyo, Japan. His mother, Brigitte Renate Meese, returned to Germany in the mid-1970s. His father, the banker Reginald Selby Meese, born in Newport (Wales), lived in Japan until his death in 1988. Since Meese only spoke English after his return to Germany, he had difficulties adapting. After a period spent in Scotland, his mother-in-law suggested he study Economics.
Study and first success (1995–1998)
Meese studied with Franz Erhard Walther, Daniel Richter, Martin Kippenberger, Horst Janssen, Vicco von Bülow alias Loriot, and Otto Waalkes at the University of Fine Arts of Hamburg from 1995 to 1998, but he left the university without a degree. Daniel Richter recommended Meese to the gallery of Contemporary Fine Arts (Berlin, Germany).
Jonathan Meese exhibited for the first time at the Frankfurter Kunstverein gallery in a group exhibition. The first solo exhibition "Glockengeschrei nach Deutz" followed in the Galerie Buchholz in Cologne.
Inspired by Meese's space installations, the producer Claus Boje and the director Leander Haußmann commissioned him to produce a backdrop for their film Sonnenallee (1999). Finally, he also got a role in the film and played the role of a crazy artist. Meese's works for Sonnenallee were shown in 1999 in an exhibition at the Neuer Aachener Kunstverei art museum (Aachen, Germany).
First Berlin Bienniale (1998)
Since 1998 Meese has attracted attention with installations, performances and other actions on the art scene. At the Berlin Biennale, curated by Klaus Biesenbach, Hans-Ulrich Obrist and Nancy Spector, Meese met a broad public. Meese presented the installation Ahoi der Angst, a photo-collage dedicated to the Marquis de Sade, which was also to be considered later in the work of Meese. Politicians, actors and musicians were presented in photo-collage. The visitors could listen to music, read poems by Rolf Dieter Brinkmann or watch the video Caligula. There were also posters by Rainer Werner Fassbinder, Klaus Kinski, Nina Hagen, and Oscar Wilde.
Due to the increased media presence at the Berlin Biennale, Meese's work was also analyzed and commented upon at home and abroad. Kunstmagazine Art described the installation as a "labyrinth of sentimentalities". The author, Peter Richter, also addressed the spatial aspect by describing the work as a "horror cabinet between porn, Charles Bronson and Slayer". The Berliner Zeitung described it as a "stuffed boy's room". Susanne Titz, writing about the Biennale said: "It was thus clear that Meese had indeed put his finger on the pulse of his generation and presented it."
National and international exhibitions (1999–)
From 1999, Meese participated in a variety of national and international group and individual exhibitions. Particularly space installations and performances were shown. Often, the central figure of his works is Meese himself: whether in the form of self-portraits or disguised persona, in actions, collages, pictures and drawings. The thematic contents stem mainly from national socialism, as well as linguistic and theatrical references to German philosophy and literary history. In actions and performances Meese especially addressed Adolf Hitler, showing repeatedly and provocatively the Nazi salute.
According to Karel Schampers, "Jonathan Meese can tell a story in such a gripping way that you would never have the idea to doubt its truth. Especially his installations benefit from this quality."
Meese has been included in exhibitions "Spezialbilder" at Contemporary Fine Arts in Berlin, "Grotesk!" at Schirn Kunsthalle in Frankfurt and "Schnitt bringt Schnitte" at Ausstellungsraum Schnitt in Köln. Recent exhibitions include Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy) at Stuart Shave/Modern Art, in London, and a performance at Tate Modern, entitled Noel Coward Is Back — Dr. Humpty Dumpty vs. Fra No-Finger. He has exhibited at Stuart Shave/Modern Art, London, Galerie Daniel Templon, Paris, and Centro Cultural Andratx, Mallorca.
In 2008 Meese created "Marlene Dietrich in Dr. No's Ludovico-Clinic (Dr. Baby's Erzland)", an immersive multimedia installation within The Watermill Center on Long Island, New York.
The Museum of Contemporary Art (MoCA), North Miami presented in 2014 the first major solo museum exhibition in the United States for Jonathan Meese, which included Meese's paintings that mix personal hieroglyphics and collage, installations, ecstatic performances, and a powerful body of sculptures in a variety of media. The exhibition was on view from December 1, 2010 – February 13, 2011, during Art Basel Miami Beach 2010. Jonathan Meese: Sculpture was organized by the Museum of Contemporary Art, North Miami and curated by Director and Chief Curator Bonnie Clearwater. In 2007, he collaborated with the composer Karlheinz Essl on the installation FRÄULEIN ATLANTIS shown at the Essl Museum in Vienna/Klosterneuburg.
For the Salzburg Festival 2010, Meese created an acclaimed stage design for the world premiere of Wolfgang Rihm's opera Dionysus. For the Bayreuth Festival in 2016 Meese was offered a contract to direct a new production of Parsifal. This contract has since been rescinded, the official reason being that it would have been too expensive for the Festival to maintain.
Controversy and criticism
In June, 2013 Meese was accused and brought before the German Court for performing the Hitler salute in his stage performance "Megalomania in the Art World" which was organized by Der Spiegel in Kassel. The artist claimed that it was an artistic gesture and he was acquitted from charges, in the same year, by the District Court of Kassel (Germany).
Art market
Meese is represented by Galerie Templon in Paris (since 2001), David Nolan Gallery in New York, Tim van Laere Gallery in Antwerp, Galerie Krinzinger in Vienna and Sies + Höke in Düsseldorf.
He has worked collaboratively with the painters Jörg Immendorff, Albert Oehlen, Tim Berresheim, Daniel Richter, Tal R, and the composer Karlheinz Essl.
Collections
Collections of art that own examples of Meese's work include:
Literature
Stefan Üner: Jonathan Meese. Spontan und unberechenbar, in: stayinart, Innsbruck 2021, p. 62–68.
See also
Die Humpty-Dumpty-Maschine der totalen Zukunft (2010), Berlin, Germany
References
External links
Official website
Jonathan Meese – Exhibitions listed on Artaspects.de.
Jonathan Meese: The Story of Jonathan Meese. Video interview by Louisiana Channel, from 2011.
Video interview with Meese and his mother by Louisiana Channel, from 2014.
1970 births
Living people
20th-century German painters
20th-century German male artists
German male painters
German installation artists
German performance artists
Painters from Tokyo
German contemporary artists
University of Fine Arts of Hamburg alumni
21st-century German painters
21st-century German male artists | https://en.wikipedia.org/wiki/Jonathan%20Meese |
Lavington may refer to:
People
George Lavington (1684–1762), Bishop of Exeter, England
Lavington Glyde (1825–1890), Treasurer of South Australia
Ralph Payne, 1st Baron Lavington (1739–1807), British politician and Governor of the Leeward Islands, sole Baron Lavington
Leon Edward Lavington Sr. (1889–1961), Colorado State Treasurer, United States of America
Places
Lavington, New South Wales, Australia, a suburb of the city of Albury
Lavington, British Columbia, Canada, an unincorporated community
Lenton, Lincolnshire, sometimes known as Lavington, a village in England
Lavington, Nairobi, Kenya, a suburb of Nairobi
See also
East Lavington, West Sussex, England
West Lavington, West Sussex
West Lavington, Wiltshire, England
Market Lavington, Wiltshire | https://en.wikipedia.org/wiki/Lavington |
Wonersh is a village and civil parish in the Waverley district of Surrey, England and Surrey Hills Area of Outstanding Natural Beauty. Wonersh contains three Conservation Areas and spans an area three to six miles SSE of Guildford.
In the outer London commuter belt, the village is southwest of London. Wonersh's economy is predominantly a service sector economy. Three architecturally-listed churches are within its boundaries as are a number of notable homes such as Frank Cook's 1905 hilltop mansion, which is a hotel, business and wedding venue.
History
Etymology
State records show the name as Wonherche, (14th century); Ognersh and Ignersh, (16th and 17th centuries). The form Woghenersh, in a Charter roll of 1305, indicates the (Old English) formation (aet) wogan ersce, 'at the crooked field'.
Pre-Roman settlement
Finds have been found in the hamlet and forest of Blackheath of mesolithic (Stone Age) flint implements and near Chinthurst Hill.
Middle Ages
Based on foundations and core of the church, a settlement has existed in Wonersh village centre since Anglo-Saxon times.
Wonersh is not named in the Domesday Book of 1086. All the six manors: Tangley or Great Tangley; Little Tangley; Halldish; Losterford/Lostiford above the intact mill and mill house by the village; Rowleys and; Chinthurst (partly in Shalford) were later built on lands then in Bramley and Shalford. Great Tangley Manor in 1582 became the residence of John and Lettice Carrill and descended to their grandson John Carrill (d. 1656) and his widow Hester, who secondly married Sir Francis Duncombe.
The church of Wonersh was formerly a chapel (of Shalford), and as such the advowson (right to appoint the vicar) was in the presentation of the King who later transferred it to St Mary without Bishopsgate in London; after this it was held by a line of nobles until bought in the 19th century by the lord of the manor. As a chapel, the great tithes were commuted for £700 and the lesser for the vicar for £17.
Post Renaissance
Until Charity Commission amalgamation in 1908, Wonersh had charity endowments paying out for its poor: John Austen of Shalford left money for poor relief in 1620. Henry Chennell of Wonersh left land whose produce was to be devoted to putting six poor boys to school from 1672. A Mr Gwynne of London gave land and bank stock in 1698 to put four poor boys to school and to distribute bread to fifteen poor persons every Sunday after service. Manorial fortunes became more muted from 1700 to 1900 during the Industrial Revolution – seeing almost all of their farm lands being sold up for lack of scale or produce.
Wonersh was one of the flourishing seats of the clothing trade in West Surrey. The special manufacture was blue cloth, dyed, no doubt, with woad, licence to grow which was asked in the neighbourhood in the 16th century.
Wonersh Park was a lightly wooded park now public Green in front of and beside the church. Through the park runs a small stream and its 17th century stone gatehouse houses a protected species of bat. Wonersh Park, a 17th-century mansion, was demolished in 1935. Owners were: the original owner of the demolished building Richard Gwynn, who died in 1701, and it passed by issue's marriage to 1710 Sir William Chapple, serjeant-at-law and later judge who probably rebuilt it; later passing in 1741 to Fletcher Norton, 1st Baron Grantley of Grantley in Yorkshire, leading government lawyer created Lord Grantley in 1782. His family held Wonersh Park until 1884 on a sale to Mr. Sudbury.
In 1848 the Cranleigh Water here was used for coal, building materials and agricultural produce as part of the Wey and Arun Canal and the west boundary formed an economic draw of the village. The Northbrook's mill, used for dressing leather, employed people, as readied for use for saddles, straps, bags and garments. Shamley Green was formed into a parish from Wonersh in 1881 at which time the 1st Baron Ashcombe did not part with the advowson of Shamley Green, but did of Wonersh, to Selwyn College, Cambridge.
In 1905 Barnett Hill was chosen to be built on for the first time, by the grandson of Thomas Cook, Frank Cook, who lavished £35,000 on constructing a Queen Anne-style mansion. The house later passed to the Red Cross who owned it until 2006 – today, it is a hotel, conference and events venue managed by the Sundial Group.
Geography
Flanked by two round hills, Chinthurst Hill (121 m) north west of the village and Barnett Hill (112 m) east of the village, the village centre ranges between 40 and 50 m above sea level. Two-thirds of the pine heath and mixed forest-covered high ground Blackheath is included in Wonersh as are the settlements/neighbourhoods of Shamley Green, Blackheath, Ridgebridge Hill, Whipley, Plonk's Hill, Woodhill, Lordshill Common and Norley Common.
Spanning three to six miles SSE of Guildford. and in the outer London commuter belt, the centre of the village is 28 miles (45 km) southwest of London.
Grassy expanses of Smithwood Common in the south and Wonersh Common in the north are in the civil parish; over of the southeast is Winterfold Wood and Heath an ancient forest part of the Weald, with parts managed by Surrey Wildlife Trust.
Elevations, geology and soil
The parish rises from west to east up the eroded basin of the Cranleigh Water holding the villages to the flint, clay, greensand and sandy soil topped Greensand Ridge. Elevations vary from 39 m AOD by the Bramley/Wonersh bridge over the Cranleigh Water to 207 m at the car park on Winterfold Hill, Winterfold Heath.
Geologically the landscape demonstrates the contrast between the retention of the top of the Greensand Ridge from coastal deposition (geology) followed by avoiding sea rise changes and the formation of the lower Weald because of water erosion on the three-county-sized calciferous and sandy beds south of this ridge. The Ridge forms the highest hills in the south east, excluding the southwest Berkshire Downs.
Soil is slowly permeable loamy/clayey slightly acid but base-rich soil except for the higher ground including Blackheath which is slightly acid only freely draining sandy soils containing small areas of wet impeded drainage heathland soil.
Demography and housing
The average level of accommodation in the region composed of detached houses was 28%, the average that was apartments was 22.6%.
The proportion of households in the civil parish who owned their home outright compares to the regional average of 35.1%. The proportion who owned their home with a loan compares to the regional average of 32.5%. The remaining % is made up of rented dwellings (plus a negligible % of households living rent-free).
In 2001, Wonersh parish contained 3,297 residents of which 19.8% were aged over 65; 5.2% of the population were in full-time further education; 75.5% of all men were economically active whereas 2.2% were unemployed, 4.8% worked part-time; 57.6% of all women were economically active whereas 1.7% were unemployed, 34.8% worked part-time.
Wonersh's economy is predominantly a service sector economy reflected by the lower end of the official categorisation table of occupation given, compiled from the 2001 census:
Whereas in this census, 34.6% of the population worked in middle or higher professional occupations.
Economy
Wonersh's economy is predominantly a service sector economy with its access to Shalford and Guildford stations and road links to the Compton interchange of the A3 road from Shalford it is part of the London Commuter Belt. Large eastern areas are managed by workers from Surrey Wildlife Trust and the commons and sports grounds are supported by woodsmen, woodswomen and maintenance staff funded by Parish Councils.
Culture and community
Many of the societies and clubs in the villages of Wonersh and Shamley Green are community-run without parish council intervention or support such as amateur dramatics and sports clubs. However cricket grounds, paths, commons and events are sponsored and organised by the village associations and the Wonersh Parish Council. Shamley Green has two village halls for private and community events.
Sports
Wonersh village green where local teams play football, cricket and stoolball. The sports club have built a pavilion there with a bar, meeting room and changing facilities.
Wonersh Bowling Club is situated in the heart of the village at the end of a lane behind the Memorial Hall. It has a close view of Chinthurst Hill. The club was founded in 1925 by J.M. Courage, F. H. Cook, R. H. Haslam and F. Rogerson. The club is affiliated to both the English and Surrey Bowling Associations.
The bowling green, comprising six full sized rinks, is maintained by a team of groundsmen who are, themselves, active bowling members of the club. The pavilion has, in addition to the usual changing rooms and dining area, a kitchen and fully licensed bar. The bowling season runs from the beginning of April through to the end of September.
Societies
Wonersh Players are a well established amateur dramatic society that write, produce and perform their own pantomimes. The Wonersh Players have been in existence since 1982, always performing at the Wonersh Memorial Hall, usually during the February half term holiday, with rehearsals starting the previous October.
In 1993 Wonersh History Society was formed to preserve and build on a quantity of historical material and notes gathered over many years by the late Anthony Fanshaw. Much of this archive is now being transferred to the Society's computer data base and will be available.
A social club named Wonersh Village Club, which was founded about 110 years ago. It provides a venue for playing snooker, billiards, darts and all manner of card games.
There is an active Wonersh U3A and a Gardening Club.
Localities
Wonersh is situated in a gap between two steep hills in front of the Cranleigh Waters stream: Chinthurst Hill with wooded paths and land managed by Surrey Wildlife Trust which had a manor on it and now has a folly and a listed farm at its foot and; Barnett Hill which is the conference, wedding and meeting venue managed by Sunrise Group and was built in 1905 by Thomas Cook.
In a meadow by this stream the Church of England church is called St John the Baptist which had tower crenellations added in 1751, has a 12th-century bell tower, 13th-century chancel, 15th-century north chapel and 1793 south aisle including transept. The ecclesiastical parish is joined with Blackheath and lies within the Guildford diocese.
There is also a United Reformed church which overlooks the village common. There is a large college built in 1891 (St John's Seminary) for the training of Roman Catholic priests, built in the Italian Renaissance style.
Wonersh has a village shop and post office which is owned by a village co-operative. There is also a small art gallery next door. A scout group trains and enriches the lives of young people in the village. The Grantley Arms is the central pub/restaurant, which is often used for functions and also has a bar food menu. Both the shop and the pub are situated in the centre of the village by the pepper pot, which is a small shelter.
Doctors have the area's surgery opposite the post office. Its purpose-built right wing was opened in 1972 and extended in 1982.
Blackheath
Blackheath is often called Blackheath Village to distinguish it from Blackheath in south east London. The settlement appears in the Domesday Book as Blacheatfeld. Blackheath as a hundred (not marked on its Surrey map, which shows only Domesday manors), an administrative area, where local leaders met about once a month. Blackheath is architecturally a Victorian heathland settlement with pioneering Arts and Crafts movement buildings by Harrison Townsend. Its church, which has remarkable stained glass (see Landmarks) is a listed building. It is a lightly wooded east–west lineal settlement in the elevated, wooded heath. St Martin's church, built in 1893 based upon the design of an Italian wayside chapel, contains some wall painting from 1894/5 by the American artist Anna Lea Merritt.
Shamley Green
Shamley Green is a village part of the Surrey Hills Area of Outstanding Natural Beauty between Wonersh and Cranleigh. It is bordered on the east by Blackheath and in the west by the Cranleigh Water. Blackheath is separated by farmland and footpaths in Reelhall Hill and Woodhill. Two 300m footpaths, traversing Lordshill Common, connect the middle of the village to The Wey South Path from Guildford to Cranleigh which was historically the Cranleigh Railway Line.
The parish church of Christ Church, Shamley Green, was completed in 1864, initially as a daughter church of the Wonersh parish. The adjacent Old Vicarage, now a private home, was built for the first vicar, the Reverend Edgar Bowring.
Two areas of public open space in the village include the Cricket Green that hosts occasional summer fairs. The Red Lion and the Bricklayers Arms are pubs in the village. There are several shops and there are schools. Shamley Green Conservation Area contains 22 listed buildings with 10 others on the village outskirts. Shamley Green is a area of common land, the majority of which is owned by the parish council. The area is predominantly open grassland and part of it is used as a cricket pitch. None of the buildings in Shamley Green are graded Grade I or II*.
In 2013, BBC Two featured the village in the Horizon episode The Secret Life of the Cat, stating that Shamley Green has the highest density feline population in the United Kingdom.
Willinghurst Copses forming the west of Winterfold Forest and Heath
This forested area of the southeast adjoins Winterfold Forest. In its middle is Willingshurst House, an 1887 Arts and Crafts property by Philip Webb, sometimes called the father of arts and crafts and son of commercial and residential buildings architect Sir Aston Webb. Spring Wood, The Shaws, The Ball; Madgehole, South, Great, Dean, Pithouse, Rock and Lapscombe Copses are the names for sections of the forest. A car park is on top of Winterfold Heath on the Cranleigh parish boundary in the middle of the southern Winterfold Heath section.
South of the main forest is a series of 11 woodland lakes – one is large enough to allow boats – used for fishing and woodland walks.
Landmarks
Wonersh Conservation Area contains 27 listed buildings – at least ten of which are early and late Tudor period – however none in the highest Grade I category. Just north of the village centre however is the only Grade I listed building, moated Great Tangley Manor.
The Dower House
Architecturally Grade II*-listed the Dower House is the largest building on a long residential lane off Cranleigh Road, Barnett Lane at the end east of the street. In 1710 most all of its exterior was built – the date of foundations and chimneys is uncertain – in red brick with plain hipped tiles and five 12-pane glazing bar sash windows to its first floor. Its architectural features represent typical authentic Queen Anne style architecture.
Wonersh Court
At the opposite end of The Street behind a large listed entrance arch, are eight courtyard townhouses, the original stables and parade ring to the demolished mansion Wonersh Park, converted and divided in 1745–1759 by the owner Sir Fletcher Norton, first Lord Grantley. Red and brown brick with some blue brick headers in arches over windows, painted weatherboard to first floor of rear (south) range. Architecturally the building is Grade II-listed.
Great Tangley Manor
In the 15th century a hall house core was built on its motte that remains in the very core of the manor, but its main portion was built by Richard Caryll in 1584. Wickham Flower employed Philip Webb to restore and extend the house in 1884 and in 1906 Colonel Hegan Kennard employed Inigo Thomas to build the north wing.
Set a few metres above a narrow square moat, Great Tangley Manor has been well preserved and has been made the subject of many paintings as have its garden and lily pond, well described and illustrated. A long entrance tunnel added by Philip Webb, with one sandstone and brick wall and open timber 12-bay arcade on the other, crosses the moat. This medieval and Elizabethan highest-listed building is open for film shoots, board meetings and has Victorian gardens. The main front facing south-east is decorative timber frame with whitewashed render infill and remainder is brick and whitewashed extensions on the south wing, ashlar ground floor and roughcast above on rounded north wing.
Barnett Hill
Architecturally Grade II*-listed Barnett Hill's social history is described in History, its architect was Arnold Mitchell who chose an expensive and ornate masonry Carolean style. Purple/brown bricks with red brick and yellow stone dressings form its walls. Roofing consists of hipped plain tiled several roof slopes over a wooden eaves cornice around its roof, incorporating dormer windows. Spread over three above ground floors the venue is on a short H-shaped plan with a long service wing in an identical style. Ground floor windows have 24 panes each and keystone lintels. In the angles between wings are square turrets and a recessed range under copper ogee domes with spherical finials.
Christ Church, Shamley Green
Christ Church is towards the end of the main street (B road) towards Cranleigh in the south of Shamley Green and is a Grade II listed building. The churchyard is the resting pace of television presenter Tony Hart who lived in the village for more than 40 years.
St Martin's Church Blackheath
Colourful stained glass and imposing arches are in Blackheath's Grade II-listed church, St Martin's, which is its only listed building. The murals are by the American artist Anna Lea Merritt.
Chinthurst Hill
A 1930s folly tower tops this 397-foot (121-metre above sea level) knoll. Surrey Wildlife Trust manage the hill's woodland and tower. It is the 31st highest hill in the county and a stand-alone outcrop of the Greensand Ridge which restarts in parishes east and west on its course from Hampshire to Kent.
Transport
The main road through Wonersh is the B2128, which links the village to Shamley Green, Cranleigh and Guildford. The nearest railway station is Shalford railway station on the Reading to Gatwick Airport via Guildford Line.
Education
Shamley Green Montessori Pre-School - closed in approx 2017
Wonersh Preschool
Wonersh and Shamley Green C of E Primary School
Longacre School ages 2–11 (independent)
Other notable residents
William Howard Seth-Smith III (1852–1928), architect, born in the hamlet of Tangley
Tony Hart (1925–2009), artist and TV presenter, lived in Shamley Green for more than 40 years.
The Irish actor Max Adrian died in Shamley Green in 1973.
See also
List of places of worship in Waverley (borough)
References
Notes
References
External links
Whole Parish main menu – Wonersh Parish Council
Wonersh main menu – Wonersh Parish Council
Blackheath, Shamley Green, Wonersh Village Design Statement
Wonersh Our Village, with information about the people of Wonersh, and their families
Shamley Green
Shamley Green main menu – Wonersh Parish Council
Stained Glass Windows at Christ Church, Shamley Green, Surrey
Archive pictures
Blackheath
Blackheath main menu – Wonersh Parish Council
Villages in Surrey
Borough of Waverley
Civil parishes in Surrey | https://en.wikipedia.org/wiki/Wonersh |
Kriegsspiel is a genre of wargaming developed by the Prussian Army in the 19th century to teach battlefield tactics to officers. The word Kriegsspiel literally means "wargame" in German, but in the context of the English language it refers specifically to the wargames developed by the Prussian army in the 19th century. Kriegsspiel was the first wargaming system to have been adopted by a military organization as a serious tool for training and research. It is characterized by high realism, an emphasis on the experience of decision-making rather than on competition, and the use of an umpire to keep the rules flexible. After Prussia's impressive victory over France in the Franco-Prussian War, other countries swiftly began designing Kriegsspiel-like wargames for their own armies.
Most forms of Kriegsspiel involve at least two teams of players and one umpire gathered around a map. The map represents a battlefield. Each team is given command of an imaginary army, which is represented on the map using little painted blocks. Each block represents some kind of troop formation, such as an artillery battery or a cavalry squadron. The players command their troops by writing their orders on paper and giving them to the umpire. The umpire will then read these orders and move the blocks across the map according to how he judges the imaginary troops would interpret and execute their orders. The outcomes of combat are determined by mathematical calculations.
History
Precursors
By definition, a "wargame" is a strategy game that attempts to realistically represent warfare. The earliest wargames were invented in the German states around the turn of the 19th century. They were derivatives of chess, but the pieces represented real military units (cavalry, infantry, artillery, etc.) and the squares were color-coded to represent different types of terrain. These early wargames were not taken seriously by the military because they were not realistic enough. The pieces were constrained to move across a grid in chess-like fashion: only a single piece could occupy a square (even if that square represented, say, a square mile), and the pieces had to move square by square. This, of course, did not represent how real troops maneuvered in the field. The grid system also forced the terrain to take unnatural forms, such as rivers flowing in straight lines and right angles.
Reisswitz Sr.'s prototype (1812)
In response to these criticisms, a Prussian nobleman and wargaming enthusiast named George Leopold von Reisswitz set out to develop a more realistic wargame wherein the units could move about in a free-form manner over more natural terrain.
Reisswitz first experimented with a table covered in a layer of damp sand. He sculpted the sand into a three-dimensional model battlefield, with hills and valleys. He used little wooden blocks to represent troop formations. The Prussian princes heard about Reisswitz's project and asked for a demonstration. He showed it to them in 1811, and they enthusiastically recommended the game to their father, King Frederick Wilhelm III.
Reisswitz did not want to present the king a table of damp sand, so he set about constructing a more impressive apparatus. In 1812, Reisswitz presented to the king a wooden table-cabinet. The cabinet's drawers stored all the materials to play the game. The cabinet came with a folding board which, when unfolded and placed on top of the cabinet, provided a gaming surface about six feet by six feet in size. Instead of sculpted sand, the battlefield was made out of porcelain tiles, upon which terrain features were depicted in painted bas-relief. The tiles were modular and could be arranged on the table surface to create a custom battlefield (the scale was 1:2373). Troop formations were represented by little porcelain blocks. The blocks could be moved across the battlefield in a free-form manner; dividers and rulers were used to regulate movement.
The royal family was delighted by Reisswitz's game, and frequently played it. However, it was not adopted by army instructors nor sold commercially. The apparatus that Reisswitz made for the king was too expensive for mass-production. But more importantly, his system was not complete and required some improvisation on the part of the players. For instance, the rules for resolving the effects of hand-to-hand combat and terrain advantage were not fully worked out. Reisswitz may have been too distracted by the upheavals of the Napoleonic Wars to perfect his game. By 1816, Reisswitz seemed to have lost interest in wargaming altogether. The development of the wargame was continued by his son, Georg Heinrich Rudolf Johann von Reisswitz.
Reisswitz Jr. perfects Kriegsspiel (1824)
Georg Heinrich Rudolf Johann von Reisswitz was a junior officer in the Prussian army. He took over the development of his father's wargame after his father lost interest in it. He developed the game with the help of a circle of junior officers in Berlin. The prince eventually heard of Reisswitz Jr.'s project and, having fond memories of playing Reisswitz Sr.'s wargame, joined the son's gaming circle.
In the earlier wargames of Hellwig and Venturini, units were like chess pieces in that when attacked, they were simply killed and removed from play, even if the pieces represented groups of soldiers. By contrast, units in Reisswitz's game could suffer partial losses yet still remain on the battlefield. A unit might withstand several rounds' worth of enemy attacks before finally collapsing. Reisswitz's game was thus the first to incorporate unit hitpoints. It also modeled variable damage: The casualties inflicted by an attacker on his enemy were determined using dice.
Reisswitz Jr.'s game was designed to be played on accurate, large-scale (1:8,000) topographical maps. The Prussian army had recently begun using such maps, which were the product of new advances in cartography and printing. These maps may have not been available to Reisswitz Sr. and previous wargame designers, but they were available by the 1820s and Reisswitz Jr. took advantage of them. Using topographical maps allowed for more natural terrain and the play of battles in real locations.
Reisswitz Jr.'s great innovation, however, was the introduction of an umpire. The players did not directly control the troop blocks on the game map. Rather, they wrote down their orders for their troops and gave them to the umpire. The umpire would then move the blocks across the game map according to how he judged the imaginary troops would interpret and carry out the players' orders. When the troops engaged the enemy on the map, it was umpire who rolled the dice, computed the effects, and removed slain units from the map. The game also could simulate the fog of war, where the umpire would place on the map blocks only for the troops which were in visual range of both sides. The umpire kept a mental track of where the hidden troops were located, and only deployed blocks for them when they came into view of the enemy. The umpire also arbitrated situations which the rules did not explicitly cover, which plugged any gaps in Reisswitz Jr.'s system. Naturally, this required the umpire to be an impartial and experienced officer.
In early 1824, the prince invited Reisswitz Jr. to present his wargame to the king and his senior generals at Berlin Castle. They were impressed and officially endorsed his game as a training tool for the officer corps. The Chief of the General Staff, General von Müffling declared: "this is no ordinary sort of game, this is schooling for war. I must and will recommend it most warmly to the army." The king ordered that every regiment receive a Kriegsspiel set. Reisswitz established a workshop by which he could mass-produce and distribute it. He sold the game's material in a box-set priced at 30 thalers. This was thus the first wargame to be widely adopted by a military as a serious tool for training and research.
Kriegsspiel after Reisswitz Jr.'s death
In 1826, Reisswitz was transferred away from Berlin to the provincial city of Torgau. This was interpreted as a banishment: allegedly, he had made offensive remarks about his superiors. He committed suicide in 1827. This disgrace was detrimental to the progression of his wargame for obvious reasons. It wasn't until 1860 that the game was widely played in the military. Until then, it survived thanks to the efforts of a small number of wargaming clubs. The earliest of these clubs was the Berlin Wargame Association. Another prominent club was the Magdeburg Club, managed by General von Moltke. These clubs continued to develop Reisswitz's game, but they avoided mentioning his name in their publications. In 1828, the Berlin Wargame Association published a limited expansion to Reisswitz's system. In 1846, they released a fresh wargaming manual which received a second edition in 1855. These updates sought to make Kriegsspiel more realistic, but they also made the rules more complicated.
Wilhelm von Tschischwitz published a Kriegsspiel manual in 1862 that incorporated new technological advances such as railroads, telegraph, and breech-loading cannons; and which used conventional gaming dice. It also greatly simplified the rules, making the wargame even simpler than Reisswitz's original version. Tschischwitz's rules went through three editions between 1862 and 1869. In 1869, Colonel Thilo von Trotha published his own wargaming treatise which went through three editions and had more complicated rules.
The Austro-Prussian War of 1866 and the Franco-Prussian War of 1870 broke a long period of peace for the German states, which made many officers feel a pressing need to better familiarize themselves with the conduct of war. This led to a surge in interest in Kriegsspiel among Prussian officers.
The free Kriegsspiel movement
Lieutenant Wilhelm Jacob Meckel published a treatise in 1873 and another in 1875 in which he expressed four complaints about the overcomplicated rules of Kriegsspiel: 1) the rules constrain the umpire, preventing him from applying his expertise; 2) the rules are too rigid to realistically model all possible outcomes in a battle, because the real world is complex and ever-changing; 3) the computations for casualties slow down the game and have a minor impact on a player's decisions anyway; 4) few officers are willing to make the effort to learn the rules. The fourth issue was the most serious, as the Prussian military struggled to meet the growing demand for umpires. Meckel proposed dispensing with some of the rules and giving the umpire more discretion to arbitrate events as he saw fit. The only things he kept were the dice and the losses tables for assessing casualties.
In 1876, General Julius von Verdy du Vernois proposed dispensing with all the rules and tools completely and allowing the umpire to arbitrate the game entirely as he saw fit. This form of Kriegsspiel came to be known as free Kriegsspiel (counterpart to Reisswitz's rigid Kriegsspiel) and was well-received by the officer corps because it was easier to learn and allowed umpires to apply their own expertise. Verdy's insight was that all that was truly essential for Kriegsspiel was the umpire and concealed information, with an emphasis on the fog of war and delayed messaging. Free Kriegsspiel became popular and Reisswitz's rigid style fell out of favor in professional circles.
The spread of wargaming beyond Germany
Kriegsspiel attracted little attention outside of Prussia before 1870. Reisswitz Jr. travelled to Russia where he demonstrated Kriegsspiel to the Russian court, but he failed to win them over. In 1825, the French general Auguste de Marmont witnessed a Kriegsspiel match in Berlin and commissioned a translation of Reisswitz's manual which was submitted to the French army in March 1829. A Dutch translation appeared in 1836.
In 1870, Prussia defeated France in the Franco-Prussian War. Many credited the Prussian army's superior performance to its wargaming tradition. The Prussian army did not have any significant advantage in weaponry, numbers, or troop quality, but it was the only army in the world that practiced wargaming. This led to great worldwide interest in Kriegsspiel. The first Kriegsspiel manual in English, Rules for the Conduct of the War-Game by E. Baring, based on the system of Wilhelm von Tschischwitz, was published in 1872 for the British army and received a royal endorsement. In the United States, Charles Adiel Lewis Totten published Strategos, the American War Game in 1880, and William R. Livermore published The American Kriegsspiel in 1882. In 1873, a group of students and teachers at Oxford University founded the University Kriegspiel [sic] Club, which was the world's first recreational wargaming club.
Kriegsspiel in the present day
Kriegsspiel has undergone a minor revival in the English-speaking world with various organisations in real life or on the internet promoting the activity.
Reisswitz rules (1824)
This summary is based on an English translation of a wargaming manual written by Georg Heinrich Rudolf Johann von Reisswitz in 1824.
Reisswitz's wargame was an instructional tool designed to teach battlefield tactics to Prussian officers. It therefore aimed for maximum realism. The participants were expected to be well-versed in how battles were waged in the early 19th century. This was particularly true for the umpire, who had to arbitrate situations which the rules did not cover using his own expertise.
Kriegsspiel is an open-ended game with no fixed victory conditions. The objectives of the respective teams are determined by the umpire and typically resemble the goals that an army might pursue in a real battlefield situation, such as expelling the enemy from a certain defensive position or inflicting a certain number of casualties.
The game is played between two teams and one umpire. Either team can have any number of players, but Reisswitz recommended 4 to 6 players each and that they be equal in size. The players in a team will divide command of the troops between them and establish a hierarchy. Only the umpire needs to be fully familiar with the rules, as he manipulates the pieces on the map and computes the outcomes of combat, whereas the players describe what they want their troops to do as if they were issuing orders to real troops in the field.
Materials
The materials required include:
Rectangular pieces that represented various kinds of troop formations
Rulers and dividers
Dice
A topographical map (recommended scale is 1:8000)
A rulebook
Note paper
Supplemental sheets of paper to track casualties and other information
The map represents the battlefield. Troop formations on the battlefield are represented on the map by little rectangular pieces. In Reisswitz's time, these pieces were made of lead, but modern reconstructions typically use plastic or wood. Each piece is painted with markings that denotes what kind of unit it represents (cavalry, infantry, etc.) and the team it belongs to. The dimensions of each piece match the dimensions of the actual troop formation it represents, to the same scale as the map. Thus, each piece occupies an area on the map proportional to the space the actual troop formation would occupy in the field.
Order of play
The umpire establishes the scenario of the game. He decides what the tactical objectives of the respective teams are, what troops they are provided with and how those troops are initially deployed on the battlefield. The umpire will then assign each team the appropriate troop pieces for their units. If there are multiple players in a team, the teammates will divide control of their troops and establish a hierarchy of command in a way that should resemble Prussian military doctrine, subject to the umpire's approval.
Players do not speak to each other. Instead, they communicate with their teammates and the umpire through written messages. This is so that the enemy team cannot hear their plans. This is also so that the umpire can delay or block messages if he feels the circumstances on the battlefield warrant it. In the early 19th century, officers in the field communicated over long distances through messengers (there was no radio in those days). Messengers needed time to reach the recipient, and could be delayed or intercepted by the enemy. The umpire can simulate this problem by holding on to a player's message for a round or two before giving it to the recipient, never giving it, or even give it to the enemy.
Likewise, the players command their imaginary troops through written orders, which they submit to the umpire. The players are not allowed to manipulate the pieces on the map themselves — that is for the umpire to do. The umpire will move the pieces across the map according to how he judges the imaginary troops would interpret and execute the players' orders.
The umpire places pieces on the map only for troops which he judges are visible to both sides. If a unit disappears from the enemy army's line of sight, the umpire will remove the piece from the map and keep it aside. Naturally, this means the participants must keep a mental track of the positions of troops whose pieces are not on the map.
The players themselves may be represented on the battlefield with pieces that represent officers and their bodyguards. The positions of the officers on the battlefield affects how the players can communicate with each other and the troops. Officers can be slain in battle like any other soldier, and if that happens the player ceases to participate in the game.
The course of the game is divided into turns, which are executed simultaneously for both sides. A turn represents two minutes of time. Thus, in a turn the troops can perform as many actions as they realistically could in two minutes of time, and Reisswitz's manual provides some guidelines. There is, for instance, a table which lists movement rates for the various troop types under different conditions, e.g. in a turn, a cavalry squadron can move 400 paces over open ground, 250 paces through light forest, and 100 paces up inclines.
Combat
The umpire uses dice to determine how much damage that attacking units inflict upon the enemy. The dice designed by Reisswitz are of unique design, with each face displaying a multitude of numbers and symbols that denoted different damage scores, measured in points, for different situations. There are five dice:
Die I is used to determine ranged damage inflicted by line infantry and skirmishers fighting in the open, hand-to-hand combat results when both sides are even, and whether a howitzer attack sets a village on fire.
Die II is used to determine ranged damage by skirmishers firing from cover, and hand-to-hand combat results when the odds are 3:2.
Die III is used to determine damage inflicted by artillery under good conditions.
Die IV is to determine hand-to-hand combat results when the odds are 3:1.
Die V is used to determine damage inflicted by artillery under bad conditions, and hand-to-hand combat results when the odds are 4:1.
Each unit has a point value which represents how many points of damage the unit in question can absorb before "dying". In modern gaming parlance, this "point value" is analogous to "hitpoints". The number of hitpoints a unit has is determined by the type of unit, the number of men in it, and their formation. For instance, a cavalry squadron with 90 riders has 60 hitpoints, and a line infantry half-battalion with 450 men has 90 hitpoints. Individual cavalry riders are "tougher" than infantrymen (1.5 hitpoints per rider vs 0.2 hitpoints per infantryman) because they moved faster and in looser formations, which meant a barrage of fire inflicted fewer casualties on them.
In most cases, a piece is simply removed from the map when it has lost all its hitpoints. An exception to this is line infantry. Line infantry had a special function in early 19th century warfare. On the battlefield, infantry stood close together in long lines facing the enemy. A key tactical purpose of a line of infantry was to obstruct the advance of enemy troops. When the line suffered casualties, this resulted in the formation of gaps through which enemy troops could slip through. If the defender didn't have reserve infantrymen with which to plug the gaps, this was a disaster, as then the enemy could move through the gaps to isolate and flank his troops. To represent this phenomenon on the game map, the game provides "exchange pieces" for infantry half-battalion pieces. An exchange piece resembles a regular half-battalion piece but is marked with the fraction or , which signifies that the half-battalion in question has lost either one sixth or two sixths of its men. The exchange pieces are commensurately smaller in length. So if a half-battalion piece in a line of such pieces is replaced with an exchange piece, this will create a gap in the line. Furthermore, a half-battalion piece is removed from the map when it loses half of its hitpoints, because a half-battalion that had lost half of its men was considered ineffective in combat (and typically the men just fled the battlefield).
To track hitpoint loss, Reisswitz's original manual provided sheet of paper called the "losses table". The losses table is divided into columns for line infantry, tirailleurs, jagers, cavalry, and artillery. Each column has a series of numbered dots. At the start of the game, the umpire shall stick one pin for each piece on the map in the first dot of the appropriate column. For instance, if the Red Army begins with three infantry pieces and two cavalry pieces, the umpire will stick three pins in the first dot in the infantry column and two pins in the first dot in the cavalry column. Generally, the dot a pin is stuck in represents how many damage points the corresponding unit has accumulated. When a unit takes damage, the umpire will move the corresponding pin down its column to the appropriate dot. If a pin reaches the bottom of the column, then the corresponding piece is removed from the map, or in the case of line infantry, replaced with an exchange piece. For instance: if a cavalry squadron suffers 10 points of damage, the umpire will move the corresponding pin ten dots down the cavalry column. If the pin reaches the 60th dot in the column, the cavalry unit has suffered a fatal level of casualties, and the umpire will then remove the corresponding piece from the map.
Tschischwitz rules (1862)
Tschischwitz's version of Kriegsspiel was very much like Reisswitz's version, but it incorporated new advances in technologies and tactics. For instance, by 1862 the Prussian army had transitioned from muskets to breech-loading rifles and hence troops could inflict casualties at up to 900 paces instead of a mere 400. Whereas Reisswitz used a unique set of dice, Tschischwitz used conventional gaming dice; his manual provided tables with which to translate dice rolls into combat outcomes.
Tschischwitz's game did not use line infantry exchange blocks. By 1862, Prussian battle doctrine had moved away from line infantry tactics to an emphasis on wider deployments. To represent this, the 1862 game represents infantry companies individually with their own blocks, so exchange blocks for battalions are no longer required. Rules for deploying skirmishers were also updated to reflect the newer tactics.
Whereas Reisswitz's manual prescribed just one map around which all the participants were gathered, Tschischwitz's manual proposed the option of having multiple maps: one for the umpire which displayed the positions of all troops, and one for each team with displayed only those troops which the respective team could see; and the teams would be placed in separate rooms with their respective maps so that they could not see the other team's map nor the umpire's map.
Verdy du Vernois' flexible approach (1876)
In his 1876 book, Contribution to Wargaming, Verdy du Vernois illustrated his concept of free Kriegsspiel with a long transcript of a game. A noted difference between classic Kriegsspiel and Verdy's approach is that the players had conversations with the umpire instead of communicating with written messages. Verdy's insight was that the only elements that were essential to Kriegsspiel were the umpire and hidden information.
See also
Military simulation
Footnotes
Bibliography
(translation by Bill Leeson, 1989)
External links
Kriegsspiel News Web site dedicated to the original game of Kriegsspiel
International Kriegsspiel Society (formerly the Southern California Kriegsspiel Society) Online community dedicated to hosting Kriegsspiel games in person and online using various systems including traditional and modified.
Modern publishers of Kriegsspiel rules
Wargames
Military education and training in Germany
Prussian Army
Games and sports introduced in the 19th century | https://en.wikipedia.org/wiki/Kriegsspiel |
KNSN-TV (channel 21) is a primary sports-formatted independent television station in Reno, Nevada, United States, which has a secondary affiliation with MyNetworkTV. It is owned by Deerfield Media, which maintains joint sales and shared services agreements (JSA/SSA) with Sinclair Broadcast Group, owner of Fox affiliate KRXI-TV (channel 11), for the provision of certain services. Sinclair also manages NBC affiliate KRNV-DT (channel 4) under a separate JSA with Cunningham Broadcasting; however, Sinclair effectively owns KRNV as the majority of Cunningham's stock is owned by the family of deceased group founder Julian Smith. The three stations share studios on Vassar Street in Reno; KNSN-TV's transmitter is located on Red Hill between US 395 and SR 445 in Sun Valley, Nevada.
History
The station launched on October 11, 1981, as KAME-TV, an independent station airing movies (TV-21's The Big Movie), cartoons, westerns, and sitcoms. On October 9, 1986, it became a charter Fox affiliate. On January 16, 1995, KAME-TV picked up UPN on a secondary basis; it became a full-time UPN affiliate on January 1, 1996, after KRXI signed-on and took Fox. Between September 1996 and May 1997, the station was briefly owned by Raycom Media. With the 2006 shutdown and merge of The WB and UPN to form The CW, the station joined News Corporation–owned and Fox sister network MyNetworkTV on September 5, 2006.
On July 20, 2012, one day after Cox Media Group purchased WAWS and WTEV in Jacksonville, Florida, and KOKI-TV and KMYT-TV in Tulsa, Oklahoma, from Newport Television, Cox put KRXI-TV (along with the LMA for KAME-TV) and sister stations WTOV-TV in Steubenville, Ohio, WJAC-TV in Johnstown, Pennsylvania, and KFOX-TV in El Paso, Texas (all in markets that are smaller than Tulsa), plus several radio stations in medium to small markets, on the selling block. On February 25, 2013, Cox announced that it would sell the four television stations, and the LMA for KAME, to Sinclair Broadcast Group; as part of the deal, Ellis Communications would sell KAME-TV to Deerfield Media. The Federal Communications Commission (FCC) granted its approval on April 30, 2013, one day after it approved the sale of sister station, KRXI. The sale was finalized on May 2, 2013. Sinclair would subsequently purchase the non-license assets of a third Reno station, KRNV-DT, on November 22, 2013. Sinclair could not buy KRNV-DT outright because Reno has only six full-power stations—three too few to legally permit a duopoly. With the sale of KRNV's license to Cunningham, Sinclair now controls half of those stations. The sale also created a situation in which a Fox affiliate is the nominal senior partner in a duopoly involving an NBC affiliate and a "Big Three" station.
On August 31, 2018, Sinclair announced that KAME-TV would relaunch as "Nevada Sports Net," which would feature extended coverage of Nevada Wolf Pack athletics, as well as the Reno Aces and the Mountain West Conference. The station would continue to air MyNetworkTV on a secondary basis. The new format launched on September 1. At that time, NSN took over KRNV's sports department. On July 15, 2019, the station's call sign was changed to KNSN-TV. On July 25, 2023, the station converted to ATSC 3.0.
On September 21, 2023, NSN acquired the local television rights to the Vegas Golden Knights. Coverage is produced by Scripps Sports.
Programming
Before the station shifted to a mainly sports-themed format, syndicated programming featured on KAME-TV included The Real (later aired on KRXI-TV), Judge Faith, The Simpsons, Family Guy (now airing on KOLO-DT3), and Anger Management, among others.
Technical information
Subchannels
The station's ATSC 1.0 channels are carried on the multiplexed digital signals of other Reno television stations:
ATSC 3.0 lighthouse
Translators
Carson City
Elko
Eureka
Eureka
Hawthorne
Lake Tahoe
Mina–Luning
Silver Springs
Susanville, etc., CA
Tahoe City, CA
Walker Lake
Winnemucca
Yerington
Analog-to-digital conversion
KNSN-TV (as KAME-TV) shut down its analog signal, over UHF channel 21, on February 17, 2009, the original target date on which full-power television stations in the United States were to transition from analog to digital broadcasts under federal mandate (which was later pushed back to June 12, 2009). The station's digital signal remained on its pre-transition UHF channel 20. Through the use of PSIP, digital television receivers display the station's virtual channel as its former UHF analog channel 21.
References
External links
Independent television stations in the United States
MyNetworkTV affiliates
Stadium (sports network) affiliates
Comet (TV network) affiliates
Sinclair Broadcast Group
Television channels and stations established in 1981
1981 establishments in Nevada
NSN-TV
ATSC 3.0 television stations | https://en.wikipedia.org/wiki/KNSN-TV |
SV Nord Wedding 1893 is a German association football club that plays in the Wedding district of the city of Berlin.
History
Their complicated lineage includes a number of clubs and they can trace their roots back to some of the city's earliest football sides. Wedding's predecessors include two clubs which were part of the founding of the DFB (Deutscher Fussball Bund, en:German Football Association) at Leipzig in 1900 – Rapide 93 Berlin and Favorit 96 Berlin.
On 1 October 1893, a group of 17-year-old school boys formed a club they called Berliner FC Rapide Niderschönhausen. The team was also known as Berliner Tor- und Fußball Club Rapide or Berliner Fußball und Cricket Club – Berliner Football and Handball Club. This team is recognized as the "founding side" of the present day club. This club's growth was impeded throughout its early history by the lack of a home ground they could claim as their own.
In 1906 another club called Reinickendorfer BC was formed. This side merged with BFC Wedding (1914) to create SC Wedding (1914). Both Rapid and Wedding played within the various levels of football in Berlin until World War II. After the war the football and handball departments of this group of clubs came together as Sportgemeinschaft Schillerpark which was renamed SC Wedding in 1948. Two years later the club reached back to its origins to take on the name SC Wedding-Rapide 93.
The other thread of SV Nord Wedding'''s history begins on 15 October 1896 with the founding of Berliner Sport Club Favorit. Under the Nazi regime German football was re-organized. Politically undesirable blue collar worker's clubs were dissolved, often forced into mergers with other associations. In 1933 Favorit became home to the members of worker's league champions Pankower 1908 SC. After the war the club was re-formed and played as SG Nordbahn before being re-named VfL Nord in 1947. The construction of the Berlin Wall in 1961 effectively split up the club by isolating the Pankowers in the east, greatly reducing the side's strength. In response, what was left of Nord merged with BFC Nordstern 07 to form SV Nord-Nordstern 1896.
Finally, in 2001, SV Nord-Nordstern and SC Wedding-Rapide came together to form SV Nord Wedding 1893. This successor side currently plays in the tier ten Kreisliga Berlin B.
Rapid Wien
Austrian club SK Rapid Wien adopted their name from the founding club Rapide Berlin''.
External links
Team site
The Abseits Guide to German Soccer
Berlin Nord Wedding
Football clubs in Berlin
Association football clubs established in 1893
SV Nord Wedding 1893 | https://en.wikipedia.org/wiki/SV%20Nord%20Wedding%201893 |
Chelsea Building Society is a trading name of Yorkshire Building Society based in Bradford, West Yorkshire. Chelsea merged with the Yorkshire in 2010, at which point Chelsea was the fourth largest building society in the United Kingdom, with assets in excess of £13 billion and 35 branches, mainly in the southern areas of England, particularly in London.
Chelsea now forms part of the Yorkshire Building Society Group, alongside Yorkshire Building Society and the Norwich and Peterborough Building Society. In January 2016, Yorkshire Building Society announced that seven of the Chelsea's branches would close, with the remainder rebranded as Yorkshire. This essentially means Chelsea is an online only brand and currently provides basic savings accounts and mortgage products.
History
Chelsea was first established in 1875 as the London & Camberwell Building Society. Three years later, in 1878, the Borough of Chelsea Permanent Building Society was formed. Over the years both societies merged with smaller societies and on 31 December 1966 the two societies merged to create a new society with assets of £30 million. The new society was called the Chelsea and South London Building Society until April 1971 when the name was changed to Chelsea Building Society.
It was a member of the Building Societies Association and operated mainly in South East England with a network of 35 branches.
Following the merger in 1966, the administrative headquarters were in Streatham, with the registered office at 110 Kings Road, Chelsea. In 1973, having outgrown the accommodation at Streatham, the administrative headquarters moved to Thirlestaine Hall in Cheltenham. On 1 July 1988 Chelsea completed a merger with the City of London Building Society, with the name Chelsea remaining unaffected.
In 2005 Chelsea opened a purpose-built customer contact centre close to the Head Office at the former Charlton Kings railway station as a commitment to keep its call centres UK based, which won environmental awards for its use of geothermal heating, green building and "green" credentials. Its two offices in Cheltenham employed over eight hundred staff.
In February 2007 the society acquired Britannia Capital Securities, a medium-sized independent firm of secured loan and mortgage brokers operating in the UK, in order to further diversify their lending. The society remained operational during the 2007 United Kingdom floods, despite having no running water for several weeks.
On 7 June 2008 it was announced by both Catholic Building Society and Chelsea Building Society that they were to merge.
The merger between the Chelsea and the Catholic Building Society completed on 31 December 2008.
Merger with the Yorkshire Building Society
On 1 December 2009, Chelsea announced that it was in advanced merger talks with Yorkshire Building Society. The following day they announced a formal merger. At a Special General Meeting in Bradford on 23 January 2010, Yorkshire Building Society members approved the merger proposal.
The merger completed on 1 April 2010. Shortly afterwards, Yorkshire announced the closure of Chelsea's operational presence at the original Cheltenham Head Office in Thirlestaine Road by 2011, relocating the remaining staff to the second, smaller site at the former Charlton Kings railway station. The Thirlestaine Hall site was acquired in 2012 to build a gated housing estate and care home, known as Thirlestaine Park. Much of what Chelsea had constructed to accommodate its business needs was demolished and the Grade 2 listed Thirlestaine Hall was converted into luxury flats, with the copper-domed observatory preserved.
In January 2016, it was announced that seven of the Chelsea's branches would close by September, with the rest to be rebranded under the Yorkshire brand. Products and services under the Chelsea brand would continue to be available online and by telephone.
The second smaller Head Office site gradually reduced its staff as it transitioned functions to the Yorkshire Head Office in Bradford. The Charlton Kings offices were officially closed at the end of 2019. It was later sold to Spirax-Sarco Engineering who moved into the building in 2021.
Factors leading to the merger with the Yorkshire
As the Financial crisis of 2007–2008 intensified, several of Chelsea's weaknesses in its business model and risks that it had taken in preceding years began to affect the financial stability of the Society.
On 10 October 2008, Chelsea revealed £55 million of its liquid assets (1.55%) were invested in the troubled Icelandic banks. While the amount involved was only a small percentage of assets, it represented almost one year's operating profit for Chelsea.
In response to the Financial crisis the Bank of England drastically cut the Base Rate. This generally results in lenders reducing the rates they pay on their savings products and lowering the rates charged to borrowers. However, Chelsea had for several years focused on offering fixed-rate bonds to its savers. Many of them market-leading and regularly appearing in "best buys". On the one hand this helped the Society to plan longer-term by securing money for a fixed period at a fixed rate. However some of these bonds were paying in excess of 6%, meaning due to the unforeseen cut in the Base Rate they were now costing Chelsea money.
In February 2007, Chelsea had brought Britannia Capital Securities to further develop its lending into Sub Prime markets. Once the Financial crisis took hold this had two negative consequences. Firstly, the business had been brought at a high cost, and due to the broader financial crisis, Sub Prime lending was effectively banned due to its high risk. Therefore, the purchase of Britannia Capital Securities did not provide the Society with the profit and return on the investment they had hoped for. Secondly, the customers who had already taken out sub prime loans and mortgages were essentially customers with previous credit issues and were more likely to default on loans than prime customers, especially during a recession. This was a long-term uncertainty that Chelsea had to take into consideration and make provisions for.
In August 2009 it was revealed Chelsea had written off £41m in "potentially fraudulent loans", mainly from its Buy to Let mortgage book which had been underwritten between 2006 and 2008. Although Chelsea wasn't the only lender to be targeted by Buy to Let fraud, its lending criteria and poor due diligence on the properties it was loaning money on, had allowed it to take place.
Although Chelsea had made an underlying operating profit that year of £18m and the fraudulent loans did not necessarily equate to a £41m loss by writing off the fraudulent loans it caused the Society to report an overall loss for the second year running.
The above issues caused confidence in the Society to fall, both with members and rating agencies such as Moody's Corporation who downgraded their rating to "Baa3". This lower rating made it significantly more challenging for the Society to attract deposits.
Due to the ongoing issues, the Chief Executive, Richard Hornbrook, left the Society and a temporary Chief Executive, Stuart Bernau, was appointed in August 2009. His role was also to conduct a systematic review of Chelsea's future. The findings were announced to the press in the week beginning 30 November 2009, which ultimately recommended that a merger with Yorkshire would be in the best interests of the Society and its members.
In comparison, for many years, Yorkshire had focused primarily on traditional lending and did not have as much exposure to the risks that Chelsea did. With large reserves of liquidity, they were in an good financial position to acquire several Societies through mergers. Chelsea still had a strong reputation and was particularly attractive as it had an extensive branch network in the south of England, where in comparison, Yorkshire had only a minimal presence.
The boards of both Societies mutually agreed a merger would be beneficial to both Societies and recommended members approve the proposal, which they ultimately did, becoming effective on 1 April 2010.
References
External links
Building Societies Association
KPMG Building Societies Database 2008
Former building societies of the United Kingdom
Banks established in 1875
Organizations established in 1875
Companies based in Cheltenham
1875 establishments in England | https://en.wikipedia.org/wiki/Chelsea%20Building%20Society |
Isidore Godfrey OBE (27 September 1900 – 12 September 1977), born Israel Gotfryd, was musical director of the D'Oyly Carte Opera Company for 39 years, from 1929 to 1968. He conducted most of the company's performances during that period, except for a few London seasons when Malcolm Sargent was guest conductor and brief periods in the summers of 1947 and 1948 when Boyd Neel filled in as guest conductor.
Godfrey led the company in numerous tours, both domestic and foreign, during his tenure, and he conducted most of the company's recordings over that long period. Widely admired and well-liked, Godfrey trained at the Guildhall School of Music in piano while working as an accompanist in London. He joined the D'Oyly Carte Opera Company as chorus master and assistant musical director of one of its touring companies in 1925, and in 1929 took over as musical director on the retirement of Harry Norris. Thereafter, his entire career was with D'Oyly Carte. He conducted and recorded all eleven of the Gilbert and Sullivan operas, plus Cox and Box, that were performed by the company at the time. From the 1930s, he conducted several broadcasts of the Gilbert and Sullivan operas by the BBC, relayed live from the Savoy Theatre.
In June 1965 Godfrey was awarded the OBE, and in 1966, he conducted a film version of The Mikado, one of only a few films ever made by the company. He retired from the D'Oyly Carte company in 1968. He was married three times, for the longest period to Ann Drummond-Grant, a company principal who died in 1959.
Life and career
Godfrey was born in London as Israel Gotfryd, the son of Polish-Jewish immigrants Manas Gotfryd (1858–1934), a hairdresser, and Frymet ("Fanny"), née Wontroba (born 1871); originally from Płock, the family Anglicised their surname to Godfrey, the parents becoming naturalised British subjects in 1905. He had older sisters Annie, a violinist (born 1888) and Flora, an actress as "Freda Godfrey" (1889–1980), and a younger brother David (born 1909). Godfrey was educated at The Haberdashers' Aske's Boys' School, then in Hampstead. There he enjoyed studying science. As a small child, he first studied the violin but soon preferred the piano. He studied the piano under George Woodhouse, a pupil of Theodor Leschetizky, and in 1914 made a public appearance, at the age of 13, playing in a joint recital at the Bechstein Hall given by Woodhouse's pupils. Godfrey subsequently trained at the Guildhall School of Music in the piano under George B. Aitken (composer of "Maire, my girl"). At the school, he won prizes for ensemble playing, the school's Gold Medal for piano, the annual Mercers' Scholarship and later the Chappel Piano Company Prize. He briefly studied conducting under Julius Harrison near the end of his training. While still a student, he performed as an accompanist in London, sometimes playing for his sister when she performed on the violin at theatres and music halls.
Early career
On the recommendation of the Guildhall School's principal, Sir Landon Ronald, Godfrey joined the D'Oyly Carte Opera Company as chorus master and assistant musical director of its smaller touring company in April 1925. He moved to the main company in May 1926 and in 1929 took over as musical director on the retirement of Harry Norris. Thereafter, his entire career was with D'Oyly Carte. A rare exception to touring with the company came in December 1932, when he shared the conducting with Sir Thomas Beecham at a royal charity matinée before King George V and Queen Mary. In the same month, Godfrey conducted the first complete broadcast of a Gilbert and Sullivan opera, The Yeomen of the Guard, on Christmas Eve 1932, relayed live from the Savoy Theatre by the BBC.
Godfrey conducted all the extant Gilbert and Sullivan operas plus Cox and Box, in performance and for recordings, except Utopia Limited and The Grand Duke, though he recorded excerpts from the former. (Rupert D'Oyly Carte had considered reviving Utopia in the 1920s, but abandoned the idea as too expensive.)
Godfrey conducted most of the company's performances during his four decades as musical director, except for a few London seasons, when Malcolm Sargent was guest conductor, and brief periods in the summers of 1947 and 1948, when Boyd Neel was guest conductor. Godfrey's assistant musical directors included Alan E. Ward (1930–49), William Cox-Ife (1951–61) and James Walker (1961–68). During Godfrey's long reign as musical director, he conducted artists who had worked under the direction of W. S. Gilbert, such as Henry Lytton, Leo Sheffield and Sydney Granville, and those who were performing at the last night of the D'Oyly Carte Opera Company in 1982, such as John Reed and Kenneth Sandford. In his early years in charge, Godfrey, with Rupert D'Oyly Carte's backing, gradually cut down the number of encores routinely given at the company's performances. The stars and the audiences both resisted, but Godfrey eventually made progress, particularly after the outbreak of World War II, when it was important to keep running times down to a reasonable length.
Touring and later years
During his four decades as musical director, Godfrey took the D'Oyly Carte Opera Company on many tours, including eleven to America. The company did not travel with a band but instead used orchestra players hired locally. He recalled, "We would pick up perhaps eight orchestral players in the first town, take them with us on the tour and make up the orchestra with local players from each of the towns we visited.... On one occasion, I was rehearsing the Mikado overture when I noticed that one of the double-basses was plucking the strings in the opening bars. I pointed out that it was not to be played pizzicato but arco, with the bow. 'Yeah', he said. 'But I haven't got a bow.' That's how it was sometimes!"
In wartime Britain, the orchestral situation on tour sometimes verged on collapse. Godfrey's weekly reports to the company office in London included wry accounts of drummers in Oxford who could not read music, a nervous cellist in Liverpool who played on three strings at once and a bass player in Wimbledon who took a night off and sent an inebriated substitute. Even in peacetime Godfrey was not lavishly provided for in the orchestra pit. In the 1950s, the magazine The Gramophone commented: "Whenever Mr. Isidore Godfrey enters the orchestra pit to direct an opera by Sullivan, to whose music he has devoted much of his life, he must presumably steel his aesthetic sense to doing justice to the composer with the tiny forces at his disposal. ... One presumes that an opera company with a repertory of ten operas, playing to capacity without expensive stars and only repairs to scenery and costumes and with royalties pouring in from all over the country, could afford a permanent orchestra of reasonable strength."
In June 1965 Godfrey was awarded the OBE; The Gramophone commented that "nothing short of a dukedom" could adequately reward him. In 1966, he conducted a film version of The Mikado, one of only a few films ever made by the company. He retired from the D'Oyly Carte company in February 1968 and was succeeded as musical director by his deputy, James Walker, formerly of Decca Records. Godfrey married two members of the company – first, a soprano chorister, Marguerite Kynaston, about 1919 (they later divorced), and, in 1940, the soprano (later contralto) principal Ann Drummond-Grant. After Drummond-Grant died in 1959, Godfrey married a third time, in 1961, to Glenda Gladys Mary née Cleaver. After retirement, when he held the honorary position of President of the associate members of the D'Oyly Carte Trust, ill-health prevented him from making many guest appearances, but he conducted H.M.S. Pinafore during the company's centenary season at the Savoy in 1975.
Godfrey died in London in 1977 just short of his 77th birthday.
Reputation
Godfrey was widely admired for his consistent skill in giving Arthur Sullivan's scores their essential joie de vivre. As early as 1926, Malcolm Sargent joining the D'Oyly Carte Opera Company found "a brilliant young assistant named Isidore Godfrey whom I realised at once was made of the right stuff for Sullivan". In the 1930s, Neville Cardus praised Godfrey's musicianship and commanding presence, adding, "Mr Godfrey deserves a bigger band":
Mr Isidore Godfrey approaches his evening's labours with an imperious gesture; he swings round, and with a comprehensive eye reduces even a Gilbert and Sullivan audience to silence for an overture – a very remarkable feat of hypnotism. And then Mr Godfrey's baton attacks the score, as though about to plunge us into Götterdämmerung with his thin Falstaff's army of an orchestra.... Mr Godfrey by sheer force seems to draw some sonority out of his pitifully inadequate instrumental forces; Toscanini could do no more.
In the 1960s, Philip Hope-Wallace of The Guardian spoke of "the animation, command and sheer genius for keeping things up to the mark of this most devoted servant of the tradition." Of a 1964 performance of Iolanthe at New York City Center, the New York Herald Tribune reported, "The carrot thatch we have loved all these years has now burnished to a silver gold alloy but it could have been dark green for all we cared. What really mattered was that [Godfrey] was there ... and that the Company was in superb condition, the best that it has been in for years." The New York Times concurred, "Isidore Godfrey, happily a fixture in the pit, leads the overture with a respect and affection for its delicacies and that is the fashion in which he orders the musical side of the entire performance." "If ever a knighthood were deserved in the cause of true musical devotion, it is here", wrote the critic Ivan March in The Great Records. In 2007 The Penguin Guide to Recorded Classical Music praised him as "inimitable".
A dissenting voice was the critic Rodney Milnes, who spoke of Godfrey's recordings as "leaden, lumpen and dull", but his fellow critic Hugo Cole, who had been a D'Oyly Carte orchestra player, praised Godfrey, who, he said, knew "not only every note of every part, but every place where a player had ever been known to miss an entry. He was like Henry Wood in that if you watched him you couldn't come in wrong." Members of the company from Leslie Rands in the 1920s to John Reed in the 1960s praised Godfrey – known to company members as "Goddie" – for his musicianship and friendliness.
Recordings
Godfrey's first recording with the D'Oyly Carte Opera Company was the 1933 The Sorcerer highlights for HMV, followed by his first complete opera, The Mikado in 1936. When the company returned to the recording studio after World War II, Godfrey conducted a series of eleven complete recordings from 1949–55 for Decca, comprising all the Gilbert and Sullivan operas in its repertory.
From 1957–66, the company re-recorded its full repertory for Decca, this time in stereo, adding the first professional recording of Cox and Box and highlights from Utopia, Limited. Godfrey once again conducted the entire series, except for Princess Ida and The Yeomen of the Guard, for which Sir Malcolm Sargent was guest conductor.
His final recordings for the company were a film of The Mikado in 1966 and the company's second stereo recording of The Pirates of Penzance in 1968.
Notes
References
Further reading
Reeves, Ken: "The Godfrey Identification Parade" in The Gaiety Annual (2002) pp. 23–28.
Scowcroft, Philip: "The Godfreys" in The Gaiety Annual (2002) pp. 19–22.
External links
Appreciation piece regarding Godfrey's career, Memories of the D'Oyly Carte website
Godfrey interviewed on the BBC's Desert Island Discs
Caricature of Godfrey at the V&A Museum
Godfrey conducts televised scenes from Pirates, D'Oyly Carte Opera Company, 1955
English conductors (music)
British male conductors (music)
Officers of the Order of the British Empire
People educated at Haberdashers' Boys' School
1900 births
1977 deaths
20th-century British conductors (music)
20th-century English musicians
20th-century British male musicians | https://en.wikipedia.org/wiki/Isidore%20Godfrey |
Walmarting or Walmartization is a neologism referring to U.S. discount department store Walmart with three meanings. The first use is similar to the concept of globalization and is used pejoratively by critics and neutrally by businesses seeking to emulate Walmart's success. The second, pejorative, use refers to the homogenization of the retail sector because of those practices. The third, neutral, use refers to the act of actually shopping at Walmart.
Background
The term "Walmarting" derives from debate over Walmart's business practices, which effectively apply optimization concepts from logistics, purchasing and finance to achieve and maintain low prices. More generally, "Walmarting" refers to the spread of Walmart's business model to other big-box retailers throughout the American economy, and the national or global implications of that proliferation.
The Walmart business model includes: marketing to a broad "family" demographic that includes rural as well as urban, ethnic minorities as well as mainstream, people without a higher-level education, lower- or working-class consumers, as well as the middle-class; one-stop shopping based on a very large selection of goods and services; the use of intense price-competition and high-technology inventory management to stimulate and satisfy end-user demand; extreme economies of scale based on big-box delivery of consumables; aggressive supply-chain management that requires producers to reduce their costs significantly to find an outlet for their goods; employment of store workers for low wages, few benefits, and little job security to reduce overhead.
Critics have claimed that the domestic impact of Walmarting is to force local businesses into bankruptcy because they are unable to compete with Walmart's "low, low prices", and to reduce the standard of living for local workers who lose their jobs, then must accept work at Walmart levels of compensation. Similarly, some critics argue that the international impact of Walmarting is to force American suppliers to rely on low-wage foreign producers for goods, leading in turn to an unfavorable national balance of trade and contributing to the growth of the American temporary and low-wage employment sector.
Walmarting differs both from "Disneyfication" and "McDonaldization", though there is a significant resemblance. "Disneyfication" and "McDonaldization" emphasize the "fun" of theme park attractions and fast food dining, while Walmarting markets itself mainly upon shopping for savings. "Disneyfied" businesses embellish a particular theme as imagined history, while "McDonaldized" businesses rationalize a specific good or service. By contrast, "Walmarting" plays upon a single aspect of shopping – getting a bargain – and applies it across the board to a broad range of goods and services available in its "super-stores".
The "Walmarting" concept has been applied in various industries. The external links below cite examples of its usage for the first two definitions.
India
India has experienced a similar phenomenon of Walmartization to the United States, with significant negative ramifications for its economy.
See also
Big box store
Category killer
Cocacolonization
Criticism of Walmart
Wake Up Wal-Mart
Whirl-Mart
References
Further reading
Documentaries
External links
SEIU homepage
An AFL-CIO magazine article
2000 usage in a magazine article
Ethically disputed business practices
Walmart | https://en.wikipedia.org/wiki/Walmarting |
Robert Ridgely (December 24, 1931 – February 8, 1997) was an American actor, known for both on-camera roles and extensive voice-over work.
Biography
Ridgely was a native of Teaneck, New Jersey. Before becoming an actor, he worked as a cabaret entertainer.
He served as a talk show host with Woody Woodbury. Ridgely appeared in commercials, including a classic McDonald's commercial, staged as a Broadway production number, where he sings "there is nothin' so clean – as my burger machine". He guest starred on TV series such as Sea Hunt and the Warner Bros. Television series Maverick, Lawman, and Surfside 6. He landed a regular role as Lieutenant Kimbro in the short-lived World War II Warner Bros./ABC series The Gallant Men. After the series was cancelled, he made guest appearances on shows, including Bonanza, WKRP in Cincinnati, Coach, Night Court, Wings, and Designing Women.
He appeared in various films, including two productions directed by Robert Altman early in his career, Nightmare in Chicago and Countdown. He also appeared in several Mel Brooks productions, including Blazing Saddles (1974), High Anxiety (1977), Life Stinks (1991) and Robin Hood: Men in Tights (1993). Ridgley starred in other films, including Something Wild (1986), Beverly Hills Cop II (1987), Philadelphia (1993), and Boogie Nights (1997). He put his strong voice to use in voice-over roles in movies like Down and Dirty Duck (1974) and television specials such as Thanksgiving in the Land of Oz (aka Dorothy in the Land of Oz) (1980). He did a great deal of voice work on animated series as well, including the titular heroes in Tarzan, Lord of the Jungle, The New Adventures of Flash Gordon, and Thundarr the Barbarian. From 1985 to 1996, Ridgely was one of ABC's main primetime promo announcers. He also voiced the Peculiar Purple Pieman in the 1980s Strawberry Shortcake specials, Rex Charger in The Centurions, General "Thunderbolt" Ross on The Incredible Hulk, Finch on Daisy-Head Mayzie, and Commander Chief in Dexter's Laboratory.
Ridgely died of cancer on February 8, 1997, at his home in the Toluca Lake neighborhood of Los Angeles.
Filmography
Film
References
External links
TV.com page for Robert Ridgely
New York Times movie page for Robert Ridgely
Movie stills of Robert Ridgely
1931 births
1997 deaths
American male film actors
American male television actors
American male voice actors
Deaths from cancer in California
Male actors from Los Angeles
Male actors from New Jersey
Actors from Teaneck, New Jersey
People from Toluca Lake, Los Angeles
20th-century American male actors | https://en.wikipedia.org/wiki/Robert%20Ridgely |
Which Way to the War is a British television sitcom pilot that was broadcast on 19 August 1994 on ITV1. It starred William Tapley, Simon Baker Denny, Terry John and Robert Hands, and was written by Jeremy Lloyd and David Croft.
Plot
Set in Libya in October 1942, during the Western Desert campaign, a party of British "Desert Rat" soldiers and a party of Australian soldiers are holed up in a remote building, when an ambulance of Italian "nurses" arrive.
Cast
William Tapley as Corporal Roy Muller
Simon Baker Denny as Private Stan Hawke
Terry John as Corporal Tony Genaro
Robert Hands as Private Jock Stewart
Also featured were Sarah Payne as Mara, Nadia Sawalha as Lucia, Elisabeth Bolognini as Little Anna, Valeria Fabbri as Carla, Amanda Weston as Theresa, Jason Hall as Captain Gregory Swift and Martin Sadler as Able One Charlie.
Background
The series was Jeremy Lloyd and David Croft's final sitcom set during wartime, and was their only sitcom produced by the ITV network.
The pilot was based on an idea by Roger Mirams, who was a producer with Reg Grundy Productions. The pilot's director, Roy Gould, had worked for Croft and Lloyd previously at the BBC on programmes Are You Being Served?, Hi-de-Hi!, 'Allo 'Allo! and Oh, Doctor Beeching!.
Reception
The pilot was poorly received, and thus a series was not commissioned.
References
External links
BBC Comedy Guide: Which Way To The War
ITV sitcoms
David Croft sitcoms
World War II television comedy series
English-language television shows
Military comedy television series
Television series by Yorkshire Television
Television pilots not picked up as a series | https://en.wikipedia.org/wiki/Which%20Way%20to%20the%20War |
A Mountie is a constable of the Royal Canadian Mounted Police.
Mountie or Mounties may also refer to:
People
Jacques Rougeau (born 1960), a Canadian professional wrestler who performed as "The Mountie"
Mounties (band), a Canadian indie rock band
Film
The Mountie (film), a 2011 Canadian film
School mascots and team names
Canada
Mount Allison Mounties, Mount Allison University, Sackville, New Brunswick
United States
Mapleton High School (Ashland, Ohio)
Mount Saint Charles Academy, Woonsocket, Rhode Island
Montclair High School (New Jersey)
Northwest High School (Michigan), Jackson, Michigan
Suffern High School, Suffern, New York
Sports clubs
Lethbridge Mounties, now the Lethbridge Black Diamonds, a minor-league baseball team in Lethbridge, Alberta, Canada
Paris Mounties, a junior ice hockey team in Paris, Ontario, Canada
Vancouver Mounties, a defunct minor-league baseball club in Vancouver, British Columbia, Canada
The Mounties Club, an athletic club in Mount Pritchard, New South Wales, Australia, whose teams include:
Mount Pritchard Mounties, a rugby league team in the Bundaberg Red Cup
Mounties F.C., now Mounties Wanderers, a football (soccer) club in the NSW State League Division One
See also
Mountaineer (disambiguation), for other athletic teams whose name is often shortened to Mounties | https://en.wikipedia.org/wiki/Mountie%20%28disambiguation%29 |
ACP-131 is the controlling publication for the listing of and It is published and revised from time to time by the Combined Communications Electronics Board (CCEB) countries: Australia, New Zealand, Canada, United Kingdom, and United States. When the meanings of the codes contained in ACP-131 are translated into various languages, the codes provide a means of communicating between ships of various nations, such as during a NATO exercise, where there is no common language.
History
The original edition of ACP-131 was published by the U.S. military during the early years of radio telegraphy for use by radio operators using Morse Code on continuous wave (CW) telegraphy. It became especially useful, and even essential, to wireless radio operators on both military and civilian ships at sea before the development of advanced single-sideband telephony in the 1960s.
Reason for the codes
Radio communications, prior to the advent of landlines and satellites as communication paths and relays, was always subject to unpredictable fade outs caused by weather conditions, practical limits on available emission power at the transmitter, radio frequency of the transmission, type of emission, type of transmitting antenna, signal waveform characteristics, modulation scheme in use, sensitivity of the receiver and presence, or lack of presence, of atmospheric reflective layers above the earth, such as the E-layer and F-layers, the type of receiving antenna, the time of day, and numerous other factors.
Because of these factors which often resulted in limiting periods of transmission time on certain frequencies to only several hours a day, or only several minutes, it was found necessary to keep each wireless transmission as short as possible and to still get the message through. This was particularly true of CW radio circuits shared by a number of operators, with some waiting their turn to transmit.
As a result, an operator communicating by radio telegraphy to another operator, wanting to know how the other operator was receiving the signal, could send out a message on his key in Morse Code stating, "How are you receiving me?"
Using ACP-131 codes, the question could be phrased simply ""
resulting in much more efficient use of circuit time.
If the receiver hears the sender in a "loud and clear" condition, the response would be "":
All of which requires less circuit time and less "pounding" on the key by the sending operators.
Should the receiving operator not understand the sending operator, the receiving operator would send ""
or the marginally shorter
The other operator would respond again with:
which is much easier than retransmitting "How are you receiving me?"
If the receiving operator understood the sending operator, the receiving operator would say the word "ROGER" or "MESSAGE RECEIVED", or the send the short form ""
"" and "" are similarly structured, but very easy to distinguish.
Applicability of the codes
According to ACP-125(F), paragraphs 103 and 104, in radio communication among Allied military units:
Q codes are authorized for both civilian and military use, and for communications between the two.
Z codes are authorized for use only among military stations.
{|
|+
|- style="text-align:center;"
! Mil./Civ. !! Medium type !! Q codes? !! Z codes?
|- style="text-align:center;"
| Civilian || continuous wave radio (CW) || Q codes ||
|- style="text-align:center;"
| Military || continuous wave radio (CW) || Q codes || Z codes
|- style="text-align:center;"
| Civilian || shipboard signal lamp || Q codes ||
|- style="text-align:center;"
| Military || shipboard signal lamp || Q codes || Z codes
|- style="text-align:center;"
| Military || flag semaphore || Q codes || Z codes
|- style="text-align:center;"
| Military || teletype || || Z codes
|}
Voice transmission
Some assert that the use of Q codes and Z codes was not intended for use on voice circuits, where plain language was speedy and easily recognizable, especially when employing the character recognition system in use at the time, such as ALPHA, BRAVO, CHARLIE, etc. However, in military communication the latter are still in use. The latter due to the poor transfer-conditions still suffered on HF band communications (for example, due to heavy swells or Northern Light), that is, for which Q codes and Z codes remain in use. To exemplify the latter, while words such as "received one flash message" may be distorted into unrecognisable clutter, Z codes exhibits a distinctiveness (which enables transfer of radio-messages even under poor conditions).
A typical simplex military voice exchange:
{|
|-
!
!
!style="text-align:left;"| Message
|- style="text-align:center;"
| C2 → L5
|
|style="text-align:left;"|
|- style="text-align:center;"
| L5 → C2
|
|style="text-align:left;"|
|- style="text-align:center;"
| C2 → L5
|
|style="text-align:left;"|
|}
However, some voice operators, such as amateur radio operators, find it convenient or traditional to carry over some of the Q codes to voice ("phone") exchanges, such as "QSL", "QRK", "QTH", etc.
Footnotes
See also
Q code
Z code
Morse code
Continuous wave
Radio
500 kHz
References
External links
Brevity codes
Military standardization
Military publications
Military radio systems
Amateur radio
Encodings
Maritime communication
History of radio | https://en.wikipedia.org/wiki/ACP%20131 |
Coyne may refer to:
Coyne (surname), a surname of Irish origin
Coyne and livery, in Gaelic Ireland the free entertainment which a chief exacted from his subjects for his servants and followers
Coyne, Churchtown, a townland in Churchtown civil parish, barony of Rathconrath, County Westmeath, Ireland
Coyne College, an American for-profit college
Coyne et Bellier, French consulting and engineering firm
14429 Coyne, a main-belt asteroid
See also
Coin (disambiguation) | https://en.wikipedia.org/wiki/Coyne |
This is a list of parliamentary by-elections in the United Kingdom held between 1931 and 1950, with the names of the incumbent and victor and their respective parties. Where seats changed political party at the election, the result is highlighted: red for a Labour gain, blue for a Conservative gain, orange for a Liberal gain, yellow for an SNP gain and grey for any other gain. A grand total of 333 by-elections were held during this period.
Resignations
Where the cause of by-election is given as "resignation" or "seeks re-election", this indicates that the incumbent was appointed on his or her own request to an "office of profit under the Crown", either the Steward of the Chiltern Hundreds or the Steward of the Manor of Northstead. These appointments are made as a constitutional device for leaving the House of Commons, whose Members are not permitted to resign.
By-elections
References
Bibliography
British Parliamentary By-Elections since 1945
F. W. S. Craig, British Parliamentary Election Statistics 1832-1987
F. W. S. Craig, British Parliamentary Election Results 1918-49
F. W. S. Craig, Chronology of British Parliamentary By-elections 1833-1987
1931
20th century in the United Kingdom | https://en.wikipedia.org/wiki/List%20of%20United%20Kingdom%20by-elections%20%281931%E2%80%931950%29 |
Remote Function Call is a proprietary SAP interface. Remote Function Call (RFC) is the standard SAP interface for communication between SAP systems. The RFC calls a function to be executed in a remote system. Remote function calls may be associated with SAP software and ABAP programming and provide a way for an external program (written in languages such as PHP, ASP, Java, C, or C++) to use data returned from the server. Data transactions can get data from the server, and can insert data into server records as well. SAP can act as the Client or Server in an RFC call.
Technical overview
A Remote Function Call (RFC) is the call or remote execution of a Remote Function Module in an external system.
In the SAP system, these functions are provided by the RFC interface system. The RFC interface system enables function calls between two SAP systems.
There are 3 different versions of RFC communication:
The first version of RFC is synchronous RFC (sRFC).
Transactional RFC (tRFC, also originally known as asynchronous RFC)
Queued RFC (qRFC)
RFC interfaces
The RFC interface system is made up of the following interfaces:
Calling interface for ABAP programs
Each ABAP program can call a remote function module using the command CALL FUNCTION...DESTINATION. The parameter DESTINATION informs the SAP system that the called function module runs in a different system to the calling system. RFC communication with the remote system takes place as a part of the CALL FUNCTION command.
RFC function modules in an SAP system must be proper function modules and must be registered in the SAP system as remote.
If the calling program and the called program are both ABAP programs, the RFC interface provides both communication partners. The calling program can be any ABAP program, and the called program must be a function module that is registered as remote.
Interfaces for calling non-ABAP programs
If either the calling program or the called partner is not an SAP program, it must be programmed in such a way that it can play the role of the other partner in RFC communication.
To implement RFC partner programs in non-SAP systems, read: Components of the SAP Communication Technology.
RFC-supported and GUI-supported interfaces can be used by external programs to call function modules in SAP systems, and execute them in these systems. Likewise, ABAP programs can also use these interfaces to use functions supplied by external programs.
Functions are remote-enabled by setting the "Remote-enabled module"-flag in the Attributes tab of the ABAP Workbench: Function Builder (transaction SE37).
SAPRFC
SAPRFC is an open source program for *NIX and Windows systems that allows PHP to make calls to an RFC-enabled SAP R/3 system.
See also
ERP software
ABAP
SAP SE
Oracle Call Interface
References
External links
PHP Development Forums in the SAP Developer Network
SAPRFC Open Source Project
Graphical RFC Connector
SAP SE
Remote procedure call | https://en.wikipedia.org/wiki/Remote%20Function%20Call |
The Transportable Applications Environment (TAE) was a rapid prototyping graphical user interface development environment created by NASA in the 1980s. It is available for us on DEC VAX ULTRIX, DEC RISC ULTRIX, Sun, VAX/VMS, Silicon Graphics, HP9000, and IBM RS/6000 based systems.
References
NASA online | https://en.wikipedia.org/wiki/Transportable%20Applications%20Environment |
Great Ponton is an English village and civil parish in the South Kesteven district of Lincolnshire, south of Grantham on the A1 trunk road, which bisects the village. The tower of the parish church is a roadside landmark. The 2001 census recorded a population of 333, of whom all were of white ethnic origin and 87 per cent described themselves as Christian. The average age was 40. The population of the civil parish had risen to 379 at the 2011 census. It was estimated at 369 in 2019.
History
The village is named in the Domesday Book of 1086 as Magna Pamptune, probably meaning "farmstead by a hill". Some material remains have been found dating back to the Neolithic age. Remains of a mid-Bronze Age round barrow cemetery were discovered between Great Ponton and Sproxton in 1959. The village belonged to the historical wapentake of Winnibriggs and Threo.
The village church dedicated to the Holy Cross dates from the 13th century. Its pinnacled tower was added in 1519 at the expense of Anthony Ellys, a wool merchant of Ellys Manor House, which is open to the public. The church weather vane depicts a gilded fiddle. The educationalist and school textbook writer Charles Hoole was briefly rector from 1642. Joshua William Brooks, who had been responsible while vicar of St Mary's Church, Nottingham for founding six new churches there, was rector in Great Ponton in 1864–1882.
The Grade I church is among nine listed buildings in the village, six of them residential.
Great Ponton railway station opened in 1853 and closed for passengers on 15 September 1958.
Great Ponton has a limestone quarry.
Geography
Great Ponton is bisected by the A1 about south of Grantham. A footbridge gives pedestrian access between the west and the east of the village. Further east is the River Witham and the East Coast Main Line.
Nearby villages include Stoke Rochford, Stroxton and Little Ponton. To the north is the parish of Little Ponton and Stroxton, and the parish boundary crosses the A1 at south of the electricity pylons, opposite Gibbet Hill, to the west. Due east, it crosses Ermine Street (B6403) south of Ponton Park Wood. It meets Boothby Pagnell west of Boothby Great Wood, and the boundary skirts the wood's western edge. East of Ponton Great Wood, on the road to Boothby Pagnell, it meets Bitchfield and Bassingthorpe, with the boundary following the road westwards, to the north of Bassingthorpe New Plantation.
The boundary follows the western side of the plantation southwards to the Bassingthorpe road, west of Stoke Tunnel Farm, where it meets Stoke Rochford. It follows the road, south of Pasture Farm, to the west of the East Coast Main Line road bridge, and from the bridge runs due west to the A1 at North Lodge Plantation, and meets Cringle Brook, which meanders alongside the A1 northwards to the village. The boundary passes to the south of Cindertrack Plantation, and to the north of Halfmoon Plantation, where it meets Wyville cum Hungerton. A half mile north it meets Little Ponton and Stroxton.
The hamlet of High Dyke lies south-east of Great Ponton, where the East Coast Main Line bridges High Dyke, a stretch of Roman road forming part of Ermine Street.
Community
Great Ponton Parish Council meets every two months.
Holy Cross Anglican Church, with St Guthlac's Church at Little Ponton, is in the Colsterworth Group of parishes in the Diocese of Lincoln. The Methodist Dallygate Chapel, built in 1805, closed for worship in 1975.
Great Ponton Church of England Primary School, with a roll of about 70, occupies modern premises in Mill Lane. A February 2015 Ofsted inspection rated the school Grade 2, 'Good' for "overall effectiveness". The rating was reiterated in 2018.
Great Ponton Village Centre, on Archers Way, is a community centre for social events and functions. The village playing fields are used by local cricket and football clubs. The Ponton Plod is an annual long-distance walk and run that raises money for charity. It starts and finishes at the Village Centre.
There is a garage-cum-shop at Ponton Main Service Station on the north-bound carriageway of the A1. The former Blue Horse public house facing the south-bound carriageway has been converted into flats.
The village has a daytime, weekday bus service to Grantham.
References
External links
"Picture Gallery", Great Ponton Parish Council
Villages in Lincolnshire
Civil parishes in Lincolnshire
South Kesteven District | https://en.wikipedia.org/wiki/Great%20Ponton |
The tribe Dasyurini includes several genera of small carnivorous marsupials native to Australia: quolls, kowari, mulgara, kaluta, dibblers, neophascogales, pseudantechinuses, and the Tasmanian devil.
Classification
Tribe Dasyurini
Genus Dasycercus
Brush-tailed mulgara, Dasycercus blythi
Crest-tailed mulgara, Dasycercus cristicauda
Genus Dasykaluta
Little red kaluta, Dasykaluta rosamondae
Genus Dasyuroides
Kowari, Dasyuroides byrnei
Genus Dasyurus: quolls
New Guinean quoll, Dasyurus albopunctatus
Western quoll, Dasyurus geoffroii
Northern quoll, Dasyurus hallucatus
Tiger quoll, Dasyurus maculatus
Bronze quoll, Dasyurus spartacus
Eastern quoll, Dasyurus viverrinus
Genus Myoictis
Myoictis leucura
Three-striped dasyure, Myoictis melas
Wallace's dasyure, Myoictis wallacii
Myoictis wavicus
Genus Neophascogale
Speckled dasyure, Neophascogale lorentzi
Genus Parantechinus
Dibbler, Parantechinus apicalis
Genus Phascolosorex
Red-bellied marsupial shrew, Phascolosorex doriae
Narrow-striped marsupial shrew, Phascolosorex dorsalis
Genus Pseudantechinus
Sandstone false antechinus, Pseudantechinus bilarni
Fat-tailed false antechinus, Pseudantechinus macdonnellensis
Alexandria false antechinus, Pseudantechinus mimulus
Ningbing false antechinus, Pseudantechinus ningbing
Rory Cooper's false antechinus, Pseudantechinus roryi
Woolley's false antechinus, Pseudantechinus woolleyae
Genus Sarcophilus
Tasmanian devil, Sarcophilus harrisii
References
Dasyuromorphs
Mammal tribes | https://en.wikipedia.org/wiki/Dasyurini |
Wangechi Mutu (born 1972) is a Kenyan-born American visual artist, known primarily for her painting, sculpture, film, and performance work. Born in Kenya, she has lived and established her career in New York City for more than twenty years. Mutu's work has directed the female body as subject through collage painting, immersive installation, and live and video performance while exploring questions of self-image, gender constructs, cultural trauma, and environmental destruction and notions of beauty and power.
Background and education
Mutu was born in 1972 in Nairobi, Kenya. She was educated at Loreto Convent Msongari (1978–1989), and later studied at the United World College of the Atlantic, Wales (I.B., 1991). Mutu moved to New York in the 1990s, focusing on Fine Arts and Anthropology at The New School for Social Research, and Parsons School of Art and Design. She earned a BFA degree from Cooper Union for the Advancement of the Arts and Science in 1996 and a master's degree in sculpture from Yale School of Art in 2000.
Art
Mutu's work crosses a variety of mediums, including collage, video, performance, and sculpture, and investigates themes of gender, race, and colonialism. Her work, in part, centers on the violence and misrepresentation experienced by Black women in contemporary society. A recurring theme of Mutu's work is her various depictions of femininity. Mutu uses the feminine subject in her art, even when the figures are more or less unrecognizable, whether by using the form itself or the texture and patterns the figure is made from. Her use of otherworldly depictions for women, many times shown in a seemingly sexual or sensual pose, brings about discussion of the objectification of women. Specifically, Mutu addresses the hyper-objectification of black female bodies and has used an otherworldly nature to reiterate the fictitious nature of society's depictions of black women. Whether through delicate lined patterns or familiar feminine builds, Mutu's various ways of representing feminine qualities is said to enhance the strength of the images or the significance of the issues presented. Many of Mutu's artworks are known to be interpreted in contradictory ways, both seen as complicit to problematic society and as hopeful for future change in society. It's also been said that Mutu's use of such intentionally repulsive or otherworldly imagery may help women to step away from perfection as it is presented in society and instead embrace their own imperfections and become more accepting of the flaws of others as well. In her Sentinel series which has been active from 2016 until now, she creates regal and fierce abstract female forms made from clay, wood and various found materials.
In an interview with the Museum of Contemporary Art Australia curator, Rachel Kent, she states, "I try to stretch my own ideas about appropriate ways to depict women. Criticism, curiosity, and voyeurism lead me along, as I look at things I find hard to view – things that are sometimes distasteful or unethical". Mutu frequently uses "grotesque" textures in her artwork and has cited her mother's medical books on tropical diseases as an inspiration, stating that there is "nothing more insanely visually interesting and repulsive than a body infected with tropical disease; these are diseases that grow and fester and become larger than the being that they have infected, almost."
Mutu is able to enact personal and cultural transfigurations by transitioning from painting to sculpture and back again. Mutu says " This transition was so powerful because I used my mind as an object maker – I think I always painted like a sculptor." In Mutu's collage work she began to respond to western advertisement and beauty standards: "I began an ongoing critique and an intellectual an actual vandalization of those images, which were violating me by rendering me invisible."
Works
Exhuming Gluttony: A Lover's Requiem (2006)
Mutu has exhibited sculptural installations. In 2006, Mutu and British architect David Adjaye collaborated on a project. They transformed the Upper East Side Salon 94 townhouse in New York into a subterranean dinner-party setting entitled Exhuming Gluttony: A Lover's Requiem. Furs and bullet holes adorned the walls while wine bottles dangled in a careless chandelier-like form above the stained table. The table's multiple legs resembled thick femurs with visibly delicate tibias, and the whole space had a pungent aroma. The artists strove to show a moment of gluttony as she stated, "I wanted to create a feast, a communing of minds and viewers Something has gone wrong, there is a tragedy or unfolding of evil". This vicious hunger was seen as a connection between images of The Last Supper, the climate of the current art-buying world, and the war in Iraq.
Suspended Playtime (2008)
Another installation of Mutu, Suspended Playtime (2008) is a series of bundles of garbage bags, wrapped in gold twine as if suspended in spiders' webs, all suspended from the ceiling over the viewer. The installation makes reference to the common use of garbage bags as improvised balls and other playthings by African children.
Sketchbook Drawing (2011–12)
As a visual artist, Mutu takes inspiration from fashion and travel magazines, pornography, ethnography, and mechanics. In 2013, at the Nasher Museum of Art, Mutu showed her sketchbook drawings for the first time ever in her retrospective exhibition, Wangechi Mutu: A Fantastic Journey. The books consisted of strangely attractive, yet grotesque human figures fused with animals, plants, or machines.
The End of Eating Everything (2013)
In 2013, Wangechi Mutu's first-ever animated video, The End of Eating Everything, was created in collaboration with recording artist Santigold, commissioned by the Nasher Museum of Art. The video was animated by Awesome + Modest.
Nguva na Nyoka (2014)
In 2014, Mutu's art was on display at an exhibition entitled Nguva na Nyoka, at Victoria Miro Gallery in London. At the exhibition's opening night, Mutu displayed a performance piece, wherein guests were encouraged to consume custom-made Wangechi Mutu chocolate mermaids. The guests could obtain a mermaid only by "snapping a photo of their first bite, lick, taste", operating as a commentary on "the public consumption of brown bodies".
The Seated series (2019)
In 2019, Mutu created bronze statues (titled The Seated I, The Seated II, The Seated IV) for the exterior niches of the Metropolitan Museum of Art. The statues seated women were displayed from September 9, 2019 through January 12, 2020.
MamaRay (2020)
In 2020 Mutu completed her large bronze sculpture, MamaRay, commissioned by the Nasher Museum of Art at Duke University.
Filmography
Mutu's artistic oeuvre also embraces film and video installations as media, and the artist has produced a number of films such as Amazing Grace (2005) in the collections of Pérez Art Museum Miami, Eat Cake (2012), The End of eating Everything (2013), and My Cave Call (2021).
Exhibitions
Mutu's work has been exhibited at galleries and museums worldwide including the San Francisco Museum of Modern Art, The Contemporary Austin (Texas), the Miami Art Museum, Tate Modern in London, Centre for Fine Arts in Brussels, the Studio Museum in Harlem in New York, Museum Kunstpalast in Düsseldorf, Germany, the Centre Georges Pompidou in Paris, and the Nasher Museum of Art at Duke University. Her first solo exhibition at a major North American museum opened at the Art Gallery of Ontario in March 2010.
She has held one-person shows at the Museum of Contemporary Art Australia; Deutsche Guggenheim, Berlin; the Brooklyn Museum of Art; Montreal Museum of Contemporary Art; San Francisco Museum of Modern Art; Staatlichen Kunsthalle Baden-Baden, Germany; Wiels Contemporary Art Center, Brussels; the Nasher Museum of Art at Duke University, North Carolina; the Block Museum of Art at Northwestern University, Illinois; and Miami Art Museum.
On 21 March 2013, she held her first United States solo exhibition, Wangechi Mutu: A Fantastic Journey at Nasher Museum of Art. The exhibition Wangechi Mutu: A Fantastic Journey subsequently traveled to the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in October 2013.
She participated in the 2008 Prospect 1 Biennial in New Orleans and the 2004 Gwangju Biennale in South Korea. Her work has been featured in major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and the Museum of Modern Art in New York, Black President: The Art and Legacy of Fela Anikulapo-Kuti at the New Museum of Contemporary Art in New York and the Barbican Centre in London, and USA Today at the Royal Academy in London.
In Fall 2013, the creative team of Wangechi Mutu took part in the main project of the 5th Moscow Biennale of Contemporary Art.
In 2014, she participated in The Divine Comedy. Heaven, hell, purgatory from the perspective of African contemporary artists at the Museum of Modern Art (MMK), Frankfurt / Main, curated by Simon Njami. Mutu was awarded the 2014 United States Artist Grant.
In 2014 Mutu founded the charitable organization Africa's Out! located in Brooklyn New York. The organization is devoted to supporting artists whose work subverts traditional narratives around Africa and its diaspora.
In 2015, Mutu participated in the 56th Venice Biennale's International Art Exhibition entitled All The World's Futures, curated by Okwui Enwezor at the Giardini and the Arsenale venues. She also participated in the Dak'Art Biennial, the Kochi-Muziris Biennial, the Paris Triennial: Intense Proximity, the International Center of Photography's Triennial, and the Moscow Biennale.
In 2016, her film The End of Carrying All was exhibited at the Museum of Fine Arts, Houston, Texas. The film depicts Mutu crossing a landscape with a basket filling up with consumer goods as the landscape changes, ending with a volcanic eruption. In 2016, she also participated in several group exhibits, including "Blackness in Abstraction," at the Pace Gallery in New York, "Black Pulp!" at the International Print Center in New York, and "Africans in America" at the Goodman Gallery in Johannesburg.
In 2017, her black bronze sculpture Water Woman, of which depicted a nguva, was placed at the foot of the amphitheater at the Contemporary Austins fourteen-acre sculpture park at Laguna Gloria. Based on the East African folklore of the half woman and half sea creature is a representation of histories narrative of women as cunning temptresses. The exhibition ran from September 23, 2017, to January 14, 2018, when it became a part of the museum's permanent collection.
In September 2019, four female bronze sculptures by Mutu, "Seated I, II, III, and IV", were placed to occupy the empty niches always intended to house free-standing sculpture in the facade of the Metropolitan Museum of Art in the first instillation and exhibition ("The New Ones Will Free Us" September 9 – Fall 2020) of what will be an annual commission meant to feature work by contemporary artists. Mutu has described the bronze statues as having been inspired by caryatids. Initially, the sculptures were planned to be displayed until January 12, 2020, but their exhibition was extended to June 8, 2020, and further extended to Fall 2020 due to the COVID-19 pandemic. "Seated I" and "Seated III" were subsequently acquired for The Met's permanent collection. A discussion with her about the exhibit and contemporary times was recorded on July 28, 2020 for a series entitled Women and the Critical Eye.
In January 2020, Mutu was part of Artpace's exhibit entitled Visibilities: Intrepid Women of Artpace. Curated by Erin K. Murphy, Visibilities not only kicks off Artpace's 25th anniversary celebration, but also highlights past artists from their International Artist-in-Residency program, such as Mutu who was a resident there in Fall of 2004. Mutu's 12-panel series Histology of the Different Classes of Uterine Tumors, made up of collaged digital prints, was exhibited in the Hudson Showroom.
In 2021 Mutu had a solo exhibition at the Storm King Art Center, New Windsor, New York, USA. According to the Art Center, Mutu's outdoor works assert "the existence and cultural relevance of ancient original myths, fables, and histories."
In 2023 the New Museum featured a retrospective of Mutu's work. The solo exhibition entitled Mutu: Intertwined, features roughly 115 pieces ranging from early in her career to brand new pieces showcasing various mediums and techniques including sculpture, video, collage, and more.
Influence of Afrofuturism and Africanfuturism
Mutu's work has been called "firmly Africanfuturist and Afrofuturist", as exemplified in her piece, The End of Eating Everything (2013). In her 2013–2014 installation at the Brooklyn Museum, the curatorial placard accompanying her work A'gave described Afrofuturism as "an aesthetic that uses the imaginative strategies of science fiction to envision alternate realities for Africa and people of African descent". For critics, Mutu's imagined alternate realities for Africa through the medium of science fiction definitively situated Mutu in the genre of Afrofuturism.
Specific elements of Mutu's art that situate her within this genre include her amalgamations of humans and machines, or cyborgs, within collages such as Family Tree as well as the film The End of Eating Everything. Additionally, Mutu's work consistently involves intentional re-imaginations of the African experience. In Misguided Little Unforgivable Hierarchies, she examines social hierarchy and power relationships through the medium of collage, for "rankings of peoples have historically been constructed around fabricated racial and ethnic categories". In Family Tree, as in many of her works, Mutu deliberately constructs both a past and a future within the single figure through displaying diagrams from antique medical journals as well as mechanical images.
Collections
Her work is included in the collections of the Museum of Modern Art, New York; The Whitney Museum of American Art; The Studio Museum in Harlem; Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; Pérez Art Museum Miami, the Nasher Museum of Art at Duke University; the Brooklyn Museum; Tate Modern in London.
Publications
Adrienne Edwards, Courtney J. Martin, Kellie Jones, Chika Okeke-Agulu, Wangechi Mutu (2022), Phaidon Press, London.
Isaac Julien and Claudia Schmuckli, Wangechi Mutu: I Am Speaking, Are You Listening?, Distributed Art Publishers, New York, 2021
Trevor Schoonmaker, Wangechi Mutu: A Fantastic Journey (2013), Nasher Museum of Art at Duke University, Durham.
Awards
On 23 February 2010, Wangechi Mutu was honoured by Deutsche Bank as its first "Artist of the Year". The prize included a solo exhibition at the Deutsche Guggenheim in Berlin. Entitled My Dirty Little Heaven, the show traveled in June 2010 to the Wiels Center for Contemporary Art in Forest, Belgium.
In 2013, Mutu was awarded the BlackStar Film Festival Audience Award for Favorite Experimental Film in Philadelphia, Pennsylvania for her film The End of Eating Everything, as well as the Brooklyn Museum Artist of the Year, Brooklyn, New York.
In 2014, Mutu won the United States Artist Grant (2014).
Philanthropy
In 2014, Mutu founded the charitable organization Africa's Out! to "advance radical change through the power of art and activism, particularly supporting artists, initiatives and institutions from Africa and its Diaspora that celebrate freedom of creative expression."
References
Further reading
Wangechi Mutu, as told to Faye Hirsch. "The Women". Art in America, November 2013. New York: Brant Publications, Inc. pp. 54–55.
"Grotesque Sensations: Carnivalising the Sensorium in the Art of Wangeshi Mutu" by Bettina Papenburg in: B. Papenburg and M. Zarzycka (eds.) Carnal Aesthetics. London: I.B.Tauris, 2013. .
Preziuso, Marika. “Is America Really Full? A Conversation with Wangechi Mutu.” Transition, no. 129, 2020, pp. 26–45. Accessed 1 Apr. 2021.
External links
Official website
1972 births
Living people
Afrofuturists
American collage artists
Kenyan women artists
Sculptors from New York City
American women painters
People educated at Atlantic College
People educated at a United World College
Yale School of Art alumni
American women printmakers
Cooper Union alumni
21st-century American women artists | https://en.wikipedia.org/wiki/Wangechi%20Mutu |
Lérins may refer to:
People
Caprasius of Lérins (died 430), a hermit who lived in Lérins, Provence
Vincent of Lérins (died 440s), a Gallic monk and author of early Christian writings
Antony of Lerins (ca. 468–ca. 520), a Christian saint
Places
Lérins Abbey, a Cistercian monastery on the island of Saint-Honorat, one of the Lérins Islands, on the French Riviera
Lérins Islands, a group of four Mediterranean islands off the French Riviera, in Cannes | https://en.wikipedia.org/wiki/L%C3%A9rins |
Alexander Stewart (September 12, 1829May 24, 1912) was a member of the United States House of Representatives for Wisconsin.
Born in Fredericton in the colony of New Brunswick (now in Canada, but a British colony at the time), Stewart moved to Wausau, Wisconsin, where he became involved in the lumber industry. Stewart was elected as a Republican to the Fifty-fourth, Fifty-fifth, and Fifty-sixth Congresses (March 4, 1895 – March 3, 1901). He represented Wisconsin's 9th congressional district. He did not run for reelection to the Fifty-seventh Congress.
He was a prominent person in the early days of Wausau and Stewart Avenue, one of the main roads in Wausau, is named in his honor.
Stewart died at his home in Washington, D.C., on May 24, 1912, and was buried in the Pine Grove Cemetery in Wausau.
References
External links
1829 births
1912 deaths
American businesspeople in timber
Emigrants from pre-Confederation New Brunswick to the United States
Politicians from Fredericton
Politicians from Wausau, Wisconsin
Washington, D.C., Republicans
Republican Party members of the United States House of Representatives from Wisconsin
19th-century American politicians | https://en.wikipedia.org/wiki/Alexander%20Stewart%20%28American%20politician%29 |
This is a list of parliamentary by-elections in the United Kingdom, with the names of the incumbent and victor and their respective parties. Where seats changed political party at the election, the result is highlighted: red for a Labour gain, blue for a Conservative gain, orange for a Liberal gain, yellow for an SNP gain, green for a Plaid Cymru gain and grey for any other gain.
Resignations
See Resignation from the House of Commons of the United Kingdom for more details.
Where the cause of by-election is given as "resignation" or "seeks re-election", this indicates that the incumbent was appointed on his or her own request to an "office of profit under the Crown", either the Steward of the Chiltern Hundreds or the Steward of the Manor of Northstead. These appointments are made as a constitutional device for leaving the House of Commons, whose Members are not permitted to resign.
By-elections
See also
List of United Kingdom by-elections (1979–2010)
United Kingdom by-election records
References
United Kingdom Election Results (David Boothroyd)
United Kingdom Elections (Keele University)
British Parliamentary By-Elections since 1945
F. W. S. Craig, British Parliamentary Election Results 1950–73
F. W. S. Craig, British Parliamentary Election Results 1974–83
F. W. S. Craig, British Parliamentary Election Statistics 1832–1987
F. W. S. Craig, Chronology of British Parliamentary By-elections 1833–1987
1950
20th century in the United Kingdom | https://en.wikipedia.org/wiki/List%20of%20United%20Kingdom%20by-elections%20%281950%E2%80%931979%29 |
Francisco Montes Reina (January 13, 1804 – April 4, 1851), nicknamed Paquiro, was a matador and celebrity. He was born in Chiclana de la Frontera, Cádiz Province, Spain.
Intending to become a surgeon, Reina abandoned the plan after losing the sponsorship of a marquis left his father in financial difficulty. Forsaking the family business (masonry), Reina took up bullfighting.
Reina remains one of the most famous names in bullfighting history, having codified rules for bullfighting and contriving an order for fights. He also introduced the "Traje de Luz" - the suit that the bullfighters wear to this day.
Circa 1840 in Madrid, Reina was paid 6,000 Spanish reals for killing five bulls. Two years later, he earned 2,000 per bull. Until retirement in 1848, he was by far the most important bullfighter in Spain. He attempted to return to the ring after retirement, but could not attain his former grandeur. His last fight was with the bull "Rumbón", July 21, 1850, in Madrid. He died at age forty-seven in his hometown.
There is a museum dedicated to him in his home town of Chiclana de la Frontera, in Cádiz province.
References
External links
https://web.archive.org/web/20090919131920/http://www.portaltaurino.com/matadores/paquiro_1805.htm (dead link?)
Biography of Paquiro @ La Plaza Real
1804 births
1851 deaths
People from Chiclana de la Frontera
Spanish bullfighters | https://en.wikipedia.org/wiki/Francisco%20Montes%20Reina |
The Apostolic Vicariate of Brunei Darussalam () is a Roman Catholic ecclesiastical jurisdiction covering the territory of Brunei and headed by an apostolic vicar. The first apostolic vicar was Cornelius Sim, who was created a cardinal in 2020 and died in May 2021.
History
The earliest mission to Brunei was conducted by Spanish Franciscan priests in 1587, namely Francesco de Santa Maria and Miguel Juan de Plasencia. These Spanish missionaries who were residing in the Philippines came to Brunei before they baptised the Kadazans in Sabah. The roots in the ministry then continued by Missionary Society of St. Joseph (Mill Hill Missionaries). Throughout the years, the local Church was administered by various ecclesiastical jurisdictions centred in Labuan, Jesselton, Kuching and Miri, cities in neighbouring Malaysia.
The earliest record on the vicariate territory dates to 1885, when Brunei was included in the Apostolic Prefecture of Northern Borneo, and formally included in 1927. Until 1936, when a church was established in Kuala Belait, the vicariate primarily was an outstation of Our Blessed Sacrament Parish in Labuan. On 14 February 1952, the Holy See carved out the territory of the current vicariate from that of the Apostolic Vicariate of Jesselton, then transferred the territory to the Apostolic Vicariate of Kuching. The separation of Bruneian territory formerly under the Diocese of Miri-Brunei (now simply known as the Diocese of Miri) created a distinct Bruneian church. This territory was designated as an apostolic prefecture in November 1997, headed by Monsignor Cornelius Sim, at the time the Vicar General of Miri-Brunei, and a Bruneian priest, as its first apostolic prefect. On 22 February 1998, the Apostolic Prefecture of Brunei Darussalam came into being with the proclamation of the papal bull to the faithful and the installation of the apostolic prefect. On 20 October 2004, less than seven years after it was formed, the apostolic prefecture was elevated to an apostolic vicariate. Msgr. Sim was appointed the first apostolic vicar, carrying the dignity of a titular bishop: his episcopal ordination took place in January 2005.
Administration
The vicariate is a territory under the ecclesiastical authority of an apostolic vicar, who sits on the Catholic Bishops' Conference of Malaysia, Singapore and Brunei. Additionally, the vicariate is represented diplomatically by the Holy See through the Apostolic Delegation to Brunei Darussalam. The papal delegate to Brunei is resident in the Holy See's diplomatic mission in Kuala Lumpur.
Similarly, for canon law matters, the vicariate is served by the tribunal of the Archdiocese of Kuala Lumpur.
The vicariate has historically been administered pastorally through commissions responsible for different aspects of church corporate life. The commissions are directed by appointed clergy, and see representation from the parishes. The role of these commissions is to foster a more aligned vision and direction among the parishes in the various aspects of church governance.
Parishes
It is estimated that there are around 21,000 Roman Catholics in Brunei. The majority are expatriate Filipinos; others are mainly Chinese, South Asian or indigenous people.
The vicariate consists of three parishes, all located in major cities or towns. The parishes are:
Church of Our Lady of the Assumption (formerly St. George's Church) in Bandar Seri Begawan
Church of Our Lady of Immaculate Conception (formerly Church of Our Lady or St. Michael's Church) in Seria
St. John's Church in Kuala Belait
There are three diocesan priests. During the COVID-19 pandemic, the vicariate introduced livestreaming of Mass for the faithful to participate in a virtual capacity during lockdown measures.
Social Ministry
The Society of St Vincent de Paul is active in the vicariate, where they gather monetary and physical aid and distribute to those in need.
Education
There are three schools under the ownership and management of the vicariate, all providing elementary and high school education. All the schools are coeducational.
St. George's School in Bandar Seri Begawan
St. John's School in Kuala Belait
St. Angela's Convent School in Seria (former all-girls school, coeducational as of 2007)
St. Michael's School in Seria was a former all-boys school, officially closed down as of 2006.
The schools are not subsidised or aided by the government, and are thus run on a full fee-paying basis. These schools were initially subsidised by the government until 1 January 1960.
As the government does not allow catechism lessons during school hours or on school premises, separate catechism lessons are given on Sundays and Fridays.
References
External links
GCatholic.org on Brunei Darussalam
Catholic Hierarchy Profile of Apostolic Vicariate of Brunei Darussalam
Brunei
Brunei Darussalam, Apostolic Vicarate of
Christian organizations established in 1997
Brunei | https://en.wikipedia.org/wiki/Apostolic%20Vicariate%20of%20Brunei |
Bitterne Park is a suburb and Electoral Ward of Southampton, England, on the Eastern bank of the River Itchen, built on sloping parkland which once formed part of Bitterne Manor.
Bitterne Park Ward includes the suburbs of Bitterne Park, Bitterne Manor, Midanbury and Townhill Park, and had a population of 14,026 at the 2011 Census. The ward is bounded by Bevois, Portswood and Swaythling wards across the River Itchen to the west, and Harefield and Peartree wards to the east.
History
A Bronze Age hoard mostly consisting of axe heads was found at Bond Road in 1894.
The National Liberal Land Company purchased the land that is now Bitterne Park in 1882, and began developing it for residential purposes. An iron bridge was constructed across the Itchen to St Denys, thus improving access and vastly increasing the value of the land.
Local area
The area is largely residential, with Bitterne Park Triangle as its focal point. A number of shops cluster around the Triangle.
There have been no banking facilities since the closure of NatWest's Triangle branch in the 1990s and later the Post Office branch, in 2005; however, there are three cash machines. There are a number of take-away restaurants in Bitterne Park Triangle, including a fish and chip shop, a kebab house, Chinese restaurants, an American pizza house, Thai restaurants and an Indian restaurant. There are various other facilities available such as a laundrette, convenience stores, a hairdresser and a bakery.
Bitterne Park is also home to several schools, a local library, and a Buddhist Centre. Since 2008 the Church of the Ascension has contained the lightest ring of twelve bells in the world.
Bitterne Park is at the Eastern edge of the Cobden Bridge, which links the area to St. Denys on the Western bank of the River Itchen. The Southern section of Southampton's Riverside Park is located in Bitterne Park. Riverside Park is host to a 1/5 mile miniature railway, children's play areas, two cricket pitches, a tennis court, a skate park, and several football pitches. The total size of Riverside Park is 32 hectares.
References
External links
Bitternepark.info
Wards of Southampton | https://en.wikipedia.org/wiki/Bitterne%20Park |
The Phascogalini are a tribe in the family Dasyuridae, comprising seven genera of small marsupials native to Australia and New Guinea.
Classification
Tribe Phascogalini
Genus Antechinus
Tropical antechinus, Antechinus adustus
Agile antechinus, Antechinus agilis
Fawn antechinus, Antechinus bellus
Yellow-footed antechinus, Antechinus flaviceps
Atherton antechinus, Antechinus godmani
Cinnamon antechinus, Antechinus leo
Swamp antechinus, Antechinus minimus
Brown antechinus, Antechinus stuartii
Subtropical antechinus, Antechinus subtropicus
Dusky antechinus, Antechinus swainsonii
Genus Murexia
Short-furred dasyure, Murexia longicaudata
Long-nosed dasyure, Murexia naso
Black-tailed dasyure, Murexia melanurus
Habbema dasyure, Murexia habbema
Broad-striped dasyure, Murexia rothschildi
Genus Phascogale
Red-tailed phascogale, Phascogale calura
Brush-tailed phascogale, Phascogale tapoatafa
Northern brush-tailed phascogale Phascogale pirata
References
Dasyuromorphs
Mammal tribes | https://en.wikipedia.org/wiki/Phascogalini |
Lieutenant Pigeon were an English novelty musical group popular in the early 1970s, originating in Coventry.
Career
A spin-off from an experimental music band Stavely Makepeace, the group was fronted by Rob Woodward and managed by him and drummer Nigel Fletcher. Other members included bassist Steven Johnson. The group's sound was dominated by a heavy honky-tonk-style piano played by Woodward's mother, Hilda.
Lieutenant Pigeon (an anagram of Genuine Potential) achieved two UK hits: "Mouldy Old Dough", written by Woodward with bandmate Fletcher, which reached number one in 1972, followed by "Desperate Dan" (number 17 in 1973). Both tracks were largely instrumental, with the titles providing virtually the only lyrics. "Mouldy Old Dough" (the title being an adaptation of the 1920s jazz phrase, "vo-de-o-do") became the second biggest selling UK single of the year, behind The Band of the Royal Scots Dragoon Guards' bagpipe version of "Amazing Grace".
Lieutenant Pigeon scored a further hit, in the autumn of 1974, when they reached number three in the Australian chart with a cover version of "I'll Take You Home Again, Kathleen". The band stopped gigging in 1978, although Johnson (after recording as Class 50) re-formed the band in the 1980s, touring to notable success in Scandinavia. The line-up went through a number of changes. By the late 1980s Steven Johnson was the only original member of the live band, replaced by Chris Allen (current Troggs lead vocalist) in 1993. Fletcher joined Tasty (which also featured Johnson) and Oakie. Johnson subsequently set up a documentary video production company. Hilda Woodward died, aged 85, on 22 February 1999. She was aged 58 at the time of "Mouldy Old Dough" topping the chart, which made her one of the oldest female artists to feature on a UK number one single.
The Pigeon name, and that of Stavely Makepeace, remain active with former members working together in the production of backing beds and jingles, maintaining a website and releasing occasional new material. Their 2001 release "Opus 400" is a 35-minute single composed of separate sections. For a number of years now, Woodward and Fletcher have continued to produce music which they have made available through their website.
Stavely Makepeace
Lieutenant Pigeon were a spin-off from Stavely Makepeace. Primarily consisting of Woodward and Fletcher, they began their career in 1969, experimenting with musical ideas in their home studio. The music they created was a form of eccentric pop that reflected their obsession with producer Joe Meek. Their debut single "(I Wanna Love You Like a) Mad Dog" was released in 1969. A compilation of their material, The Scrap Iron Rhythm Revue, was released in 2004. Their 1972 single "Slippery Rock 70s" was used in the film Hot Fuzz in 2007 after the film's producers heard it on the album.
Members
Robert "Rob" Woodward – piano, guitar, tin whistle, vocals
Hilda Woodward – piano
Steven "Steve" Johnson – bass guitar, tin whistle, vocals
Nigel Fletcher – drums, vocals
Discography
Singles
"Mouldy Old Dough" (1972) – number 1 UK, number 5 AUS
"Desperate Dan" (1972) – number 17 UK
"And the Fun Goes On" (1973)
"Oxford Bags" (1973)
"I'll Take You Home Again, Kathleen" (1974) – number 3 AUS
"You Are My Heart's Delight" (1974)
"The Blue Danube" (1975)
"Rockabilly Hot Pot" (1975)
"Goodbye" (from The White Horse Inn) (1976)
"Grandfather Clock" (1976)
"Spangles" (1977)
"Disco Bells" (1978)
"Bye Bye Blackbird" (1978)
"Bobbing Up and Down Like This" (1981)
"Opus 400" (2001)
Albums
Mouldy Old Music (1973 – Decca SKL 5154)
Pigeon Pie (1973 – Decca SKL 5174)
Pigeon Party (1974 – Decca SKL 5196)
Westerns: Diesel Hydraulics on the Western Region in 1974 (1974 - Argo / Decca ZTR 141. Recorded by Nigel Fletcher and Rob Woodward for Stavely Makepeace)
Compilation albums
The World of Lieutenant Pigeon (Decca SPA 414)
I'll Take You Home Again Kathleen (1974), Axis 6127
Mouldy Old Dough (1998), Emporio
The Best of Lieutenant Pigeon (2001), Cherry Red
The Very Best of Lieutenant Pigeon (2017), Not Now Music
The Decca Years (2023), 7T's
See also
List of artists who reached number one on the UK Singles Chart
List of artists under the Decca Records label
Number 1 Singles in Ireland 1972
References
External links
[ Lieutenant Pigeon biography page at AllMusic]
Official site
45cat 7" single discography
45worlds CD single discography
English pop music groups
Musical groups from Coventry
Decca Records artists
London Records artists
British novelty song performers | https://en.wikipedia.org/wiki/Lieutenant%20Pigeon |
The Concerto in D major for Oboe and Small Orchestra, AV 144, TrV 292, was written by Richard Strauss in 1945. It was one of the last works he composed near the end of his life, during what is often described by biographers, journalists and music critics as his "Indian summer."
Inception and premiere
American oboist John de Lancie was a corporal in the U.S. Army unit which secured the area round the Bavarian town of Garmisch where Strauss was living in April 1945, in the closing days of World War II. As principal oboist of the Pittsburgh Orchestra in civilian life, he knew Strauss's orchestral writing for oboe thoroughly, visited the composer in his home, and in the course of a long conversation asked him if he had ever considered writing an oboe concerto. Strauss answered simply "No", and the topic was dropped. However, in the months to follow, the idea grew on him and he completed the short score of his Oboe Concerto on September 14, 1945, finishing the orchestration on October 25. The work was premiered on 26 February 1946 in Zürich, featuring Marcel Saillet as soloist with the Tonhalle Orchester conducted by Volkmar Andreae. The British premiere was at the BBC Proms on 17 September 1946 with the oboist Léon Goossens and the BBC symphony orchestra conducted by Adrian Boult. As the concerto was being prepared for print in early 1948, Strauss revised and expanded its last-movement coda. The first recording was made in 1948 with oboist Léon Goossens and the Philharmonia Orchestra, conducted by Alceo Galliera (in the version without the final revisions).
John de Lancie had been astonished to see that Strauss was indeed publishing an oboe concerto. Strauss saw to it that the rights to the U.S. premiere were assigned to de Lancie, who after the war had switched to the Philadelphia Orchestra and was only a junior member there. Protocol made de Lancie's performing the premiere impossible since the Philadelphia Orchestra's principal oboist had priority. De Lancie instead gave the rights to the U.S. premiere to a young oboist friend at the CBS Symphony Orchestra in New York, Mitch Miller, who later became famous as a music producer and host of a sing-along TV show.
John de Lancie later became the principal oboist for the Philadelphia Orchestra and his only public performance of the Concerto was the company premiere of the piece on August 30, 1964 at the Interlochen Center for the Arts in Michigan, with Eugene Ormandy conducting. In 1987, de Lancie had the opportunity to record the work he helped inspire with a small orchestra identified only as "Chamber Orchestra" conducted by Max Wilcox on the RCA label.
Instrumentation
The concerto is scored for oboe solo with an orchestra of 2 flutes, cor anglais, 2 clarinets, 2 bassoons, 2 horns, and strings.
Structure
The concerto consists of three interconnected movements and lasts around 25 minutes:
Analysis
The tonal disposition of the movements is D major, B-flat major, D major. Juergen May has observed that "it is obvious that Strauss takes as his point of departure here the Classical and early-Romantic models of his musical youth. The composer looks back to a past aesthetic from the perspective of someone who has lived through the paradigm changes of the nineteenth and twentieth centuries. In this sense one might call the last works of Strauss postmodern."
As with his other late works, Strauss builds up the music from a series of small melodic ideas "which are the point of departure for the development of the entire composition." The concerto is built up from three main thematic elements. The first is the 4 semiquavers D–E–D–E which opens the piece in the cellos. The second is a long note (minim) followed a playful figure of shorter durational values (semi-quavers). The third is a repetition short-short-short long followed by different variants of continuations. This motif echoes the rhythm of the Fate motif of Beethoven's Fifth symphony and "clearly refers to Metamorphosen, completed just before the Oboe Concerto – a remarkable example of the thematic links between the last instrumental works". However, it also relates back to Strauss's use of the rhythm of the Fate motif in the first movement of his youthful Piano Sonata written over 60 years earlier in 1881. The finale ends with a surprise: after the second cadenza, Strauss concludes with a dance-like Allegro in 6/8 meter which comes across as a fourth movement with a character of its own.
References
Notes
Sources
Roos, James (Winter 1991). "Oboist Finally Records the Concerto He Inspired". The Double Reed 14 (3).
Strauss, Richard
Concertos by Richard Strauss
1945 compositions
Compositions in D major
Music dedicated to ensembles or performers | https://en.wikipedia.org/wiki/Oboe%20Concerto%20%28Strauss%29 |
Turnaround in filmmaking is the use of outside assistance to resolve problems preventing a film project from completing its development phase and entering the preproduction phase. A project stuck in development phase is said to be in development hell.
Background
The outside help needed in order to get a film project into turnaround may appear in the form of new money being invested into a project in development hell, or it might come along as another outside studio taking interest in a project which the original studio may find difficult to move forward into the pre-production phase. When an outside source takes over a film project from development hell in one studio and transfers the film project to another studio which is willing to invest further resources to move the project into pre-production, then the project is said to have gone through a 'turnaround'. The film project can now move forward out of development hell in one studio into the pre-production phase of filmmaking at another studio.
The term 'turnaround' is borrowed from business operations and management consulting where it is used to describe business ventures which are in some form of insolvency and require a 'business turnaround' or 'management turnaround' in order to become profitable and make a 'turnaround' in business performance. In the case of the filmmaking process, the transfer of the film project from development hell, at one studio, leading to the project receiving a green light to begin pre-production, at another studio, is referred to as a 'turnaround' for that film.
Informal descriptions
A 'turnaround' or 'turnaround deal' is occasionally used to describe an arrangement in the film industry whereby the production costs of a project that one studio has developed are declared a loss on the company's tax return, thereby preventing the studio from exploiting the property any further. The rights can then be sold to another studio in exchange for the cost of development plus interest.
Examples
Michael Cieply defined the term in The New York Times as "arrangements under which producers can move a project from one studio to another under certain conditions". Some examples include:
Columbia Pictures stopped production of Steven Spielberg's E.T. the Extra-Terrestrial. However, Universal Pictures picked up the film and made it a success.
The turnaround of The Boondock Saints is documented in Overnight, a 2003 documentary that mainly focuses on the perspective of how director Troy Duffy "fell" in Hollywood.
The 1993 film My Life's in Turnaround, starring Donal Lardner Ward, Eric Schaeffer, Martha Plimpton and Phoebe Cates, tells the story of two friends who attempt to sell the story of their lives to a variety of studios.
After the rights to adapt Stephenie Meyer's novel Twilight were purchased by MTV Films in 2004, they were optioned by Paramount Pictures where it remained in turnaround before they let the rights lapse in 2007. Summit Entertainment picked them up and released Twilight in 2008.
The 2012 film Argo makes several references to the film that was faked for the 1980 CIA Iranian hostage extraction operation as being "in turnaround".
References and notes
Film production
Intellectual property law | https://en.wikipedia.org/wiki/Turnaround%20%28filmmaking%29 |
The Telefomin cuscus (Phalanger matanim) is a critically endangered possum found on New Guinea.
It is named after the Telefol ethnic group, who hunted the animal long before it was identified scientifically by the Australian zoologist Tim Flannery. It is believed to live only in the extremely restricted range of one valley's oak forests at altitudes between 1500 and 2000 m along a single river in the middle of Papua New Guinea: the Nong River Valley north of Telefomin. After 1997's drought, extremely cold weather ("bitter frosts") which killed the trees, and resulting wildfires, these forests were destroyed, which Flannery believes might have resulted in the species' extinction.
Habitat
This cuscus can or has been found in the areas of Telefomin and Tifalmin, and Papua New Guinea. It might be found even further northeast or west of the known collection areas. The only place where it is known with certainty was largely destroyed by a fire in 1998 which was caused by a drought during an El Niño.
References
Possums
Mammals of Papua New Guinea
Mammals described in 1987
Marsupials of New Guinea
Taxa named by Tim Flannery | https://en.wikipedia.org/wiki/Telefomin%20cuscus |
Active fire protection (AFP) is an integral part of fire protection. AFP is characterized by items and/or systems, which require a certain amount of motion and response in order to work, contrary to passive fire protection.
Categories of active fire protection
Manual fire suppression
Manual fire suppression includes the use of a fire blanket, fire extinguisher, or a standpipe system.
Fire blanket
A fire blanket is a sheet of fire retardant material that is designed to be placed over a fire to smother it out. Small fire blankets are meant for inception stage fires. They are normally made of fiberglass or Kevlar. Larger ones can be found in laboratories and factories, and are designed to be wrapped around a person whose clothes have caught fire.
Fire extinguisher
Fire extinguishers are devices that contain and discharge a substance that extinguishes or puts out a fire. These handheld devices come in a huge range of sizes, but the most common are portable fire extinguishers, typically weighing up to 15 kg in total. These can be easily handled and operated by one person and placement can either be wall-mounted, on a fire extinguisher trolley or housed inside a cabinet. Fire extinguishers are one of the most common manual fire suppression devices and are required in all commercial buildings and vehicles. Fire extinguishers can be used with little to no training and are meant for small incipient stage fires. The most common extinguisher is the ABC extinguisher and are found in most offices and homes. It can be used on normal fires, liquid fires, and electrical fires. There are also special extinguishers for kitchen fires and for use on burning metals, those being Class K and Class D respectively.
Standpipe
Standpipes are installed in most large, multistory buildings. There are two types of standpipes: dry and wet. Most standpipes are dry systems and cannot be used by the public. Dry systems require a fire engine to pump water into the system. Most dry systems do not have pre-connected hoses and require firefighters to bring in the hose. In wet systems, there is always water in the pipes and they can be used by anyone. Wet systems will have hoses so building occupants can try and extinguish fires. Wet systems are becoming less common with the increase in number of sprinkler systems being installed. In some systems, firefighters have the option of pumping a Fire Department Connection (FDC) which will increase the water pressure at a standpipe in the event of a fire pump failure or loss of pressure. Typically, these systems pressurize the sprinkler system or the standpipe but not both at the same time.
Automatic fire suppression
Automatic control means are any form of suppression that requires no human intervention these can include a fire sprinkler system, a gaseous clean agent, or Automatic foam suppression system. Most automatic suppression systems would be found in large commercial kitchens or other high-risk areas.
Sprinkler systems
Fire sprinkler systems are installed in all types of buildings, commercial and residential. They are usually located at ceiling level and are connected to a reliable water source, most commonly municipal water supply. A typical automatic sprinkler system operates when heat at the site of a fire causes a fusible link or glass component in the sprinkler head to fail, thereby releasing the water from the sprinkler head. This means that only the sprinkler heads at the fire location actuate – not all the sprinklers on a floor or in a building. However, certain systems, such as deluge systems, do spray water from all heads in the same zone upon actuation. Sprinkler systems help to reduce the growth of a fire, thereby increasing life safety and limiting structural damage.
Gaseous clean agent
Gaseous clean agents are installed to result in less fire and water damage than sprinklers, such as in computer rooms. The system works by flooding an area with a gas which interferes with the fire tetrahedron. These systems are often found in areas where people are not going to be present when the system is activated such as datacenters, cooling systems, and other industrial applications. Activating a gaseous clean agent system when people are present can cause injury or death, and are usually equipped with a audible notification system to warn any potential occupants to evacuate the area.
Foam suppression system
Automatic foam suppression systems come in three main forms low expansion, medium expansion, and high expansion.
Low expansion
Low expansion foam expands less than 20 times its original size. These systems can be installed in a variety of places but are commonly found in places where hydrocarbons are stored. Low expansion foam systems when using film forming work by making a blanket of foam over the burning liquid to both cool it down and suppress the vapors.
Medium expansion
Medium expansion foam expands between 20 and 200 times its original size. These can be installed in outdoor settings like transfer stations or for use in open pits. Medium foam is used outdoors because it is denser than high expansion and will not blow away as easily. It works by covering what is on fire in a thick blanket of foam to smother it and suppress vapors.
High expansion
High expansion foam expands between 200 and 1000 times its original size. These systems are commonly installed in large volume areas like airplane hangars, mine shafts, and ship holds. These systems are normally installed inside and make a very light foam. They extinguish the fire by rapid smothering and cooling. Its rapid rate of expansion enables it to fill large areas with foam rapidly. When used on LNG tanks they provide an added insulation layer that helps reduce the vapor rate.
Electronically controlled
Nozzles that are powered by electrical energy that is generated and supplied by fire detection and control devices and are typically closed.
Ignitable Liquid Drainage Floor Assembly (ILDFA)
ILDFA uses a dual approach, combining a water-based fire suppression system in conjunction with a hollow, perforated flooring system to drain and remove spilled flammable liquid. This approach reduces the risk of pool fires inside infrastructure by diverting any leaked fuel away from potential ignition sources or by extinguishing any flammable liquid fire by depriving it of oxygen once it is removed.
Fire detection
Fire detection works using smoke or heat sensors. These systems are very effective tool at alerting people in the immediate vicinity of where the fire is detected but building regulations require an integrated fire detection system. These system not only alerts people throughout the building by triggering the fire alarm but it can also summon emergency services. There are two types of systems available – addressable and conventional. Addressable systems monitor the specific location of each device (e.g. smoke detector, call point or sounder). It means in the event of a fire or other emergency you know exactly where the problem is. This saves precious time and helps the emergency services prevent the loss of life and serious damage. Conventional systems can only determine the problem is in a general area and thus are more suited for small sites.
When the fire detection system is activated it can also send an alert to the local fire department, broadcast a prerecorded warning message and unlock the buildings access control system.
Hypoxic air fire prevention
Fire can be prevented by hypoxic air. Hypoxic air fire prevention systems, also known as oxygen reduction systems are new automatic fire prevention systems that permanently reduce the oxygen concentration inside the protected volumes so that ignition or fire spreading cannot occur. Unlike traditional fire suppression systems that usually extinguish fire after it is detected, hypoxic air is able to prevent fires. At lower altitudes hypoxic air is safe to breathe for healthy individuals.
Construction and maintenance
All AFP systems are required to be installed and maintained in accordance with strict guidelines in order to maintain compliance with the local building code and the fire code.
AFP works alongside modern architectural designs and construction materials and fire safety education to prevent, retard, and suppress structural fires.
See also
Fire damper
Fire hydrant
Fire protection engineering
References
External links
Treatise on Active and Passive Fire Protection from UK Government
When Fire Strikes, Stop, Drop and... Sing? – Article about acoustic fire suppression, Scientific American, January 24, 2008
Karlsruhe Institute of Technology (KIT) - Forschungsstelle für Brandschutztechnik
Fire protection | https://en.wikipedia.org/wiki/Active%20fire%20protection |
Sylver Logan Sharp is an American singer. She was the lead vocalist with Nile Rodgers and Chic since the early 1990s and continued to tour with them until 2010.
In 2005, her song "All This Time", written by Jonathan Peters, became a huge hit in clubs and dance stations in large cities such as WKTU in New York, KNHC in Seattle or KNGY in San Francisco.
The following year, in 2006, Sharp released a new single entitled Don't Give Up (On You), which was in digital-format only and not released to radio. It is available on iTunes.
In between gigs, she manages and creates designs her own line of custom jewelry - Sylverwear - in Washington, DC.
Celebrity clients include: Chaka Khan, Roberta Flack, Grace Jones, Yolanda Adams, Kirk Franklin, Seal, Elton John, Angie Stone, Kid Rock, Linda Dano, Erika Slezak and soap stars of ABC's One Life to Live and CBS' Guiding Light.
Discography
Albums
Place To Begin (2009)
The Groovement (2017)
Singles
Right Through Me (2004)
All this Time (2005) #1 on Hot Dance Airplay
Don't Give Up (2007)
Little Things (2015)
Find Me (2016)
References
Living people
American funk singers
Chic (band) members
Year of birth missing (living people) | https://en.wikipedia.org/wiki/Sylver%20Logan%20Sharp |
The Parliament of Jamaica is the legislative branch of the government of Jamaica. It consists of three elements: The Crown (represented by the Governor-General), the appointed Senate and the directly elected House of Representatives.
The Senate, the Upper House, is the direct successor of a pre-Independence body known as the "Legislative Council" and comprises 21 senators appointed by the Governor-General: thirteen on the advice of the Prime Minister and eight on the advice of the Leader of the Opposition.
The House of Representatives, the Lower House, is made up of 63 (previously 60) Members of Parliament, elected to five-year terms on a first-past-the-post basis in single-seat constituencies.
Overview
As Jamaica is a parliamentary democracy modelled after the Westminster system, most of the government's ability to make and pass laws is dependent on the Prime Minister's ability to command the confidence of the members of the House of Representatives. Though both Houses of Parliament hold political significance, the House of Representatives, of which the Prime Minister and the Leader of the Opposition are both required to be members, holds a more powerful and prestigious role since it is the main source of legislation.
Parliament building
The Parliament meets at Gordon House at 81 Duke Street, Kingston. It was built in 1960 and named in memory of Jamaican patriot George William Gordon.
Construction on a new parliament building directly north of Gordon House was expected to start in early 2021. However, the start of construction has been delayed until at least 2022.
House of Representatives
The House of Representatives is the Lower House. It is the group of elected members of parliament.
Members
Senate
The Senate is the Upper House. The current members are:
Jamaica Labour Party:
The Hon. Thomas George Lewis Tavares-Finson, JP, President
The Hon. Aubyn Rochester Hill
The Hon. Kamina Elizabeth Johnson Smith, Leader of Government Business
The Hon. Matthew Peter Samuda
Dr. The Hon. Dana Morris Dixon
Abka Fitz-Henley
Ransford Braham
Kavan Anthony Gayle
Dr. Sapphire Inderea Longmore
Sherene Samantha Golding Campbell
Charles Anthony Sinclair
Donald George Wehby
Delroy Hugh Williams
People's National Party:
Peter Bancroft Bunting, Leader of Opposition Business
Donna Scott Mottley
Floyd Emerson Morris
Damian O. Crawford
Gabriella Morris
Sophia Lilleth Fraser-Binns
Lambert Alexander Brown, CD
Janice Allen
In order to effect changes to the Constitution of Jamaica a two-thirds majority in both Houses is required. Therefore, changes to the Jamaican constitution will require consensus among Government and Opposition Senators.
Last election
See also
List of presidents of the Jamaican Council
List of presidents of the Legislative Council of Jamaica
List of presidents of the Senate of Jamaica
List of speakers of the House of Representatives of Jamaica
Women in the House of Representatives of Jamaica
Jamaican Parliamentary by-elections
Politics of Jamaica
List of legislatures by country
Roy McGann - Assassinated member
References
External links
Parliament of Jamaica
Jamaica
Government of Jamaica
Jamaica
Jamaica
Parliament of Jamaica | https://en.wikipedia.org/wiki/Parliament%20of%20Jamaica |
The Methodist Church in Singapore (MCS) is the church that Methodists in Singapore belong to. The Church has 46 churches island-wide with around 42,000 members, and is the largest mainline Protestant denomination in Singapore. Its current bishop and head of the Church is Bishop Dr Gordon Wong, who was elected at the 12th Session of the General Conference on 7 September 2020.
The Church also has 15 schools, 13 kindergartens and five childcare centres under its umbrella.
History
The Methodist Church in Singapore started out as a missionary initiative by Rev James Thoburn of the South India Conference in India in 1885 . Rev William Fitzjames Oldham travelled to Singapore to plant the foundations of the mission. Oldham started the church's first English-language boys' school in 1886, the Anglo-Chinese School. Two girls' schools (Methodist Girls' School and Fairfield Methodist Girls' School) were subsequently established in 1887 and 1888, respectively. The mission also developed a clinic and hostels for homeless children.
From this Singapore base, the mission then spread to the Malay Peninsula and Sarawak in the 1890s. The Methodist Mission in Singapore and Malaya expanded over time, eventually growing to the administrative status of a conference in the Methodist Church. Eventually, the church spread throughout Southeast Asia, leading to the establishment of the Southeast Asian Central Conference in 1950.
The Malaysian and Singapore components of the mission officially became autonomous of their Western parent bodies in 1968; thus, becoming an Asian church with a bishop elected from the local ministers. In 1976, the church was restructured into The Methodist Church in Singapore and The Methodist Church in Malaysia to reflect the secession of Singapore from Malaysia.
Organisation
The Methodist Church in Singapore, which consists of 46 local congregations, is organised in conferences: general conference, annual conferences, district and local conferences.
The General Conference, which meets every four years, is the highest decision-making body of the MCS, led by the elected Bishop and an equal number of elected representatives (both clergy and laity) from each of the three Annual Conferences. For day-to-day matters between sessions of the General Conference, the powers of the General Conference are to be found in the General Conference Executive Council (GCEC).
The General Conference is the only body that speaks officially for the church. No person, no paper, no organisation has the authority to speak officially for The Methodist Church, this right having been reserved exclusively to the General Conference under the Constitution.
The Women's Society of Christian Service (WSCS) was set up to help Methodist women grow in the knowledge and experience of God as revealed in Jesus Christ, challenge them to respond to God's redemptive fellowship, to make Christ known throughout the world and to develop a personal responsibility for the whole task of the Church. Its ministries include Spiritual Life, Social Concerns, Christian Education and Missions.
The Methodist Missions Society (MMS) was established in 1991 as the missions agency of The Methodist Church in Singapore. MMS seeks to establish indigenous churches supported by mission endeavours in communities across the region where there is no Methodist presence. The current focus is on the Asian region, particularly Cambodia, China, Nepal, Thailand and Vietnam, owing to their proximity to Singapore and the multiple opportunities to reach the large numbers of unreached people groups in these countries for religious conversion.
The Methodist Welfare Services (MWS) is the outreach and social-concerns arm of The Methodist Church in Singapore. It provides care, support and practical help to Singaporeans facing life's crises and long-term hardship regardless of their race, religion or language. Under the current umbrella of MWS or associated with it, there are 13 service hubs including three Family Service Centres, three Children & Youth Centres, the Christalite Methodist Home for the destitute and the Bethany Methodist Nursing Home.
The Methodist Church in Singapore is a member of the National Council of Churches of Singapore.
List of bishops
This is a list of Bishops of the Methodist Church in Singapore, in order of their election to the episcopacy, both living and dead.
Elected by General Conference, U.S.A. to superintend Methodist work in Southern and Southeast Asia
James M Thoburn (1888 - 1904)
Frank W Warne [assisting James M Thoburn] (1900 - 1904)
William F Oldham (1904 - 1912)
John E Robinson (1912 - 1914)
William P Eveland (1914 - 1916)
[No Resident Bishop - Episcopal duties covered by Bishops John E Robinson and JW Robinson] (1916 - 1920)
George H Bickley (1920 - 1924)
Titus Lowe (1924 - 1928)
Edwin F Lee (1928 - 1948)
[No Resident Bishop - Episcopal duties covered by Bishops Ralph Cushman and Arthur J Moore] (1948 - 1950)
Elected by Southeastern Asia Central Conference
Raymond L Archer (1950 - 1956)
Hobart B Amstutz (1956 - 1964)
Robert F Lundy (1964 - 1968)
Elected by The Methodist Church in Malaysia and Singapore
Yap Kim Hao (1968 - 1973)
Theodore R Doraisamy (1973 - 1976)
Elected by The Methodist Church in Singapore
Kao Jih Chung (1976 - 1984)
Ho Chee Sin (1984 - 1996)
Wong Kiam Thau (1996 - 2000)
Robert M Solomon (2000 - 2012)
Wee Boon Hup (2012 - 2016)
Chong Chin Chung (2016 - 2020)
Gordon Wong Cheong Weng (2020-)
Annual conferences
The Methodist Church in Singapore is organised into three branches called "Annual Conferences" as each of them meets once a year. These are the Chinese Annual Conference comprising churches with largely Chinese-speaking congregations, Emmanuel Tamil Annual Conference for churches with largely Tamil-speaking congregations and Trinity Annual Conference for churches with largely English-speaking congregations. However, many churches now conduct services in languages other than the language appropriate to the annual conference that they belong to.
The three Annual Conferences are headed by the Bishop. Each of the three Annual Conferences is headed by a President.
List of Methodist churches in Singapore
Chinese Annual Conference
Ang Mo Kio Methodist Church
Bukit Panjang Methodist Church
Changi Methodist Church
Charis Methodist Church
Foochow Methodist Church
Geylang Chinese Methodist Church
Grace Methodist Church
Hakka Methodist Church
HingHwa Methodist Church
Holy Covenant Methodist Church
Kum Yan Methodist Church
Kum Yan Methodist Church (Woodlands)
Paya Lebar Chinese Methodist Church
Paya Lebar Methodist Mission
Queenstown Chinese Methodist Church
Sengkang Methodist Church
Telok Ayer Chinese Methodist Church
Toa Payoh Chinese Methodist Church
Yishun Methodist Mission
Emmanuel Tamil Annual Conference
Ang Mo Kio Tamil Methodist Church
Jurong Tamil Methodist Church
Pasir Panjang Tamil Methodist Church
Seletar Tamil Methodist Church
Bedok Preaching Point
Sembawang Tamil Methodist Church
Singapore Telugu Methodist Church
Tamil Methodist Church
Toa Payoh Tamil Methodist Church
Trinity Annual Conference
Agape Methodist Church
Aldersgate Methodist Church
Ang Mo Kio Methodist Church
Barker Road Methodist Church
Bukit Batok Preaching Point
Bedok Methodist Church
Cairnhill Methodist Church
Christ Methodist Church
Christalite Methodist Chapel
Covenant Community Methodist Church
Fairfield Methodist Church
Fairfield Preaching Point
Faith Methodist Church
Holland Village Methodist Church
Kampong Kapor Methodist Church
Living Hope Methodist Church
Living Waters Methodist Church
The Methodist Church of the Incarnation
Paya Lebar Methodist Church
Pentecost Methodist Church
Toa Payoh Methodist Church
Trinity Methodist Church
Wesley Methodist Church
Schools
There are 16 schools managed by the Methodist Church, which is represented by the Methodist Schools Foundation.
Six of the schools are part of the Anglo-Chinese School family which includes a junior college.
The other schools are:
Methodist Girls' School
Paya Lebar Methodist Girls' School (Primary)
Paya Lebar Methodist Girls' School (Secondary)
Fairfield Methodist School (Primary)
Fairfield Methodist School (Secondary)
Geylang Methodist School (Primary)
Geylang Methodist School (Secondary)
Schools under the ACS family:
Anglo-Chinese School (Primary)
Anglo-Chinese School (Junior)
Anglo-Chinese School (Barker Road)
Anglo-Chinese School (Independent)
Anglo-Chinese School (International), Singapore
Anglo-Chinese Junior College
ACS Jakarta, Jakarta, Indonesia
Other Methodist Schools:
St. Francis Methodist School
Methodist School of Music
See also
Methodism
Christianity in Singapore
Religion in Singapore
Notes
Further reading
.
.
External links
Official website of the Methodist Church in Singapore
Methodism in Singapore
Religious organisations based in Singapore
Christian organizations established in 1968
Methodist denominations established in the 20th century | https://en.wikipedia.org/wiki/Methodist%20Church%20in%20Singapore |
The subfamily Sminthopsinae includes several genera of small, carnivorous marsupials native to Australia: kultarrs, ningauis, dunnarts, and planigales.
Classification
Subfamily Sminthopsinae
Tribe Sminthopsini
Genus Antechinomys
Kultarr, Antechinomys laniger
Genus Ningaui
Wongai ningaui, Ningaui ridei
Pilbara ningaui, Ningaui timealeyi
Southern ningaui, Ningaui yvonnae
Genus Sminthopsis
S. crassicaudata species-group
Fat-tailed dunnart, Sminthopsis crassicaudata
S. macroura species-group
Kakadu dunnart, Sminthopsis bindi
Carpentarian dunnart, Sminthopsis butleri
Julia Creek dunnart, Sminthopsis douglasi
Stripe-faced dunnart, Sminthopsis macroura
Red-cheeked dunnart, Sminthopsis virginiae
S. granulipes species-group
White-tailed dunnart, Sminthopsis granulipes
S. griseoventer species-group
Kangaroo Island dunnart, Sminthopsis aitkeni
Boullanger Island dunnart, Sminthopsis boullangerensis
Grey-bellied dunnart, Sminthopsis griseoventer
S. longicaudata species-group
Long-tailed dunnart, Sminthopsis longicaudata
S. murina species-group
Chestnut dunnart, Sminthopsis archeri
Little long-tailed dunnart, Sminthopsis dolichura
Sooty dunnart, Sminthopsis fulginosus
Gilbert's dunnart, Sminthopsis gilberti
White-footed dunnart, Sminthopsis leucopus
Slender-tailed dunnart, Sminthopsis murina
S. psammophila species-group
Hairy-footed dunnart, Sminthopsis hirtipes
Ooldea dunnart, Sminthopsis ooldea
Sandhill dunnart, Sminthopsis psammophila
Lesser hairy-footed dunnart, Sminthopsis youngsoni
Tribe Planigalini
Genus Planigale
Paucident planigale, Planigale gilesi
Long-tailed planigale, Planigale ingrami
Common planigale, Planigale maculata
New Guinean planigale, Planigale novaeguineae
Narrow-nosed planigale, Planigale tenuirostris
References
External links
Dasyuromorphs
Mammal subfamilies | https://en.wikipedia.org/wiki/Sminthopsinae |
Mich Dulce (born Michelle Dianne Lopez Dulce on May 8, 1981) is a Filipina fashion designer, milliner, corsetiere, feminist activist, actress, artist and vocalist of bands Death By Tampon, Us-2 Evil-0 and The Male Gaze.
She graduated from the Poveda Learning Center in Quezon City (now St. Pedro Poveda College), and attended the Ateneo de Manila University where she earned a college degree in Bachelor of Arts in Interdisciplinary Studies: Management and Communications Track. She worked with professional designers like Jessica Ogden, Marjan Pejoski and Cecile Zamora. After college she attended a series of short Courses at the London College of Fashion and Central Saint Martins College of Art and Design both in London.
She returned to the Philippines to pursue further studies in design at the University of the Philippines and the Philippine International School of Fashion. In 2004 she went to the United States to study Merchandise planning at the Fashion Institute of Technology in New York.
In 2005 she opened Store for All Seasons with Cecile Zamora.
In 2006, Dulce was one of the 14 housemates of ABS-CBN's Pinoy Big Brother: Celebrity Edition. She left the house after suffering asthma brought on by anxiety attacks and was treated at the Philippine Heart Center. She was evicted after she opted not to return to the BB House within the requisite 24 hours, on medical advice.
In 2009 the Mich Dulce label was first sold globally, with stockists in Manila, London, Tokyo, Hong Kong and Singapore.
Beginning in 2010, she focused on her career as a milliner and corsetiere, gaining popularity for her bespoke period style corsets that can take off up to 6 inches on the waist.
In March 2017, Dulce founded Grrrl Gang Manila, a feminist collective that aims to create safe spaces for women both online and offline.
Notable clients and commissions
Celebrity Mich Dulce millinery wearers are American Pop star Lady Gaga, Vogue Nippon Editor and fashion icon Anna Dello Russo, socialite Paris Hilton, British singers Paloma Faith and Shingai Shoniwa.
Mich Dulce millinery has been featured on the American show Gossip Girl on Leighton Meester> as well as on other cast members on the same show. The Carrie Diaries also featured Mich Dulce millinery in the pilot episode.
British music icon Adam Ant wore a bicorn by Mich Dulce as part of his stage costume with his band Adam Ant and The Good, The Mad, and The Lovely Posse. The hat was featured extensively in his album Adam Ant Is The Blueblack Hussar in Marrying The Gunner's Daughter and in much of the publicity around the mentioned album, continuing to be worn onstage until 2017.
Fashion Awards
In 2002, Mich was a finalist for the Paris Young Designer's Competition and 1st runner up in the MEGA Young Designer's Competition. In 2004 she was nominated for Revolutionary Designer of the Year at the MTV Style Awards, and in 2007 she won the Fashion Designer of the Year Award for Streetwear at the MEGA Fashion Awards.
In February 2010, Dulce won the prestigious British Council International Young Creative Entrepreneur (IYCE) International Young Design Entrepreneur of the Year (IYDEY)
award for Fashion at London Fashion Week.
Filmography
Television
Pinoy Big Brother: Celebrity Edition (2006)
John en Shirley (2006–2007)
The Wedding (2009)
Discography
Us-2 Evil-0
Dirty Debutantes (2011), EMI Records
References
1981 births
Ateneo de Manila University alumni
Alumni of the London College of Fashion
Filipino fashion designers
Filipino television actresses
Living people
Pinoy Big Brother contestants
Actresses from Quezon City
Singers from Quezon City
Star Magic
Alumni of Central Saint Martins
Fashion Institute of Technology alumni
21st-century Filipino women singers
Filipino women fashion designers | https://en.wikipedia.org/wiki/Mich%20Dulce |
Year of the Comet is a 1992 romantic comedy adventure film directed by Peter Yates and starring Tim Daly, Penelope Ann Miller, and Louis Jourdan in his final film role. The film was written by William Goldman and produced by Alan Brown and Phil Kellogg. The plot concerns the pursuit of the most valuable bottle of wine in history. The title refers to the year it was bottled, 1811, which was known for the Great Comet of 1811, and also as one of the best years in history for European wine.
Plot
Margaret Harwood, the mousy daughter of esteemed wine merchant Sir Mason Harwood, discovers a magnum of wine, vintage 1811, bearing Napoleon's seal. Sir Mason instantly offers it to his best customer, T.T. Kelleher, who sends his friend, Oliver Plexico to retrieve it. Three other interested parties converge on the valuable rarity: a Greek billionaire, to whom Margaret's unscrupulous brother has independently sold the bottle; an amoral French scientist, who believes it contains the secret to a rejuvenation formula that he will kill to obtain; and a murderous thug, who wants to sell it himself.
The bottle changes hands several times as the parties race across Europe from the Scottish Highlands to Èze. In the end, the criminals are defeated, and Margaret and Oliver fall in love. Sir Mason offers the bottle in private auction to both the legitimate "owners", but they are outbid by Oliver, who is revealed as a multimillionaire adventurer scientist. Against advice, Oliver opens the $5 million bottle and freely shares the excellent wine.
Cast
Timothy Daly as Oliver Plexico
Penelope Ann Miller as Margaret Harwood
Louis Jourdan as Philippe
Ian Richardson as Mason Harwood
Nick Brimble as Jamie
Shane Rimmer as T.T. Kelleher
Timothy Bentinck as Richard Harwood
Production
Development
William Goldman said he was inspired to write the film by his love of red wine, and a desire to do a romantic adventure comedy thriller in the vein of Charade (1963). He wanted to set it in the most romantic places he knew (London, the Scottish highlands, the French Riviera) which meant it became a chase focusing around a bottle of wine. Goldman created a wine, the most valuable in history, making it a large bottle for dramatic purposes.
He wrote the script in 1978, the second of a three-picture deal he had with Joseph E. Levine following A Bridge Too Far. Goldman says he had Glenda Jackson in mind for the female lead, with Cary Grant his inspiration for the male lead (although Levine wanted to use Robert Redford).
The script was not filmed in the late 1970s. When Levine died rights passed to his wife Rosalie. In the late 1980s Goldman wrote two successful films for Castle Rock Productions, The Princess Bride and Misery. At his suggestion, Castle Rock bought the script from Rosalie Levine. It was then known as A Very Good Year.
Goldman said Castle Rock executives were "amazingly script-oriented. You sit with them — that is, Rob Reiner, Andy Scheinman, Marty Shafer — all three of them friends for 15 years. And they go over the (script), line by line, comma by comma. It's amazing to me that they'd be willing to do that. They all have a writer's mind, it's remarkable. Their theory is that they get the script right first, then shoot it."
Goldman suggested Peter Yates direct. The two men were friends, Yates living across the street in New York, and having collaborated on The Hot Rock.
Lead roles went to Penelope Ann Miller, coming off Kindergarten Cop and Timothy Daly, then the star of TV's Wings. "It's a great role," said Daly. "This movie has an old-fashioned feel to it-in the best possible sense. It's almost swashbuckling. My character is the kind of guy I've been dying to play for a long time. He's got a lot of strings-he's tough, resourceful, funny, irreverent, he has a skewed view of things and a few emotional walls that he keeps up."
Filming
The film was filmed on location in France, Scotland including the ferry chase scene at Kyleakin, and at the Pinewood Studios in Buckinghamshire, England.
"Wine is really the hero of this film," said Peter Yates.
Goldman was on set much of the time. "The locations played a great part in my being here," Goldman said at the time. "But it's for little things-something will happen in the staging that will obviate a line. It's little stuff, but Peter (Yates) likes having a writer around."
Daly wore a mustache in the film:
I thought it was kind of dope. [Laughs.] I mean, it was a little Robert Redford-esque, don’t you think? Or something. I kind of like it. It drove me crazy, though. I was always, like, pulling at it or licking it. But I thought it added a certain—I mean, it either added some panache, or it made me look like a ’70s porn star. Take your pick.
Miller said, "Tim and I have a nice rapport. We banter a lot. We work similarly, and that's only going to enhance the chemistry of the film. It reminds me of those old William Powell and Myrna Loy movies, the way those two worked together."
Release
Goldman says the film previewed poorly, which he attributed to the audience's lack of enthusiasm for red wine. A new opening sequence was added where the male hero says he hates red wine and has to be dragged to a tasting but he says it did not work. "There was nothing we could do because no matter how we fussed this was a movie about red wine and the moviegoing audience today has zero interest in red wine."
Tim Daly later recalled:
What a bummer, man. I loved that movie, I loved doing it. It was just a great part for me! And that was my shot, right? That was my shot to be a movie star. I mean, on paper, it was a William Goldman script, Peter Yates directing, it was a Castle Rock production, it had a good budget—and the movie just did not work. But I still think—as I recall, I think I was pretty good in that movie. [Laughs.] I mean, I don’t blame myself for the lack of success. There was also the added novelty that it was released the weekend of the Rodney King riots, where every white person in the United States was locked in their safe room. So I don’t think a lot of folks were traipsing out to the movies. I think it may still hold the record for being the biggest flop in Castle Rock history. A dubious distinction.
The film went on to perform disappointingly at the box office.
Critical reaction
The film was panned by critics. It currently holds a 0% approval rating on Rotten Tomatoes, based on 13 reviews, with an average rating of 3.7/10.
Dave Kehr of Chicago Tribune said, "The characters are completely undeveloped, the action wholly arbitrary and the continuity non-existent. The picture appears to have been edited with a Cuisinart, with occasional backup from a dull ax." Louis Black of the Austin Chronicle gave it one star out of five, saying that it "pretty much sink without a trace, so I hate to even stir the waters by detailing how inept it is."
Rita Kempley of The Washington Post said, "(Screenwriter) Goldman ... just happens to be (director) Yates's neighbor in the south of France. Yates, whose achievements include The Dresser, and Goldman, who is the screenwriter's screenwriter, wanted to make a movie about their three favorite things: the Scottish Highlands, the Riviera and red wine. And that's exactly what they did. The scenery's pretty and one can practically smell cork."
See also
Comet vintages
References
Bibliography
Goldman, William, Which Lie Did I Tell?, Bloomsbury, 2000
External links
1992 films
Castle Rock Entertainment films
New Line Cinema films
1990s adventure films
1992 romantic comedy films
Films directed by Peter Yates
Films with screenplays by William Goldman
Films shot at Pinewood Studios
Films about wine
Films scored by Hummie Mann
1990s English-language films | https://en.wikipedia.org/wiki/Year%20of%20the%20Comet |
I Am a Camera is a 1951 Broadway play by John Van Druten adapted from Christopher Isherwood's 1939 novel Goodbye to Berlin, which is part of The Berlin Stories. The title is a quotation taken from the novel's first page: "I am a camera with its shutter open, quite passive, recording, not thinking." The original production was staged by John Van Druten, with scenic and lighting design by Boris Aronson and costumes by Ellen Goldsborough. It opened at the Empire Theatre in New York City on November 28, 1951 and ran for 214 performances before closing on July 12, 1952.
The production was a critically acclaimed success for both Julie Harris as the insouciant Sally Bowles, winning her the first of five Tony Awards of her career for Best Leading Actress in a play, and for Marian Winters, who won both the Theatre World Award and Tony Award for Featured Actress in a Play. The play also won for John Van Druten the New York Drama Critics' Circle for Best American Play (1952). It also earned the famous review by Walter Kerr, "Me no Leica".
Original Broadway Cast (1951)
Christopher Isherwood – William Prince
Fraulein Schneider – Olga Fabian
Fritz Wendel – Martin Brooks
Sally Bowles – Julie Harris
Natalia Landauer – Marian Winters
Clive Mortimer – Edward Andrews
Mrs. Watson-Courtneidge – Catherine Willard
Adaptations
Film – I Am a Camera (1955) – screenplay by John Collier, music by Malcolm Arnold, starring Julie Harris, Laurence Harvey, and Shelley Winters.
Broadway Musical – Cabaret (1966) – directed by Hal Prince, book by Joe Masteroff, music by John Kander, lyrics by Fred Ebb, starring Jill Haworth, Bert Convy, Lotte Lenya, Jack Gilford, and Joel Grey.
Film Musical – Cabaret (1972) – directed by Bob Fosse, music by John Kander, lyrics by Fred Ebb, starring Liza Minnelli, Joel Grey, and Michael York.
References
External links
1951 plays
Broadway plays
Berlin in fiction
Fiction set in 1930
Plays adapted into films
Plays based on novels
Plays by John Van Druten
Plays about abortion
Plays set in cabarets
Works about the Weimar Republic | https://en.wikipedia.org/wiki/I%20Am%20a%20Camera |
Tiffany Villarreal is an American R&B singer of Mexican and Puerto Rican descent from San Antonio, Texas, United States. She sang vocals on Baby Bash's "Shorty DooWop", as well as "The Hood" by Raekwon and "In the Ayer" by Flo Rida. She released her self-titled debut album in 2004, only in Japan. The album features guests like Raekwon and Sheek Louch.
Career
In 1996, she briefly joined R&B girl group 702 along with Kameelah Williams as replacements for original members Orish Grinstead and Amelia Cruz, Tiffany later departed the group for a solo career and signed to RCA Records. Missy Elliott was enlisted as the executive producer for her debut. However, due to the folding of RCA, Villarreal's debut album was shelved. Following her leave from RCA, Villarreal signed to Pharrell Williams' Star Trak Entertainment as one-third member of the Latina group Affair with Natasha Ramos and Vanessa Marquez. She had also signed to Dr. Dre's Aftermath Entertainment imprint. However, she later left to sign with Motown Records. Again, she moved, this time for a deal with Raekwon's Rae Records and Virgin Records.
Discography
Studio albums
Tiffany Villarreal (2004)
Other appearances
Back To Me – Fantasia – "Trust Him" (writing credits)
Until the end of Time – Tupac Shakur – "Fuck Friendz" (featured artist)
Mail On Sunday – Flo Rida – "In The Ayer" (background vocals)
The Lex Diamond Story – Raekwon – "The Hood" (featured artist)
Tha Smokin' Nephew – Baby Bash – "Shorty Doowop" (featured artist)
Tiffany Villarreal (2004)
Track listing
"The Real Intro"
"Fire"
"Rewind the Time" (feat. Raekwon)
"You, Yourself & You"
"Erotic Interlude"
"Erotic"
"Go to Work"
"Holla at Me "
"For My Girls"
"Better Woman"
"Us"
"Set You Free"
"Silent Gun" (feat. Sheek Louch) *
"Nine Months" *
* – Indicates Japanese version only bonus tracks
References
Year of birth missing (living people)
Living people
Musicians from San Antonio
Singers from Texas
American musicians of Mexican descent
American people of Puerto Rican descent | https://en.wikipedia.org/wiki/Tiffany%20Villarreal |
Smintopsini is a tribe of marsupial
in the family Dasyuridae.
Classification
Tribe Sminthopsini
Genus Antechinomys
Kultarr, Antechinomys laniger
Genus Ningaui
Wongai ningaui, Ningaui ridei
Pilbara ningaui, Ningaui timealeyi
Southern ningaui, Ningaui yvonnae
Genus Sminthopsis
S. crassicaudata species-group
Fat-tailed dunnart, Sminthopsis crassicaudata
S. macroura species-group
Kakadu dunnart, Sminthopsis bindi
Carpentarian dunnart, Sminthopsis butleri
Julia Creek dunnart, Sminthopsis douglasi
Stripe-faced dunnart, Sminthopsis macroura
Red-cheeked dunnart, Sminthopsis virginiae
S. granulipes species-group
White-tailed dunnart, Sminthopsis granulipes
S. griseoventer species-group
Kangaroo Island dunnart, Sminthopsis aitkeni
Boullanger Island dunnart, Sminthopsis boullangerensis
Grey-bellied dunnart, Sminthopsis griseoventer
S. longicaudata species-group
Long-tailed dunnart, Sminthopsis longicaudata
S. murina species-group
Chestnut dunnart, Sminthopsis archeri
Little long-tailed dunnart, Sminthopsis dolichura
Sooty dunnart, Sminthopsis fulginosus
Gilbert's dunnart, Sminthopsis gilberti
White-footed dunnart, Sminthopsis leucopus
Slender-tailed dunnart, Sminthopsis murina
S. psammophila species-group
Hairy-footed dunnart, Sminthopsis hirtipes
Ooldea dunnart, Sminthopsis ooldea
Sandhill dunnart, Sminthopsis psammophila
Lesser hairy-footed dunnart, Sminthopsis youngsoni
References
Dasyuromorphs | https://en.wikipedia.org/wiki/Sminthopsini |
The ARP 2500 is a monophonic analog modular synthesizer. It was the first product of ARP Instruments, Inc., built from 1970 to 1981.
It is equipped with a set of sliding matrix switches above each module; these switches are the primary method of interconnecting modules.
Features
There are rows of 1/8" miniphone jacks at the end of each row of matrix switches, to interconnect rows of switches. The main 2500 cabinet can hold 15 modules, and optional wing cabinets can each hold 8. The matrix switch interconnection scheme allow any module's output to connect to any other module's input. Unlike the patch cords of competitive units from Moog and Buchla, which can obscure control knobs and associated markings, the matrix implementation enables a cable-free experience but at the price of greater cross-talk.
Although the 2500 proved to be a reliable and user-friendly machine, it was not commercially successful, selling approximately 100 units. A collection of the 2500's most popular modules was packaged into a single, non-modular unit as the ARP 2600, leaving out the matrix switching and more esoteric functions.
Notable users and appearances
John Kongos first used one at Trident Studios in 1971, then in 1973 he acquired his own - it was used extensively at his Tapestry Studio, on his own recordings as well as Def Leppard (Pyromania), Mutt Lange, Alain Chamfort, Tony Visconti, Ryan Ulyate and many others.
In 1972 Pete Townshend of the Who used an ARP 2500 on the Who's Quadrophenia. Townshend built his own home studio to experiment and record, due to the enormous amount of time he spent creating his groundbreaking synthesizer orchestrations on both Quadrophenia, and the movie version of Tommy.
The ARP 2500 was extensively used by British producer David Hentschel on recordings such as "Funeral for a Friend" from Elton John's 1973 album Goodbye Yellow Brick Road. Jeff Wayne's 1978 multi-platinum selling album War of the Worlds features the ARP 2500, including the sound of Martian speech.
In the 1977 motion picture Close Encounters of the Third Kind, a 2500 unit is used to communicate with aliens. Phil Dodds, ARP's Vice President of Engineering, was on set to install and manage the synthesizer; Steven Spielberg, liking his looks, cast him on the spot as an extra to play the 2500. The unit featured in the film consisted of a fully loaded main unit, two fully loaded wing cabinets and dual keyboards in a custom case.
It has been used by artists such as Aphex Twin, David Bowie, Vince Clarke, Ekseption, Faust, John Frusciante, Jean Michel Jarre, Cevin Key, Kraftwerk, Jimmy Page, Vangelis and the Who. The composer Éliane Radigue has worked almost exclusively with the 2500.
References
External links
Vintage Synth Explorer
ARP synthesizers
Analog synthesizers
Modular synthesizers
Monophonic synthesizers | https://en.wikipedia.org/wiki/ARP%202500 |
Baron Rivers was a title that was created four times in British history, twice in the Peerage of England, once in the Peerage of Great Britain and once in the Peerage of the United Kingdom.
History
The first creation came in 1299 when John Rivers was summoned to Parliament as Baron Rivers. The title became extinct on the death of the second Baron in circa 1340.
The second creation came in 1448 when Richard Woodville, father of Elizabeth Woodville (queen of England), received the title. It was later subsumed when Woodville became Earl Rivers in 1466. Both titles became extinct on the death of the third earl in 1491.
The third creation came in 1776 when George Pitt was made Baron Rivers, of Strathfield-Say in the County of Southampton, in the Peerage of Great Britain. He was a descendant of John Pitt (16th century), the father of Thomas Pitt, ancestor of the Earls of Londonderry, Barons Camelford and Earls of Chatham, and of Sir William Pitt, whose grandson George Pitt married the daughter of the 2nd Earl Rivers. George Pitt's eldest son and namesake was the aforementioned George Pitt, who was elevated to the peerage in 1776. In 1802 Lord Rivers was created Baron Rivers, of Sudeley Castle in the County of Gloucester, with remainder to 1) his brother General Sir William Augustus Pitt and the heirs male of his body, and 2) William Horace Beckford (son of Peter Beckford of Stapleton in Dorset by his wife Louisa, daughter of Lord Rivers) and the heirs male of his body. This title was in the Peerage of the United Kingdom.
He was succeeded in both baronies by his son, the second Baron. He had previously represented Dorset in Parliament. He sold part of the family estates, those around Stratfield Saye House to the nation in about 1814, so that it could be given to Arthur Wellesley, 1st Duke of Wellington. On his death in 1829 the barony of 1776 became extinct while he was succeeded in the barony of 1802 according to the special remainder to his nephew William Beckford, the third Baron. He was the son of the aforementioned Peter Beckford and Louisa Pitt. He assumed at the same time by Royal licence the surname of Pitt-Rivers in lieu of his patronymic. The fourth Baron held political office as a Lord-in-waiting from 1853 to 1858 and 1859 to 1866. The title became extinct on the death of the sixth Baron in 1880.
List of titleholders
Baron Rivers; First creation (1299)
John Rivers, 1st Baron Rivers (d. c. 1311)
John Rivers, 2nd Baron Rivers (d. c. 1340)
Baron Rivers; Second creation (1448)
Richard Woodville, 1st Baron Rivers. Created Earl Rivers in 1466; extinct on death of 3rd earl and baron in 1491.
Baron Rivers; Third creation (1776)
George Pitt, 1st Baron Rivers (1721–1803) (created Baron Rivers again in 1802; see below)
George Pitt, 2nd Baron Rivers (1751–1828)
Baron Rivers; Fourth creation (1802)
George Pitt, 1st Baron Rivers (1721–1803)
George Pitt, 2nd Baron Rivers (1751–1828)
William Horace Pitt-Rivers, 3rd Baron Rivers (1777–1831)
George Pitt-Rivers, 4th Baron Rivers (1810–1866)
George Horace Pitt (1834–1850)
Granville Beckford Pitt (1838–1855)
William Frederick Pitt (1845–1859)
Henry Peter Pitt-Rivers, 5th Baron Rivers (1849–1867)
Horace Pitt-Rivers, 6th Baron Rivers (1814–1880)
See also
Earl Rivers
Earl of Londonderry
Earl of Chatham
Baron Camelford
References
1299 establishments in England
Extinct baronies in the Peerage of England
Extinct baronies in the Peerage of Great Britain
Extinct baronies in the Peerage of the United Kingdom
Peerages created with special remainders
Noble titles created in 1299
Noble titles created in 1448
Noble titles created in 1776
Noble titles created in 1802 | https://en.wikipedia.org/wiki/Baron%20Rivers |
This is a list of the Wildlife Refuges of the LCRV, namely the Lower Colorado River Valley, from the vicinity of Yuma, Arizona/San Luis Rio Colorado, Sonora to Lake Mead/Hoover Dam, and the environs of Laughlin, Nevada/Las Vegas, Nevada.
Bill Williams River National Wildlife Refuge
Cibola National Wildlife Refuge
Havasu National Wildlife Refuge
Imperial National Wildlife Refuge
Kofa National Wildlife Refuge
See also
List of National Wildlife Refuges
'
' | https://en.wikipedia.org/wiki/List%20of%20Wildlife%20Refuges%20of%20the%20Lower%20Colorado%20River%20Valley |
The Washington Legal Foundation (WLF) is a non-profit legal organization located at 2007-2009 Massachusetts Avenue NW, on Embassy Row in Washington, D.C. Founded in 1977, the Foundation's stated goal is "to defend and promote the principles of freedom and justice." The organization promotes pro-business and free-market positions and is widely perceived as conservative.
WLF addresses a range of legal matters, including commercial free speech, corporate criminal liability, environmental regulation, food and drug law, health care, and intellectual property through three primary functions. Its first functions as a public interest law firm that brings original lawsuits, files amicus briefs, intervenes in court cases, and petitions agencies for rulings. It also works as a legal think tank that publishes in seven different formats once every two weeks, and it is a non-profit communications company that hosts regular conferences, media briefings, and national educational advertising campaigns.
Litigation
Since its founding in 1977, the Washington Legal Foundation has litigated more than 1600 court cases, participated in nearly 900 administrative and regulatory proceedings, and published nearly 2,900 legal studies by over 2,500 different legal experts. They have also initiated 138 judicial misconduct investigations, and filed more than 165 attorney and reform actions and petitions.
Cases in which WLF have been involved include:
Abigail Alliance v. von Eschenbach, 495 F.3d 695 (D.C. Cir. 2007).
WLF represented terminally ill plaintiffs who successfully sued their doctor for potentially life-saving drugs that had not yet been approved by the Food and Drug Administration (FDA).
Auvil v. CBS "60 Minutes", 67 F.3d 816 (9th Cir. 1995).
The appellate court affirmed the trial court's rejection of a challenge to evidence which supported a 60 Minutes broadcast alleging that the Washington apples contained a carcinogen that harms children.
Goldwater v. Carter, 617 F.2d 697 (D.C. Cir. 1979).
WLF represented several members of congress who enjoined President Jimmy Carter from unilaterally terminating the Mutual Defense Treaty between the U.S. and Taiwan without the support of a majority of both houses of Congress, or two-thirds of the Senate. The Supreme Court later overruled this decision.
Phillips v. Washington Legal Foundation, 524 U.S. 156 (1998).
This case determined that interest earned on a fund belongs to the person who owns the principal. The government’s effort to seize the funds in question was unconstitutional under the takings clause of the Fifth Amendment as applied through the 14th Amendment.
Washington Legal Foundation v. Henney, 202 F.3d 331 (D.C. Cir. 2000).
This lawsuit forced the government to admit that neither the FDAMA nor the CME Guidance independently authorizes the FDA to prohibit or sanction drug manufacturers from discussing off-label uses for their drugs.
Washington Legal Foundation v. U.S. Department of Justice, 491 U.S. 440 (1989).
This case held that the Federal Advisory Committee Act did not apply to U.S. Justice Department's solicitation of the American Bar Association’s views on prospective judicial nominees.
Washington Legal Foundation v. Shalala, U.S. Dist. Lexis 9377 (1993).
The court dismissed the complaint for lack of standing when WLF sued on behalf of a cardiac surgeon and two human heart valve recipients to enjoin the United States Department of Health and Human Services and the FDA from enforcing regulatory restrictions that would subject human-tissue heart valves to FDA's premarket approval process.
Amicus curiæ
In Holder v. Humanitarian Law Project, the Washington Legal Foundation filed a brief that argued that certain provisions of the PATRIOT Act do not violate the First Amendment. The statute makes it a crime to give any form of aid, including humanitarian assistance, to groups on the U.S. State Department’s list of foreign terrorist organizations.
"In All Fairness"
WLF regularly publishes an advertisement, "In All Fairness" in the national edition of The New York Times in which the organization presents its point of view on an issue.
Partnerships
WLF regularly partners with Washington-based think tanks such as the American Enterprise Institute, the Brookings Institution, the Cato Institute, and The Heritage Foundation.
References
External links
Conservative organizations in the United States
Dupont Circle
Embassy Row
Legal advocacy organizations in the United States
Non-profit organizations based in Washington, D.C.
Organizations established in 1977 | https://en.wikipedia.org/wiki/Washington%20Legal%20Foundation |
Northern Picture Library was a British dream pop group, formed in 1993 by Bobby Wratten and Anne Mari Davies, both former members of The Field Mice. They were soon joined by former Field Mice drummer Mark Dobson.
The group adopted a more abstract, ambient and synthesiser-based sound than the more guitar pop approach of The Field Mice. Their debut single, "Love Song For The Dead Che", was a cover of a song by 1960s psychedelic group United States of America. Both it and the following album, Alaska, won critical acclaim, however sales were poor even compared to The Field Mice's records. The group members' personal problems (various members succumbed to depression, stagefright and substance abuse) made touring difficult and thus also made it difficult for the group to promote their records effectively. Two more EPs followed before the group dissolved. Wratten later went on to form Trembling Blue Stars with Davies also joining the group in a later incarnation.
In 2005 the entire Northern Picture Library back catalogue was released on two CDs on the LTM label.
Discography
Singles
"Love Song for the Dead Che" (12"/CD, Vinyl Japan, September 1993)
"Blue Dissolve EP" (12"/CD, Vinyl Japan, June 1994)
"Paris EP" (CD, Sarah Records, September 1994)
The "Paris EP" was also issued as two separate 7" singles, "Paris" and "Last September's Farewell Kiss".
Albums
Alaska (1994)
Still Life (singles compilation, 2000)
Postscript (singles and out-takes, 2004)
References
English pop music groups
Sarah Records artists | https://en.wikipedia.org/wiki/Northern%20Picture%20Library |
was a famed poet, scholar and tutor under the emperors of Shirakawa, Horikawa, and Toba. Masafusa was most known by his title of "Acting Middle Counselor". In 1060 AD, Masafusa became mainly known for being the author of the famous work: Gōke Shidai. For the ceremonial and public functions in the eleventh century, this became one of the most valuable sources of historic information. During the year of 1111, Masafusa died at the age of 71.
One of his students in the art of war was Minamoto no Yoshiie.
Masafusa authored a number of texts, including:
(early 12th century)
(mid to late 11th century)
Gōdanshō (江談抄)
Rōei gōchū (朗詠江註; a commentary to Fujiwara no Kintō's Wakan rōeishū)
Honchō shinsenden (本朝神仙伝)
Ancestry
His paternal great grandparents were and Akazome Emon, Masahira himself being a grandson of . Koretoki was a son of and grandson of Ōe no Otondo. Otondo was a son of Prince Abo, who was a son of Emperor Heizei.
References
1041 births
1111 deaths
Japanese writers
Ōe clan
Place of birth unknown
Date of death unknown
Place of death unknown
Date of birth unknown
Hyakunin Isshu poets | https://en.wikipedia.org/wiki/%C5%8Ce%20no%20Masafusa |
Tyra Bolling (born June 27, 1985), better known as Tyra B, is an American singer, songwriter, and dancer. She's best known for her top 40 R&B singles "Country Boy", "Still in Love" and "Givin' Me a Rush" which is her biggest single to date.
Career
Bolling grew up singing with a local group by the name of Kraz'e with her sister and friend. While the other two singers went to college, Bolling decided to pursue a career as a singer.
In 2005, her singles "Country Boy" and "Still in Love" became Top 40 hits on the Billboard Hot R&B/Hip Hop chart without any support by major record companies. She worked with Chingy on the remix of "Country Boy", produced by PrettyBoy and Bradd Young. Another single "Get No Ooh Wee" was released also that year. Her debut album Introducing Tyra B was scheduled for 2006, but was never released.
In 2007, she began work on her second studio album Past Due which was preceded by the single "Givin' Me a Rush" which became her biggest hit to date. It peaked at #2 on BET's 106 & Park in addition to #36 on Billboard's Hot R&B/Hip Hop Singles and #22 on the Bubbling Under Singles chart. A follow-up single "Get It Poppin'" featuring Soulja Boy was released in January 2008. The album Past Due was pushed back several times and was set to feature appearances by Ludacris, Trey Songz and Soulja Boy before being shelved. She collaborated with 2 Pistols on the track "Candy Coated Diamonds" which was released in 2008.
In April 2013, Bolling released her The Morning After mixtape on her official site. which featured the single "Sex" which was released in 2012.
Currently, she is at work on her debut EP, Tysexual which was set to be released independently in 2016. The album's first single "Tease" premiered on March 31, 2015.
Personal life
Bolling has publicly stated her song "Still in Love" was about an ex-girlfriend in high school.
Discography
Albums
Introducing Tyra B (2006) (Shelved)
Past Due (2008) (Shelved)
Tysexual (2016)
Mixtapes
The Morning After (2013)
Singles
Tours
Destiny Fulfilled... and Lovin' It
References
External links
Tyra B's official website
20th-century African-American women singers
American contemporary R&B singers
Living people
1985 births
African-American LGBT people
LGBT people from Virginia
American LGBT musicians
American LGBT rights activists
21st-century American women singers
21st-century American singers
21st-century African-American women singers | https://en.wikipedia.org/wiki/Tyra%20Bolling |
Near-field scanning optical microscopy (NSOM) or scanning near-field optical microscopy (SNOM) is a microscopy technique for nanostructure investigation that breaks the far field resolution limit by exploiting the properties of evanescent waves. In SNOM, the excitation laser light is focused through an aperture with a diameter smaller than the excitation wavelength, resulting in an evanescent field (or near-field) on the far side of the aperture. When the sample is scanned at a small distance below the aperture, the optical resolution of transmitted or reflected light is limited only by the diameter of the aperture. In particular, lateral resolution of 6 nm and vertical resolution of 2–5 nm have been demonstrated.
As in optical microscopy, the contrast mechanism can be easily adapted to study different properties, such as refractive index, chemical structure and local stress. Dynamic properties can also be studied at a sub-wavelength scale using this technique.
NSOM/SNOM is a form of scanning probe microscopy.
History
Edward Hutchinson Synge is given credit for conceiving and developing the idea for an imaging instrument that would image by exciting and collecting diffraction in the near field. His original idea, proposed in 1928, was based upon the usage of intense nearly planar light from an arc under pressure behind a thin, opaque metal film with a small orifice of about 100 nm. The orifice was to remain within 100 nm of the surface, and information was to be collected by point-by-point scanning. He foresaw the illumination and the detector movement being the biggest technical difficulties. John A. O'Keefe also developed similar theories in 1956. He thought the moving of the pinhole or the detector when it is so close to the sample would be the most likely issue that could prevent the realization of such an instrument. It was Ash and Nicholls at University College London who, in 1972, first broke the Abbe’s diffraction limit using microwave radiation with a wavelength of 3 cm. A line grating was resolved with a resolution of λ0/60. A decade later, a patent on an optical near-field microscope was filed by Dieter Pohl, followed in 1984 by the first paper that used visible radiation for near field scanning. The near-field optical (NFO) microscope involved a sub-wavelength aperture at the apex of a metal coated sharply pointed transparent tip, and a feedback mechanism to maintain a constant distance of a few nanometers between the sample and the probe. Lewis et al. were also aware of the potential of an NFO microscope at this time. They reported first results in 1986 confirming super-resolution. In both experiments, details below 50 nm (about λ0/10) in size could be recognized.
Theory
According to Abbe’s theory of image formation, developed in 1873, the resolving capability of an optical component is ultimately limited by the spreading out of each image point due to diffraction. Unless the aperture of the optical component is large enough to collect all the diffracted light, the finer aspects of the image will not correspond exactly to the object. The minimum resolution (d) for the optical component is thus limited by its aperture size, and expressed by the Rayleigh criterion:
Here, λ0 is the wavelength in vacuum; NA is the numerical aperture for the optical component (maximum 1.3–1.4 for modern objectives with a very high magnification factor). Thus, the resolution limit is usually around λ0/2 for conventional optical microscopy.
This treatment only assumes the light diffracted into the far-field that propagates without any restrictions. NSOM makes use of evanescent or non propagating fields that exist only near the surface of the object. These fields carry the high frequency spatial information about the object and have intensities that drop off exponentially with distance from the object. Because of this, the detector must be placed very close to the sample in the near field zone, typically a few nanometers. As a result, near field microscopy remains primarily a surface inspection technique. The detector is then rastered across the sample using a piezoelectric stage. The scanning can either be done at a constant height or with regulated height by using a feedback mechanism.
Modes of operation
Aperture and apertureless operation
There exist NSOM which can be operated in so-called aperture mode and NSOM for operation in a non-aperture mode. As illustrated, the tips used in the apertureless mode are very sharp and do not have a metal coating.
Though there are many issues associated with the apertured tips (heating, artifacts, contrast, sensitivity, topology and interference among others), aperture mode remains more popular. This is primarily because apertureless mode is even more complex to set up and operate, and is not understood as well. There are five primary modes of apertured NSOM operation and four primary modes of apertureless NSOM operation. The major ones are illustrated in the next figure.
Some types of NSOM operation utilize a campanile probe, which has a square pyramid shape with two facets coated with a metal. Such a probe has a high signal collection efficiency (>90%) and no frequency cutoff. Another alternative is "active tip" schemes, where the tip is functionalized with active light sources such as a fluorescent dye or even a light emitting diode that enables fluorescence excitation.
The merits of aperture and apertureless NSOM configurations can be merged in a hybrid probe design, which contains a metallic tip attached to the side of a tapered optical fiber. At visible range (400 nm to 900 nm), about 50% of the incident light can be focused to the tip apex, which is around 5 nm in radius. This hybrid probe can deliver the excitation light through the fiber to realize tip-enhanced Raman spectroscopy (TERS) at tip apex, and collect the Raman signals through the same fiber. The lens-free fiber-in-fiber-out STM-NSOM-TERS has been demonstrated.
Feedback mechanisms
Feedback mechanisms are usually used to achieve high resolution and artifact free images since the tip must be positioned within a few nanometers of the surfaces. Some of these mechanisms are constant force feedback and shear force feedback
Constant force feedback mode is similar to the feedback mechanism used in atomic force microscopy (AFM). Experiments can be performed in contact, intermittent contact, and non-contact modes.
In shear force feedback mode, a tuning fork is mounted alongside the tip and made to oscillate at its resonance frequency. The amplitude is closely related to the tip-surface distance, and thus used as a feedback mechanism.
Contrast
It is possible to take advantage of the various contrast techniques available to optical microscopy through NSOM but with much higher resolution. By using the change in the polarization of light or the intensity of the light as a function of the incident wavelength, it is possible to make use of contrast enhancing techniques such as staining, fluorescence, phase contrast and differential interference contrast. It is also possible to provide contrast using the change in refractive index, reflectivity, local stress and magnetic properties amongst others.
Instrumentation and standard setup
The primary components of an NSOM setup are the light source, feedback mechanism, the scanning tip, the detector and the piezoelectric sample stage. The light source is usually a laser focused into an optical fiber through a polarizer, a beam splitter and a coupler. The polarizer and the beam splitter would serve to remove stray light from the returning reflected light. The scanning tip, depending upon the operation mode, is usually a pulled or stretched optical fiber coated with metal except at the tip or just a standard AFM cantilever with a hole in the center of the pyramidal tip. Standard optical detectors, such as avalanche photodiode, photomultiplier tube (PMT) or CCD, can be used. Highly specialized NSOM techniques, Raman NSOM for example, have much more stringent detector requirements.
Near-field spectroscopy
As the name implies, information is collected by spectroscopic means instead of imaging in the near field regime. Through Near Field Spectroscopy (NFS), one can probe spectroscopically with sub-wavelength resolution. Raman SNOM and fluorescence SNOM are two of the most popular NFS techniques as they allow for the identification of nanosized features with chemical contrast. Some of the common near-field spectroscopic techniques are below.
Direct local Raman NSOM is based on Raman spectroscopy. Aperture Raman NSOM is limited by very hot and blunt tips, and by long collection times. However, apertureless NSOM can be used to achieve high Raman scattering efficiency factors (around 40). Topological artifacts make it hard to implement this technique for rough surfaces.
Tip-enhanced Raman spectroscopy (TERS) is an offshoot of surface enhanced Raman spectroscopy (SERS). This technique can be used in an apertureless shear-force NSOM setup, or by using an AFM tip coated with gold or silver. The Raman signal is found to be significantly enhanced under the AFM tip. This technique has been used to give local variations in the Raman spectra under a single-walled nanotube. A highly sensitive optoacoustic spectrometer must be used for the detection of the Raman signal.
Fluorescence NSOM is a highly popular and sensitive technique which makes use of fluorescence for near field imaging, and is especially suited for biological applications. The technique of choice here is apertureless back to the fiber emission in constant shear force mode. This technique uses merocyanine-based dyes embedded in an appropriate resin. Edge filters are used for removal of all primary laser light. Resolution as low as 10 nm can be achieved using this technique.
Near field infrared spectrometry and near-field dielectric microscopy use near-field probes to combine sub-micron microscopy with localized IR spectroscopy.
The nano-FTIR method is a broadband nanoscale spectroscopy that combines apertureless NSOM with broadband illumination and FTIR detection to obtain a complete infrared spectrum at every spatial location. Sensitivity to a single molecular complex and nanoscale resolution up to 10 nm has been demonstrated with nano-FTIR.
The nanofocusing technique can create a nanometer-scale "white" light source at the tip apex, which can be used to illuminate a sample at near-field for spectroscopic analysis. The interband optical transitions in individual single-walled carbon nanotubes are imaged and a spatial resolution around 6 nm has been reported.
Artifacts
NSOM can be vulnerable to artifacts that are not from the intended contrast mode. The most common root for artifacts in NSOM are tip breakage during scanning, striped contrast, displaced optical contrast, local far field light concentration, and topographic artifacts.
In apertureless NSOM, also known as scattering-type SNOM or s-SNOM, many of these artifacts are eliminated or can be avoided by proper technique application.
Limitations
One limitation is a very short working distance and extremely shallow depth of field. It is normally limited to surface studies; however, it can be applied for subsurface investigations within the corresponding depth of field. In shear force mode and other contact operation it is not conducive for studying soft materials. It has long scan times for large sample areas for high resolution imaging.
An additional limitation is the predominant orientation of the polarization state of the interrogating light in the near-field of the scanning tip. Metallic scanning tips naturally orient the polarization state perpendicular to the sample surface. Other techniques, like anisotropic terahertz microspectroscopy utilize in-plane polarimetry to study physical properties inaccessible to near-field scanning optical microscopes including the spatial dependence of intramolecular vibrations in anisotropic molecules.
See also
Nano-optics
Fluorescence spectroscopy
Near-field optics
References
External links
Scanning probe microscopy
Cell imaging
Laboratory equipment
Microscopy
Optical microscopy | https://en.wikipedia.org/wiki/Near-field%20scanning%20optical%20microscope |
Ukha () is a clear Russian soup, made from various types of fish such as bream, wels catfish, northern pike, or even ruffe. It usually contains root vegetables, parsley root, leek, potato, bay leaf, dill, tarragon, and green parsley, and is spiced with black pepper, saffron, nutmeg, and fennel seed. Fish such as perch, tench, sheatfish, and burbot are sometimes used to add flavour to the soup. The roots of the soup originated in the culture of the Russian Cossack steppe riders and the soup is mostly associated in Russia with the Don region.
While ukha is a fish dish that is made with broth, calling it a fish soup may not be absolutely correct. "Ukha" started to be used as a term for fish broth in Russian cuisine in the late 17th to early 18th centuries. In earlier times, this term referred to thick meat broths, and then later chicken. Beginning in the 15th century, fish was more and more often used to prepare ukha, thus creating a dish that had a distinctive taste among soups. In the 19th century, many travellers visiting Russia claimed ukha to be one of the best dishes in Russian cuisine.
Vegetables were kept to a minimum when preparing ukha, and in fact, in classic Belarusian cuisine, ukha was simply a rich fish broth that accompanied fish pies (pirozhki, rasstegai, coulibiac, and other pirogi). These days it is more often a fish soup, cooked with potatoes and other vegetables. A wide variety of freshwater fish can be used, and some aficionados opine that one cannot make a good ukha from saltwater fish species. Fresh fish lends the dish the best flavor, and so if frozen fish is used, it is better not to defrost it. Preference is given to smaller, younger fish, with the tail parts of bigger fish discarded.
Commonly fishermen add a shot of vodka to ukha at the end to create a specific flavour. Another custom is to dip the smoldering firebrand from the fire directly into ukha at the very end.
See also
Bouillabaisse, French fish soup
Halászlé, Hungarian fisherman's soup
Waterzooi, Belgian fish soup
List of Russian dishes
List of soups
List of fish dishes
References
Russian soups
Fish and seafood soups | https://en.wikipedia.org/wiki/Ukha |
António Gedeão (b. Rómulo Vasco da Gama Carvalho, GCSE, GOIP; 24 November 1906 – 19 February 1997) was a Portuguese poet, essayist, writer and playwright, who also published several works related to science. António Gedeão was an alter ego of Rómulo de Carvalho, who, using his real name was also a professor, teaching chemistry and history of science.
Bibliography
Poetry
1956 - Movimento Perpétuo
1958 - Teatro do Mundo
1959 - Declaração de Amor
1961 - Máquina de Fogo
1964 - Poesias Completas
1967 - Linhas de Força
1980 - Soneto
1982 - Poema para Galileu
1984 - Poemas Póstumos
1985 - Poemas dos textos
1990 - Novos Poemas Póstumos
Fiction
1942 - Bárbara Ruiva (1ª edição: Abril 2009)
1973 - A poltrona e outras novelas
1969 - O Boda
Theatre
1978 - RTX 78/24
1981 - História Breve da Lua
Essays
1965 - O Sentimento Científico em Bocage
1975 - Ay Flores, Ay flores do verde pino
Scientific works
Pedagogic
1950 - Regras de notação e nomenclatura química
1952 - Considerações sobre o ensino elementar da Física
1953 - Compêndio de Química para o 3º Ciclo
1957 - Experiências escolares sobre tensão superficial dos líquidos e sobre lâminas da solução de sabão
1957 - Guias de trabalhos práticos de Química
1959 - Acerca do número de imagens dadas pelos espelhos planos inclinados entre si
1959 - A física como objecto de ensino
1959 - Problemas de Física para o 3º Ciclo do Ensino Liceal, I volume
1961 - Considerações sobre o princípio de Arquimedes
1962 - Novas maneiras de trabalhar com os tubos de Torricelli
1962 - Novo sistema de unidades físicas
1963 - Novo dispositivo para o estudo experimental das leis de reflexão da luz
1963 - Sobre os compêndios universitários exigidos pela Reforma Pombalina
1964 - O ensino elementar da Cinemática por meio de gráficos
1964 - Teoria e prática da ponte de Wheatstone
1965 - La formation du professeur de physique
1974 - Ciências da Natureza
1986 - História do ensino em Portugal
1906 births
1997 deaths
Writers from Lisbon
20th-century Portuguese poets
Portuguese male poets
Portuguese essayists
University of Porto alumni
20th-century Portuguese dramatists and playwrights
Portuguese male dramatists and playwrights
Male essayists
20th-century essayists
20th-century Portuguese male writers
20th-century pseudonymous writers | https://en.wikipedia.org/wiki/Ant%C3%B3nio%20Gede%C3%A3o |
Aldara may refer to:
Former name of Alvanq, a community or municipality in Armenia
Àldara, Sardinian name of Ardara, Sardinia, a comune or municipality
Imiquimod or Aldara, a prescription medication that acts as an immune response modifier
See also
Aldara Park, Gauteng, a suburb of Johannesburg, South Africa | https://en.wikipedia.org/wiki/Aldara |
Seigneurs and Dukes of Retz owned the district of Retz or Rais, is in South Brittany.
History
Rais belonged in early times to a house which bore its name, and of which the eldest branch became extinct in the 13th century in the .
From the Chabot family the lordship passed to the Lavals. Gilles de Laval, sire de Retz ( 1405–1440), the comrade-in-arms of Joan of Arc and marshal of France, gave himself over to the most revolting debauchery, and was strangled and burned at Nantes.
The barony of Retz passed successively to the families of Tournemine, Annebaut and Gondi. In 1581 it was erected into a duchy in the peerage of France (duché-pairie) for Albert de Gondi, marshal of France and . Pierre de Gondi, brother of the first duc de Retz, became bishop of Paris in 1570 and cardinal in 1587. He was succeeded by his nephews, Henri (died 1622) and Jean François de Gondi (died 1654), for whom the episcopal see of Paris was erected into an archbishopric in 1622, and by his great-nephew, Jean François Paul de Gondi, the famous cardinal de Retz.
With the death of in 1676 the duché-pairie became extinct; the lordship passed to the house of Neuville-Villeroy.
References
Dukes of France
Gilles de Rais | https://en.wikipedia.org/wiki/Seigneurs%20and%20Dukes%20of%20Retz |
Davide Baiocco (born 8 May 1975) is an Italian former footballer, who played as a midfielder.
Career
From Perugia to Juventus
A product of the Perugia youth system, he transferred to Juventus in January 2002 for 7.2 million euros, in a swap with Fabian O'Neill who went to Perugia. He arrived in the summer of 2002. He signed a four-and-a-half-year contract with Juventus, but failed to settle into the club and has been loaned out several times, to clubs including Piacenza and Reggina.
The return to Perugia
On 31 August 2004, he was signed by Perugia on loan with option to purchase for a nominal fee.
From Catania to Siracusa
Due to bankruptcy of Perugia, Baiocco he joined the then Serie B side Catania in August 2005, and helped them gain promotion to the Serie A for the 2006/2007 season. Since then, he has become the captain of the club and has been an influential first team player. He played with Catania until the end of the 2008–09 season.
From 2009 to 2011 he played for Brescia.
In the 2011–12 season, he has played with U.S. Siracusa in Lega Pro Prima Divisione.
On 7 August 2012 Baiocco was signed by U.S. Cremonese. On 17 January 2014 he was signed by Alessandria in a 6-month contract.
Baiocco returned to Siracusa in 2015. The club won promotion to 2016–17 Lega Pro as Siracusa Calcio.
Style of play
Baiocco was a dynamic, energetic, and versatile defensive midfielder, who was known for his tactical intelligence and tackling ability, as well as his ability to carry the ball and push forward from midfield.
References
External links
Living people
1975 births
Footballers from Perugia
Men's association football midfielders
Italian men's footballers
AC Perugia Calcio players
ACR Siena 1904 players
Alma Juventus Fano 1906 players
Juventus FC players
Piacenza Calcio 1919 players
LFA Reggio Calabria players
Catania FC players
Brescia Calcio players
AS Gubbio 1910 players
US Siracusa players
US Cremonese players
US Alessandria Calcio 1912 players
Serie A players
Serie B players
Serie C players
Serie D players | https://en.wikipedia.org/wiki/Davide%20Baiocco |
Tollygunge (; nicknamed 'Mini Mumbai' or 'Mini Bombay') is a locality of South Kolkata, in West Bengal, India. It is known for being the center of Indian Bengali-language cinema, with filming locations used for other regional Indian films.
History
In the 18th century, Tollygunge, then called Rasa Pagla, was a jungle with garden houses of the Europeans located here and there. The Europeans, living in the central areas of old Calcutta, had a craze for villas far out in the sleepy villages, coming up as suburbs. It was renamed after Colonel William Tolly who made the dead Adi Ganga channel navigable in 1774. Tipu Sultan's sons settled down in the area after the Vellore Mutiny in 1806. The British extended their patronage to Tollygunge Club and Tollygunge Golf Club in the 19th century.
In 1888, Ballygunge and Tollygunge formed a common thana when 25 new Police Section Houses were set up. In 1889, the suburbs of Calcutta were divided among 4 municipalities. While a portion of Tollygunge formed the South Suburban Municipality, northern Tollygunge which was part of the earlier Suburban Municipality was made one of the 'added area wards' of Kolkata Municipal Corporation. In 1951, the southern part of Tollygunge was added to Calcutta.
Around 1921, Kolkata Municipal Corporation made efforts in certain areas, and that included Ballygunge-Tollygunge, to widen roads and add sewerage, water supply and other civic benefits.
With the partition of Bengal, "millions of refugees poured in from erstwhile East Pakistan... hundreds of 'refugee colonies' sprang up almost overnight all across the city and occupied all vacant land in the fringe areas. Here the refugees built their very own type of settlement, bearing some reflection of the village set-up of their lost homes... the refugees had taken command of adjoining areas such as Tollyganj and transformed them into a very different environment." The influx of refugees occurred in several spurts between 1947 and 1971. Only a small part of the influx stayed in the government transit camps and the overwhelming majority settled in squatters' colonies along the eastern fringes of the city, starting from Barrackpore in the north, through Dumdum to Jadavpur, Tollygunge and Behala, down to Sonarpur in the south. The massive influx had a major demographic, cultural, economic and political impact on the city.
There is a small red-light district is located near Prince Anwar Shah Road.
Geography
Location
It is flanked by the Eastern Railway south suburban line to the north, Lake Gardens and Golf Green in the east, the Pashchim Putiari and Purba Putiari in the south and Behala in the west. The neighbourhood is served by Mahanayak Uttam Kumar metro station of Kolkata Metro.
Neighbourhoods
Other prominent neighbourhoods in the area include Kudghat, Ranikuthi, Regent Park, Netaji Nagar and Bansdroni.
Places of interest
Other places of Interest in Tollygunge, include-
Tollygunge Agragami
Tollygunge Club
Royal Calcutta Golf Club (RCGC)
ITC Sangeet Research Academy
Indrapuri Film Studio(now known as Star Studios)
Notable residents
Ali Muhammad Shibli, anti-colonial revolutionary (born 1879)
A. C. Bhaktivedanta Swami Prabhupada, founder of ISKCON
Utpal Dutt, film actor and theater personality
Kriti Sanon, Bollywood film actress
Rakul Preet Singh, Indian film actress
Samantha Ruth Prabhu, actress
Mahesh Manjrekar, actor, director and producer
Saiee Manjrekar, actress
Medha Manjrekar, actress
Wamiqa Gabbi, actress
Ananya Panday, actress
Chunky Pandey, actor
Jacqueline Fernandez, actress
Kiara Advani, Bollywood film actress
Varun Dhawan, actor
Anil Dhawan, actor
David Dhawan, film director
Shraddha Kapoor, actress and singer
Padmini Kolhapure, actress
Tejaswini Kolhapure, actress
Shakti Kapoor, actor
Prajakta Koli, actress
Sidharth Malhotra , actor
Pooja Hegde, actress
Shalini Pandey, actress
Sai Tamhankar, actress
Neeraj Roy, businessman
Taapsee Pannu, actress
Siddhanth Kapoor, actor
Amruta Subhash, actress
Jyoti Subhash, actress
Tara Sutaria, actress
Economy
It is among the most posh neighbourhoods of South Kolkata. South City, one of the most famous shopping malls of the city is located in the adjacent neighbourhood. It is also listed among the best places to live in Kolkata byvarious surveys and websites.
The Royal Bengal Tiger Cafe, Khan Saheb, Chowman, The Copper Kitchen, Wow! Momo, Pepe-Nero, Tolly Tales, Azad Hind Dhaba, The Grub Club, Gourmet Hut, The Mango Tree are some of the most noted eateries in this area.
Daily markets
Lake Market, along with Hatibagan, Maniktala, Sealdah and Gariahat markets, is amongst the largest markets in Kolkata. The larger markets of Kolkata have two sectors – inner and outer. The inner market is the official or core market in a planned building and the outer is a makeshift arrangement of pavement stalls. The Lake Road Market at 104 Rash Behari Avenue is a Kolkata Municipal Corporation market spread over 1.16 acres. Vegetables, fruits, betel leaf, flowers, fish, meat, egg etc. are available. There are several South Indian hotels and restaurants in the area.
The Lake Mall is a more recent addition. It is a six-storied building with a high end shopping mall, food courts and entertainment. It has been developed by the Space Group.
Charu Chandra Market at 54/1 Charu Chandra Avenue is a private road-side market spread across 0.66 acres. Vegetables, fruits, betel leaf, fish, meat, egg and grocery are available.
Transport
Tollygunge serves as terminal points of several transport services including the tram, city buses of the Calcutta Tramways company and the metro station.
Tollygunge Railway Station is located on the Budge Budge section of the Kolkata Suburban Railway. The Mahanayak Uttam Kumar metro station (formerly Tollygunge) had been a terminal station of the Kolkata Metro from 1984 to 2009. From 2009, the overground extension of the Metro Railway extended the Metro's range to beyond Tollygunge up to New Garia. Hence if one's office is located in the office para areas of Park Street, Camac Street, LL Nehru Road, then one can commute through metro much more conveniently.
The first electric tramcar in Kolkata ran from Esplanade to Khidirpur in 1902 and tracks were laid up to Tollygunge in 1903.
The Calcutta Tramways Company depot in Tollyguge serves as a terminal point for the tram service (which links it to Ballygunge and B.B.D. Bagh by tram routes 24/29 and 29 respectively). Some state government buses are also operated by the same company. Bus services connecting Netaji Subhash Chandra Bose International Airport via New Town passes through it.
The major auto routes are Ranikuthi-Garia More, Ranikuthi-Tollygunge Tram Depot, Ranikuthi- Baghajatin, Ranikuthi-Jadavpur 8B, Tollygunge Tram Depot-Jadavpur 8B and Prince Anwar Shah More-Jadavpur Police Station.
Educational institutions
South Academy High School (Near Bansdroni Bazar )
Maharishi Vidyamandir (Near Bansdroni Fire Brigade)
G.D.Birla Centre For Education
Calcutta Institute of Engineering and Management
Sir Nripendranath Institution
Adarsh Hindi High School
Bangur High School
Naktala High School
Netaji Nagar Vidyamandir
Swami Pranabananda Vidyapith
The Assembly of God Church School
Narmada High School
Mansur Habibullah Memorial School (Formerly: South End School), Kudghat beside Netaji metro station
Ashok Nagar Boys High School (co.education)
Milan Garh Girls High School
The Future Foundation School
ITI Tollygunge
Gandhi Colony Madhyamik Vidyalaya (Boys & Girls)
Tirthapati Institution
Culture
The area is the centre of the Bengali film industry, which is known by the nickname Tollywood, and is the location of Indrapuri Studio and Technician Studio, a favourite hub for the late director Rituparno Ghosh (who happens to be an alumnus of Jadavpur University, located in neighbouring Jadavpur), Ajoy kar and Tarun Majumdar. There is also the old NH1 studio and now several other new ones have cropped up.
With the construction in old Calcutta with various imported styles, the local temple architecture also reacted. Amongst the temples are the atchala temples of the Ghosh family built between 1788 and 1807. Prince Ghulam Mohammad built the mosque in Tollygunge in 1830.
Healthcare
One of the major government super speciality hospitals, M R Bangur, is situated in Tollygunge. An ISO certified hospital it serves as the district hospital for the district of South 24 Parganas. M R Bangur caters to the massive population of the district as well as adjoining metropolitan areas. Other important hospitals and nursing homes include - RSV, Bijoygar Government Hospital, Moore Avenue Polly Clinic, Tapan Sinha Memorial Hospital, Swiss Park Nursing Home Private Limited, Tollygunge Medical Hall, Arogya Maternity and Nursing Home, Medline Nursing Home, Apollo Clinic Bansdroni, Silver Line Eye Hospital, Calcutta Lions Netra Niketan, New Bangur Hospital and Cancer Research, Jissan International, Metro Railway Hospital, Tiss Path Lab, among others.
Electorate
Tollygunge happens to be a Vidhan Sabha constituency in the West Bengal Legislative Assembly and several neighbourhoods in this area like Golf Green, Bijoygarh, Bikramgarh, Azadgarh etc. served as refugee colonies post the 1971 Bangladesh Liberation War. It is currently represented by Aroop Biswas of the All India Trinamool Congress in the Legislative Assembly, who also serves as Minister for North Bengal Development in the Government of West Bengal. Erstwhile Leader of the Opposition in the Assembly, Pankaj Banerjee preceded Biswas. The first Left Front Mayor of Kolkata, Prasanta Sur, represented Tollygunge in several successive elections. Hence, Tollygunge has a very vast and versatile political and socio-economic history. Ambika Chakrabarty and Niranjan Sengupta, had earlier been elected from Tollygunge several number of times within the 1950-70s. Both were veteran fighters of the Bengal Independence movement, having been members of the Chittagong Jugantar Party and the Dhaka Anushilan Samity, respectively. Tollygunge is currently part of the Jadavpur Lok Sabha Constituency, which famous singer Kabir Suman represented from 2009 to 2014. Earlier, it fell within the South Kolkata constituency. As per the orders of the Delimitation Commission, Tollygunge Vidhan Sabha now comprises the following wards: 94, 95, 97, 98, 100, 111, 112, 113 and 114 of the Kolkata Municipal Corporation.
References
External links
Neighbourhoods in Kolkata
Red-light districts in India | https://en.wikipedia.org/wiki/Tollygunge |
Smoke and mirrors is a metaphor, originating from 18th and 19th-century phantasmagoria shows, for a deceptive, fraudulent or insubstantial explanation or description
Smoke and mirrors may also refer to:
Arts, entertainment, and media
Literature
Smoke and Mirrors (Gaiman book), a 1998 short story and poetry collection by Neil Gaiman
Smoke and Mirrors (novel), a 2008 crime novel by Kel Robertson
Smoke and Mirrors (2016), the third novel in Elly Griffiths' Stephens & Mephisto Mystery series
Smoke and Mirrors (2005), a novel by Tanya Huff in the Smoke Books series
Albums
Smoke + Mirrors, a 2015 album by Imagine Dragons
Smoke & Mirrors (The Datsuns album), 2006
Smoke & Mirrors (Lifehouse album), 2010
Smoke & Mirrors (The Petty Thefts album), or the title song
Smoke & Mirrors (The Fizz album), 2020
Smoke and Mirrors (O.C. album), 2005
Smoke and Mirrors (Brett Dennen album), 2013
Smoke and Mirrors (Lynch Mob album), 2009
Smoke n Mirrors, an album by B-Real, or the title song
Smoke and Mirrors, an album by Martin Simpson
Smoke and Mirrors, an EP by The Casket Lottery
Smoke & Mirrors, a DVD by Arena
Smoke and Mirrors, the debut album by The Eden House
Songs
"Smoke & Mirrors" (song), a 2010 song by Paloma Faith
"Smoke & Mirrors", a song by Demi Lovato from her album Tell Me You Love Me
"Smoke & Mirrors", a song by No Malice from his album Hear Ye Him
"Smoke & Mirrors", a song by Skye Sweetnam from her album Noise from the Basement
"Smoke and Mirrors", a song by Abigail Williams from In the Shadow of a Thousand Suns
"Smoke and Mirrors", a song by Black Veil Brides from Set the World on Fire
"Smoke and Mirrors", a song by Dead to Fall from The Phoenix Throne
"Smoke and Mirrors", a song by Gotye from Making Mirrors
"Smoke and Mirrors", a song by Imagine Dragons from their album of the same name
"Smoke and Mirrors", a song by The Magnetic Fields from Get Lost
"Smoke and Mirrors", a song by Poets of the Fall from Twilight Theater
"Smoke and Mirrors", a song by Puscifer from Money Shot
"Smoke and Mirrors", a song by The Receiving End of Sirens from The Earth Sings Mi Fa Mi
"Smoke and Mirrors", a song by RJD2 from Deadringer
"Smoke and Mirrors", a song by Symphony X from Twilight in Olympus
"Smoke and Mirrors", a song used as the entrance theme of WWE wrestler Cody Rhodes
"Smoke 'N' Mirrors", a song by KSI featuring Tiggs da Author, Lunar C and Nick Brewer from the 2016 extended play Keep Up
"Mirrors & Smoke", a song by Jars of Clay from their 2006 album Good Monsters
Television
"Smoke & Mirrors" (Agent Carter), an episode of the second season of Agent Carter
"Smoke and Mirrors" (Spooks), an episode of the television series Spooks
"Smoke & Mirrors" (Stargate SG-1), an episode of the television series Stargate SG-1
"Smoke and Mirrors" (The IT Crowd), an episode of the television series The IT Crowd
"Smoke and Mirrors", the debut episode of the third season of Marvel's Runaways
Other arts, entertainment, and media
Smoke & Mirrors (2016 film), a Spanish thriller film
Smoke and Mirrors, a 2012 comic series by Mike Costa
Penn & Teller's Smoke and Mirrors, an unreleased video game
Smoke & Mirrors E-zine, an electronic magazine for magicians and mentalists
"Smoke and Mirrors", from the series of audiobooks Doctor Who: Destiny of the Doctor
Smoke and Mirrors: The War on Drugs and the Politics of Failure, 1996 book by Dan Baum
Technology
Smoke & Mirrors, one of three codenames for the Twentieth Anniversary Macintosh | https://en.wikipedia.org/wiki/Smoke%20and%20mirrors%20%28disambiguation%29 |
Ottawa rules may refer to:
Ottawa knee rules, a set of rules used to determine whether an x-ray of the knee is needed
Ottawa ankle rules | https://en.wikipedia.org/wiki/Ottawa%20rules |
Nancy Valen (December 14, 1965) is an American actress and television producer. She is best known for portraying Captain Samantha Thomas on Baywatch and Melissa in ‘’The Heavenly Kid’’ (1984).
Early life
Nancy Valen was born in Brooklyn, New York and raised in Hallandale, Florida. By the time she was 12 years old, she was spending summers modeling in New York City and studied acting at Uta Hagen's HB Studios. After graduating from Dillard High School of Performing Arts, a magnet program in Ft. Lauderdale, Florida, Valen won a theatrical scholarship to the University of Florida. She ultimately declined the scholarship in favor of continuing her professional career in Miami. Meanwhile, she attended Broward Community College, where she studied theatre and paid for her tuition by modeling and acting, appearing in two episodes of Miami Vice.
After one year of college, Valen went to New York City to pursue a theatrical career. Within one month of being in New York, she landed a series regular role on the daytime drama Ryan's Hope. Valen stayed with Ryan's Hope for two years before moving to Los Angeles to pursue other interests.
Career
Acting
Valen made her film debut in Porky's Revenge (1985), followed by a role in The Heavenly Kid with Richard Mulligan and Jane Kaczmarek. In 1989, Valen co-starred alongside Patrick Dempsey in the film, Loverboy. She also had a small role opposite Kirk Cameron in the film Listen to Me. Her other film appearances include Seven Sundays alongside Molly Ringwald; directed by Academy Award-winning director, Jean-Charles Tacchella.
In addition to films, Valen has also appeared in various television series. In 1990, she guest starred in an episode of Saved by the Bell as the brand new school nurse at Bayside High, Jennifer. Before Valen was cast as Nurse Jennifer, supermodel Kathy Ireland was going to play the part. Ireland was however ultimately fired during rehearsals after a disappointing table read and a similarly disappointing dress rehearsal. "She must have dazzled us in the office, because I hired her on the spot," recalled co-creator Peter Engel. Engel soon called Ireland's manager to inform him that she would not be playing the part.
That same year, she co-starred in NBC's short-lived musical series Hull High under the direction of Kenny Ortega. After the series premiere, TV Guide proclaimed her "the most agreeably watchable new star on TV". Valen has also guest starred on 23 series including Hardball, CSI: Crime Scene Investigation, Friends, Spin City, Boy Meets World, Full House, Charles in Charge, Miami Vice, Silk Stalkings, and Murder She Wrote.
Valen has also hosted several infomercials for the Bun and Thigh Roller, Slam Man, Thin 'n Sexy Body Wrap, Kevin Trudeau's Debt Cures "They" Don't Want You To Know About, Time Life The Heart of Classic Rock, and the Instyler. Valen has also starred in commercials for John Deere and Washington Mutual
Valen has appeared as a guest on Leno, The Oprah Winfrey Show, Good Day L.A. and on the covers and pages of magazines and newspapers including American Women, FHM, Cosmopolitan, Entertainment Weekly, and The Los Angeles Times Calendar.
Producing
Valen, alongside Craig J. Nevius, formed Windmill Entertainment. Among the television programs she has produced include Living in TV Land, Chasing Farrah, William Shatner in Concert, and Let's Kill Scott Baio.
As an Executive Producer/reality series creator, Valen has partnered with a wide variety of companies including Whoop Inc., Renegade83, 44 Blue, Target, and Intuitive Entertainment. Valen later partnered with Authentic Entertainment on the series WHEN STAMIE MET TRACY. The series follows two former The Real L Word stars as they raise their three children with their extended modern family. In addition, Valen works with Jarrett Creative Group in partnership with the Biography Channel for the networks' highest rated series, Celebrity Ghost Stories and the hit series, Celebrity Close Calls.
In the scripted world, Valen has partnered with VH1, ABC, FOX Television and Emmy award winning producer, Tony To. Valen is in development and is a Co-Executive Producer on ACTION HEROES INC. for ABC/Fox Studios. The action-comedy movie franchise stars William Shatner, Robert Wagner and Lee Majors as three former TV heroes turned real life detectives.
Filmography
Film
Television
References
External links
Actresses from Florida
Female models from New York (state)
American film actresses
American soap opera actresses
American television actresses
Television producers from New York City
American women television producers
Living people
Hallandale High School alumni
People from Hallandale Beach, Florida
Female models from Florida
20th-century American actresses
21st-century American actresses
People from Brooklyn
Actresses from New York City
Models from New York City
Broward College alumni
Television producers from Florida
1965 births | https://en.wikipedia.org/wiki/Nancy%20Valen |
Mary Gormley (born c. 1983) is a model from Claudy, Northern Ireland.
In 2004, Gormley competed in Miss Northern Ireland and placed third. Due to Gormley's dual citizenship (UK & Ireland), she was able to win the Irish national title of "Miss Universe Ireland." She competed as Miss Ireland in Miss Universe 2005, an international beauty competition won by Canada's Natalie Glebova.
Gormley works for the ACA Model Agency in Belfast and has a contract with 1st Option Model Agency in Dublin.
References
1980s births
Alumni of Ulster University
Irish beauty pageant winners
Female models from Belfast
Living people
Miss Universe 2005 contestants
Year of birth missing (living people)
Beauty pageant contestants from Ireland | https://en.wikipedia.org/wiki/Mary%20Gormley |
The Humpback Covered Bridge located in the U.S. state of Virginia, is one of the few remaining covered bridges in the United States that was built higher in the middle than on either end; hence the name of "humpback". The bridge was built in 1857 and is also the oldest remaining covered bridge in the state of Virginia. Its WGCB number is 46-03-01. The bridge spans a tributary of the Jackson River known as Dunlap Creek, for a distance of . The humpback feature is higher in the center than at either end. The bridge is located near the city of Covington, Virginia.
History
Covered bridges were first built in the 1810s when it was determined that adding a roof over wooden bridges would better protect the decking and support trusses and increase the lifespan of the bridge. The decking and support systems of the era would last an average of ten years on uncovered wooden bridges. As was later discovered, covered wooden bridges ultimately averaged ten times the lifespan of uncovered ones. Covered bridges were sometimes referred to as "kissing bridges" during the more modest era of the late 19th Century, as the privacy from passing through a covered bridge would allow passengers in horse and buggy an opportunity to kiss each other unobserved.
Three bridges stood at approximately the same location as Humpback Covered Bridge does today. The first bridge was built in the 1820s and was destroyed by a flood in 1837. A second bridge built the next year was also damaged beyond repair by a flood on July 13, 1842. The third bridge collapsed in 1856 due to heavy use and fatigue from weathering. None of these earlier bridges were either arched or covered. All three bridges were a part of the James River and Kanawha Turnpike, a heavily used mountain road that connected the Shenandoah Valley with the Alleghany Mountains and areas further west. The current bridge was built in 1857 and the design of both covering and also arching the bridge was hoped to increase the longevity of the bridge by protecting the midsection from future floods and the decking from the ravaging effects of moisture and sunlight. The decking, unlike houses and other structures, could not be painted to prevent deterioration, as the traffic from horses and wagons would quickly remove any available paints of the era.
The Humpback Covered Bridge was used from 1857 to 1929, when a steel truss bridge was built for U.S. Route 60 immediately to the north. The bridge was abandoned but was sometimes used by a local farmer into the early 1950s to store hay bales. In 1953, the Virginia Highway Department matched a $5,000 fund that had been raised by the Covington Business and Professional Women's Club and the Covington Chamber of Commerce. Five acres surrounding the bridge were purchased and a small wayside park which opened in 1954 was built, allowing easier access. On October 1, 1969, the bridge was listed in the National Register of Historic Places, and in 2012 it was designated a National Historic Landmark.
Construction
Most covered bridges were made of the strongest readily available wood. In the case of the Humpback Covered Bridge, this meant white oak and hickory. The bridge, as it stands today, has most of the original hand-hewn support timbers and decking that was laid down in 1857, however, most of the walls and roofing have been replaced several times since. Bridge decking was traditionally constructed of wide planks a foot (30.5 cm) or more in width and 4 to 6 inches (10 to 15 cm) in thickness. Most of the support beams are at least a foot thick. The supports in the bridge utilized hand made honey locust wood pins to fasten sections of the supports together. The supports incorporate a unique curved multiple kingpost-truss system that is not found in any other surviving wooden bridge in the U.S. The bridge is an original and unique design not duplicated anywhere else.
Location
Humpback covered bridge is located 3 miles (4.3 km) west of Covington, Virginia adjacent to U.S. Highway 60 off Rumsey Road (SR 600). Exit number 10 in Virginia off of Interstate 64 is less than from the bridge site. The wayside park includes a parking area, restrooms, a picnic area and access to Dunlap Creek.
See also
List of covered bridges in Virginia
List of National Historic Landmarks in Virginia
National Register of Historic Places listings in Alleghany County, Virginia
List of bridges documented by the Historic American Engineering Record in Virginia
List of bridges on the National Register of Historic Places in Virginia
References
External links
Humpback Covered Bridge (Virginia Department of Transportation)
Humpback Covered Bridge (Virginia Tourism Corporation)
Humpback Covered Bridge (Dale J. Travis)
Buildings and structures in Alleghany County, Virginia
Bridges completed in 1857
Covered bridges on the National Register of Historic Places in Virginia
Wooden bridges in Virginia
Transportation in Alleghany County, Virginia
Tourist attractions in Alleghany County, Virginia
National Register of Historic Places in Alleghany County, Virginia
Historic American Engineering Record in Virginia
National Historic Landmarks in Virginia
Road bridges on the National Register of Historic Places in Virginia
1857 establishments in Virginia
King post truss bridges in the United States | https://en.wikipedia.org/wiki/Humpback%20Covered%20Bridge |
A humpback bridge (or hump bridge) is a name for a type of bridge, specifically an arch bridge, where the span is higher than the ramps on either side, forming a hump-like arrangement. Examples include Chinese and Japanese moon bridges and the Humpback Covered Bridge in the United States.
Humpback | https://en.wikipedia.org/wiki/Humpback%20bridge |
The Rationalist Society of Australia (RSA) promotes the interests of rationalists nationally in Australia. Originally formed as the Victorian Rationalist Association, the society originated in a meeting of freethinkers in the University of Melbourne in 1906. It is the operational arm of the rationalist movement in Australia.
The society created a rationalist library in 1909, and grew its collection though donations. The society ran the 1910 and 1913 Australian tours of rationalist thinker, Joseph McCabe. A number of trade unionists and social campaigners sought to advance political causes, including Robert Samuel Ross and Alfred Foster. John Samuel Langley became the secretary in 1919, and William Glanville Cook became the secretary in 1938.
Its aims include:
to propound and advance rationalism, that is, adherence to the principle that all significant beliefs and actions should be based on reason and evidence, that the natural world is the only world there is and that answers to the key questions of human existence are to be found only in that natural world
to stimulate freedom of thought, and to promote inquiry into religious beliefs and practices
to encourage interest in science, criticism and philosophy, as connected factors in a progressive human culture, independent of theological creeds and dogmas
to promote the fullest possible use of science for human welfare
to promote a secular and ethical system of education
to print, publish or re-issue any journal, magazine, newspaper or other periodical publication and standard or notable books on science, criticism, ethics or philosophy, and to support the printing, publication or reissuing of the same by any other person
to aid the progress of rationalism by means of literature, popular scientific lectures, and other promotions.
The RSA publishes the Australian Rationalist journal. Issues are archived in the National Library of Australia, and previous issues of the journal can be found on their website. Victoria University maintains a Rationalist Collection from the society. Contributors have included Brian Fitzpatrick and Ian Robinson.
The Australian Bureau of Statistics in the national census categorises rationalists under "No Religion". In the , 29.6% of respondents (or 6,933,708 people) selected "no religion" or irreligious, a category that includes rationalists as well as Humanists, agnostics and atheists.
See also
Australian topics
Irreligion in Australia
Atheist Foundation of Australia
Australian Skeptics
Council of Australian Humanist Societies
Human rights in Australia
Religion in Australia - includes Australian Bureau of Statistics census information relating to religion and belief.
The Secular Party of Australia
The National Secular Lobby
Other topics
Major world religions - Humanism, rationalism, atheism and agnosticism rank third in world (combined)
Freethought Association of Canada
References
Year Book Australia, 2006. Religious Affiliation section from Australian Bureau of Statistics. Much of the text of Religion in Australia is taken from here (or previous versions).
External links
for Rationalist Society of Australia
Human Rights Brief No. 3 Assessment of international law pertaining to freedom of religion and belief from Australian Human Rights and Equal Opportunity Commission
Rationalism
Skeptic organisations in Australia
1906 establishments in Australia | https://en.wikipedia.org/wiki/Rationalist%20Society%20of%20Australia |
Raj Bhavan is the official residence of the governor of West Bengal, located in Kolkata, the capital of West Bengal. Built in 1803, it was known as Government House before Indian independence.
After the transfer of power from the East India Company to the British Crown in 1858, it became the official residence of the Viceroy of India, moving here from the Belvedere Estate. With the shifting of the Indian capital from then Calcutta to Delhi in 1911, it became the official residence of Lieutenant Governor of Bengal. Since independence in 1947 it serves as the official residence of the Governor of West Bengal and came to be known as the Raj Bhavan, a name it shares with the official residences of other states' governors.
History
In the early nineteenth century Calcutta (Kolkata) was at the height of its golden age. Known as the City of Palaces or St. Petersburg of the East, Calcutta was the richest, largest and the most elegant colonial cities of India. It was during this time that one of Calcutta's finest colonial structures, Government House (later Raj Bhavan), was constructed.
Before 1799, the Governor-General resided in a rented house, called Buckingham House, located in the same location. The land belonged to Mohammad Reza Khan, a Nawab of Chitpur. It was in 1799 that the then Governor-General of India, the 1st Marquess Wellesley, took the initiative of building a palace, because he believed that India should be ruled from a palace and not from a country house. Lord Wellesley wanted to make a statement to the imperial authority and power and so the building was done on a grand scale.
After four years' construction it was completed at a colossal cost of £63,291 (about £3.8 million in today's estimate). Wellesley was charged for misusing of East India Company’s fund and was finally recalled back to England in 1805. Although Wellesley lost his job, he does have the credit of giving Kolkata one of its finest colonial mansions.
In 1892, the Otis Elevator Company installed the first elevator in India at the Raj Bhavan.
Architecture
Designed by Capt. Charles Wyatt and on the lines of the Curzon’s family mansion of the Kedleston Hall of Derbyshire, the Raj Bhavan follows a Neoclassical style with distinct Baroque overtones. In a strange coincidence, a 100 years after its construction started, the most illustrious son of the Curzon family, George Nathaniel Curzon came to occupy the Raj Bhavan as the Viceroy of India. Lord Curzon described the Government House as “without doubt the finest Government House occupied by the representative of any Sovereign or Government in the world.”
Since the days of Lord Wellesley the Raj Bhavan had undergone several changes. In 1860s the Viceroy Lord Elgin added the metallic Dome. Lord Curzon brought electricity and lift (popularly known as the ‘Bird Cage Lift”) to Raj Bhavan. The tiny ornamentally designed “Bird Cage Lift” operates to this day.
The plan comprises a central core with four radiating wings. The state rooms located in the central core are accessed from the outside by a flight of grand steps on the north. On the south is another portico surmounted by a colonnaded verandah with a dome above. The four wings accommodate the various offices and residential quarters along with four sets of staircases. The plan of the wings allows for a great deal of natural ventilation in the spaces while also permitting views across the gardens. The entire compound is surrounded by a balustraded wall with a grand arched gateways.
The Raj Bhavan covers an area of and is surrounded by a compound of . The Raj Bhavan has six gateways, one each on the north and south and two each on the east and west. The four gates on the east and west have grand archways topped with lions, while the minor archways on the side are topped with sphinxes.
The best view of the Raj Bhavan is obtained from the North Gate, which also serves as the main gate. A long walk past a decorated Chinese cannon leads to a flight of stairs to the portico crowned with the triangular pediment supported by six ionic pillars.
The Chinese cannon, mounted on a dragon and flanked with minor cannons, was brought from Nanking in 1842. An inscription on a marble plaque reads “The peace dictated to the Emperor of China under the walls of Nanking by the military force of England and of India.”
The South gate also provides a grand view, with the tree lined drive leading on to the lofty ionic pillars supporting the huge metallic dome. Entry inside the complex is strictly prohibited but photography is allowed from outside the gates with permission of the officer in charge at the gate.
Features
The plan comprises a central core with four radiating wings. The state rooms located in the central core are accessed from the outside by a flight of grand steps on the north. On the south is another portico surmounted by a colonnaded verandah with a dome above. The four wings accommodate the various offices and residential quarters along with four sets of staircases. The plan of the wings allows for a great deal of natural ventilation in the spaces while also permitting views across the gardens. The entire compound is surrounded by a balustraded wall with a grand arched gateway at each of the four cardinal points.
The plan of the building is very typical, a little like a man standing on his feet and holding two boxes in his two hands. The front of the palace faces north-east.
Interior
The three-storeyed Raj Bhavan building has a huge central area consisting of large halls having curved corridors on all four sides radiating to detached wings, each constituting a house in itself. There are about 60 rooms in Raj Bhavan, besides public halls, verandahs, porticos, banquets & halls and the cavernous Throne room.
Residential suites
The residential portion is divided into four suites. The Prince of Wales Suite in the north-west wing of the first floor is where the President, Vice-President and the Prime Minister of India and heads of state of other nations reside when visiting the state of West Bengal. The Wellesley Suite is located on the second floor in the north-eastern wing, the Dufferin Suite is on the second floor of north-west wing, and the fourth suite is the Anderson Suite.
The ex-governor, Keshrinath Tripati has, however, changed the names of these suites to Indian names, e.g.: Prince of Wales suite to Rabindranath Tagore kaksh, Wellesley suite to Sagar kaksh, Dufferin Suite to Kanchenjunga kaksh and Anderson Suite to Vivekananda kaksh.
Drawing and dining rooms
Yellow Drawing Room: Located on the first floor of the Raj Bhavan, the beautiful drawing room has some wonderful paintings.
Blue Drawing Room: An elegantly furnished room used by the governor to meet guest.
Brown Dining Room: Adjacent to the Blue Dining room, it is used for small conferences and meetings.
Halls and banquet rooms
Throne Room: The Throne Room, as the name suggests, contains the throne of Wellesley. Next to it is the throne of Tipu Sultan. The room contains oil paintings of Mahatma Gandhi, Subhas Chandra Bose, Jawaharlal Nehru, Dr B C Roy. It also contains an Urn used to carry the Mahatma Gandhi's ashes.
Council Chamber: The Governor General used the Council Chamber to preside over the executive and later the Legislative Council. Now it is used by the governor to hold large meetings. A small dining room known as the Bharat Ratna Room and a billiard room is located just outside the Council Chamber.
The Marble Hall: Located on the ground floor of the Raj Bhavan, this is used for state and private meetings.
The Banquet Hall: The Banquet Hall with rows of Doric pillars on each side, flowering chandeliers and black Mahogany tables has entertained eminent guests like Queen Elizabeth.
Picture gallery
Old photos
Present photos
See also
Government Houses of the British Indian Empire
References
External links
The official website of Governor of West Bengal
Government House, Calcutta Undated 19th Century painting
Governors' houses in West Bengal
Houses completed in 1803
Palaces in Kolkata
Tourist attractions in Kolkata
Governors' houses in India
Government buildings in West Bengal
Neoclassical architecture in India | https://en.wikipedia.org/wiki/Raj%20Bhavan%2C%20Kolkata |
The is a commuter and suburban electric multiple unit (EMU) train type developed by East Japan Railway Company (JR East) from the earlier E231 series and the E531 series design. The first train was introduced in December 2006 for use on the Chūō Line (Rapid), followed by the E233-1000 series variant in 2007 for use on the Keihin–Tōhoku and Negishi lines, the E233-3000 series outer-suburban variant in December 2007 for use on the Tōkaidō Main Line, and narrow-bodied E233-2000 series variant for Jōban Line and Tokyo Metro Chiyoda Line through services. Further variants were built for use on the Keiyō Line, Yokohama Line, Saikyō Line, and Nambu Line.
Design
The E233 series features two identical sets of main equipment in case of failure. This is the first JR East stock to feature such backup measures. The E233 series provides for better accessibility for the disabled, and is designed to be more comfortable to ride overall than previous stock. The height between the platform and the train was reduced from the of the 201 and 209 series to only . Seats are wide, compared to the of the 201 series and of the 209 series. For standing passengers the handle straps have been lowered by compared to older train models.
This stock also features an air filtration system to remove unpleasant smells. It also features liquid crystal display information screens and automatic announcement system similar to those previously used on the E231 series rolling stock on the Yamanote Line.
The stock is the first JR East stock to use full-colour LEDs for the destination indicators on the sides of the carriages. This is due to the fact that the Chūō Line has numerous types of services, and colour-coding will help passengers board the correct train.
Variants
E233-0 series: 4-, 6-, and 10-car sets used on the Chūō Rapid, Ōme, Itsukaichi, Hachikō and Fujikyuko lines since 26 December 2006
E233-1000 series: 10-car sets used on the Keihin–Tōhoku and Negishi lines since 22 December 2007
E233-2000 series: 10-car sets used on Jōban Line/Tokyo Metro Chiyoda Line through services since 9 September 2009
E233-3000 series: 5- and 10-car sets used on Tōkaidō Main Line, Takasaki Line, and Utsunomiya Line outer-suburban services since March 2008, and on Ueno–Tokyo Line and Shōnan–Shinjuku Line through services since March 2015
E233-5000 series: 4-, 6-, and 10-car sets used on the Keiyō Line since 1 July 2010
E233-6000 series: 8-car sets used on the Yokohama Line since 16 February 2014
E233-7000 series: 10-car sets used on the Saikyō Line, Kawagoe Line and Rinkai Line since 30 June 2013, and on Sōtetsu Shin-Yokohama Line and Sōtetsu Main Line services since November 2019
E233-8000 series: 6-car sets used on the Nambu Line since 4 October 2014
E233-8500 series: One converted former E233-0 series 6-car set used on the Nambu Line from 2017
E233-0 series
The first E233-0 series train was introduced in December 2006 for use on the Chūō Line (Rapid), Ōme, and Itsukaichi lines, replacing the aging 201 series trains. The fleet of 688 E233-0 series vehicles (10-car x 42, 6-car x 28, 4-car x 25) was delivered by the end of March 2008; 42 ten-car sets (T1-T42), and 15 6+4-car sets (H43-H57) were constructed primarily for use on the Chūō Line (but also on through services to the Ōme, Itsukaichi, Hachikō, and Fujikyuko Lines), while ten four-car sets (Ao458-Ao467) and 13 six-car sets (Ao658-Ao670) were constructed for the Ōme Line and Itsukaichi Line. In March 2008 and April 2015, sets Ao458+Ao658 and Ao459+Ao659 were transferred to the Chūō Line and renumbered H58 and H59 respectively.
An additional five cars were built at JR East's Niitsu factory in 2009 to replace five cars from six-car set Ao661 which were withdrawn due to accident damage in 2008.
In 2017, six-car set Ao670 was modified to become the E233-8500 series set N36 for use on the Nambu Line alongside the fleet of E233-8000 series sets.
Green Car introduction
In April 2018, JR East announced plans to add two bilevel Green (first class) cars to 58 ten-car and six-car E233-0 series EMU sets operated on the Chūō Line and through-service trains to the Ōme Line, and to install toilets on these sets ahead of Green car introductions. To compensate for train shortages brought on by toilet installations, a new ten-car set (T71) was delivered from J-TREC's Yokohama facility on 11 June 2020.
The Green cars will be positioned as cars 4 and 5 in the newly formed 12- and 8-car sets. Green car services were initially due for introduction in fiscal 2020, but this was deferred to 2023. On 27 April 2022, JR East announced that Green car introductions would again be postponed until the end of fiscal 2024 or later as a result of the global chip shortage.
The first Green cars, SaRo E233-1 and SaRo E232-1, were delivered from J-TREC's Yokohama facility from 12 July 2022. These cars use double-leaf sliding doors with a width of to allow for reduced boarding times at stations; previous designs were built using single-leaf doors with a width of . Test runs of the new Green cars are being conducted as of July 2022, starting with set H57.
Interior
Formations
10-car Chūō Line sets
As of 11 June 2020, 43 ten-car sets (T1-T42 and T71) are based at Toyoda Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
MoHa E233-200 and MoHa E233-400 cars each have one PS33D single-arm pantograph, and MoHa E233 cars has two PS33D single-arm pantographs (one used as a backup).
Cars 1 and 10 have a wheelchair space (also car 4 in sets equipped with a toilet).
Car 4 has a universal design toilet (in sets equipped with a toilet).
Car 4 is designated as a mildly air-conditioned car.
6+4-car Chūō Line sets
As of 22 March 2020, 17 6+4-car sets (H43-H59) are based at Toyoda Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
Car 4 has one PS33D single-arm pantograph, and cars 2 and 8 each have two PS33D single-arm pantographs (one used as a backup).
Cars 1 and 10 have a wheelchair space (also car 4 in sets equipped with a toilet).
Car 4 has a universal design toilet (in sets equipped with a toilet).
Car 4 is designated as a mildly air-conditioned car.
6+4-car Ōme Line and Itsukaichi Line sets
As of 1 October 2018, ten six-car sets (Ao660-Ao669) and eight four-car (Ao460-Ao467) sets are based at Toyoda Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars. Depending on the specific schedule and line, trains are operated in 4-, 6-, or 6+4-car sets.
Car 4 has one PS33D single-arm pantograph, and cars 2 and 8 each have two PS33D single-arm pantographs (one used as a backup).
Cars 1 and 10 have a wheelchair space.
Car 4 is designated as a mildly air-conditioned car.
E233-1000 series
A fleet of 83 ten-car E233 series sets was introduced on the Keihin–Tōhoku and Negishi lines from autumn 2007, replacing the 209 series EMUs previously used from 1993 until 2010. The first set was delivered in August 2007. The main difference over the earlier E233-0 series is the absence of passenger door controls.
The first set entered service on 22 December 2007.
Two cars of set 177, KuHa E233-1077 and SaHa E233-1277, were involved in a derailment in February 2014 and were scrapped in December 2016. The remaining eight cars of set 177 were scrapped in April 2018.
Interior
Formation
As of April 2018, 82 ten-car sets were based at Saitama depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
E233-2000 series
This is a narrow-bodied variant for Jōban Line and Tokyo Metro Chiyoda Line through services, replacing the 203 series and 207-900 series EMUs previously used. The first ten-car set was delivered to Matsudo Depot from Tokyu Car Corporation in May 2009. It entered service on 9 September 2009.
These trains have also been used on through services on Odakyu lines since 2016. In 2017 the last set was delivered (set number 19 built by J-TREC). Like all trains running into the Tokyo Subway, these trains are fitted with emergency doors in the driver's cabin to allow for the evacuation of passengers in the Chiyoda Line's tunnels.
The floor height is lowered to for improved accessibility, compared to for the earlier 203 series and for the 207-900 series and 209-1000 series trains.
Interior
Formation
, the fleet consists of 19 ten-car sets, numbered 1 to 19, based at Matsudo Depot, and formed as shown below, with car 1 at the southern end.
Cars 3 and 9 are equipped with one single-arm pantograph. Car 6 is equipped with two.
Build details
The delivery dates for the fleet are as shown below.
E233-3000 series
The E233-3000 sub-series are outer-suburban sets formed as ten-car sets containing two bilevel Green (first-class) cars and five-car sets. Sets are allocated to Kōzu and Oyama depots for use on Tōkaidō Main Line services between Tokyo and Numazu, as well as Shōnan–Shinjuku Line and Ueno–Tokyo Line through services to and from the Takasaki Line and Utsunomiya Line. The first sets entered service on 10 March 2008, and were introduced to the Shōnan–Shinjuku Line from the start of the new timetable on 14 March 2015.
Exterior
Formations
Early 10-car sets
, 2 ten-car sets (E-01 and E-02) are based at Kōzu depot in Kanagawa Prefecture and formed as shown below with six motored ("M") cars and four non-powered trailer ("T") cars.
Cars 3 and 9 each have one single-arm pantograph, and car 7 has two (one used as a backup).
Cars 1 and 10 have a wheelchair space.
Cars 1, 5, and 10 each have a toilet (universal design in cars 1 and 10).
Car 8 is designated as a mildly air-conditioned car.
Cars 4 and 5 are bilevel Green Cars.
Standard 10-car sets
, 15 ten-car sets (E-03 to E-17) are based at Kōzu depot in Kanagawa Prefecture and 16 ten-car sets (U618 to U633) are based at Oyama depot in Tochigi Prefecture. They are formed as shown below with six motored ("M") cars and four non-powered trailer ("T") cars.
Cars 7 and 9 each have one single-arm pantograph, and car 3 has two (one used as a backup).
Cars 1 and 10 have a wheelchair space.
Cars 1, 5, 6, and 10 each have a toilet (universal design in cars 1 and 10).
Car 8 is designated as a mildly air-conditioned car.
Cars 4 and 5 are bilevel Green Cars.
5-car sets
, 21 five-car sets (E-51 to E-67, E-71 to E-74) are based at Kōzu depot in Kanagawa Prefecture and 18 five-car sets (U218 to U235) are based at Oyama depot in Tochigi Prefecture. They are formed as shown below with two motored ("M") cars and three non-powered trailer ("T") cars.
Car 13 has two single-arm pantographs (one used as a backup).
Cars 11 and 15 have a wheelchair space.
Car 11 has a universal design toilet.
Interior
Standard-class cars have longitudinal seating with dark blue moquette seat covers. Cars 1, 2, 9, 10, 14, and 15 include transverse four-person seating bays. The two Green (first class) bilevel cars (cars 4 and 5) have rotating, reclining seats arranged 2+2 abreast. Seats on the lower deck and end saloons have crimson moquette seat covers, and seats on the upper deck have dark blue moquette.
The first 10+5-car E233-3000 series outer suburban set (E01 + E51) for use on the Tōkaidō Main Line was delivered from the Tokyu Car factory in Yokohama to Kōzu Depot in November 2007. This includes two bilevel Green cars. It entered revenue service on 10 March 2008, and was initially limited to use on the Tōkaidō Main Line between Tokyo and Atami. The second set (10+5-car set E02 + E52) was delivered in February 2010.
Subsequent sets (originally numbered NT1 + NT51 onward) were delivered to Tamachi Depot from September 2011, entering service from 12 November 2011. These sets incorporate a number of minor changes, including moving the second reserve pantograph from car 7 to car 3, and the addition of a toilet in car 6.
Takasaki-based ten- and five-car sets were introduced on Takasaki Line services between Ueno and Maebashi, replacing 211 series sets, and on Ryōmō Line services from 1 September 2012.
E233-5000 series
These are 10-car and 4+6-car sets for use on the Keiyō Line. The fleet consists of 20 ten-car sets and four 4+6-car sets, with the first sets entering revenue service on 1 July 2010, replacing the 201 series, 205 series, and E331 series EMUs previously used.
The first E233-5000 series set, set 501, was delivered from JR East's Niitsu factory on 10 March 2010. In addition to services on the Keiyō Line between Tokyo and , these sets are also used on Sotobō Line through services between Soga and , Uchibō Line through services between Soga and , and on Tōgane Line through services between and .
Formations
10-car sets
, 20 ten-car sets are based at Keiyō Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
Cars 3 and 9 each have one PS33D single-arm pantograph, and car 5 has two PS33D single-arm pantographs (one used as a backup).
Cars 1 and 10 have a wheelchair space.
Car 4 is designated as a mildly air-conditioned car.
6+4-car sets
, four 6+4-car sets are based at Keiyō Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
Car 3 has one PS33D single-arm pantograph, and cars 5 and 9 each have two PS33D single-arm pantographs (one used as a backup).
Cars 1 and 10 have a wheelchair space.
Car 4 is designated as a mildly air-conditioned car.
Interior
E233-6000 series
These are eight-car sets operated in the Yokohama Line since 16 February 2014. As with the earlier Saikyo Line E233-7000 series variant, the trains use LED interior lighting.
A total of 28 sets were delivered. The first E233-6000 series set, H016, was delivered from the J-TREC Yokohama factory in January 2014. The first set built at the J-TREC Niitsu factory, set H001, was delivered on 22 January 2014.
Interior
Passenger accommodation consists of longitudinal bench seating with individual seat widths of . Each car has priority seating at one end, and cars 1 and 8 have a wheelchair space.
Formation
As of September 2014, 28 8-car sets are based at Kamakura depot are formed with four motored ("M") cars and four non-powered trailer ("T") cars.
Car 4 has two single-arm PS33D pantographs (one reserve), and car 7 has one.
Build details
The build details for the fleet are as shown below.
E233-7000 series
These are ten-car sets operated on Kawagoe Line/Saikyō Line/Rinkai Line services between and since 30 June 2013. A total of 31 ten-car sets were delivered, displacing the fleet of 205 series EMUs previously used. These trains are the first E233 series variant to use LED interior lighting.
An additional seven more sets were delivered in 2019, in preparation for through running services between the Saikyō Line and the Sōtetsu Main Line via the newly built Sōtetsu Shin-Yokohama Line, bringing the total number of trains up to 38 ten-car sets. They began use on Sōtetsu Line services on 30 November 2019.
Interior
Passenger accommodation consists of longitudinal bench seating with individual seat widths of .
Formation
As of 1 January 2020, all 38 ten-car sets are based at Kawagoe Depot and formed with six motored ("M") cars and four non-powered trailer ("T") cars.
Cars 3 and 9 each have one PS33D single-arm pantograph, and car 5 has two PS33D single-arm pantographs (one is only used as a backup, the other gets normal use).
Cars 1 and 10 have a wheelchair space.
Car 9 is designated as a mildly air-conditioned car.
History
The first E233-7000 series set (number 101) was delivered to Kawagoe Depot from JR East's Niitsu factory on 9 April 2013. The first set built by J-TREC (set number 122) was delivered from the manufacturer's Yokohama factory in July 2013.
E233-8000 series
These are six-car sets introduced on Nambu Line services between and from 4 October 2014. A total of 35 E233-8000 series sets (210 vehicles) are on order, displacing the previous fleet of 205 series and older 209 series EMUs.
Interior
Passenger accommodation consists of longitudinal bench seating throughout, with wheelchair spaces in cars 1 and 6. As with the earlier Yokohama Line E233-6000 series and Saikyo Line E233-7000 series variants, the trains use LED interior lighting.
Formation
As of 2015, 35 six-car sets are based at Nakahara depot and formed with four motored ("M") cars and two non-powered trailer ("Tc") cars.
Notes
Car 4 has one PS33D single-arm pantograph, and car 2 has two single-arm pantographs (one used as a backup).
Cars 1 and 6 have a wheelchair space.
Car 4 is designated as a mildly air-conditioned car.
History
The first set, N1 was delivered from the J-TREC factory in Niitsu in August 2014. It entered revenue service from 4 October 2014.
Build details
The delivery dates for the fleet are as shown below.
E233-8500 series
In 2017, six-car Itsukaichi Line/Ōme Line set Ao670 was modified and renumbered at Omiya Works to become the sole E233-8500 series set N36 for use on the Nambu Line alongside the fleet of E233-8000 series sets and replacing the last remaining 209 series EMU still in use there. In addition to receiving the Nambu Line livery carried by the E233-8000 series fleet, modifications included adding a WiMAX antenna and replacing the original LCD passenger display screens with screens. Set N36 entered service on the Nambu Line on 15 March 2017.
Formation
As of March 2017, 1 six-car set is based at Nakahara depot and formed with four motored ("M") cars and two non-powered trailer ("Tc") cars.
Car 4 has one PS33D single-arm pantograph, and car 2 has two single-arm pantographs (one used as a backup).
Car 1 has a wheelchair space.
Car 4 is designated as a mildly air-conditioned car.
Accidents
Keihin–Tōhoku Line E233-1000 series set 177 was derailed in a collision with a track maintenance vehicle in the early hours of 23 February 2014 near Kawasaki Station while on an empty stock train operating from Sakuragicho to Kamata. The first two cars of the ten-car train derailed, with the first car ending up on its side. The train was carrying no passengers, and the driver and conductor escaped with minor injuries. The two derailed cars from the set involved, KuHa E233-1077 and SaHa E233-1277, were formally withdrawn in December 2016.
E233 series derivatives
Export
PNR EM10000 class, a Philippine standard gauge commuter where the body of this class is derived from.
Local
E129 series, an E233 series derivative for use on local services in the Niigata area
Odakyu 4000 series, an E233-2000 series derivative
Sotetsu 11000 series, an E233 series derivative
Toei 10-300 series, an E233 series derivative (Batches 3 onwards)
Notes
References
Further reading
External links
Chūō Line press release
Keihin–Tōhoku Line press release
Jōban Line press release
Electric multiple units of Japan
East Japan Railway Company
Train-related introductions in 2006
J-TREC multiple units
Kawasaki multiple units
1500 V DC multiple units of Japan
Tokyu Car multiple units | https://en.wikipedia.org/wiki/E233%20series |
Yearby is a village in the borough of Redcar and Cleveland and the ceremonial county of North Yorkshire, England. It is located half a mile south of Kirkleatham on the B1269 road to Guisborough, close to Marske-by-the-Sea.
History
Historically the village has been a part of the Kirkleatham civil parish. The name has changed through the centuries from Overby or Ureby in the 15th century to Earby and Verby in the 17th century. For much of its history, the lands comprising Yearby have followed the path of Kirkleatham, except between 1119 and 1635. After this date, it formed part of the Kirkleatham Estate owned by the Turner family until it was broken up in 1949. Until 1840, the village had a school. This is now a private dwelling, though a Grade II listed building.
Governance
The village is within the Redcar Parliamentary constituency and the Dormanstown ward of Redcar and Cleveland Borough Council.
References
External links
Redcar and Cleveland
Places in the Tees Valley
Villages in North Yorkshire | https://en.wikipedia.org/wiki/Yearby |
Pete Smith may refer to:
Pete Smith (announcer) (born 1939), Australian radio and television announcer
Pete Smith (basketball) (born 1947), former basketball player
Pete Smith (baseball, born 1940), Major League Baseball pitcher, 1962–1963
Pete Smith (baseball, born 1966) , Major League Baseball pitcher, 1987–1998
Pete Smith (film producer) (1892–1979), film producer and narrator
Pete Smith (actor) (1958–2022), New Zealand actor
Pete Smith (cyclist) (1944–2021), British Olympic cyclist
Pete Smith (speedway rider, born 1942), British speedway rider
Pete Smith (speedway rider, born 1957), British speedway rider
See also
Peter Smith (disambiguation) | https://en.wikipedia.org/wiki/Pete%20Smith |
Dallam School is a mixed, 11-18 secondary school with academy status, located in Milnthorpe, Cumbria, England. It was founded in 1984 through the merger of Heversham Grammar School (established in 1613) and Milnthorpe Secondary School.
History
Heversham Grammar School was founded and endowed on 24 January 1619/20, by Edward Wilson, Kt (1557-1653), of Nether Levens, who also owned Heversham Hall. It occupied the site known in recent years as Old School, above and behind the village church, on Heversham Head. The building is now a private house. The present ivy-clad Boarding House and Big School (formerly the school hall) date from the 1880s.
Milnthorpe Secondary School was founded in 1951 and, after occupying many different buildings around the village, moved to Dallam's current location in 1968, complete with Community Centre.
Dallam School was founded in 1984 through the merger of Heversham Grammar School and Milnthorpe Secondary School.
Dallam is a boarding school, the boarding house being on a separate site from that of the main school.
In 2002, Mr Steven Holdup became Headteacher of the school.
In 2010, the school brought the PE department down from the Heversham site with an all-weather astroturf pitch, and new sports facilities.
In 2013, Mr William Bancroft became Headteacher of the school.
In 2018, Mr Nigel Whittle became Headteacher of the school.
In 2019, Ms Julie O'Connor became Executive Headteacher of the school.
In 2021, Ms Rachael Williams became Headteacher of the school.
In 2023, Mr Steven Henneberry became Headteacher of the school.
Sixth form
Dallam School has a sixth form, which offers A-levels and BTECs
The subjects offered are:
Art and Design
Biology
Business Studies
Chemistry
Computing
Criminology
Drama and Theatre Studies
English Language
English Literature
French
Further Mathematics (AS Level)
Geography
Health and Social Care
History
Mathematics
Media Studies
Music
PE
Physics
Product Design
Psychology
Sociology
Spanish
Travel and Tourism
Notable alumni
Heversham Grammar School
John Young Stratton (1829/30 – 1905): author, essayist, social reformer
William Whewell (1794–1866): scientist, theologian
Dallam School
James Knox (cyclist) (b. 1995): road racing cyclist with the Belgian Soudal–Quick-Step team
See also
List of the oldest schools in the United Kingdom
References
External links
Secondary schools in Westmorland and Furness
1984 establishments in England
Educational institutions established in 1984
Academies in Westmorland and Furness
International Baccalaureate schools in England
Milnthorpe | https://en.wikipedia.org/wiki/Dallam%20School |
Kirkleatham is an area of Redcar in the Borough of Redcar and Cleveland in North Yorkshire, England. It is approximately north-northwest of Guisborough, and south of Redcar centre. It was listed in the Domesday Book.
The area has a collection of buildings that formed the Turner Estate, named after the Turner family who lived in the area from 1661. It has one of the best collections of Georgian-style buildings in England.
History
The name of the village comes from the old Norse kirk (church) and hlíð (slopes). Literally, "churchslopes." It is thought there has been a church on the site since the 9th century CE, as a location where the body of Saint Cuthbert rested while carried monks before it was taken to Durham. The parish church is named Saint Cuthberts from that connection. The parish records begin in 1559.
The village is mentioned in the Domesday book "It had a recorded population of 9.1 households in 1086, putting it in the smallest 40% of settlements recorded in Domesday, and is listed under 4 owners in Domesday Book." It had (apparently) been laid to waste during The Harrying of the north. The northern magnates the Percy family held the most of the land in Kirkleatham from 1086 to 1608.
In 1232 the advowson of Kirkleatham parish was at the centre of a dispute that saw local knight Sir Robert de Thweng style himself "Will Wither" and take arms against Italian eccelsiatics which saw him raid their properties and redistribute their wealth to the poor.
Kirkleatham was acquired by the Turner family around 1624 and is the birthplace of Sir William Turner who was Lord Mayor of London in 1669. He gave most of his fortune to found the Sir William Turner's Hospital in June 1676. In present day, it is an independent almshouse. Turner bequeathed a substantial amount of money to his great nephew, Cholmley Turner, a member of parliament for Yorkshire, 1727–1741, to establish a Free School, built in 1709, that now serves as the local museum. His estate established for the care of 40 people: ten old men, ten old women, ten boys, and ten girls. The office of governor or governess falls upon the owner of the estate. Management of the estate was the responsibility of a chaplain, a master, and a mistress.
Cholmley Turner added other Grade I listed buildings, the most notable being the Turner Mausoleum, in memory of his son, and adjoining the Church of St Cuthbert. It is a Grade I listed building on Kirkleatham Lane. The mausoleum was built in 1739–40 by James Gibbs, and restored with added internal cladding in 1839. Entered from the church, it is of Baroque style and of an octagonal plan with south and south-west sides that adjoin the church. It is a single storey with a basement burial chamber. The exterior is heavily rusticated, with an unusually large area vermiculated. It contains the inscription, "This mausoleum was erected 1740 to the memory of Marwood William Turner Esquire the best of sons." Cholmley Turner also retained the architect James Gibbs for building of the chapel at the almshouses.
Cholmley Turner's nephew Sir Charles Turner, 1st Baronet, of Kirkleatham, MP for York from 1768 to 1783, continued building upon the estate. His achievement included remodelling Kirkleatham Hall, as well as providing for the further development of the hospital, school, and a library. He also built the adjoining village of Yearby.
In 1894 Kirkleatham became an urban district, but was annexed by Redcar in 1899, after just five years as an independent authority.
In 1918, Kirkleatham was the location of a mooring-out station (a secondary base) for airships protecting the east coast based out of RNAS Howden. The site was only used during the latter half of 1918 and was closed permanently after the Armistice.
Kirkleatham Old Hall
The Free School, built by Cholmley Turner, is now known as Kirkleatham Old Hall and is a Grade II* listed building.
Kirkleatham Old Hall Museum functions as the local history museum for Redcar and Cleveland. Opened in 1981, it became the Museum Service's headquarters. Five years later, a new building was opened, providing exhibition space and offices.
The finds from the Street House Anglo-Saxon cemetery – the only known Anglo-Saxon royal burial site in north-east England – are displayed in an exhibition at the museum. The artefacts were discovered in nearby Loftus during excavations which took place between 2005 and 2007. Finds include pieces associated with a rare bed burial in which a decorated female body is laid out on a decorated wooden bed, accompanied by fine gold jewellery. The finds include a gold pendant, which would have belonged to a princess. as well as glass beads, pottery, iron knives, belt buckles and other objects.
The Kirkleatham Owl and Endangered Species Centre opened to the public in 1990 and is located on the grounds of Kirkleatham Old Hall. The centre is home to one of Britain's largest collections of owls, and is also home to hawks and vultures, a caracara; a talking raven, and a kookaburra.
The Sir James Knott Lifeboat Museum is also located on the grounds of Kirkleatham Old Hall.
Images
References
External links
Villages in North Yorkshire
Places in the Tees Valley
Unparished areas in North Yorkshire
Redcar and Cleveland | https://en.wikipedia.org/wiki/Kirkleatham |
Warrenby is a depopulated area of Redcar in the borough of Redcar and Cleveland, ceremonial county of North Yorkshire, England. It is a light industrial area, no longer residential.
On the edge of Coatham Marsh, the area was originally called Warrenstown when it was founded in 1873 to provide housing for workers at the nearby ironworks of Downey & Co and Walker Maynard.
In the Warrenby Disaster of 1895, eleven men, many from the village of Warrenby were killed in a massive boiler explosion at the works.
Although it was on the route of the Middlesbrough & Redcar Railway, the area did not have a station until 1916 when was opened mainly to serve the nearby Dorman Long works. The halt closed in 1978 when the railway was realigned to make way for the new Redcar steel plant.
References
External links
Redcar and Cleveland
Places in the Tees Valley
Villages in North Yorkshire
Former populated places in North Yorkshire | https://en.wikipedia.org/wiki/Warrenby |
Ermysted's Grammar School is an 11-18 boys' voluntary aided grammar school in Skipton, North Yorkshire, England. It was founded by Peter Toller in the 15th century and is the seventh oldest state school in Britain. The first official record of the school was seen in Peter Toller's will in 1492; the school records its establishment as the same year, though its history could possibly be dated to 1468. The school operates a house system. The four houses — Toller, Ermysted, Petyt, and Hartley — are named after key figures in the school's history; when the school operated a boarding house, its boarders were members of School House.
There are 840 currently enrolled students. The Sixth Form is formed from boys graduating Key Stage 4, as well as 20 additional boys. The current headmaster is Michael Evans; his predecessor, Graham Hamilton, retired at the end of the 2015-2016 school year.
In 2008, it was reported that the school achieved the best Yorkshire state-school A-level exam results, and in 2007 the school came 76th in the top 100 UK schools in terms of Oxbridge admissions.
History timeline
Founding, eighteenth-century bequests, siting, and land usage
In 1492, Peter Toller's will confirmed he had already founded a school in his chantry of St Nicholas in the parish church; the school takes this as its founding date. In 1548, Edward VI's government took over all chantry lands. William Ermysted re-founded the school with new lands and moved it to the bottom of Shortbank Road. In 1707 and 1719, the wills of Old Boys William and Sylvester Petyt made bequests to the school, and enabled the foundation of the Petyt Library and Petyt Trust. The Leeds and Liverpool Canal reached Skipton in 1773, partly built on EGS land.
Nineteenth-century building
In 1875, the Gargrave Road building was begun to accommodate 50 day boys and 50 boarders; and, from 1876 to 1907, Mr E. T. Hartley served as headmaster of the new school. In 1882, the Pool and the Old Gym (now I.C.T., music and R.S. rooms) begun, and in 1895 the Science block was built (now A.P.L. and staff quiet room).
Twentieth century
The school has two memorials to the two World Wars. The First World War memorial library was set up by the Old Boys' Society (now the Governors' Board Room) in 1924, and in 1959 the Memorial Hall was opened to those lost in the Second World War. The school opened the 'new buildings' in 1933 (now classrooms) and closed its doors to boarding pupils in 1989. The school celebrated the Quincentenary of the school's founding in 1992, which included a visit by H.R.H. The Princess Royal, a pageant, and a new commemorative sports hall.
Current buildings
The school is now situated between Gargrave Road and Grassington Road, although the sixteenth-century school house can still be seen on Shortbank Road. The majority of buildings date from the 19th and early 20th centuries, although many newer buildings now exist. The latter include the sports hall, opened in 1992 to commemorate the school's 500th anniversary; the £7 million Refectory development north of the main site; the English Block, which houses the school's CDT and English departments, in addition to one of four ICT facilities; and a sixth-form centre, built in 2016.
Ofsted inspections
In the 2000 Ofsted inspection, the school's results were "very high" against the national average, especially upon entry, where Year 7s (age 11/12) work to a level "expected of pupils aged 14". An "outstanding" Sixth Form with a wide range of subjects was noted. The school was considered "very successful" at allowing pupils to reach high academic standards, and the quality of teaching is "good".
In the 2005 Ofsted inspection, the Sixth Form was described as "outstanding" and achieved Grade 1 Outstanding in every category of assessment.
In the 22 October 2008 Ofsted inspection, the school received an "outstanding" verdict overall. Seven out of eight areas were given an outstanding verdict.
In the September 2022 Ofsted inspection, the school was rated "good" overall. Four of the five areas were given an outstanding verdict, with quality of education the only area achieving "good". According to the report, teachers should ensure Key Stage 3 students are secure in their knowledge before moving on to new content. Sixth Form provision is rated "outstanding" with lessons having a professional atmosphere, allowing for high-quality debate and discussion. The partnership with Skipton Girls' High School to expand the number of A-Level options is described as "valuable", while GCSE outcomes across all subject areas are "very positive" for pupils.
Events
The school has two principal annual events. Founders' Day takes place in December, when a service is held in Skipton Parish Church to commemorate the school's founders and benefactors. Many Old Boys attend both the service and the Annual Dinner, which follows the Old Boys' Society annual general meeting (AGM). Speech Day, in July, is the annual prize-giving and summation of the school year. In addition to these two events, the Parents' Association organises many social and fund-raising events, such as a biennial ball, wine tasting, and big-band nights.
Sport
The school competes in rugby union, cross country running, orienteering, cricket, and football tournaments. Occurring annually in the summer term is Sports Day, during which students compete at athletics.
Music
The school's Big Band has toured Germany four times, most recently in 2016 under the tutelage of music teacher Geoffrey Cloke. Another Simbach trip is planned for July 2023. The first tour took place in 2004 followed by a subsequent visit to Skipton’s twin town, Simbach am Inn, in 2007 and a tour of the Rhine Valley in 2010 with the previous Head of Music, Simon Gregory. To date, they have produced three CDs with Simon Gregory. Ermysted's also has a developing starting group (named the Training Band), which provides ensemble experience to young pupils and solo experience to the virtuosic older pupils. The school's main Swing Band is for pupils of Grade 5 standard or above, and is conducted by a sixth former. Termly concerts involve all the main music groups, with the one traditionally played in summer outside in the Quad. A virtual concert was recorded in Spring 2022 as a result of the Covid-19 pandemic.
There are now three practice rooms, in addition to the main music room and the hall, available for pupils and their amateur bands to rehearse in.
House music is held every November, where pupils compete to earn House Points which contribute to the House Cup. Prior to 2020, this consisted of four musicians from each house each performing a single piece. This was revised in 2021 with the format now requiring all Year 7 and 8 pupils to perform a song in their form groups, in order to promote musical involvement in the lower school.
Drama
Although Drama is not taught as a subject in its own right, it forms an integral part of the English curriculum, and a weekly Drama Club meets.
Drama productions occur once every two years, in conjunction with Skipton Girls' High School, typically directed jointly by sixth formers from both schools. In addition to various pantomimes and subject-related (namely Latin and Modern Foreign Languages) drama activities, house plays by Years 7–9 occur annually in the Autumn term, with an independent adjudicator voting for the best play.
A group of pupils also take part in the annual English Schools' Shakespeare Festival. In 2007, an edited version of Julius Caesar was performed at Bradford's Priestley Theatre. Just before the Autumn half-term in 2008, an abridged version of Hamlet was performed at the West Yorkshire Playhouse.
In recent years, film has emerged as an increasingly popular form of drama at the school, leading to the first Ermytainers Film Festival being held on 12 July 2013, and showcasing a range of student films.
Debating
The school has a long history of competitive debating; and after a hiatus of some years, a debating club was set up in late 2006. The school puts forward teams in many events with some success: in 2007, Ermysted's pupils were placed third, out of 24 schools, in the Great Shakespeare Debate, in Stratford-upon-Avon; and they reached the regional final of the ESU Schools Debating Mace. In 2009–2010, Ermysted's Sixth-formers went a step further, participating in the European Youth Parliament Debating Forum National Final, having won the Yorkshire and Humberside Regional Final, and winning the Great Shakespeare Debate outright.
School publication
The Chronicles of Ermysted's is the official annual school magazine, containing details of school events, student visits, results, and school activities, although in recent years its publication has been somewhat hit-and-miss.
The school also publishes a termly newspaper edited by students called The Reason. Named after the school's motto it is fully funded through adverts from local businesses and sales. Furthermore, the paper is written and edited by students.
Notable former pupils
Simon Beaufoy, Writer of Oscar-winning film The Full Monty and the Oscar-winning Slumdog Millionaire (for which he received both a BAFTA and an Oscar for Best Adapted Screenplay)
Herbie Farnworth Rugby League player
William Harbutt Dawson, author (1860–1948)
Prof. William Siegfried Dawson, psychiatrist (1891–1975)
Prof. John Desmond Hargreaves, historian
Rev. Eric William Heaton, Pro Vice Chancellor Oxford University (1920–1996)
Andrew Hodgson, former Bradford Bulls rugby league player
Richard Holden of the Conservative and Unionist Party, MP for North West Durham Elected 2019
Rick Holden, former Manchester City player and former Barnsley FC Assistant Manager
Geoffrey Horne author of the Sergeant Cluff series between 1960 and 1978
Jonathan Linsley, actor (Last of the Summer Wine, Pirates of the Caribbean)
Iain Macleod, Conservative MP for Enfield West from 1950–70 and former Chancellor of the Exchequer in 1970
Chris Mason (born 1980), BBC journalist
Blake Morrison, poet and author
Paul Zenon, comedian and magician
References
External links
Ermytainers Production Company
1492 establishments in England
Boys' schools in North Yorkshire
Educational institutions established in the 15th century
Grammar schools in North Yorkshire
Skipton
Voluntary aided schools in Yorkshire | https://en.wikipedia.org/wiki/Ermysted%27s%20Grammar%20School |
Coatham is an area of Redcar in the borough of Redcar and Cleveland and the ceremonial county of North Yorkshire, England.
History
There is reputed to be an entry in the Doomsday book – the first recorded reference to Coatham as "there is a Hamlet of Cotes (one-roomed cottages or shacks) on the beach where the people collect coal from boats from Hartlepool, to carry by pack animal to the Abbey at Guisborough for the heating for the monks there". Probably the people of the Hamlet of Cotes were taxed accordingly, and the place became known as "cote-ham" or similar?
Coatham can be traced back to the 12th century, when "Roger son of William de Tocketts gave a salt-pan in 'Cotum' to Guisborough Priory."
There was a significant port there, owned by the de Brus family in the 13th century. The weekly market of Kirkleatham parish was held in Coatham (possibly because of the presence of the port) and there was a three-day fair. These were chartered in 1257 by King Henry III
Though Coatham is now only a district in the town of Redcar, the need for definition was strong enough to warrant the western boundary being marked by a fence which ran the length of West Dyke Road and West Terrace.
Coatham comprises the remaining coastal land north of the railway line from West Dyke Road to Warrenby in the west.
The present-day Redcar & Cleveland College was a grammar school before 1975 named Sir William Turners.
Coatham Pier
Between 1875 and 1898, Coatham had a leisure pier. It was intended to extend into the sea, but damage in the building stage from shipping and storms curtailed the distance to . In October 1898, the pier was struck by the Finnish freighter Birger. The ship had developed trouble during a storm in the North Sea and despite passing Grimsby, Scarborough and Whitby, she carried on for South Shields. During a ferocious storm she crashed onto the rocks at Coatham and wrecked a section of the pier in the middle. Only two members of her crew of 15 were rescued; the pier collapsed a year later.
Landmarks
The majority of modern Coatham is Victorian housing, most notably at its northern tip by the Coatham Hotel built in 1860.
A small boating lake, leisure centre, arcade complex and caravan park now occupies the remainder of Coatham's coast.
To the east, the Tees Valley Wildlife Trust's Coatham Marsh Nature Reserve hosts of ancient Marsh and grassland.
Future development
Since the mid-1990s political debate has been generated amongst Coatham's five thousand residents as to the future of the last undeveloped section of Coatham's coastal land known as Coatham Common/Coatham Enclosure - for the last 25 years used as a golf course and local recreation area.
Residents are objecting at losing open space to the council's proposed housing and leisure development planned to revive the tourist industry.
The Supreme Court of the United Kingdom announced on 3 March 2010 that Redcar Council must register the land as a Village Green.
Notable residents
Coatham is the town where Jane Gardam, twice winner of the Whitbread Prize, was brought up and where some of her novels are set.
References
External links
Coatham Marsh Wildlife Images
A Redcar History site
National Statistics - Coatham Ward 2001
Tees Valley Wildlife Trust
Redcar & Cleveland Borough Council - Coatham Neighbourhood Service
Redcar
Places in the Tees Valley
Villages in North Yorkshire
Populated coastal places in Redcar and Cleveland | https://en.wikipedia.org/wiki/Coatham |
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