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Jubilee Sailing Trust is a charitable organisation in the United Kingdom which owns and until 2019 operated two square-rigged three-masted barques, the STS Lord Nelson and the SV Tenacious.
Aims
The Jubilee Sailing Trust, based in Southampton, is a sail training charity registered with the Charity Commission. Founded in 1978 with money from the Silver Jubilee of Elizabeth II fund by Christopher Rudd, a keen sailor, its aims are: "To integrate both able-bodied and disabled persons through Tall Ship sailing"..
Ships
In early pilot schemes including voyages in the square-rigged vessels the Marques, TS Royalist and (between 1982 and 1985) Søren Larsen, it was established that square-riggers were suitable for fulfilling the Trust's aims. Subsequently the Trust commissioned the building of STS Lord Nelson (designed by Colin Mudie), which sailed on her maiden voyage from Southampton to Cherbourg on 17 October 1986, and SV Tenacious (to a design by Tony Castro), which made her maiden voyage on 1 September 2000, also from Southampton.
Lord Nelson and Tenacious were pioneers in the world of tall ships. They are the only two vessels which have been designed and purpose-built to allow people of all physical abilities to sail side-by-side on equal terms. There are 8 wheelchair cabins with two bunks each, with the remaining accommodation being 'dorm-style'. All beds are fixed single bunks. Both vessels are equipped with additional measures to allow for disabled people to sail, including: a speaking compass, visual and tactile alarms around the ship to supplement emergency announcements, disabled toilets, signage and diagrams in Braille, power-assisted steering for the ship's wheel, wheelchair lifts around the ship, wider passageways, and tactile markers to assist the visually impaired in finding their way around.
Activities
Each year the JST takes around 2,000 adults to sea, both able-bodied and physically disabled. Each ship can sail with up to 40 voyage crew, half of whom may be physically disabled and are guided through each task on board by eight or nine permanent crew members (professional seafarers) and three or more volunteer crew. The ships sail around the United Kingdom, Western Europe, the Canary Islands and the Caribbean.
From October 2012 to September 2014, STS Lord Nelson sailed around the world in the first JST circumnavigation, visiting 30 countries spanning all seven continents. In October 2013, STS Lord Nelson participated in the International Fleet Review 2013 in Sydney, Australia.
Emergency appeal and cutbacks
In June 2019, the JST announced an 'emergency appeal', with a week to save the charity. The charity's handling of the appeal and its aftermath raised criticism from many in the sail training world. Despite raising more than £1m in five days, it was announced that STS Lord Nelson would cease its sailing programme by October. There was a further planned review of organisational structures to reduce core costs, with the intent to achieve a "stronger financial footing".
In early 2021, having laid alongside Bristol docks and in a state of significant disrepair, Lord Nelson was put up for sale. In May 2022, Peter Cardy, former CEO of the Maritime & Coastguard Agency and Sail Training International, after reviewing the recent history of the JSA and its challenges, concluded, "Without a radical change of programme, and effective marketing of a focus and quality not seen for many years, merely tinkering with the model means the maelstrom awaits yet again. Next time around there might be no other option than insolvency and administration."
No sale of Lord Nelson was concluded and in August 2022, the ship's owning company, Jubilee Sailing Trust Ltd, was put into administration. With still no sale, the administrators put the ship for auction in June 2023.
Support
Despite a successful business model selling spaces on their tall ship, JST also relies on funding, donations, and corporate partnerships to achieve their vision.
As of 2022, JST has nine 'Champions' including: Actisense, Ardent Training, Classic Sailing, Cruising Association, easyBoat, English Braids, Hill Dickinson LLP, AH Monsen Ltd, and Swig Wines
See also
Sea Cadet Corps
Tall Ships Youth Trust
Stavros S Niarchos
References
External links
Jubilee Sailing Trust — official website
Sports organizations established in 1978
Charities for disabled people based in the United Kingdom
Sailing in the United Kingdom
Sail training associations
Organisations based in Southampton
Transport charities based in the United Kingdom
Youth organisations based in the United Kingdom
Charities based in Hampshire
1978 establishments in the United Kingdom
Disabled boating | https://en.wikipedia.org/wiki/Jubilee%20Sailing%20Trust |
Synapturanus is a genus of microhylid frogs. They are found in northern South America. Common name disc frogs has been coined for the genus. Because of their fossorial life style, their natural history is poorly known.
Ecology and behavior
Synapturanus are fossorial and mostly nocturnal tropical rainforest frogs found in the leaf litter and soft soils. Calling takes place usually during rain, which apparently triggers the calling. Eggs are deposited terrestrially in a small burrow below the soil surface. The tadpoles are endotrophic (developing without external food sources). Stomach contents have included nematodes and various arthropods (ants, termites, and spiders).
Description
Females are larger than males. Breeding males have a glandular swelling on the wrist. Males and females are otherwise similar. The largest species is Synapturanus mirandaribeiroi, which reaches a snout–vent length of at least .
Species
This genus has ten recognized species:
References
Microhylidae
Amphibian genera
Taxa named by Antenor Leitão de Carvalho
Amphibians of South America | https://en.wikipedia.org/wiki/Synapturanus |
Criticism of Windows XP deals with issues with security, performance and the presence of product activation errors that are specific to the Microsoft operating system Windows XP.
Security issues
Windows XP has been criticized for its vulnerabilities due to buffer overflows and its susceptibility to malware such as viruses, trojan horses, and worms. Nicholas Petreley for The Register notes that "Windows XP was the first version of Windows to reflect a serious effort to isolate users from the system, so that users each have their own private files and limited system privileges." However, users by default receive an administrator account that provides unrestricted access to the underpinnings of the system. If the administrator's account is compromised, there is no limit to the control that can be asserted over the PC. Windows XP Home Edition also lacks the ability to administer security policies and denies access to the Local Users and Groups utility.
Microsoft stated that the release of security patches is often what causes the spread of exploits against those very same flaws, as crackers figure out what problems the patches fix and then launch attacks against unpatched systems. For example, in August 2003 the Blaster worm exploited a vulnerability present in every unpatched installation of Windows XP, and was capable of compromising a system even without user action. In May 2004 the Sasser worm spread by using a buffer overflow in a remote service present on every installation. Patches to prevent both of these well-known worms had already been released by Microsoft. Increasingly widespread use of Service Pack 2 and greater use of personal firewalls may also contribute to making worms like these less common.
Many attacks against Windows XP systems come in the form of trojan horse e-mail attachments which contain worms. A user who opens the attachment can unknowingly infect his or her own computer, which may then e-mail the worm to more people. Notable worms of this sort that have infected Windows XP systems include Mydoom, Netsky and Bagle. To discourage users from running such programs, Service Pack 2 includes the Attachment Execution Service which records the origin of files downloaded with Internet Explorer or received as an attachment in Outlook Express. If a user tries to run a program downloaded from an untrusted security zone, Windows XP with Service Pack 2 will prompt the user with a warning.
Spyware and adware are a continuing problem on Windows XP and other versions of Windows. Spyware is also a concern for Microsoft with regard to service pack updates; Barry Goff, a group product manager at Microsoft, said some spyware could cause computers to freeze up upon installation of Service Pack 2. In January 2005, Microsoft released a free beta version of Windows Defender which removes some spyware and adware from computers.
Windows XP offers some useful security benefits, such as Windows Update, which can be set to install security patches automatically, and a built-in firewall. If a user doesn't install the updates for a long time after the Windows Update icon is displayed in the toolbar, Windows will automatically install them and restart the computer on its own. This can lead to the loss of unsaved data if the user is away from the computer when the updates are installed. Service Pack 2 enables the firewall by default. It also adds increased memory protection to let the operating system take advantage of new No eXecute technology built into CPUs such as the AMD64. This allows Windows XP to prevent some buffer overflow exploits.
On April 8, 2014, extended support of Windows XP ended. As this means that security vulnerabilities are no longer patched, the general advice given by both Microsoft and security specialists is to no longer use Windows XP.
Antitrust concerns
In light of the United States v. Microsoft Corp. case which resulted in Microsoft being convicted for illegally abusing its operating system monopoly to overwhelm competition in other markets, Windows XP has drawn fire for integrating user applications such as Windows Media Player and Windows Messenger into the operating system, as well as for its close ties to the Windows Live ID (now Microsoft account) service.
In 2001, ProComp – a group including several of Microsoft's rivals, including Oracle, Sun, and Netscape – claimed that the bundling and distribution of Windows Media Player in Windows XP was a continuance of Microsoft's anticompetitive behavior and that the integration of Windows Live ID (at the time Microsoft Passport) into Windows XP was a further example of Microsoft attempting to gain a monopoly in web services. Both of these claims were rebutted by the Association for Competitive Technology (ACT) and the Computing Technology Industry Association (CompTIA), both partially funded by Microsoft. The battle being fought by fronts for each side was the subject of a heated exchange between Oracle's Larry Ellison and Microsoft's Bill Gates.
Microsoft responded on its "Freedom to Innovate" web site, pointing out that in earlier versions of Windows, Microsoft had integrated tools such as disk defragmenters, graphical file managers, and TCP/IP stacks, and there had been no protest that Microsoft was being anti-competitive. Microsoft asserted that these tools had moved from special to general usage and therefore belonged in its operating system.
To avoid the possibility of an injunction, which might have delayed the release of Windows XP, Microsoft changed its licensing terms to allow PC manufacturers to hide access to Internet Explorer (but not remove it). Competitors dismissed this as a trivial gesture. Later, Microsoft released a utility as part of Service Pack 1 (SP1) which allows icons and other links to bundled software such as Internet Explorer, Windows Media Player, and Windows Messenger (not to be confused with the similar-named Windows Live Messenger, formerly MSN Messenger) to be removed. The components themselves remain in the system; Microsoft maintains that they are necessary for key Windows functionality (such as the HTML Help system and Windows desktop), and that removing them completely may result in unwanted consequences. One critic, Shane Brooks, has argued that Internet Explorer could be removed without adverse effects, as demonstrated with his product XPLite. Dino Nuhagic created his nLite software to remove many components from XP prior to installation of the product.
In addition, in the first release of Windows XP, the "Buy Music Online" feature always used Microsoft's Internet Explorer rather than any other web browser that the user may have set as their default. Under pressure from the United States Department of Justice, Microsoft released a patch in early 2004, which corrected the problem.
Backward compatibility
Migrating from Windows 9x to XP can be an issue for users dependent upon MS-DOS. Although XP comes with the ability to run DOS programs in a virtual DOS machine, it still has trouble running many old DOS programs. This is largely because it is a Windows NT system and does not use DOS as a base OS, and because the Windows NT architecture is different from Windows 9x. Some DOS programs that cannot run natively on XP, notably programs that rely on direct access to hardware, can be run in emulators, such as DOSBox or virtual machines, like VMware, Virtual PC, or VirtualBox. This also applies to programs that only require direct access to certain common emulated hardware components, like memory, keyboard, graphics cards, and serial ports. With DOS emulators, 32-bit versions of Windows XP can run almost any program designed for any previous Microsoft operating system. Only 64-bit versions of XP have major backward-compatibility issues. This is because old 16-bit Windows programs require a tool called NTVDM, which is only present in the 32-bit version of the OS. However, this is true of every version of Windows that comes in both 32-bit and 64-bit versions, and it is not specific to XP; additionally, virtual machine software such as VirtualBox can run 16-bit DOS and Windows programs even on 64-bit versions of Windows.
Product activation and verification
Product activation
In an attempt to reduce piracy, Microsoft introduced product activation in Windows XP. Activation required the computer or the user to activate with Microsoft (either online or over the phone) within a certain amount of time in order to continue using the operating system. If the user's computer system ever changes — for example, if two or more relevant components of the computer itself are upgraded — Windows will return to the unactivated state and will need to be activated again within a defined grace period. If a user tried to reactivate too frequently, the system will refuse to activate online. The user must then contact Microsoft by telephone to obtain a new activation code.
However, activation only applied to retail and "system builder" (intended for use by small local PC builders) copies of Windows. "Royalty OEM" (used by large PC vendors) copies are instead locked to a special signature in the machine's BIOS (and will demand activation if moved to a system whose motherboard does not have the signature) and volume license copies do not require activation at all. This led to pirates simply using volume license copies with volume license keys that were widely distributed on the Internet.
Product key testing
In addition to activation, Windows XP service packs will refuse to install on Windows XP systems with product keys known to be widely used in unauthorized installations. These product keys are either intended for use with one copy (for retail and system builder), for one OEM (for BIOS locked copies) or to one company (for volume license copies) and are included with the product. However a number of volume license product keys (which as mentioned above avoid the need for activation) were posted on the Internet and were then used for a large number of unauthorized installations. The service packs contain a list of these keys and will not update copies of Windows XP that use them.
Microsoft developed a new key verification engine for Windows XP Service Pack 2 that could detect illicit keys, even those that had never been used before. After an outcry from security consultants who feared that denying security updates to illegal installations of Windows XP would have wide-ranging consequences even for legal owners, Microsoft elected to disable the new key verification engine. Service Pack 2 only checks for the same small list of commonly used keys as Service Pack 1. This means that while Service Pack 2 will not install on copies of Windows XP which use the older set of copied keys, those who use keys which have been posted more recently may be able to update their systems.
Windows Genuine Advantage
To try to curb piracy based on leaked or generated volume license keys, Microsoft introduced Windows Genuine Advantage (WGA). WGA comprises two parts, a verification tool which must be used to get certain downloads from Microsoft and a user notification system. WGA for Windows was followed by verification systems for Internet Explorer 7, Windows Media Player 11, Windows Defender, Microsoft Office 2007 and certain updates. In late 2007, Microsoft removed the WGA verification from the installer for Internet Explorer 7 saying that the purpose of the change was to make IE7 available to all Windows users.
If the license key is judged not genuine, it displays a nag screen at regular intervals asking the user to buy a license from Microsoft. In addition, the user's access to Microsoft Update is restricted to critical security updates, and as such, new versions of enhancements and other Microsoft products will no longer be able to be downloaded or installed.
On August 26, 2008, Microsoft released a new WGA activation program that displays a plain black desktop background for computers failing validation. The background can be changed, but reverts after 1 hour.
Common criticisms of WGA have included its description as a "Critical Security Update", causing Automatic Updates to download it without user intervention on default settings, its behavior compared to spyware of "phoning home" to Microsoft every time the computer is connected to the Internet, the failure to inform end users what exactly WGA would do once installed (rectified by a 2006 update), the failure to provide a proper uninstallation method during beta testing (users were given manual removal instructions that did not work with the final build), and its sensitivity to hardware changes which cause repeated need for reactivation in the hands of some developers. Also if the user has no connection to the Internet or a phone, it will be difficult to activate it normally.
Strictly speaking, neither the download nor the install of the Notifications is mandatory; the user can change their Automatic Update settings to allow them to choose what updates may be downloaded for installation. If the update is already downloaded, the user can choose not to accept the supplemental EULA provided for the Notifications. In both cases, the user can also request that the update not be presented again. Newer Critical Security Updates may still be installed with the update hidden. However this setting will only have effect on the existing version of Notifications, so it can appear again as a new version. In 2006, California resident Brian Johnson attempted to bring a class action lawsuit against Microsoft, on grounds that Windows Genuine Advantage Notifications violated the spyware laws in the state; the lawsuit was dismissed in 2010.
Default theme
Windows XP's default theme, Luna, was criticized by some users for its childish look.
See also
Criticism of Microsoft
Criticism of Internet Explorer
Criticism of Windows Vista
Criticism of Windows 10
Free Software Foundation anti-Windows campaigns
Windows refund
References
External links
Microsoft criticisms and controversies
Windows XP
Windows XP | https://en.wikipedia.org/wiki/Criticism%20of%20Windows%20XP |
Hugh Clifford Mackay (born 1938) is an Australian psychologist, social researcher and writer, who founded the Australian quarterly research series The Mackay Report 1979–2003, which later became The Ipsos Mackay Report. He was a weekly newspaper columnist for 25 years and is a regularly appearing commentator on radio and television.
Career
He is a graduate of Sydney Grammar School, and holds a Bachelor of Arts from the University of Sydney and a Master of Arts from Macquarie University. He was a founding member of The Australian Psychological Society and is one of the founders of The Ethics Centre formerly known as The St James Ethics Centre.
Mackay has held a number of honorary academic positions, including Adjunct Professor in the Faculty of Arts of Charles Sturt University, Professor of Social Science at the University of Wollongong and professorial fellow in the Macquarie Graduate School of Management.
He is a patron of the Asylum Seekers Centre and was previously a member of the Bell Shakespeare Artistic Advisory Panel. He was the inaugural chairman of the ACT Government's Community Inclusion Board, chairman of trustees of Sydney Grammar School and deputy chairman of the Australia Council. He has also served on committees of the Law Society of New South Wales, the Sydney Peace Prize, and the National Heart Foundation of Australia.. After an in air incident on a flight from Sydney to Brisbane Hugh didn’t fly for 15 years despite his busy nationwide work commitments over that time.
Mackay is a Fellow of the Australian Psychological Society and the Royal Society of NSW, and an Associate Fellow of the British Psychological Society. ea
Honours and awards
He holds honorary doctorates in Letters from Charles Sturt University, Macquarie University, the University of New South Wales the University of Western Sydney and the University of Wollongong as well as the Hartnett Medal from the Royal Society of Arts, and the Alumni Award for Community Service from the University of Sydney.
At the 2015 Australia Day Honours, Mackay was appointed an Officer of the Order of Australia for distinguished service to the community in the areas of social research and psychology, as an author and commentator, and through roles with visual and performing arts and educational organisations.
Publications
Non-fiction
drew on 60 individual reports
(subsequently re-published as 'The Good Listener'. 1998)
(2nd edition published 2019).
(2nd edition published 2019)
(originally published 2013)
Periodical
The Mackay Report quarterly research series (subsequently The Ipsos Mackay Report), over 100 reports including:
Fiction
References
External links
Hugh Mackay, Personal Website
Living people
Australian journalists
20th-century Australian novelists
21st-century Australian novelists
Australian male novelists
Australian psychologists
Officers of the Order of Australia
People educated at Sydney Grammar School
Place of birth missing (living people)
University of Sydney alumni
Macquarie University alumni
1938 births
20th-century Australian male writers
21st-century Australian male writers | https://en.wikipedia.org/wiki/Hugh%20Mackay%20%28social%20researcher%29 |
Uperodon is a genus of microhylid frogs. They occur in South Asia (Pakistan, India, Sri Lanka, Bhutan, Nepal, and Bangladesh) and Myanmar. Uperodon reached its current composition in 2016 when the genus Ramanella was brought into its synonymy. The common names of these frogs are globular frogs and balloon frogs in reference to their stout appearance, or dot frogs, the last specifically referring to the former Ramanella.
Uperodon includes burrowing frogs that eat ants and termites.
Species
There are 12 recognized species:
Uperodon anamalaiensis (Rao, 1937)
Uperodon globulosus (Günther, 1864)
Uperodon montanus (Jerdon, 1853)
Uperodon mormoratus (Rao, 1937)
Uperodon nagaoi (Manamendra-Arachchi and Pethiyagoda, 2001)
Uperodon obscurus (Günther, 1864)
Uperodon palmatus (Parker, 1934)
Uperodon rohani Garg, Senevirathne, Wijayathilaka, Phuge, Deuti, Manamendra-Arachchi, Meegaskumbura, and Biju, 2018
Uperodon systoma (Schneider, 1799)
Uperodon taprobanicus (Parker, 1934)
Uperodon triangularis (Günther, 1876)
Uperodon variegatus (Stoliczka, 1872)
The AmphibiaWeb also lists Uperodon minor Rao, 1937, which is considered synonym of Uperodon anamalaiensis by the Amphibian Species of the World.
References
Microhylidae
Amphibian genera
Amphibians of Asia
Taxa named by André Marie Constant Duméril
Taxa named by Gabriel Bibron | https://en.wikipedia.org/wiki/Uperodon |
Alternative Nation was a series of music festivals held in Australia in 1995. It was organised by a consortium of concert promoters, Michael Coppell, Michael Chugg and Michael Gudinski and backed by the Triple M radio network as an alternative to the Big Day Out. The event was held in three cities over the Easter long weekend: Brisbane on 13 and 14 April, Sydney on 15 April and Melbourne on 16 April.
The festival had an excellent line up but suffered when both headlining acts, Red Hot Chili Peppers and Stone Temple Pilots, withdrew from the event. Lou Reed was added to the bill in their place but without the show's main drawcards, ticket sales were slow. Unlike the Big Day Out, which featured various local acts at each city, Alternative Nation's line-up was the same at all three events, except in Brisbane where four more Australian bands, Budd, Catfish, Dreamkillers and Chalk were included. Somewhat cynically, however, all of the Australian bands that performed in Melbourne and Sydney, except Def FX, were relegated to smaller stages away from the main performance area. In Melbourne, future Australian music superstars Powderfinger played on the back of a flatbed truck for a crowd of approximately 40 people.
The headlining acts were Faith No More, Lou Reed, Nine Inch Nails, Tool, Violent Femmes, Ice-T, L7, Ween, Primus, Bodycount, Pop Will Eat Itself, The Flaming Lips, The Tea Party, The Prodigy (Melbourne), Therapy?, Live and Pennywise. Local acts included Regurgitator, Horsehead, Powderfinger, Supergroove, Def FX and Spiderbait.
The Brisbane show experiences good weather on the first day, but was marred by rain on the second day. The track around the perimeter of the velodrome main stage venue provided some respite from the mud. Some line-up and venue changes occurred without warning such as Therapy? playing earlier than scheduled on a different stage, although the eventual return of the downpour during Faith No More's set at night seemed fitting as they played "Epic".
The Sydney show was marked by constant rain throughout the day that transformed the venue, Eastern Creek Raceway, into a mudbowl and several bands were pelted with mud by the audience. Live's Ed Kowalczyk retaliated to this behaviour by throwing a guitar into the crowd at the end of his band's set. In Melbourne the rain cleared in the afternoon and a very good set was performed by Tool in front of a fairly large crowd, the music enhanced by a very powerful sound system. In the evening, Faith No More also lived up to their reputation and kept the crowd happy, though fans were kept out of the entertainment centre by security and police where Pop Will Eat Itself and Ween were playing the festivals closing sets, leading to discontent with the promoters.
Along with the bad weather at all three shows, Alternative Nation's success was tempered by poor ticket sales and restrictions on alcohol sales at some of the venues and it was never held again.
Locations & dates
Brisbane, Chandler Sports Complex - 13 & 14 April
Sydney, Eastern Creek Raceway- 15 April
Melbourne, Olympic Park - 16 April
Lineup
Brisbane
Nine Inch Nails
Faith No More
Lou Reed
Tool
Pop Will Eat Itself
Dreamkillers
Insurge
Body Count
Ice-T
Pennywise
Andy Prieboy
Skunkhour
Therapy?
Primus
The Tea Party
Powderfinger
Cosmic Psychos
Regurgitator
Supergroove
Horsehead
Don Walker's Catfish
Downtime
L7
Live
The Flaming Lips
Ween
Def FX
Fur
Nitocris
Custard
Chalk
Budd
External links
References
Rock festivals in Australia
1995 in Australia
Music festivals established in 1995
Music festivals in Melbourne
Music festivals in New South Wales
Music festivals in Queensland
Festivals in Brisbane
Festivals in Sydney | https://en.wikipedia.org/wiki/Alternative%20Nation%20festival |
Kenneth Laurence Martin (13 April 1905, Sheffield – 18 November, 1984, London), was an English painter and sculptor who, with his wife Mary Martin and Victor Pasmore, was a leading figure in the revival of Constructivism.
Life
Kenneth Martin’s father was a former soldier who worked in Sheffield as a coal clerk and supported his son at Sheffield School of Art during 1921-3. After his father's death, Martin worked in the city as a graphic designer, occasionally studying at the art school part-time. He won a scholarship to the Royal College of Art in 1929-32 and there met Mary Balmford, whom he married in 1930. During the 1930s he painted in a naturalistic style and was associated with the Euston Road School along with Victor Pasmore. During the 1940s Martin's work began to emphasise elements of structure and design until 1948–49 when, following Pasmore's lead, it became purely abstract.
From 1946-51 Martin was teaching at St John's Wood Art School and afterwards was a visiting teacher at Goldsmith's School of Art until 1968. In 1951 also, he and his wife produced Broadsheet 'devoted to abstract art', which contained reproductions of their work and essays defining their new direction. Other essays explaining his ideas followed over the years, notably in the journals Architectural Design and Studio International. His first sculptural commission was "Twin Screws" for the 6th congress of the International Union of Architects in London in 1961 and other public art commissions followed. As well as works among national exhibits at the 4th San Marino Biennale (1963) and the 8th Tokyo Biennale (1965), he was represented in such surveys of contemporary trends as "This is Tomorrow" (Whitechapel Gallery, 1956), and the international touring exhibitions of "British Constructivist Art" (1961), Konstructive Kunst (1969), "Aspects of Abstract Painting in Britain" (1974), "Recent British Art" (British Council, 1977), and "Pier + Ocean: construction in the art of the seventies" (Arts Council, 1980). Following his death in 1984, his work continued to be exhibited internationally and in solo retrospectives.
Among the honours he received was a gold medal at the 20th International Congress of Artists and Critics in 1965 and the OBE in 1971. In 1976 he was given an honorary doctorate at the Royal College of Art.
Work
Though there was a tendency towards abstraction in British post-war art, it often had a representational base, as in the sculptures of Lynn Chadwick or, at first, Martin's own painting "Chalk Farm" of 1949. But Martin swiftly followed this with the purer abstraction of lines and geometrical shapes. Identifying this transition in his Broadsheet essay, Martin explained that "what is generally termed 'abstract' is not to be confused with the abstraction from nature and its reduction and distortion to a pictorial form...Abstract painting is the result of a creative process exactly the opposite of abstraction." Because such art was constructed according to scientific or mathematical models, the Martins turned to making reliefs and moving sculptures which they called "constructionist", although acknowledging their link with earlier European Constructivism.
Kenneth Martin's "Screwmobile" of 1953, with its brass strips mounted in helical form, is considered a particularly representative example of that approach. Later static constructions with implied kinetic rhythms included the small standing "Oscillation" at the Whitworth Art Gallery and the monumental "Construction in Aluminium" for the Cambridge University Department of Engineering, both dated 1967. As he was theorising at the time that he created these works, "An organized series of events, which the constructing process becomes, defines the whole character of a work. The mental and the physical are tied together in the succession of events. So that practical things, through the understanding of their nature, can result in an imaginative edifice." Diversifying from such works, he developed his adjustable "Rotary Rings" (1968) and the curved narrow blades of his motorised "Kinetic Monument" (1977).
After 1969, Martin began work on the seemingly endless process of his Chance and Order series of drawings and prints, exploiting there direction, linear thickness and colour, so that "not only does chance define position, it gives sequence also. The points of intersection on a grid of squares are numbered and the numbers are written on small cards and then picked at random. A line is made between each successive pair of numbers as they are picked out…Subsequently, varying the way a time sequence of drawing the lines was used, or changing the nature of the grid, could yield a succession of drawings of a variety of invention within the range of one set of pairings."
The joint exhibition of the work of Kenneth and Mary Martin mounted at the Tate St Ives in 2007 was their first joint public-gallery exhibition since 1971. Focussing on his mobiles as well as the Chance and Order series, it enabled restoration of his 1955 homage to Alexander Calder, the "Mobile Reflector" of 1955, which had become buckled and unbalanced between exhibitions over the years.
References
Bibliography
Alastair Grieve, "Constructivism after the Second World War", in British Sculpture in the Twentieth Century, Whitechapel Art Gallery 1981
Mary Martin Kenneth Martin, An Arts Council touring exhibition 1970-71
Kenneth Martin, Recent Works, Waddington and Tooth Galleries catalogue, June 1978
External links
Artworks 1938-82, Artnet
Sculptures and screwmobiles, 1953–72, Courtauld Institute of Art
Paintings and sculptures, 1949–68, National Galleries Scotland
Paintings, screenprints and sculptures, 1949–80, Tate Gallery
1905 births
1984 deaths
20th-century English painters
20th-century British sculptors
Academics of Camberwell College of Arts
Alumni of the Royal College of Art
Artists from Sheffield
English male painters
English male sculptors
20th-century English male artists | https://en.wikipedia.org/wiki/Kenneth%20Martin%20%28English%20painter%29 |
Harald Oskar Sohlberg (29 November 1869 – 19 June 1935) was a Norwegian Neo-romantic painter.
Biography
Sohlberg attended the Royal School of Art and Design of Christiania. He later trained under the graphic artist and painter Johan Nordhagen. Sohlberg attended the art school of Kristian Zahrtmann. He also studied as a pupil of Erik Werenskiold, Eilif Peterssen and Harriet Backer.
He is particularly known for his depictions of the mountains of Rondane and the town of Røros. Perhaps his most widely recognized paintings, in several variations, is Winter's Night in Rondane, presently featured at the National Gallery (Nasjonalgalleriet).
Cultural references
His painting Fisherman's Cottage was used as the cover of a book by John Burnside, Scottish writer, called A Summer of Drowning; Sohlberg is mentioned prominently throughout the novel, and one of the sections of this book is called "The Fisherman's House" in obvious homage to the painting.
Another painting, Flower Meadow of the North, was used as the cover of the book Morning Poems by Robert Bly.
Selected works
Natteglød (1893) Nasjonalgalleriet, Oslo.
Sommernatt (1899) Nasjonalgalleriet, Oslo.
Vinternatt i fjelene (1901) Hilmar Rekstens Samlinger, Bergen
Fra Røros (1902) Nasjonalgalleriet, Oslo.
Natt (1904) Trondheim Kunstmuseum, Trondheim
En blomstereng nordpå (1906) Nasjonalgalleriet, Oslo.
Eken (1908) Drammen Kunstmuseum
Vinternatt i Rondane (1911–14) Nasjonalgalleriet, Oslo.
Gallery
References
Other sources
(In Norwegian)
Bjerke, Øivind Storm (1991) Harald Sohlberg: Ensomhetens maler (Gyldendal norsk forlag)
Bjerke, Øivind Storm (1996) Edvard Munch and Harald Sohlberg: Landscapes of the Mind (National Academy of Design)
Lange, Marit Ingeborg, Peter Norgaard Larsen (2003) Nordiske Stemninger: Harald Sohlberg. L.A. Ring (Stiftelsen)
External links
Harald Oskar Sohlberg (paintingstar.com)]
Harald Sohlberg (fineart.no)
Harald Oskar Sohlberg (escapeintolife.com)
Winter Night in Rondane (Images of Norway: Rondane and Harald Sohlberg) (exviking.net)
1869 births
1935 deaths
19th-century Norwegian painters
20th-century Norwegian painters
Norwegian male painters
19th-century Norwegian male artists
20th-century Norwegian male artists | https://en.wikipedia.org/wiki/Harald%20Sohlberg |
In statistics, M-estimators are a broad class of extremum estimators for which the objective function is a sample average. Both non-linear least squares and maximum likelihood estimation are special cases of M-estimators. The definition of M-estimators was motivated by robust statistics, which contributed new types of M-estimators. However, M-estimators are not inherently robust, as is clear from the fact that they include maximum likelihood estimators, which are in general not robust. The statistical procedure of evaluating an M-estimator on a data set is called M-estimation.
More generally, an M-estimator may be defined to be a zero of an estimating function. This estimating function is often the derivative of another statistical function. For example, a maximum-likelihood estimate is the point where the derivative of the likelihood function with respect to the parameter is zero; thus, a maximum-likelihood estimator is a critical point of the score function. In many applications, such M-estimators can be thought of as estimating characteristics of the population.
Historical motivation
The method of least squares is a prototypical M-estimator, since the estimator is defined as a minimum of the sum of squares of the residuals.
Another popular M-estimator is maximum-likelihood estimation. For a family of probability density functions f parameterized by θ, a maximum likelihood estimator of θ is computed for each set of data by maximizing the likelihood function over the parameter space { θ } . When the observations are independent and identically distributed, a ML-estimate satisfies
or, equivalently,
Maximum-likelihood estimators have optimal properties in the limit of infinitely many observations under rather general conditions, but may be biased and not the most efficient estimators for finite samples.
Definition
In 1964, Peter J. Huber proposed generalizing maximum likelihood estimation to the minimization of
where ρ is a function with certain properties (see below). The solutions
are called M-estimators ("M" for "maximum likelihood-type" (Huber, 1981, page 43)); other types of robust estimators include L-estimators, R-estimators and S-estimators. Maximum likelihood estimators (MLE) are thus a special case of M-estimators. With suitable rescaling, M-estimators are special cases of extremum estimators (in which more general functions of the observations can be used).
The function ρ, or its derivative, ψ, can be chosen in such a way to provide the estimator desirable properties (in terms of bias and efficiency) when the data are truly from the assumed distribution, and 'not bad' behaviour when the data are generated from a model that is, in some sense, close to the assumed distribution.
Types
M-estimators are solutions, θ, which minimize
This minimization can always be done directly. Often it is simpler to differentiate with respect to θ and solve for the root of the derivative. When this differentiation is possible, the M-estimator is said to be of ψ-type. Otherwise, the M-estimator is said to be of ρ-type.
In most practical cases, the M-estimators are of ψ-type.
ρ-type
For positive integer r, let and be measure spaces. is a vector of parameters. An M-estimator of ρ-type is defined through a measurable function . It maps a probability distribution on to the value (if it exists) that minimizes
:
For example, for the maximum likelihood estimator, , where .
ψ-type
If is differentiable with respect to , the computation of is usually much easier. An M-estimator of ψ-type T is defined through a measurable function . It maps a probability distribution F on to the value (if it exists) that solves the vector equation:
For example, for the maximum likelihood estimator, , where denotes the transpose of vector u and .
Such an estimator is not necessarily an M-estimator of ρ-type, but if ρ has a continuous first derivative with respect to , then a necessary condition for an M-estimator of ψ-type to be an M-estimator of ρ-type is . The previous definitions can easily be extended to finite samples.
If the function ψ decreases to zero as , the estimator is called redescending. Such estimators have some additional desirable properties, such as complete rejection of gross outliers.
Computation
For many choices of ρ or ψ, no closed form solution exists and an iterative approach to computation is required. It is possible to use standard function optimization algorithms, such as Newton–Raphson. However, in most cases an iteratively re-weighted least squares fitting algorithm can be performed; this is typically the preferred method.
For some choices of ψ, specifically, redescending functions, the solution may not be unique. The issue is particularly relevant in multivariate and regression problems. Thus, some care is needed to ensure that good starting points are chosen. Robust starting points, such as the median as an estimate of location and the median absolute deviation as a univariate estimate of scale, are common.
Concentrating parameters
In computation of M-estimators, it is sometimes useful to rewrite the objective function so that the dimension of parameters is reduced. The procedure is called “concentrating” or “profiling”. Examples in which concentrating parameters increases computation speed include seemingly unrelated regressions (SUR) models.
Consider the following M-estimation problem:
Assuming differentiability of the function q, M-estimator solves the first order conditions:
Now, if we can solve the second equation for γ in terms of
and , the second equation becomes:
where g is, there is some function to be found. Now, we can rewrite the original objective function solely in terms of β by inserting the function g into the place of . As a result, there is a reduction in the number of parameters.
Whether this procedure can be done depends on particular problems at hand. However, when it is possible, concentrating parameters can facilitate computation to a great degree. For example, in estimating SUR model of 6 equations with 5 explanatory variables in each equation by Maximum Likelihood, the number of parameters declines from 51 to 30.
Despite its appealing feature in computation, concentrating parameters is of limited use in deriving asymptotic properties of M-estimator. The presence of W in each summand of the objective function makes it difficult to apply the law of large numbers and the central limit theorem.
Properties
Distribution
It can be shown that M-estimators are asymptotically normally distributed. As such, Wald-type approaches to constructing confidence intervals and hypothesis tests can be used. However, since the theory is asymptotic, it will frequently be sensible to check the distribution, perhaps by examining the permutation or bootstrap distribution.
Influence function
The influence function of an M-estimator of -type is proportional to its defining function.
Let T be an M-estimator of ψ-type, and G be a probability distribution for which is defined. Its influence function IF is
assuming the density function exists. A proof of this property of M-estimators can be found in Huber (1981, Section 3.2).
Applications
M-estimators can be constructed for location parameters and scale parameters in univariate and multivariate settings, as well as being used in robust regression.
Examples
Mean
Let (X1, ..., Xn) be a set of independent, identically distributed random variables, with distribution F.
If we define
we note that this is minimized when θ is the mean of the Xs. Thus the mean is an M-estimator of ρ-type, with this ρ function.
As this ρ function is continuously differentiable in θ, the mean is thus also an M-estimator of ψ-type for ψ(x, θ) = θ − x.
Median
For the median estimation of (X1, ..., Xn), instead we can define the ρ function as
and similarly, the ρ function is minimized when θ is the median of the Xs.
While this ρ function is not differentiable in θ, the ψ-type M-estimator, which is the subgradient of ρ function, can be expressed as
and
See also
Two-step M-estimator
Robust statistics
Robust regression
Redescending M-estimator
S-estimator
Fréchet mean
References
Further reading
External links
M-estimators — an introduction to the subject by Zhengyou Zhang
M-estimators
Estimator
Robust regression
Robust statistics | https://en.wikipedia.org/wiki/M-estimator |
Urban wilderness refers to informal green spaces within urban areas that distant enough from urbanized areas so that human activities cannot be registered. Urban wilderness areas within cities have been shown to beneficially impact the public's perception of wilderness and nature, making this an important element to future city planning
Overview
Key traits of urban wilderness that differentiate it from other urban green spaces:
Involves green spaces that are far enough removed from the urban areas, so human actions cannot be noticed.
Supports biodiversity - Urban wilderness efforts aim to enhance/improve a regions' local biodiversity through careful management plans.
A high degree of self-regulation - vegetation can survive with minimal interference or management by humans.
Various urban wilderness areas have been established throughout the world. Examples include the Knoxville Urban Wilderness in Knoxville, TN, Purgatory Creek Natural Area in San Marcos, TX, the Danube-Auen National Park in Vienna and Lower Austria, the Turkey Mountain Urban Wilderness Area in Tulsa, and the Milwaukee River Greenway in Milwaukee, WI.
History
The nineteenth and twentieth centuries saw the urbanization of cities. Jacob Riis and other reformers fought for parks in urban areas.
While many societies had traditions of intense urban plantings, such as the rooftops of pre-conquistador Mexico City, these traditions did not reemerge on a larger scale in the industrialized world until the creation of naturalistic urban parks, such as the ones by Calvert Vaux and Frederick Law Olmsted.
More recently, groups such as squatters and Reclaim The Streets have performed guerrilla plantings, worked in and on abandoned buildings, and torn holes in highway asphalt to fill with soil and flowers. These actions have been effective in creating new planted zones in economically stagnant areas like urban Eastern Germany, where abandoned buildings have been reverted to forest-like conditions.
See also
Hundertwasserhaus
Green roof
Green wall
Urban forestry
Urban ecology
Urban agriculture
Urban prairie
References
Urban planning
Habitats
Urban forestry | https://en.wikipedia.org/wiki/Urban%20wilderness |
Pomerance is the name of:
Bernard Pomerance (1940–2017), American playwright and poet
Carl Pomerance (born 1944), American mathematician
Murray Pomerance (born 1946), Canadian film scholar
Rafe Pomerance (born 1946), American environmentalist
See also
Pomerants
Pomerantz | https://en.wikipedia.org/wiki/Pomerance |
Nelly Arcan (March 5, 1973 – September 24, 2009) was a Canadian novelist. Arcan was born Isabelle Fortier at Lac-Mégantic in the Eastern Townships of Quebec.
Biography
Arcan's first novel Putain (2001; English: Whore (2004)) received immediate critical and media attention. It was a finalist for both the Prix Médicis and the Prix Fémina, two of France's most prestigious literary awards. It contains similarities between the escort Cynthia in the novel and Arcan's own experience as a professional escort sex worker.
Putain was followed with three more novels that established her as a literary star in Quebec and France. Her second novel Folle (2004), like her first, is a semi-autobiographical and provocative work, and was also nominated for the Prix Femina. Her third novel, À ciel ouvert, was published in 2007. L'enfant dans le miroir (2007) is a coffee-table illustrated book about beauty. Arcan had recently completed her fourth novel Paradis clef en main (2009; English: Exit (2011)) when she died by suicide. She also wrote several short stories, opinion pieces and columns for various Quebec newspapers and literary magazines.
Death
Arcan was found dead in her Montreal apartment on September 24, 2009. She hanged herself. She had just finished writing her last book, , whose narrator is left disabled after a suicide attempt. She had attempted suicide previously.
On September 3, 2009, three weeks before her death, Arcan published a story in her weekly column in the Quebec French-language weekly Ici magazine entitled "" ("Take Me, or You're Dead"), detailing an experience with a stalker.
She is buried in Québec's Eastern Townships. Lac-Mégantic's municipal library, assembled from many of the over a hundred thousand books donated after fire destroyed the original library during 2013's Lac-Mégantic derailment, is named « La Médiathèque municipale Nelly-Arcan » in her honour.
Director Anne Émond's 2016 film Nelly is based on Arcan's life.
Bibliography
Putain (2001; English: Whore, translated by Bruce Benderson, 2004).
Folle (2004; English: Hysteric, translated by David Homel & Jacob Homel, 2014).
L'enfant dans le miroir (2007).
À ciel ouvert (2007; English: Breakneck, translated by Jacob Homel, Anvil Press, 2015).
Paradis, clef en main (2009; English: Exit, translated by David Scott Hamilton, 2011).
Burqa de chair (2011; English: Burqa of Skin, translated by Melissa Bull, Anvil Press, 2014).
References
External links
1973 births
2009 suicides
2009 deaths
Writers from Quebec
Canadian women novelists
People from Lac-Mégantic, Quebec
French Quebecers
Suicides in Quebec
Canadian female prostitutes
Université du Québec à Montréal alumni
21st-century Canadian novelists
21st-century Canadian women writers
Canadian novelists in French
20th-century Canadian novelists
20th-century Canadian women writers
Escorts | https://en.wikipedia.org/wiki/Nelly%20Arcan |
Cryptothylax is a small genus of hyperoliid frogs found in the Congo Basin.
Species
There are two species in this genus:
Cryptothylax greshoffii (Schilthuis, 1889)
Cryptothylax minutus Laurent, 1976
References
Hyperoliidae
Amphibians of Africa
Amphibian genera
Taxa named by Raymond Laurent | https://en.wikipedia.org/wiki/Cryptothylax |
Jannaram Mandal is situated in Mancherial District of the Telangana state in South India.Jannaram is famous for Kawal Wildelife Sanctuary Tiger Reserve. The town is famous because it is the birthplace of a legend Mekala Sanjay Kumar.
History
Jannaram became mandal with effect from 22 May 1985. Before which it was in the Luxettipet Taluka.
Administrative divisions
There are 27 villages under this madal.
References
Villages in Mancherial district
Mandal headquarters in Mancherial district | https://en.wikipedia.org/wiki/Jannaram |
Paolo Sammarco (born 17 March 1983) is an Italian football coach and a former player who played as a midfielder. He is the caretaker head coach of Serie D club Ambrosiana.
Club career
Chievo
A product of European giants A.C. Milan's youth system, Sammarco never played a game for the side, serving consecutive loans: from 2002 to 2004 in Serie C1, and from 2004 to 2007 with first division side A.C. ChievoVerona. Cheivo also purchased half of the registration rights for €1.1 million (Martino Olivetti plus €100,000) in June 2003. In June 2006 Milan bought back Sammarco for undisclosed fee, with Olivetti moved back to Chievo for €250,000.
Sampdoria
On 22 June 2007, U.C. Sampdoria announced Sammarco, in another co-ownership deal with Milan, for €1.5 million fee and a reported €400,000 wage. In Sampdoria, he broke through, playing almost every league game in a team that achieved UEFA Cup qualification, under coach Walter Mazzarri.
In June 2008, Sampdoria gained full ownership of Sammarco for another €2.5 million, made his valued increased to €4 million (made Milan register a financial income of €1 million as the half retained had increased from €1.5 million to €2.5 million) Sammarco also signed a new contract which lasted until 30 June 2013 during 2009–10 season. On 25 August 2009 he was loaned to Udinese for one season, for a reported wage of €250,000. Sammarco was a sub under Luigi Delneri at the first match of 2009–10 Serie A.
On returning to Sampdoria for the beginning of the 2010–11 season, he did not appear in any games, as the club now hired Domenico Di Carlo as coach. However, his wage was increased to €700,000. He was loaned to Cesena on 30 December 2010 for the rest of the season.
He scored a goal in the first two games of 2011–12 Coppa Italia for Doria, however on 24 August he returned to Chievo in exchange with Simone Bentivoglio, re-uniting Di Carlo. Sammarco's wage was also reduced to €250,000 again.
Spezia
On 9 August 2012 he joined Spezia Calcio.
Frosinone
On 21 January 2015 Sammarco was signed by Frosinone. He scored his first goal in Serie A for the club on 28 October 2015 in a 2–1 defeat of Carpi.
Virtus Verona
On 15 October 2019 he joined Serie C club Virtus Verona until the end of the season.
Serie D
On 12 August 2020 he moved to Arzignano.
International career
Sammarco was first capped for the Italy national under-21 football team in August 2005, against France, and was part of the final squad in the 2006 European Championship, making three appearances as a starter.
Coaching career
On 23 November 2021, he was appointed caretaker manager by Serie D club Ambrosiana, after joining the club as an assistant coach in the summer of 2021.
Footnotes
References
External links
National team stats at FIGC.it
Player Profile
1983 births
Footballers from Como
Living people
Italian men's footballers
Italy men's under-21 international footballers
Italy men's youth international footballers
Men's association football midfielders
AC Milan players
AC Prato players
AC ChievoVerona players
UC Sampdoria players
AC Cesena players
Udinese Calcio players
Spezia Calcio players
Frosinone Calcio players
FC Arzignano Valchiampo players
Serie A players
Serie B players
Serie C players
Italian football managers
Serie D managers | https://en.wikipedia.org/wiki/Paolo%20Sammarco |
Harry Philip Hugh Sharp (6 October 1917 – 15 January 1995) was an English cricketer, cricket coach and scorer.
Harry Sharp was born in Kentish Town and played for London Schools. He was spotted by Jack Durston while practising at the Middlesex Indoor School at Acton. Seconded to Marylebone Cricket Club (MCC), his duties included rolling the wicket.
He joined Middlesex County Cricket Club in 1934 and made his 1st XI debut in 1946. He played in 162 first-class matches as a right-handed batsman before his retirement in 1955. He scored 6,141 runs at an average of 25.80, with 9 hundreds and 30 fifties. He took 59 catches and 50 wickets with his off-spin at an average of 32.56, with a personal best of 5/52. He was awarded his county cap in 1948. His best season was in 1953, when he scored 1,564 runs. He was awarded a joint benefit with Alec Thompson by Middlesex in 1955 and a joint testimonial by MCC with Len Muncer in 1971.
He served as an Able Seaman with the Eastern Front in the Indian Ocean, during the Second World War, but saw little action. Despite this, he gained the nickname of 'Admiral', which remained with him for the rest of his life. He played in several matches, while docked at Durban.
He joined the MCC coaching staff in 1956 and also umpired several first-class matches. He became MCC's Assistant Head Coach and he succeeded Jim Sims as the Middlesex scorer in 1973.
He retired at the age of 75 and died suddenly in Enfield, Middlesex in 1995.
External links
Harry Sharp at Cricinfo
Harry Sharp at Cricket Archive
1917 births
1995 deaths
Cricket scorers
English cricket umpires
English cricketers
Middlesex cricketers
People from Kentish Town
Cricketers from the London Borough of Camden
Royal Navy personnel of World War II
Marylebone Cricket Club cricketers | https://en.wikipedia.org/wiki/Harry%20Sharp%20%28cricketer%29 |
The Sangam literature (Tamil: சங்க இலக்கியம், caṅka ilakkiyam) historically known as 'the poetry of the noble ones' (Tamil: சான்றோர் செய்யுள், Cāṉṟōr ceyyuḷ) connotes the ancient Tamil literature and is the earliest known literature of South India. The Tamil tradition and legends link it to three literary gatherings around Madurai and Kapāṭapuram : the first over 4,440 years, the second over 3,700 years, and the third over 1,850 years before the start of the common era. Scholars consider this Tamil tradition-based chronology as ahistorical and mythical. Most scholars suggest the historical Sangam literature era spanned from to 300 CE, while others variously place this early classical Tamil literature period a bit later and more narrowly but all before 300 CE. According to Kamil Zvelebil, a Tamil literature and history scholar, the most acceptable range for the Sangam literature is 100 BCE to 250 CE, based on the linguistic, prosodic and quasi-historic allusions within the texts and the colophons.
The Sangam literature had fallen into oblivion for much of the second millennium of the common era, but were preserved by and rediscovered in the monasteries of Hinduism, near Kumbakonam, by colonial-era scholars in the late nineteenth century. The rediscovered Sangam classical collection is largely a bardic corpus. It comprises an Urtext of oldest surviving Tamil grammar (Tolkappiyam), the Ettuttokai anthology (the "Eight Collections"), the Pathuppaattu anthology (the "Ten Songs"). The Tamil literature that followed the Sangam period – that is, after c. 250 CE but before c. 600 CE – is generally called the "post-Sangam" literature.
This collection contains 2381 poems in Tamil composed by 473 poets, some 102 anonymous. Of these, 16 poets account for about 50% of the known Sangam literature, with Kapilar – the most prolific poet – alone contributing just little less than 10% of the entire corpus. These poems vary between 3 and 782 lines long. The bardic poetry of the Sangam era is largely about love (akam) and war (puram), with the exception of the shorter poems such as in Paripaatal which is more religious and praise Vishnu and Murugan.
On their significance, Zvelebil quotes A. K. Ramanujan, "In their antiquity and in their contemporaneity, there is not much else in any Indian literature equal to these quiet and dramatic Tamil poems. In their values and stances, they represent a mature classical poetry: passion is balanced by courtesy, transparency by ironies and nuances of design, impersonality by vivid detail, austerity of line by richness of implication. These poems are not just the earliest evidence of the Tamil genius." The Sangam literature also includes Buddhist and Jainist epics.
Nomenclature and tradition
Sangam literally means "gathering, meeting, fraternity, academy". According to David Shulman, a scholar of Tamil language and literature, the Tamil tradition believes that the Sangam literature arose in distant antiquity over three periods, each stretching over many millennia. The first has roots in the Hindu deity Shiva, his son Murugan, Kubera as well as 545 sages including the famed Rigvedic poet Agastya. The first academy, states the legend, extended over four millennia and was located far to the south of modern city of Madurai, a location later "swallowed up by the sea", states Shulman. The second academy, also chaired by a very long-lived Agastya, was near the eastern seaside Kapāṭapuram and lasted three millennia. This was swallowed by floods. From the second Sangam, states the legend, the Akattiyam and the Tolkāppiyam survived and guided the third Sangam scholars.
A prose commentary by Nakkiranar – likely about the eighth century CE – describes this legend. The earliest known mention of the Sangam legend, however, appears in Tirupputtur Tantakam by Appar in about the seventh century CE, while an extended version appears in the twelfth-century Tiruvilaiyatal puranam by Perumparrap Nampi. The legend states that the third Sangam of 449 poet scholars worked over 1,850 years in northern Madurai (Pandyan kingdom). He lists six anthologies of Tamil poems (later a part of Ettuttokai):
Netuntokai nanuru (400 long poems)
Kuruntokai anuru (400 short poems)
Narrinai (400 Tinai landscape poems)
Purananuru (400 Outer poems)
Ainkurunuru (500 very short poems)
Patirruppattu (Ten Tens)
These claims of the Sangams and the description of sunken land masses Kumari Kandam have been dismissed as frivolous by historiographers. Noted historians like Kamil Zvelebil have stressed that the use of 'Sangam literature' to describe this corpus of literature is a misnomer and Classical literature should be used instead. According to Shulman, "there is not the slightest shred of evidence that any such [Sangam] literary academies ever existed", though there are many Pandya inscriptions that mention an academy of scholars. Of particular note, states Shulman, is the tenth-century CE Sinnamanur inscription that mentions a Pandyan king who sponsored the "translation of the Mahabharata into Tamil" and established a "Madhurapuri (Madurai) Sangam".
According to Zvelebil, within the myth there is a kernel of reality, and all literary evidence leads one to conclude that "such an academy did exist in Madurai (Maturai) at the beginning of the Christian era". The homogeneity of the prosody, language and themes in these poems confirms that the Sangam literature was a community effort, a "group poetry". The Sangam literature is also referred sometimes with terms such as caṅka ilakkiyam or "Sangam age poetry".
Authors
The Sangam literature was composed by 473 poets, some 102 anonymous. According to Nilakanta Sastri, the poets came from diverse backgrounds: some were from a royal family, some merchants, some farmers. At least 27 of the poets were women. These poets emerged, states Nilakanta Sastri, in a milieu where the Tamil society had already interacted and inseparably amalgamated with north Indians (Indo-Aryan) and both sides had shared mythology, values and literary conventions.
Compilations
The available literature from this period was categorised and compiled in the tenth century CE into two categories based roughly on chronology. The categories are the patiṉeṇmēlkaṇakku ("the eighteen greater text series") comprising Ettuthogai (or Ettuttokai, "Eight Anthologies") and the Pattuppāṭṭu ("Ten Idylls"). According to Takanobu Takahashi, this compilation is as follows:
Classification
Sangam literature is broadly classified into akam (, inner), and puram (, outer). The akam poetry is about emotions and feelings in the context of romantic love, sexual union and eroticism. The puram poetry is about exploits and heroic deeds in the context of war and public life. Approximately three-fourths of the Sangam poetry is akam themed, and about one fourth is puram.
Sangam literature, both akam and puram, can be subclassified into seven minor genre called tiṇai (திணை). This minor genre is based on the location or landscape in which the poetry is set. These are: kuṟiñci (குறிஞ்சி), mountainous regions; mullai (முல்லை), pastoral forests; marutam (மருதம்), riverine agricultural land; neytal (நெய்தல்) coastal regions; pālai (பாலை) arid. In addition to the landscape based tiṇais, for akam poetry, ain-tinai (well matched, mutual love), kaikkilai (ill matched, one sided), and perunthinai (unsuited, big genre) categories are used. The Ainkurunuru – 500 short poems anthology – is an example of mutual love poetry.
Similar tiṇais pertain to puram poems as well, categories are sometimes based on activity: vetchi (cattle raid), vanchi (invasion, preparation for war), kanchi (tragedy), ulinai (siege), tumpai (battle), vakai (victory), paataan (elegy and praise), karanthai , and pothuviyal. The akam poetry uses metaphors and imagery to set the mood, never uses names of person or places, often leaves the context as well that the community will fill in and understand given their oral tradition. The puram poetry is more direct, uses names and places, states Takanobu Takahashi.
Style and prosody
The early Sangam poetry diligently follows two meters, while the later Sangam poetry is a bit more diverse. The two meters found in the early poetry are akaval and vanci. The fundamental metrical unit in these is the acai (metreme), itself of two types – ner and nirai. The ner is the stressed/long syllable in European prosody tradition, while the nirai is the unstressed/short syllable combination (pyrrhic (dibrach) and iambic) metrical feet, with similar equivalents in the Sanskrit prosody tradition. The acai in the Sangam poems are combined to form a cir (foot), while the cir are connected to form a talai, while the line is referred to as the ati. The sutras of the Tolkappiyam – particularly after sutra 315 – state the prosody rules, enumerating the 34 component parts of ancient Tamil poetry.
The prosody of an example early Sangam poem is illustrated by Kuruntokai:
The prosodic pattern in this poem follows the 4-4-3-4 feet per line, according to akaval, also called aciriyam, Sangam meter rule:
A literal translation of Kuruntokai 119:
English interpretation and translation of Kuruntokai 119:
This metrical pattern, states Zvelebil, gives the Sangam poetry a "wonderful conciseness, terseness, pithiness", then an inner tension that is resolved at the end of the stanza. The metrical patterns within the akaval meter in early Sangam poetry has minor variations. The later Sangam era poems follow the same general meter rules, but sometimes feature 5 lines (4-4-4-3-4). The later Sangam age texts employ other meters as well, such as the Kali meter in Kalittokai and the mixed Paripatal meter in Paripatal.
Preservation and rediscovery
The works of Sangam literature were lost and forgotten for most of the 2nd millennium. They were rediscovered by colonial-era scholars such as Arumuka Navalar (1822-1879), C.W. Damodaram Pillai (1832-1901) and U. V. Swaminatha Aiyar (1855-1942).
Arumuka Navalar from Jaffna first inaugurated the modern editions of Tamil classics, publishing a fine edition of Tirukkuṟaḷ by 1860. Navalar – who translated the Bible into Tamil while working as an assistant to a Methodist Christian missionary, chose to defend and popularize Shaiva Hinduism against missionary polemics, in part by bringing ancient Tamil and Shaiva literature to wider attention. He brought the first Sangam text into print in 1851 (Tirumurukāṟṟuppaṭai, one of the Ten Idylls). In 1868, Navalar published an early commentary on Tolkappiyam.
C.W. Damodaram Pillai, also from Jaffna, was the earliest scholar to systematically hunt for long-lost manuscripts and publish them using modern tools of textual criticism. These included:
Viracoliyam (1881)
Iraiyanar Akapporul (1883)
Tolkappiyam-Porulatikaram (1885)
Kalittokai (1887) - the first of the Eight Anthologies (Eṭṭuttokai).
Aiyar – a Tamil scholar and a Shaiva pundit, in particular, is credited with his discovery of major collections of the Sangam literature in 1883. During his personal visit to the Thiruvavaduthurai Adhinam – a Shaiva matha about twenty kilometers northeast of Kumbhakonam, he reached out to the monastery head Subrahmanya Desikar for access to its large library of preserved manuscripts. Desikar granted Aiyar permission to study and publish any manuscripts he wanted. There, Aiyar discovered a major source of preserved palm-leaf manuscripts of Sangam literature. Aiyar published his first print of the Ten Idylls in 1889.
Together, these scholars printed and published Kalittokai (1887), Tholkappiyam, Nachinarkiniyar Urai (1895), Tholkappiyam Senavariyar urai (1868), Manimekalai (1898), Silappatikaram (1889), Pattuppāṭṭu (1889), Patiṟṟuppattu (1889). Puṟanāṉūṟu (1894), Aiṅkurunūṟu (1903), Kuṟuntokai (1915), Naṟṟiṇai (1915), Paripāṭal (1918) and Akanāṉūṟu (1923) all with scholarly commentaries. They published more than 100 works in all, including minor poems.
Significance
The Sangam literature is the historic evidence of indigenous literary developments in South India in parallel to Sanskrit, and the classical status of the Tamil language. While there is no evidence for the first and second mythical Sangams, the surviving literature attests to a group of scholars centered around the ancient Madurai (Maturai) that shaped the "literary, academic, cultural and linguistic life of ancient Tamil Nadu", states Zvelebil.
The Sangam literature offers a window into some aspects of the ancient Tamil culture, secular and religious beliefs, and the people. For example, in the Sangam era Ainkurunuru poem 202 is one of the earliest mentions of "pigtail of Brahmin boys". These poems also allude to historical incidents, ancient Tamil kings, the effect of war on loved ones and households. The Pattinappalai poem in the Ten Idylls group, for example, paints a description of the Chola capital, the king Karikal, the life in a harbor city with ships and merchandise for seafaring trade, the dance troupes, the bards and artists, the worship of the Hindu god Vishnu, Murugan and the monasteries of Buddhism and Jainism. This Sangam era poem remained in the active memory and was significant to the Tamil people centuries later, as evidenced by its mention nearly 1,000 years later in the 11th- and 12th-century inscriptions and literary work.
Sangam literature embeds evidence of loan words from Sanskrit, suggesting on-going linguistic and literary collaboration between ancient Tamil Nadu and other parts of the Indian subcontinent. One of the early loan words, for example, is acarya– from Sanskrit for a "spiritual guide or teacher", which in Sangam literature appears as aciriyan (priest, teacher, scholar), aciriyam or akavar or akaval or akavu (a poetic meter).
The Sangam poetry focuses on the culture and people. It is religious as well as non-religious, except for ththere are several mentions of the Hindu gods and more substantial mentions of various gods in the shorter poems. The 33 surviving poems of Paripaatal in the "Eight Anthologies" group praises Vishnu, Durga and Murugan. Similarly, the 150 poems of Kalittokai – also from the Eight Anthologies group – mention Krishna, Shiva, Murugan, various Pandava brothers of the Mahabharata, Kama, goddesses such as Ganga, divine characters from classical love stories of India. One of the poems also mentions the "merciful men of Benares", an evidence of interaction between the northern holy city of the Hindus with the Sangam poets. Some of the Paripaatal love poems are set in the context of bathing festivals (Magh Mela) and various Hindu gods. They mention temples and shrines, confirming the significance of such cultural festivals and architectural practices to the Tamil culture.
Religion in the Sangam age was an important reason for the increase in Tamil Literature. Ancient Tamils Primarily followed Vaishnavism (Who consider Vishnu as the Supreme Deity) and Kaumaram (who worship Murugan as the Supreme god). According to Kamil Zvelebil, Vishnu was considered ageless (The god who stays for ever) and the Supreme god of Tamils where as Skanda was considered young and a personal god of Tamils.
Mayon is indicated to be the deity associated with the mullai tiṇai (pastoral landscape) in the Tolkappiyam. Tolkappiyar Mentions Mayon first when he made reference to deities in the different land divisions.The Paripādal (, meaning the paripadal-metre anthology) is a classical Tamil poetic work and traditionally the fifth of the Eight Anthologies (Ettuthokai) in the Sangam literature. According to Tolkappiyam, Paripadal is a kind of verse dealing only with love (akapporul) and does not fall under the general classification of verses. Sangam literature (200 BCE to 500 CE) mentions Mayon or the "dark one," as the Supreme deity who creates, sustains, and destroys the universe and was worshipped in the Plains and mountains of Tamilakam.The Earliest verses of Paripadal describe the glory of Perumal in the most poetic of terms. Many Poems of the Paripadal consider Perumal as the Supreme god of Tamils. He is regarded to be the only deity who enjoyed the status of Paramporul (achieving oneness with Paramatma) during the Sangam age. He is also known as Māyavan, Māmiyon, Netiyōn, and Māl in Sangam literature and considered as the most mentioned god in the Sangam literature.
Cēyōṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ "the youth" in the Tolkāppiyam; Extant Sangam literature works, dated between the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils." There are no Mentions of Shaivism in Tolkappiyam. Shiva and Brahma are said to be forms Of Maha Vishnu and considers Vishnu as The Supreme god in Paripāṭal.
There are two poems depicted as example of Bhakti in Ancient Tamil Nadu, one in the praise of Maha Vishnu and other of Murugan
To Tirumal (Maha Vishnu):
To Seyyon (Skandha):
The other gods also referred to in the Tolkappiyam are Vēntaṉ "the sovereign" (identified with Indra) and Korravai "the victorious" (identified with Durga) and Varunan "the sea god".
The Sangam literature also emphasized on fair governance by Kings, who were often described as Sengol-valavan, the king who established just rule; the king was warned by priests that royal injustice would lead to divine punishment; and handing over of a royal scepter, Sengol denoting decree to rule fairly, finds mention in texts such as the Purananooru, Kurunthogai, Perumpaanatrupadai, and Kalithogai.
Further, the colophons of the Paripaatal poems mention music and tune, signifying the development and the importance of musical arts in ancient Tamil Nadu. According to Zvelebil, these poems were likely from the late Sangam era (2nd or 3rd century CE) and attest to a sophisticated and prosperous ancient civilization.
Modern musical renditions
The first music album on Tamil Sangam poetry titled Sandham: Symphony Meets Classical Tamil by Composer Rajan Somasundaram in collaboration with Durham Symphony, featured in Amazon's Top#10 'International Music albums' category in July 2020 and was called a "A Major event in the world of Music" by The Hindu Music review.
Sangam poems are often quoted and paraphrased in modern Tamil cinema.
See also
Project Madurai: open access Tamil literature repository
List of historic Indian texts
Tamiḻakam
First Sangam
Second Sangam
Tamil Sangams
List of Sangam poets
Vaishnavism in Ancient Tamilakam
Notes
References
Bibliography
Selby, Martha Ann (2011) Tamil Love Poetry: The Five Hundred Short Poems of the Aiṅkuṟunūṟu, an Early Third-Century Anthology. Columbia University Press,
External links
sangamtranslationsbyvaidehi.com Sangam poetry with translation in English, Vaidehi Herbert
Indian poetics
Cultural history of Tamil Nadu
Hindu literature
Jain literature
Dravidian languages
Indian poetry | https://en.wikipedia.org/wiki/Sangam%20literature |
The Stoke-on-Trent Regional College of Art was one of three colleges that were merged in 1971 to form North Staffordshire Polytechnic (later renamed as Staffordshire Polytechnic and now Staffordshire University). The College of Art achieved Regional Art College status after the Second World War, but its roots lay in the nineteenth century as it was formed from three of the Potteries´ art schools.
Although the six towns which make up Stoke-on-Trent were a relatively small conurbation, each had its own art school: those at Fenton, Hanley and Tunstall had closed by the time the Regional College of Art was created, leaving Burslem, Longton and Stoke.
Burslem
Burslem School of Art was perhaps the best known art school in the Potteries. It was provided with a fine building in 1905. Burslem continued to be the home of the Department of Fine Art for some years after the formation of North Staffordshire Polytechnic. Staff at Burslem included Arthur Berry who taught at the Polytechnic until 1985 by which time Fine Art had moved to College Road.
Longton
The Departments of Ceramics and Fashion and Textiles were housed in the Sutherland Institute, Longton.
In 1962 the Advanced Diploma in Art & Design (Ceramics) was offered by the Stoke-on-Trent Regional College of Art. Later, with the merger of the National Council for Diplomas in Art & Design and the Council for National Academic Awards, this was to become the first MA (Master of Arts) postgraduate course in North Staffordshire Polytechnic.
After the formation of the North Staffordshire Polytechnic, Colin Melbourne, the sculptor and ceramic designer, who was Head of Ceramic Design at Longton became Head of Fine Arts in the new institution.
Stoke
The Stoke College of Art was housed in the Herbert Minton Building in London Road from the mid-1850s. Amongst the artists who were educated in the Stoke School was Arnold Machin the sculptor, who designed the portrait of the Queen which has appeared on postage stamps since 1967 (the Machin series).
In 1964 Graphic Design & Printing relocated to the Technical College site in Stoke (the present Staffordshire University College Road campus). Printing education was a feature of the Stoke School and many advances in ceramic transfer printing (particularly in offset lithography) were first developed there by the Deardens (father and son) before their wider adoption by the ceramics industry.
Developments in art education at North Staffordshire Polytechnic
In 1973 the departments of Graphic Design and Three-Dimensional Design (the latter being the renamed Department of Ceramics) combined their resources to offer a new and unique course in Multidisciplinary Design. This concept of multidisciplinary design echoed much of the philosophy of the Bauhaus of the 1920s and 1930s. Students were able to choose from a range of design subject areas and to combine them in solving design problems often located in the local community. The design disciplines available then were: typography; illustration, scientific & medical illustration; photography; audio-visual communication; textiles; industrial ceramics; ceramic sculpture; glass; silverware & jewellery; and product design.
In the early 1970s, the Department of the History of Art & Design and Complementary Studies was established. Again this was forward-looking in establishing the study of the history of art and design as an academic discipline in its own right.
In the early seventies research into letterform design for cathode ray tubes was carried out in collaboration with International Computers Limited (ICL) in Kidsgrove by staff and students in the Department of Graphic Design, North Staffordshire Polytechnic. In the same period collaborative research into computer-assisted typesetting was carried out with The Monotype Corporation.
By the end of the 1970s both design departments (Graphic Design and Three-Dimensional Design) were actively involved in many aspects of information technology and computing applied to design. In this particular application of computers, the departments were pioneers and amongst the first in the country. In 1982 the Department of Trade and Industry sponsored an exhibition (IT82) outlining the advantages of computing and information technology for industry. The design departments were successful in persuading the DTI to locate this travelling exhibition on the College Road campus – the only visit for the north Midlands. The pioneering involvement in the applications of computing to Design was to lead to the development of the first BTEC course in Multimedia Design. In conjunction with the Department of Computing, the first degree course in Interactive Systems Design in the United Kingdom was developed.
In the 1980s the design departments became involved in research for the computer-aided design of ceramic shapes using solid modelling techniques, and surface pattern designs using advanced computer graphics. The experience gained in this area was to be used in the early planning of the Hothouse Design Centre located in Longton.
Notes
External links
Burslem School of Art
Art schools in England
College of Art
Education in Staffordshire
Education in Stoke-on-Trent | https://en.wikipedia.org/wiki/Stoke-on-Trent%20College%20of%20Art |
Nunthorpe is a village and civil parish in the Borough of Middlesbrough in North Yorkshire, England.
It is part of the historic county of Yorkshire, North Riding. It is near to the village of Great Ayton and formerly part of the Ayton ancient parish until 1866.
History
The history of Nunthorpe can be traced back to before the Domesday Book of 1086. The village was named “Thorpe”, or “Torp” (words meaning settlement) in the Domesday Book and described as a thriving settlement, Nunthorpe consisted of an estimated 1,080 acres of land. Towards the end of the 12th century a group of Cistercians nuns, allegedly evicted from nearby Hutton Lowcross for rowdy behaviour, were resettled at Thorpe having been given some land there belonging to Whitby Abbey, on which they built a priory and mill. The nuns only stayed at Thorpe a few years, but their short stay resulted in Thorpe being renamed Nunthorpe. During the following centuries, Nunthorpe remained an agricultural community closely linked to the market towns of Stokesley and Ayton. The Industrial Revolution had very little impact on its agricultural economy.
Victorian era
The census of 1811 shows Nunthorpe to have had a population of 128, living either in the village of Nunthorpe or on nearby farms. Nunthorpe was at that time registered as being in the North Riding of York, in the Parish of Great Ayton. Its economy was all related to agriculture and farming.
The rapid growth of Middlesbrough from a population of 35, in 1811, to a population of 91,302, in 1901 appeared to have had little effect on Nunthorpe, which kept its agricultural throughout the 19th century. Nunthorpe's population in comparison only reaching 198 persons by 1901.
In 1853, Middlesbrough and Guisborough Railway line opened, with a station at Nunthorpe and passenger services the following year. Several important Middlesbrough industrialists chose Nunthorpe as their home and contributed to the development of the village. These men included Isaac Wilson, +ironmaster, Mayor of Middlesbrough and later Liberal MP, John Swan, ironmaster, William Hopkins, ironmaster and mayor of Middlesbrough and Sir Arthur Dorman, ironmaster.
20th century
The settlement that is known as Nunthorpe today is that which grew up around the railway station. Nunthorpe village is situated about to the south of the main suburban area. In the early 20th Century, Sir Arthur Dorman planned and built a new small suburb around the railway station for his workers He imposed several covenants on the building: – shops were not permitted, public houses were also not allowed, the houses had to have slate roofs and were not permitted to have house numbers. The layout included tree-lined roads, with spacious houses, each with a garden built in terraces. The houses were certainly an improvement on the small workers’ houses built in Middlesbrough. By 1912, about 60 houses had been built around the station area of Nunthorpe.
1950s to the present
New housing estates, schools and churches were built during the late 1950s, 1960s and 1970s.. The historical development of Nunthorpe initially started with the building of generously sized houses in generous gardens. This has given Nunthorpe its continued heritage with an open and spacious character.
Governance
The village was merged into the County Borough of Teesside from the Stokesley Rural District in 1968. It was split between the boroughs of Middlesbrough and Langbaurgh (in 1996 the latter was later renamed Redcar and Cleveland) by the Local Government Act 1972 in 1974, the Esk Valley Line as a boundary, with its civil parish on the Middlesbrough side. In the same ward as the western part of the village, Ormesby was also split between the two boroughs.
2023 local elections results for Ormesby Ward
In the 2023 local elections, the following members were returned to Redcar and Cleveland Borough Council:
2023 local elections results for Nunthorpe Ward
In the 2023 local elections, the following members were returned to Middlesbrough Borough Council:
Landmarks
Nunthorpe Hall
Nunthorpe Hall is the ancient manor house in Nunthorpe village. It was built in 1623, and largely rebuilt and extended in around 1800 and altered again in the mid-1800s. The entrance porch and was added in 1901. The building was converted into a retirement home for the elderly in 1951. The main building is of dressed sandstone, with Lakeland slate roofs, with stone ridge copings. It became a Grade II, listed building, in 1952.
Churches
Church of England – St Mary the Virgin, church on Church Lane (Middlesbrough side) and church hall on Morton Carr Lane (Redcar and Cleveland borough side)
Methodist – Nunthorpe Methodist Church, Marton Moor Road
Catholic – St Bernadette's Catholic Church, Gypsy Lane
Grey Towers
Grey Towers House is a large house, built in 1865 for William Hopkins, Mayor of Middlesbrough.
It has an unusual aspect in that it is faced with whinstone, compared to the traditional sandstone of the area.
Arthur Dorman, of the steel makers Dorman Long, lived there until his death in 1931.
Alderman Sir Thomas Gibson Poole bought the estate and presented it to Middlesbrough Council as a tuberculosis sanatorium, known first as Poole Sanatorium, and later as Poole Hospital. It was opened as a hospital, first in 1932, and expanded with further buildings, in 1945.
It closed as a hospital in 1988.
In 1988, it also became a Grade II* listed building.
In 2005, Grey Towers Hall was refurbished into 12 apartments
Retail
A parade of local shops can be found on Guisborough Road including a florist, pharmacy and post office with local newsagent Rookwood News found on nearby Rookwood Road. The Avenue shops also serve the village.
Education
Nunthorpe is served by four primary schools; Chandlers Ridge Academy, The Avenue, Nunthorpe and St Bernadette's Catholic School. Situated next to Nunthorpe Primary School is Nunthorpe Academy, a Specialist Science, Business and Enterprise Academy (since 2012). It operated as a selective County Modern school prior to 1973 and then as a Comprehensive school.
Since September 2008, there has been a Sixth Form College located next to the secondary school, in collaboration with a campus in Teesville.
Transport
Nunthorpe is served by both and railway stations, which are on the Esk Valley Line, Middlesbrough station to . Nunthorpe has good bus connections to Middlesbrough and Guisborough. It is located close to main roads like the A174 and A19.
Sport and culture
Nunthorpe has a squash and football club, complete with squash and tennis courts; there is also a cricket club. The Cleveland Hills can be seen as the backdrop to this local amenity, with Roseberry Topping clearly visible.
An amateur drama group, The Nunthorpe Players, founded in 1962, regularly performs at St. Mary's Church Hall in Nunthorpe.
Notable people
Anand Desai-Barochia – actor Emmerdale, Bridgerton, The Outpost
Ben Gibson – footballer.
Peter Gilmore – actor (BBC television series The Onedin Line)
Chris Liddle – cricketer who went to school in Nunthorpe.
Amelia Lily – singer (X Factor 2011 finalist) and Celebrity Big Brother 20 housemate.
Graeme Murty – footballer who went to school in Nunthorpe.
Kirsten O'Brien – media presenter.
Liam Plunkett – cricketer who went to school in Nunthorpe.
Chris Tomlinson – long jumper.
Jonathan Woodgate – footballer and football manager.
References
External links
Plans for new Road Safety Scheme
Nunthorpe School
Greater Nunthorpe Community Website
Civil parishes in North Yorkshire
Places in the Tees Valley
Areas within Middlesbrough | https://en.wikipedia.org/wiki/Nunthorpe |
Henna Raita (24 January 1975 in Lahti, Finland) is a former alpine skier.
Raita has been part of the Finnish Alpine skiing team since the 1990s. She got her first world cup points during the season 1999–2000 in Copper Mountain, USA when she was 13th in slalom.
She competed in three Olympic Games between 1998 and 2006, with an 8th placing in the Women's Slalom at the Salt Lake City Games in 2002 her best result.
Raita stands 1.73 metres (5 ft 8 in) tall.
She retired in 2006 and nowadays makes music using the artist name Hehewuti.
References
1975 births
Living people
Sportspeople from Lahti
Finnish female alpine skiers
Alpine skiers at the 1998 Winter Olympics
Alpine skiers at the 2002 Winter Olympics
Alpine skiers at the 2006 Winter Olympics
Olympic alpine skiers for Finland | https://en.wikipedia.org/wiki/Henna%20Raita |
Stainton is a village in the south-west outskirts of Middlesbrough, England. It is in the Borough of Middlesbrough, North Yorkshire.
The village is in a shared civil parish and ward with Thornton called Stainton and Thornton. The ward had a population of approximately 2,300 as of 2005, measured at 2,890 in the 2011 census. The civil parish has no school so the ward includes parts of Hemlington including Hemlington Hall Academy primary.
History
Stainton was named in the Domesday Book of 1086, when its manors were held by Earl Hugh of Acklam. It has been a settlement since pre-Anglo-Saxon times, its name is of mixed origin with Old Norse "stan" and Old English "tun", in Modern English stone-town.
St Peter and St Paul Church dates back to the 12th century and is grade II* listed. The former vicarage, Stainton House, dates from the 19th century and is Grade II listed. Stainton Methodist Church, on Meldyke Lane, dates from 1840. The original village school, now the Memorial Hall, dates from 1844.
The Stainton public house, on Meldyke Lane, was first licensed in 1897, celebrating its centenary in 1997.
Stainton Quarry straddles Stainton Beck, between the villages of Stainton and Thornton in Middlesbrough. A footbridge joins it to Kell Gate Green on the other side of the beck. These countryside sites provide three hectares of community-run open green space.
Notable people
The parents of the navigator Captain James Cook, James Cook and Grace Pace, were married in the Stainton parish church on 10 October 1725, and the parish register survives. James Cook, the explorer, was born at nearby East Marton three years later.
William Fawcett, the writer on horses, hunting and racing, was the son of Sir William Fawcett, of The Grange, Stainton, and was a native of the parish.
References
External links
Villages in North Yorkshire
Areas within Middlesbrough | https://en.wikipedia.org/wiki/Stainton%2C%20Middlesbrough |
Hemlington is an area of Middlesbrough, North Yorkshire, England. It is centred around a lake and is in the Borough of Middlesbrough's south-western outskirts.
In 2015, the Hemlington Ward had a population of 6,557, 4.74% of Middlesbrough's resident population. It is east of the Stainton and Thornton parish and partly in the parish's namesake ward: it is also west Coulby Newham.
History
A local hospital was set in the countryside until the late 1980s when it was closed and later demolished: it had been built in 1895 as an infectious control hospital but then during the wars was used for treatment of war injuries.
Hemlington was built on farmland during the 1960s and expanded thereafter to provide affordable housing for the increasing population of Middlesbrough.
Local facilities and amenities
The main shopping centre is Viewley Hill Shopping Centre. The Parkway Centre, with facilities including a leisure centre, fast food restaurants, and DIY stores is in nearby Coulby Newham.
The 'Initiative Centre' is an adult education and job resource training centre for skills training and getting people back to employment.
Hemlington local leisure amenities are mostly centred on a area of open parkland which has been split into two sites: Hemlington Recreation Centre and Hemlington Hall Farm.The farm outbuildings are used as a drop in facility for the 'Linx' detached youth work project, and provide changing facilities for football pitches, canoe and kayak storage areas, and a small classroom. 'The Unicorn Centre' is horse-riding centre for disabled people. The recreation centre includes an activity hall, with classes for children and adults, a small gym, and outdoor leisure facilities.
The wildlife of Hemlington Lake includes kingfishers, mute swans, tufted and ruddy ducks, seasonal visitors, and a population of watervoles. The Bluebell Beck Woodland Walk, around the lake, includes both metal and chainsaw sculptures. In 2010 Charles, Prince of Wales visited the lake. Hemlington Lake and Recreation Centre has Green Flag Award.
Education and religion
The four churches in and around Hemlington are St Timothy's Church of England, Providence Baptist Church, All Nations Church which is an Assemblies of God church, and the Middlesbrough St Mary's RC Cathedral in Coulby Newham. Each provide services and local community groups.
Hemlington has three primary schools: Viewley Hill Primary School, Hemlington Hall Primary School and St. Gerard's RC Primary School.
Transport and geography
The main transport from Hemlington is a public bus service operated by Stagecoach. The nearest railway station is away in .
Coulby Newham lies of the east of suburb and the village Stainton west with Stainton and Thornton parish and ward south and west of Hemlington.
References
External links
Location
Villages in North Yorkshire
Places in the Tees Valley
Areas within Middlesbrough | https://en.wikipedia.org/wiki/Hemlington |
Thornton is a village near to Stainton in the town of Middlesbrough, in the borough of Middlesbrough and the ceremonial county of North Yorkshire, England. It is in the local Stainton and Thornton ward of Middlesbrough, with a collective population of 2,300 as of 2005.
Villages in North Yorkshire
Places in the Tees Valley
Areas within Middlesbrough | https://en.wikipedia.org/wiki/Thornton%2C%20Middlesbrough |
Tollesby is a residential area within the Middlesbrough ward of Ladgate in North Yorkshire, England. It is south-east of the Middlesbrough Municipal Golf Course.
The area was previously a separate hamlet near Marton-in-Cleveland before being absorbed with Middlesbrough, with its neighbour. The local schools are Easterside Academy, Holmwood and St Thomas More Primary.
Gallery
Villages in North Yorkshire
Areas within Middlesbrough | https://en.wikipedia.org/wiki/Tollesby |
The Flint Cultural Center (FCC) is a campus of cultural, scientific, and artistic institutes located in Flint, Michigan, United States. The institutions located on the grounds of the FCC are the Flint Institute of Arts, Flint Institute of Music, Sloan Museum, Flint Public Library, Buick Gallery & Research Center, Robert T. Longway Planetarium, The Whiting, and the Bower Theatre. The campus and some institutions are owned by Flint Cultural Center Corporation.
The campus is 33 acres in size and is owned by the Flint Cultural Center Corporation. The Flint Public Library owns its own building.
Flint Institute of Music (FIM) and Flint Institute of Arts are non-profits independent from the Flint Cultural Center Corporation, but lease their buildings from the cultural center. FIM consists of the Flint School of Performing Arts, Flint Symphony Orchestra and Flint Repertory Theatre.
History
Development
The City of Flint School District in 1920 purchased the old Oak Grove sanitarium and 60 adjoining acres plus later added other private lots. In 1946, the College and Cultural Center campus was started by C.S. Mott after he learned of University of Michigan President Alexander Grant Ruthven indicated the possibility of forming university branches in other areas of Michigan. Mott pledged a match towards developing a four-year college if Flint city voters pass a $7-million bond issue, which they did. Plus Mott donated land, 32 acres in the early 1950s and additional 6.25 acres in 1955 for a new campus. The first building constructed in 1954 for the new college campus was Ballenger Field House. With UM talks dragging on, Flint Community Junior College moved to the campus in 1955.
In the early 1950s, Flint Journal editor Michael A. Gorman felt that educational and cultural opportunities should be available to residents given its status as a factory town. Gorman was involved with an informal group that met at his home on Calumet to play cards and discussion Flint's future. This group was thus called the Calumet Club. The club changed into the Committee of Sponsors for the Flint College and Cultural Development. Leadership of the Committee was: executive director Robert T. Robison, president Robert T. Longway, Buick vice president and assistant general manager from 1929–32, first vice president F.A. "Dutch" Bower, Buick's chief engineer from 1929–36 and executive committee chairman Gorman. Honorary chairman were Mott, GM president Harlow H. Curtice and retired (1929) Buick engineer Enos A. DeWaters.
The Flint Board of Education was chosen by the founders to oversee the cultural campus and its reserve funds. The reserve funds were raised to go towards annual operational and maintenance costs. However, these funds were insufficient to upgrade buildings or fund new programs.
The committee set a goal of $25 million for their initial fundraising goal. In honor of its 50-millionth car, General Motors contributed $3 million in starter funds. Starting in 1954, donation was open to the public but in $25,000 increments. 400 individuals and 100 corporations, businesses and organizations donated at this sponsor level with most giving over the minimum. The Charles Stewart Mott Foundation shifted its annual gift, started in 1928, from the Flint Institute of Arts to the Flint Cultural Center.
In 1958, Gorman died before the campus was finished. Cultural center buildings did start to open that year while the last of the original buildings finished in 1967 and were named after automotive pioneers.
Operating
In 1973, the Sloan Museum started hold its annual Sloan Auto Fair. The Committee of Sponsors continued fundraising until the 1990s, but did the bulk of their fundraising in its first ten years. The Flint Cultural Center Corporation was established in 1992 after the Flint Board of Education and the Committee of Sponsors had done some strategic planning with community participation. At first, the corporation managed the grounds on behalf of the school district, under a lease management agreement, and was governing body for Longway Planetarium, Sloan Museum and Whiting Auditorium.
A major capital and endowment campaign to support the FCCC, the FIA and FIM was started in 1995 and raised over $33 million. While $7.1 million was used to renovate The Whiting, a project completed in 1999, the remained where placed into endowment funds. Longway and Bower were connect via a $2.65-million 2000 addition consisting of classroom and rehearsal space.
Beginning in 2010, the Charles Stewart Mott Foundation made annual grants over $3 million, of split between the Corporation and the two other private Cultural Center organizations.
In September 2013, the FCCC purchased the Sarvis Center and Central Kitchen from the Flint Community Schools for $150,000 despite some community opposition thinking that the price was too low and there was no other bidders. For the 2018 Sloan Auto Fair, it was moved from the center campus to Genesee County Parks' Crossroads Village and Huckleberry Railroad given issue with Flint Institute of Arts' expansion.
On May 14, 2018, the center corporation submitted a request to vacate parts of three public streets on the campus. This a preliminary move to make way for a possible arts and science focused charter school. Grounding breaking on the K-8 charter school, Flint Cultural Center Academy, took place on June 26, 2018 with expectations that the school be open for the 2019-2020 school year.
At the August 2018 primary election, Genesee County voters approved a 10-year arts millage that the bulk of the proceeds would go to Flint Cultural Center institutes. Additional Flint groups receiving fixed funding are Friends of Berston Fieldhouse and the New McCree Theatre. The Greater Flint Arts Council grants out the remaining funds to other Genesee County art organizations through Share Art Genesee.
The Flint Institute of Music's Flint Youth Theatre changed its name to Flint Repertory Theatre ("The Rep") on August 13, 2018 to become a regional theatre while Flint Youth Theatre would become a program of the Rep's education department.
Flint Cultural Center Corporation
Flint Cultural Center Corporation (FCCC) is a non-profit corporation that manages the Flint Cultural Center. The FCCC is responsible for all aspects of governance and operation of Longway Planetarium, Sloan Museum, and The Whiting.
The Flint Cultural Center Corporation established in 1992 after the Flint Board of Education and the Committee of Sponsors had done some strategic planning with community participation. At first, the corporation managed the grounds on behalf of the school district, under a lease management agreement, and was governing body for Longway Planetarium, Sloan Museum and Whiting Auditorium.
The Flint City School district transferred in July 2003 the Flint Youth Theatre program to the FCCC. Except for the Flint Public Library and the Sarvis Center, the Cultural Center campus was deeded over to the corporation in October 2004. In 2005, former Citizens Bank president Howard Gay established a family foundation supporting the Flint Cultural Center Corporation.
In September 2013, the FCCC purchased the Sarvis Center and Central Kitchen from the Flint Community Schools for $150,000 despite some community opposition thinking that the price was too low and there was no other bidders. In 2018, the corporation started its public charter school, Flint Cultural Center Academy.
Sloan-Longway
Sloan-Longway, stylized as Sloan*Longway, is an operational division of the Flint Cultural Center Corporation. The division operates three venues Alfred P. Sloan Museum, Robert T. Longway Planetarium and Buick Automotive Gallery and Research Center. The Sloan Museum Automotive Collection consist of 100 vehicles some of which rotate between being on display at the Sloan Museum and the Buick Automotive Gallery. In 2004, the Flint Cultural Center Corporation formed the Sloan-Longway division from the operation of Sloan Museum, Longway Planetarium and Buick Automotive Gallery.
On November 16 and 19, 2012, the Flint Journal donated and transferred its archive to the Sloan Museum. The papers' records were placed in the museum's Sloan Archives at the Buick Gallery building. In 2010, fundraising began for a portable dome theater so that planetarium style presentations can be taken to local schools. By 2013, the Portable Dome Theater was purchased. Its first year (2013/2014 school year) of travel cost were partially covered by a grant from Community Foundation of Greater Flint's Flint Community Fund, Sarah E. Warner Endowment for the Arts Fund and Jean Simi Fund for the Arts to the Flint Classroom Support Fund.
The Whiting
The Whiting is an operational division of the Flint Cultural Center Corporation that operates The Whiting auditorium and the downtown Capitol Theatre.
In 1993-94, the corporation launched the Showcase Series at the Whiting Auditorium with five shows in the lineup. The Spotlight Series, formerly the Showcase Series, had 27 shows in 2008. A major capital and endowment campaign to support the FCCC allocated $7.1 million to renovate The Whiting, a project completed in 1999.
In April 2015, the Uptown Reinvestment Corp. purchased the downtown Capitol Theatre from Troy Farah. Uptown Reinvestment announced on October 21, 2015 that they had partnered with The Whiting with Uptown restoring the theater and The Whiting managing its operations. On December 7, 2017, the theater reopened.
Buildings
Original (constructed 1958-1967)
F.A. Bower Theater
Flint Institute of Arts, formerly Enos A. and Sarah DeWaters Art Center, renovated through the FIA organizational fundraising
J. Dallas Dort Music Center
Flint Cultural Center Academy (2019)
Flint Public Library
Robert T. Longway Planetarium is a building run by Sloan-Longway division of the Flint Cultural Center. The planetarium had an April 9, 1957 ground-breaking ceremony and was built for $600,000 with the interior geodesic dome designed by inventor/architect Buckminster Fuller. Its first public show was on June 29, 1958. From 1999-2000, an expansion and renovation connected it to Bower Theater. C.S. Mott Foundation was the primary funder of this project that added a lobby, a science classroom, Digistar II star projector, laser equipment and new seating.
Alfred P. Sloan Museum: The building was the former president and chairman of the board of General Motors. The museum opened in November 1966 and temporarily closed in December 2018 for renovation and expansion.
The Whiting, formerly James H. Whiting Auditorium, renovated 1997 to 1999
Additional
Buick Automotive Gallery and Research Center, closed after February 25, 2018 for facility repairs. Cars were move to Courtland Center mall.
References
External links
Buildings and structures in Flint, Michigan
Tourist attractions in Flint, Michigan | https://en.wikipedia.org/wiki/Flint%20Cultural%20Center |
Kosmos 110 ( meaning Kosmos 110) was a Soviet spacecraft launched on 22 February 1966 from the Baikonur Cosmodrome aboard a Voskhod rocket. It carried two dogs, Veterok and Ugolyok.
Mission
The launch of Kosmos 110 was conducted using a Voskhod 11A57 s/n R15000-06 carrier rocket, which flew from Site 31/6 at Baikonour. The launch occurred at 20:09:36 GMT on 22 February 1966. Kosmos 110 separated from its launch vehicle into a low Earth orbit with a perigee of , an apogee of , an inclination of 51.9°, and an orbital period of 95.3 minutes.
It incorporated a re-entry body (capsule) for landing scientific instruments and test objects. It was a biological satellite that made a sustained biomedical experiment through the Van Allen radiation belts with the dogs Veterok and Ugolyok. In addition to the two dogs, several species of plants, moisturized prior to launch, were also carried. On 16 March 1966, after 22 days in orbit around the Earth, they landed safely and were recovered by recovery forces at 14:09 GMT.The dogs had orbited the Earth 330 times.
Results from the mission showed that whilst some beans germinated poorly, lettuce grew larger all around with 50% more yield and Chinese cabbage showed greater mass. Those that germinated in space thus became the first seeds to do so.
Overall the mission showed that long duration space flight had definite but variable effects on plants, with some producing better results than on Earth.
The two dogs showed severe dehydration, weight loss, loss of muscle and coordination and took several weeks to fully recover.
This spaceflight of record-breaking duration was not surpassed by humans until Soyuz 11 in June 1971 and still stands as the longest space flight by dogs.
See also
1966 in spaceflight
Animals in space
Russian space dogs
References
Kosmos satellites
1966 in the Soviet Union
1966 in spaceflight
Spacecraft launched in 1966
Life in space | https://en.wikipedia.org/wiki/Kosmos%20110 |
{{Infobox writer
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| notableworks = Regards et jeux dans l'espace (1937), Œuvres (1971), Œuvres en prose (1995), Journal 1929-1939 (2012), Lettres (2020)
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Hector de Saint-Denys Garneau (Montreal, June 13, 1912 - Sainte-Catherine-de-la-Jacques-Cartier, October 24, 1943) was a Canadian poet, writer, letter writer, and essayist, who "was posthumously hailed as a herald of the Quebec literary renaissance of the 1950s". He is mainly recognized for his literary work - in particular, for the only book published during his lifetime, entitled Regards et Jeux dans l'espace, published in 1937 - but he was also a painter. Almost all of his writings are published, without cuts (around 2600 pages), between 1970 and 2020.
Life
Hector de Saint-Denys Garneau was the grandson of the poet Alfred Garneau and great-grandson of the historian Francois-Xavier Garneau. He spent his early years at his family's ancestral manor (which his mother had purchased) in Sainte-Catherine-de-Fossambault (now Sainte-Catherine-de-la-Jacques-Cartier), Quebec, where his cousin Anne Hébert was born in 1916.
Garneau moved to Montréal with his parents in 1923. There, he studied the classics at three Jesuit colleges: Sainte-Marie, Jean de Brebeuf and Loyola.
In 1925, Garneau studied painting at Montreal's Collège des beaux-arts with Paul-Emile Borduas, Jean Palardy, Marjorie Smith and Jean-Paul Lemieux. He won a bronze medal and second prize for a work of art. In 1934, he exhibited some paintings at the Galerie des Arts in Montréal and, in 1937, he presented his painting "Sky Fall" at the Museum of Fine Arts.
Still in his youth, he founded the monthly journal La relève with his friends Paul Beaulieu, Robert Charbonneau, Robert Élie and Jean Le Moyne.
In 1934, Garneau developed a rheumatic heart problem and discontinued his studies. He then devoted his time to writing poems, painting and music. In 1937, Regards et jeux dans l'espace, his collection of poems, was published. [...] he died in 1943 of a heart attack, after canoeing alone."
Poetry
Garneau first achieved some notice as a poet as a boy of 13, when his poem "Le dinosaure" took first prize in a province-wide essay competition. Two years later, he was awarded a prize by the Canadian Authors' Association for his poem "L'automne".
Garneau wrote poetry prolifically between 1934 and 1937; on one day alone (October 22, 1937), he reportedly wrote 13 poems. In his lifetime, though, he published only one slim volume, the 28-poem Regards et jeux dans l'espace. "Radical in its form, with its unrhymed lines of various lengths, its lack of punctuation and its broken syntax.".
Looks and Plays in spaceRegards et Jeux dans l'espace was published in March 1937 and received a rather cold reception from critics, which (we like to believe,) would have deeply shaken the author. However "contrary to what has been said, Garneau is in no way discouraged by the critical reception: What is to be feared here is the silence he wrote. Also, a month after the publication, "he even undertook, which is completely surprising on his part, an advertising 'campaign' to publicize his book and even then, Garneau did not foresee any particular difficulty in terms of critical reception".
De Saint-Denys Garneau constructed the book according to a very meticulous plan: the layout of the titles and sections in no way determines the layout of the poems. Moreover, one must constantly leave the text and its comprehension and jump to the table of contents to know the titles, the numbers or the order of the poems, since in the text some are titled, others not. These choices are not arbitrary, the table of contents of the original edition having been meticulously prepared by de Saint-Denys Garneau. Looks and Plays in space is composed of twenty-eight poems and divided into seven sections, unified, when we add "Accompaniment", unnumbered, at the end of the seventh section, entitled "Untitled". As Romain Légaré underlines: “the book is supported, like a vital necessity, by an indestructible law, that of the unity of opposites”.
For a long time, the “I” of the different speakers (living things, objects and “others”) in this book has been confused with the more erased one of the poet himself. The poems, however, are mystery enough. On the original form of this poetry, François Hébert writes:
"In a very stripped-down speech, the simplest on the surface, but with extremely varied registers, as long as you listen to it, Garneau inlaid a thousand and one surprises [...]: rhymes or assonances and unexpected references ('chaise', double phonetic and semantic contraction of a 'malaise' and a 'chose'), jarring syntax ('living and art'), phonetic gambols (of 'je' to 'jeu', from 'moi' to 'joie' via 'pas'), semantic breaks and leaps (from 'body' to 'soul', from 'self' to 'world'). [...] The verse is mostly odd. And irregular, whimsical even, [...] with its gaps, its variations, its arabesques. [...] Bizarrely laid out on the page (as a staircase, irregularly spaced), the verses abound in unforeseen rhymes, in clever alliterations, placed as if by chance [...]"
Alain Grandbois sums it up: “Garneau's poetry [...] seems to me to provide the most perfect expression of the most astonishing freedom. it unties the chains, escapes and rejoins total emancipation. ". Even if de Saint-Denys Garneau himself would have been disappointed with its reception, Regards et Jeux dans l'espace is today considered one of the most important books of Quebec poetry.
Posthumous works
Letters
The recent declassification of many unpublished letters by Garneau calls for a rereading of all of his correspondence, which can no longer simply be considered as a sideline to the work, as it links all the pieces of it. The letters form the most massive part of his work (920 pages, "well packed"). Garneau likes to write long letters, until physical exhaustion. He discusses his readings, compares such and such a composer, comments on an exhibition of paintings, tells an anecdote, paints a portrait, describes a landscape, etc: each time, he 'walks around what he is among what there is. ', reconstituting with precision “every moment of what he presents as a game in which he is both the witness and the actor”. His story unfolds “before our eyes like a comic strip using simple lines, barely sketches. Moment often “described with a strong, mocking sensuality,” as if the poet took, it is clear, great pleasure in feeling what, ordinarily, “arouses only repulsion [...]. His story corrects the expected impression, contradicts the received idea” (still today) that his atypical career “was one of near horror”. In the private space of the letter, without the restraint imposed by publication, De Saint-Denys Garneau addresses in a very free and down-to-earth way the central question of all his writings: how to be?.
In the quasi-novel that his letters are, the hero is an "I" who constantly questions his relationship to the world, to others and to himself, as if he were never certain of really existing. We rarely see what the object of the Garnelian letter is, so that we forget its immediate aim. Admittedly, its documentary value is far from negligible, but it remains secondary. It is the ontological framework, in reality, "which motivates epistolary writing". Reading his Letters in the form of a continuous text, one manages to grasp the coherence of this character, for whom “being is a fictional activity”, and writing, an absolute. In his letters — and as if his life depended on it — Garneau gives himself entirely, and always questioning the value of this “gift” of oneself, which is writing.
“ The correspondence of the poet de Saint-Denys Garneau is one of the most singular. Whether we compare it to those of letter-writers from here or elsewhere, it is difficult to find a single one that really resembles it. ”
— Michel Biron, 2022
For the editor of the Lettres, Michel Biron, "de Saint-Denys Garneau is proving to be a remarkable letter-writer, both in terms of the quality and the quantity of letters written in barely a dozen years". In 2020, we discover "a fascinating letter writer who puts the best of himself into his letters, but also a complex, funny and endearing character" writes Biron, "so different from the character frozen in the role of victim that [we] attributed to him, also so different from an austere and sad Garneau [...]". His letters are “both a sort of novel […] and a form of essay". They tell "the story of a life with an intensity, a lucidity and an acuity superior to anything that Garneau's friends or commentators on his work have attempted to do" and this life, "vibrates everywhere.".
Texts in prose
De Saint-Denys Garneau lived intensely, especially in the period from 1929 to 1938, during which he threw himself headlong into writing. Although the influence of short studies in philosophy is felt in his articles and essays (Œuvres en prose), his Journal 1929–1939 and his many Letters, "all his studies would be nothing if de Saint-Denys Garneau had done no work of personal training. For him, the "intellectual" quest is based on the ontological quest [that is to say, on a "search for being"], which embraces the spiritual and artistic adventure" writes the editor of the Works in prose Giselle Huot. Also, "his work cannot be "understood" or [worse] "explained" without giving a large part to the ontological adventure, which is, at least as far as de Saint-Denys Garneau is concerned, the alpha and the omega.".
The distinction between writings intended for publication and private writings hardly works in the case of Garneau: the Works brought together in a first edition of 1,320 pages in 1971 had moreover not been published during the author's lifetime, whether it is the "found" poems, the Journal or the Letters. Biron remarks: "Almost all of Garneau's writings, this is an exceptional fact in the history of modern literature, escapes the public sphere.". For François Hébert, de Saint-Denys Garneau “was able to say the essential in a few words, with a terrifying and admirable authenticity” then, “shut it up, to let us find it again. ».
Yvon Rivard observes: “De Saint-Denys Garneau died at the age of thirty-one, in 1943. Since his death, he has known a long purgatory from which he has been slowly emerging for several years [...] Most writers Québécois preferred to De Saint-Denys Garneau's 'bad poor' (cf. Œuvres in prose, p. 623.) works of revolt, liberation, affirmation. [...] It is understandable that many turned away from this poet who refused all the subterfuges and all the consolations that literature, religion or the nation offered him. De Saint-Denys Garneau does not write to affirm his singularity, he writes to try to find an answer to the only question that matters [...] When he stops publishing, it is not out of revolt or disappointment, it is that silence appeared to him as the only way to be. ".
Diary 1929–1939
Between 1929 and 1939, perhaps later, de Saint-Denys Garneau kept his "Journal" consisting of about seven notebooks. According to François Dumont: "The complete edition of the Journal 1929–1939 raised various obstacles until 2012, in particular censorship and the desire of friends to prune and classify the texts according to their aesthetic principles", while de Saint-Denys Garneau himself would have immediately looked for a disorder in his texts. He adds that: "The diversity of the genres practiced and the literary dimension of several of them mean that the word 'diary' does not reflect its particular nature". In attempting to characterize the forms that de Saint-Denys Garneau experimented with in the notebooks that have come down to us—from self-examination, fiction and the letter, to meditations on art, and poetry: "It emerges from this examination that Garneau progressively linked reflective discourse with the openings offered by poetry and fiction: a dynamic develops between the life summary and the sketch, leading to a form of writing that incorporates various aspects of his Diary”.“I would have liked to say: I am not a person who speaks to you, not a person, this disorderly, dispersed being, without a real center. But I hope you would not be wrong in believing that you can still address the center at some point, a small flame perhaps which persists, a remnant of what was ravaged [...], where perhaps persists the place of a possible hope of not being rejected from the Be-ing itself.” — Journal 1929–1939, January 21, 1939
One notices a unity in the diversity of the forms borrowed by de Saint-Denys Garneau: “At the end of his journey, de Saint-Denys Garneau manages to free himself from literary conventions to find a totalizing form (but always fragmentary) by which poetry and fiction are linked to existence”. Dumont notes that while illustrating "dimensions of the writing of the notebook which transform the usual aims of the diary [...]", the notebooks fall under "an erratic and heuristic form which is undoubtedly closer to the essay such as what Montaigne meant than what the word "essay" has come to designate today".
Recognition
After Garneau's death, his unpublished poems were collected by Élie under the title Les Solitudes, and published in 1949 together with Regards... as Poésies complètes: Regards et jeux dans l'espace, Les solitudes. Garneau's "influence only became apparent after the publication of his Poésies complètes in 1949," says the Dictionary of Literary Biography. "Since that time the number of studies on his life and work has multiplied considerably.". No writer has been the object of so much publications in Quebec. Nowaday Garneau is considered the precursor of contemporary French-Canadian literature.
Garneau's 1935-39 diary was published in Montréal in 1954 under the title Journal, edited by Élie and Le Moyne and with a preface by Gilles Marcotte. Glassco published his translation, The Journal of Hector de Saint-Denys Garneau, in 1962.
Also in 1962, the Canadian poet F. R. Scott translated ten of Garneau's poems into English for his book, Saint-Denys Garneau and Anne Hebert. Glassco published his translated Complete Poems of Hector de Saint-Denys Garneau in 1975. Glassco's book won the Canada Council Award for translation that year.
Garneau's poetry has also been translated into Spanish by Luis Vicente de Aguinaga, and was published in 2007 as Todos y cada uno.
Some of Garneau's poems have been set to music by the Canadian contemporary classical composer Bruce Mather, and by the Quebec folk group Villeray.
Awards
Maison Henry Morgan (1926)
Association des auteurs Canadiens / Canadian Authors Association (1928)
Canada Council Award (for English translations) (1975)
Commemorative postage stamp
On September 8, 2003, to commemorate the 50th anniversary of the National Library of Canada, Canada Post released a special commemorative series, "The Writers of Canada", with a design by Katalina Kovats, featuring two English-Canadian and two French-Canadian stamps. Three million stamps were issued. The two French-Canadian authors chosen were De Saint-Denys Garneau and his cousin, Anne Hébert.
Public art
De Saint-Denys Garneau, along with Octave Crémazie and Émile Nelligan, is commemorated by a large ceramic mural by Georges Lauda, Paul Pannier and Gérald Cordeau at Crémazie metro station in Montréal. Entitled Le Poète dans l'univers, the work features an excerpt from his poem "Faction".
See also
Quebec literature
List of Canadian writers
References
External links
Archived biography of Garneau at Library and Archives Canada
Regards et jeux dans l'espace on Bibliothèque mobile de littérature québécoise'' (HTML)
Fonds d'archives Hector de Saint-Denys Garneau at Library and Archives Canada
Collection Claude Décarie (Lettres de Saint-Denys Garneau) (R12405) at Library and Archives Canada. The collection includes some letters from Saint-Denys Garneau
1912 births
1943 deaths
20th-century Canadian poets
20th-century Canadian male writers
Canadian male poets
Canadian modernist poets
Canadian poets in French
French Quebecers
Writers from Montreal | https://en.wikipedia.org/wiki/Hector%20de%20Saint-Denys%20Garneau |
Dubai Aerospace Enterprise Ltd (DAE) () is a global aviation services company and one of the largest aircraft leasing companies in the world. Headquartered in Dubai and with over 30 years in business, DAE's leasing and engineering divisions serve over 110 airline customers around the world from its seven locations in Dubai, Dublin, Singapore, New York, Miami, Seattle and Amman.
DAE Engineering
Located at the Queen Alia International Airport in Amman-Jordan, DAE's engineering division, Joramco has a facility offering maintenance, repair and overhaul services for aircraft from the Airbus, Boeing and Embraer fleets.
DAE Capital
DAE Capital specialises in aircraft
leasing, financing and other management services. DAE Capital services over 110 customers in 55 countries across the globe. DAE Capital is the largest
aircraft leasing firm in the Middle East. DAE
Capital has an owned, managed, committed and mandated to manage fleet of approximately 425 Airbus, ATR and Boeing aircraft with a fleet value exceeding US$16 billion, which
are leased to various airlines around the world.
In August 2017, DAE completed the acquisition of Dublin-based AWAS, propelling DAE into the top tier of global aircraft lessors.
References
Companies based in Dubai
Aerospace companies of the United Arab Emirates
2006 establishments in the United Arab Emirates
Aircraft leasing companies | https://en.wikipedia.org/wiki/Dubai%20Aerospace%20Enterprise |
Tal Rosenzweig (born 1967), known as Tal R, is a Danish artist based in Copenhagen.
Life and work
Tal R was born in Israel and moved to Denmark with his family when he was one year old. He studied at Billedskolen, Copenhagen, from 1986 to 1988 and at the Royal Danish Academy of Fine Arts from 1994 to 2000.
Tal R's painting style is described as "kolbojnik", which means "left-overs", a Hebrew word for "jack-of-all-trades."
He has shown work in exhibitions including Bicycle Thieves at Beret International Gallery in Chicago, House of Prince at Douglas Hyde Gallery in Dublin, The Gallery Show at the Royal Academy of Art in London and Ars Fennica at Henna and Pertti Niemisto Art Foundation in Helsinki.
Tal R currently teaches at the Kunstakademie Düsseldorf.
2019 legal action
In 2019, two Faroese artists bought one of Tal R's paintings, Paris Chic, and announced plans to cut it up and use pieces of the canvas as decorative faces for a line of luxury wristwatches. Tal R launched a successful action at the Maritime and Commercial Court of Denmark to stop the artists from destroying the work.
Notes
External links
Tal R at the Saatchi Gallery
Tal R on Daniel Richter - Daniel Richter on Tal R. Video interview by Louisiana Channel.
Tal R: The moon above Copenhagen. Video interview by Louisiana Channel.
Danish contemporary artists
Danish painters
Jewish Danish artists
Israeli painters
Israeli contemporary artists
Academic staff of Kunstakademie Düsseldorf
Recipients of the Eckersberg Medal
Royal Danish Academy of Fine Arts alumni
Artists from Copenhagen
1967 births
Living people | https://en.wikipedia.org/wiki/Tal%20R |
Sharjah National Park () is a park in Sharjah, the United Arab Emirates. The park is the largest in Sharjah, covering approximately 630,000 m2.
See also
Jebel Hafeet National Park, Abu Dhabi
Mangrove National Park, Abu Dhabi
Shees Park Sharjah
References
Protected areas established in 1982
National parks of the United Arab Emirates
Geography of the Emirate of Sharjah
Tourist attractions in the Emirate of Sharjah
1982 establishments in the United Arab Emirates | https://en.wikipedia.org/wiki/Sharjah%20National%20Park |
Louise Lawler (born 1947) is a U.S. artist and photographer living in Brooklyn, New York. From the late 1970s onwards, Lawler’s work has focused on photographing portraits of other artists’ work, giving special attention to the spaces in which they are placed and methods used to make them. Examples of Lawler's photographs include images of paintings hanging on the walls of a museum, paintings on the walls of an art collector's opulent home, artwork in the process of being installed in a gallery, and sculptures in a gallery being viewed by spectators.
Along with artists like Cindy Sherman, Laurie Simmons and Barbara Kruger, Lawler is considered to be part of the Pictures Generation.
Early life and career
Lawler was born in 1947 in Bronxville, New York. She earned a B.F.A. at Cornell University, and moved to Manhattan in 1969, where she soon took a job at the Castelli Gallery. There, she met Janelle Reiring, who would go on to co-found Metro Pictures with Helene Winer in 1980.
Work
Lawler has photographed pictures and objects in collectors’ homes, in galleries, on the walls of auction houses, and off the walls, in museum storage. Along with photography, she has created conceptual and installation art. Some of her works, such as the "Book of Matches", are ephemeral and explore the passing of time, while others, such as Helms Amendment (963) (1989), are expressly political. Lawler's work, in its diverse manifestations (installations, events, publications, souvenirs...) addresses or confronts prevailing systems of establishing art, taste and style. She is, however, less interested in the original process of creating a work of art than in the context lying beyond the artist's sphere of influence and in which the work is subsequently situated. Often framed as “appropriation art” or “institutional critique”, Lawler’s photographic work lays bare the day-to-day operations of the art world and its circulation and presentation of art works. Her work is interested in the intersection of art and commerce.
Early work
Birdcalls (1972/2008) is an audio artwork that transforms the names of famous male artists into a bird song, parroting names such as Artschwager, Beuys, Ruscha and Warhol, a mockery of conditions of privilege and recognition given to male artists at that time. The piece has been nicknamed “Patriarchal Roll Call.”
During her time working at Castelli Gallery, Lawler was making paintings, artist’s books, prints, and photographs of her own. However, when she landed her first official gallery exhibition, in 1978 at Artists Space, she did not exhibit any of that work. Instead, she borrowed a small 1883 portrait of a horse from Aqueduct Racetrack — it had been hanging over a Xerox machine in the offices — and mounted it on an empty wall at the gallery. To highlight her appropriation, she installed two spotlights: one above the picture and another pointed out the window, at the building next door, hinting to sidewalk passersby that there was something of note going on upstairs. This particular building was moreover a citybank. It therefore added an economical meaning to the concept.
In 1979, Lawler presented A Movie Will Be Shown Without the Picture at the Aero Theater in Santa Monica. As the full-length soundtrack of The Misfits played, the silver screen remained unremittingly blank. A black card announcing the event stated the (self-explanatory) title of the work, and the venue and date of its screening. The artist has reprised the piece on a handful of occasions, including in 1983 at the Bleecker Street Cinema in New York City (using the 1961 film The Hustler and the 1957 Bugs Bunny cartoon What’s Opera, Doc?) as part of a show organized by Robert Barry at the downtown alternative space Franklin Furnace called “In Other Words: Artists Use of Language” and, in 1987, in the C.W. Post College in a show organized by Bob Nickas called “Perverted in Language.” The piece was also performed as part of West of Rome’s “Women in the City” series curated by Emi Fontana at the Aero Theater in 2008, and in Amsterdam in 2012 at The Movies theater with Saturday Night Fever (1977). In 1994, Lawler created Foreground, and presented it in Tate Gallery in 2009.
Later work
Lawler developed her individual style during the early 1980s, a time of intense growth in the overall economy and in the art market. In 1981 Lawler had her first West Coast gallery solo exhibition at Jancar Kuhlenschmidt Gallery in Los Angeles. In 1982, for her first solo exhibition at Metro Pictures, Lawler showed a small suite of artworks pulled from the gallery’s stockroom. The pieces were to be sold together, as a single work called Arranged by Louise Lawler, and it was priced at the literal sum of its parts, plus an extra 10 percent commission for Lawler; the piece did not sell.
Lawler's greatest coup came in 1984, when she was granted full access to the New York City and Connecticut residences of twentieth-century collectors Burton and Emily Hall Tremaine. This opportunity occurred on the occasion of the 1984 Tremaine Collection exhibition, and Lawler was again invited to take photos of some artworks in that context. Further, this occurred just a few years before a significant part of their collection was auctioned at Christie's in 1988, and Lawler was permitted to take photos of some of the Tremaine works at auction. In this series of work, Lawler photographed Jackson Pollock's Frieze (1953–55) and the filigree of a Limoges soup bowl in the Tremaines' New York dining room. In Living Room Corner, Arranged by Mr. & Mrs. Burton Tremaine, New York City (1984), Robert Delaunay's Premier disque (1912) hangs above a television and a Roy Lichtenstein bust, Ceramic head with blue shadow (1966), which has been turned into a lamp, and seems to stare up and outward. The location was the Tremaines' New York living room. Another work in this series is Monogram (1984), taken in a bedroom in the Tremaines' New York apartment, the monogram "ETH" being Emily Hall Tremaine, with Jasper Johns White flag (1955–58) photographed over the bed. The pieces place valuable works among household objects, exploring how environments shape our "reading" of art.
Regarding other works, Fragment/Frame/Text (#163) (1984), Lawler photographed a museum wall label next to a landscape painting by Claude Lorrain; only a fragment of the landscape appears in the photo. In Foreground (1994), a gelatin silver print showing an open-plan living area in the Chicago apartment of art collector Stefan Edlis, Jeff Koons' Rabbit (1986) can be seen next to a refrigerator. By manipulating the focus and the view-finder of the camera, Lawler demonstrated how an artwork is determined by the paradigms of the art world: A label on the wall of an auction house would become the focus of an image, with only a small fraction of the work itself visible, and the idea of the artwork as a commercial entity would be brought to mind.
Photographing at Art Basel and Art Basel Miami Beach fairs, the Museum of Modern Art, Christie's and various galleries, Lawler later presented a behind-the-scenes view of art: the hoisting of a Richard Serra sculpture attended by uniformed handlers; white-gloved hands carefully transporting a Gerhard Richter painting; Maurizio Cattelan's giant Picasso head swathed in plastic sitting on the floor behind its disconnected body; another Richter painting lying on its side propped against the wall, its public exposure at MoMA at an end; a Damien Hirst spin-painting glimpsed through a closet door. Lawler titled her 2004 survey show at Museum für Gegenwartskunst in Basel "Louise Lawler and Others" in acknowledgement of the artists whose artworks she photographs. Lawler created Not the way you remembered (Venice) for the exhibition "Sequence One: Painting and Sculpture from the François Pinault Collection (2006–07)"; rather than contributing discrete artworks, these photographs were taken of the exhibition’s early installation process in Venice, depicting works of art in their shipping crates, besides pieces of foam or bubble wrap.
Recent projects
For a site-specific collaboration with fellow artist Liam Gillick at Casey Kaplan Gallery in 2013, Lawler contributed a long vinyl wall sticker that linked the three rooms of the gallery. The image printed on it was a stretched-out version of some of her earlier photographs of artworks in bland white-box settings; here, pieces by Edgar Degas, Richard Serra and Gerhard Richter, among others, were distorted beyond recognition into unrecognisable streaks of colour.
For the 15th installation in a series of artist-designed 25-by-75-foot billboards at the High Line, Lawler created Triangle (adjusted to fit) (2008/2009/2011), an image photographed in a room at Sotheby's auction house in New York, and itself featuring works by artists Donald Judd, Frank Stella and Sol LeWitt.
Exhibitions
Lawler has had one-person exhibitions at the Museum of Modern Art, New York (2017); Museum Ludwig, Cologne (2013); Wexner Center for the Arts, Columbus, Ohio (2006); Dia:Beacon, Beacon, New York (2005); the Museum für Gegenwartskunst, Basel (2004); Portikus, Frankfurt (2003); the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1997); and The Museum of Modern Art, New York, New York (1987). Her work has recently been featured in exhibitions at the Art Institute of Chicago, the Stedelijk Museum in Amsterdam, the Museum of Fine Arts in Ghent, Belgium, and the Whitney Museum of American Art in New York, which included her in its 1991, 2000, and 2008 biennials. Lawler's work was included in documenta 12, Kassel, Germany. Lawler has regularly presented her work in non-art contexts that employ "ordinary" means of presentation, distribution and interpretation.
Lawler has been represented by Metro Pictures, New York, since 1982. She is also represented by Yvon Lambert Gallery, Paris, and by Sprüth Magers, Berlin.
Collections
Pieces by the artist are in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, LACMA; Museum of Contemporary Art, Los Angeles; Art Institute of Chicago; Museum of Fine Arts, Boston; Walker Art Center, Minneapolis; Tate Britain, London; Centre Georges Pompidou, Paris; Israel Museum, Tel Aviv; Kunsthalle Hamburg; Moderna Museet, Stockholm; Museet for Samtidskunst, Oslo; Museum Boymans-van Beuningen, Rotterdam; and Yale University Art Gallery, New Haven, Connecticut.
Art market
Estimated at $40,000 to $60,000, Lawler's photograph Monogram Arranged by Mr. and Mrs. Burton Tremaine, New York City 1984, a photograph of a perfectly made bed with Jasper Johns's famous White Flag (1955–1958) hanging above it, sold for $125,600, a record for the artist, in 2004.
Books
Artists' books
1981 Passage to the North, a structure by Lawrence Weiner and photographs by Louise Lawler, New York: Tongue Press
1978 Untitled, Black/White, (text by Janelle Reiring), New York
1978 Untitled, Red/Blue, New York
1972 Untitled, (with Joanne Caring), New York: The Roseprint Detective Club
Books
Louise Lawler and Others, Hatje Cantz Verlag, 2004,
Louise Lawler: An Arranagement of Pictures, (essay by Johannes Meinhardt, interview with Louise Lawler by Douglas Crimp), Assouline, Paris/ New York, 2000
Louise Lawler, Monochrome, (essay by Phyllis Rosenzweig), Washington: Hirschorn Museum and Sculpture Garden, 1997
Louise Lawler – For Sale, (essays by Dietmar Elger, Thomas Weski), Leipzig: Reihe Cantz, 1994
See also
Appropriation art
Conceptual art
Neo-conceptual art
References
External links
Louise Lawler audio art piece "Birdcalls" published at Tellus Audio Cassette Magazine
Louise Lawler in the collection of The Museum of Modern Art
Louise Lawler | HOW TO SEE the artist with MoMA curator Roxana Marcoci, MoMA
1947 births
Living people
20th-century American women photographers
20th-century American photographers
21st-century American women photographers
21st-century American photographers
American photographers
Artists from New York (state)
American conceptual artists
Cornell University alumni
People from Bronxville, New York
Postmodern artists
Postmodernists
Women conceptual artists | https://en.wikipedia.org/wiki/Louise%20Lawler |
Hawkama is the name for the regional institute of corporate governance launched by the Dubai International Financial Centre in cooperation with the Organisation for Economic Co-operation and Development (OeCD) and other international bodies. The focus of the institute is to provide guidance and assistance to public and private sector in Middle East and Africa to adopt good governance standards.
Capital Concept, a corporate governance advisory company founded in 2005 by Yasser Akkaoui, was instrumental in the establishment of Hawkama.
References
External links
The institutes homepage (in Arabic)
Corporate governance | https://en.wikipedia.org/wiki/Hawkama |
"The Little Black Boy" is a poem by William Blake included in Songs of Innocence in 1789. It was published during a time when slavery was still legal and the campaign for the abolition of slavery was still young.
Interpretation
In accordance with the running metaphor of the sun, the fact that Blake speaks of "black bodies" and a "sunburnt face" in the fourth stanza seems to imply that black people are near God as a result of their suffering – for one can only become dark and sunburned as a result of being exposed to the sun's rays. In the final stanza this idea is developed further, as the black boy says that he will "shade him [the English boy] from the heat", this implies that the English boy's pale skin is not used to the heat (derived from God's love) – some critics assert that the paleness of the English boy in this poem is symbolic of the fact that the English were distanced from God as a result of their treatment of the black peoples.
In the 5th stanza, we see all of humanity being united:
In the 6th stanza this metaphor is continued:
Here, Blake uses the clouds as a metaphor for the human body. These stanzas therefore imply that after physical life has passed, all will be united with God.
Also relevant to this poem is Blake's use in other works of politically neutral colours such as gold and silver when describing things of moral value. The most valuable things in life, in terms of spirituality and wisdom are anointed with colours that are indifferent to race and social class, yet are related to financial status, as gold and silver evoke images of precious metals.
Gallery
Scholars agree that "The Little Black Boy" is the ninth object in the order of the original printings of the Songs of Innocence and of Experience. The following represents a comparison of several of the extant original copies of the poem, their print date, their order in that particular printing of the poems, and their holding institution:
References
External links
Comparison of extant copies of the original prints of "The Little Blake Boy" by Blake at the William Blake Archive
Tate Online, engravings
Abolition Literature
1789 poems
Songs of Innocence and of Experience | https://en.wikipedia.org/wiki/The%20Little%20Black%20Boy |
Oradea Transport Local S.A. () or simply OTL is the municipality-owned public transport company in Oradea. It is one of the successors of the communist-era state-owned transport company, "Intreprinderea Judeţeană de Transport Local" Bihor, or IJTL.
The company operates various tram and bus lines in Oradea, being responsible for 100% of the local mass transit network. As of 2014, it also operates bus lines in the Oradea Metropolitan Area, connecting nearby thermal bath resorts of Băile Felix and Băile 1 Mai, and the towns of Betfia, Cihei, Cordău, Borş, Săntăul Mare, Săntăul Mic, Sântion and Sânmartin to the city centre.
Fleet
The company owns trams as well as buses.
Trams:
Tatra T4 and variants: T4D (6 units), B4D (5 units)
Tatra KT4DM (30 units)
Siemens ULF A1 (10 units)
Astra Imperio (20 units)
Buses:
111 buses
Mercedes O345 (1)
Mercedes Conecto (16)
Mercedes Citaro NGT Hybrid (15)
Mercedes Citaro K Hybrid (1)
Volvo B7R Localo (12)
Solaris Urbino 12 (10)
Mercedes Conecto NG (6)
Volvo Vest B7RLE (13)
Isuzu Novociti 27-MD(7)
Karsan Jest(5)
Man Lion's City NG263 (1)
Iveco Daily(1)
Mercedes O405 GN2(1)
Man Lion's City A78(13)
Volvo 8700 LE(3)
Mercedes O530 Citaro G (2)
Mercedes Citaro G (4)
References
External links
Oradea
Oradea
Oradea
Oradea
Companies of Bihor County | https://en.wikipedia.org/wiki/Oradea%20Transport%20Local |
Amy Sillman (born 1955) is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."
Sillman has exhibited at institutions including the Museum of Modern Art (MoMA), Whitney Museum, Institute of Contemporary Art, Boston, and Portikus (Frankfurt). She has received a Guggenheim Fellowship and awards from the Joan Mitchell, Louis Comfort Tiffany and Pollock-Krasner foundations, and her art belongs to the public collections of MoMA, the Metropolitan Museum of Art, and Tate Modern, among other recognition.
Education and early career
Sillman was born in Detroit, Michigan in 1955 and raised in Chicago. At age 19, she moved to New York to study Japanese, but shifted to art, earning a BFA at the School of Visual Arts in 1979. During that time, she immersed herself in ongoing debates about the viability of contemporary painting and became involved with the downtown feminist and counterculture movements, as an assistant to artist Pat Steir and a member and contributor of the feminist journal Heresies. She exhibited sporadically, participating in group shows at PS 122, New Museum, Drawing Center and PS1, among others. She began gaining attention in the mid-1990s for solo exhibitions at Lipton Owens Company, Casey Kaplan, and in the early 2000s, Brent Sikkema (later called Sikkema Jenkins).
During that period, Sillman earned an MFA from Bard College (1995) and joined the school's art faculty in 1996. She taught in Bard's MFA painting program from 1997 to 2013, and served as chair of the painting department from 2002 to 2013. She subsequently taught at the Städelschule in Frankfurt, Germany.
Work and reception
Sillman's art combines traditional formal concerns—explorations of color, shape, surface and line, play with figure and ground, scale, and flat versus recessive space—that she complicates with approaches from other media (drawing, cartoons, collage, animation) and unconventional display strategies. She employs an interior, personal process—largely grounded in drawing—that involves constructing, deconstructing and reconstructing the painting space through layers of transformation, improvised action and redaction. Artforum critic Linda Norden wrote that this commitment to "constructive erasure" and "unpainting" distinguishes Sillman from Abstract expressionists (e.g., de Kooning and Guston) that she is compared to. Sillman's art is marked by a direct engagement with materials and radical shifts in palette, brushwork, scale and the structuring logic of either drawing or painting. Critics attribute the dialectical quality of her work—playful, incisive humor and angst, comic awkwardness and prowess, figuration and abstraction—to these shifts.
Earlier painting
Sillman's earlier work moved between figure, landscape and abstraction, fusing loose painting and drawing into what reviews described as dreamlike, absurd or wistful psychological narratives. Rendered in cheery, vaguely acidic palettes, these paintings depicted simple, self-contained figures—often a small, Eve-like woman wandering open grounds—amid Boschian piles of biomorphic shapes, abstract scumbles, drips and calligraphic linework. New York Times critic Roberta Smith noted their dense "undergrowth" of imagery and "translucent delicacy," which she wrote, "pok[ed] fun at painting's often masculine sense of bravura, while offering alternative forms of turbulence and power." Helen Molesworth wrote that paintings such as Me and Ugly Mountain (2003)—which depicts a lone figure dragging, an enormous bundle of shapes, scrawls and "neurotic energy" by a thinly painted line—shifted the feminist critique of the gaze from the structure of representation to the feelings that arise when one is aware of being looked at.
In the mid-2000s, Sillman's heap-like compositions gave way to an enlarged scale, broader, more physical gestures and explorations of the body, interpersonal dynamics, the erotic and psychosexual tension. These works consisted of patches of high-contrast color bursting with chaotic line and web-like scaffolding, open fields of subtly modulated color, and crude figurative elements emerging along compositional fault lines or out of rough edges and thickets of brushstrokes (The Elephant in the Room, 2006). In 2007, Sillman began creating large gestural abstract paintings based on black-and-white drawings she made from observing couple friends in casual moments of domestic intimacy. She recreated the original drawings from memory, then rotated and reworked them into abstract painting "templates." The paintings consisted of richly hued, abutting trapezoidal shapes on flat picture planes, which were crisscrossed and circumscribed by bold angular, diagrammatic lines reminiscent of architecture or sculptural construction. She exhibited the paintings and drawings at the Hirshhorn Museum in 2008; Artforum described the drawings as "equally tender and ruthless" in touch and economical in their markmaking.
Later painting, drawing and animation
Sillman mounted several exhibitions in the 2010s that were noted for their invention, restlessness and new formats that emphasized temporal aspects of her work. Her first major museum retrospective, "one lump or two" at the Institute of Contemporary Art (2013), included paintings rooted in a smartphone drawing application and cartoons, diagrams, zines and "animated drawings" that Artforum's Cameron Martin wrote, "pack just as much of a wallop as her starkly physical canvases." The initial animated drawings expanded on or reworked variations of individual paintings and were displayed on small screens, reflecting the modest scale of their creation. The shows "the All-Over" (Portikus, 2016) and "Mostly Drawing" (Gladstone 2018) featured sequential, end-to-end installations (like film frames or accordion books) of multi-media works combining silkscreened or ink-jet printed, painted and drawn elements. Their layered networks of figurative elements, abstract gesture and blended color passages created a sense of metamorphic transformation across pieces and effaced lines between reproduction and spontaneity, painting and print. Frieze critic Elisa R. Linn wrote of Panorama (2016), "traces of [Sillman's] thinking coalesce on the canvas, revealing fragile forms apparently stuck in the constant process of their own remaking."
In 2017, Sillman presented After Metamorphoses (The Drawing Center), a five-minute, looped and projected animated drawing that was her most complex and ambitious to date. It condensed Ovid’s fifteen-book epic poem Metamorphoses into a shape-shifting amalgamation of abstract painting and layered, interpenetrating forms and landscapes. Its digitally drawn shapes and characters underwent strange, sometimes mythical or comical mutations in a manic rhythm that extended the figuration-abstraction oscillation characteristic of her broader practice.
Sillman presented less process-oriented work marked by current-day political concerns in the exhibition "Landline" (Camden Arts Centre, London, 2018). The show included "Dub Stamp" (2018), twelve double-sided works on paper hung on a diagonally stretched cord, which were based on drawings of a figure crawling along abjectly in the aftermath of the 2016 U.S. presidential election. She silkscreened the originals at a larger size and worked into them; Artforum wrote of its simultaneously playful and violent effect: "broken-up, magnified, and displaced shapes step into the breach of a world de-constituting itself as objective reality. They index … the slipperiness of a reality that is increasingly ungraspable, one in which the space between things is quickly evaporating."
Sillman's 2020 exhibition, "Twice Removed," (Gladstone) juxtaposed large, improvisational canvases and paper works—layers of silk-screened polka-dot passages, calligraphic swoops, stripes and brushed stains of color, and hints of figuration—with a surprising new body of work: small, delicate flower still lifes. Reviews described the slightly askew compositions of the paintings as evoking a sense of looming things on the verge of tottering over, or of shifting ground—a reflection of a fraught year plagued by the COVID pandemic. The New Yorker'''s Hilton Als wrote that the spontaneity of the still lifes—painted while in pandemic-driven seclusion—conveyed "the lush despair and loneliness of van Gogh’s sunflowers and irises" and "the joy and the sadness inherent in time."
Zines, writing and curating
In 2009, while living in Berlin, Sillman began producing a zine, The O-G, that she often paired with her exhibitions or paintings; in 2020 it had reached its fourteenth issue. The O-G has included a wide range of material: cartoons, satiric art-world dinner seating charts, essays, visual and textual pieces fleshing out threads in Sillman's art, as well as work by other artists and writers.Burton, Johanna. "Amy Sillman," Artforum, September 2010, p. 326. Retrieved March 7, 2022.
Sillman has written about art and artists for catalogues and journals such as Artforum, ARTnews, Texte zur Kunst, and Frieze. She has published four collections of her writing, the last being Faux Pas (2020, After 8 Books, Paris), which includes essays on John Chamberlain, Eugène Delacroix, Rachel Harrison, Laura Owens, and contemporary painting's inheritances from Abstract Expressionism.
Sillman has curated exhibitions at MoMA (2019), Hammer Museum (2008) and Artists Space (2005).Hammer Museum. Amy Sillman, Programs. Retrieved March 9, 2022. The MoMA show, "The Shape of Shape" (assembled with MoMA curator Michelle Kuo and Jenny Harris), gathered 75 objects from the museum's collection, from well-known artists to some that never exhibited at MoMA; Roberta Smith wrote that the show's "robust visual appetite" addressed the "fear of painting, color and form" that has allowed contemporary painting to lose ground to conceptual art and its derivatives.
Awards and collections
Sillman has been recognized with a Guggenheim Fellowship (2001), election to the American Academy of Arts and Letters (2020), and awards from the National Endowment for the Arts (1995), Joan Mitchell, Louis Comfort Tiffany and Pollock-Krasner foundations (1999), American Academy in Berlin (2009), and Brooklyn Museum (2012), among others.Miller, Peter Benson. "A Brush with Resident Amy Sillman," American Academy in Rome. March 18, 2015. Retrieved March 1, 2022.
Her work belongs to the public collections of the Art Institute of Chicago, Baltimore Museum of Art, Blanton Museum of Art, Brooklyn Museum, Hammer Museum, Los Angeles Museum of Contemporary Art, Metropolitan Museum of Art, Milwaukee Art Museum, Moderna Museet (Stockholm), Museum Brandhorst (Munich), Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Museum of Fine Arts, Boston, MoMA, National Gallery of Art, Saatchi Gallery, San Francisco Museum of Modern Art, Tate Modern, Weatherspoon Art Museum, and Whitney Museum, among others.
References
External links
Amy Sillman website
Amy Sillman discusses “The Shape of Shape” at MoMA, Artforum, 2019
Amy Sillman with Toby Kamps, The Brooklyn Rail, 2018
Amy Sillman by R.H. Quaytman Bomb, 2013
Amy Sillman by David Humphrey Bomb'', 2000
Amy Sillman, Museum of Modern Art
Amy Sillman, Gladstone Gallery
1955 births
Living people
American women painters
Beloit College alumni
Bard College alumni
Painters from Detroit
American contemporary painters
Painters from New York City
20th-century American painters
20th-century American women artists
21st-century American women artists
Heresies Collective members | https://en.wikipedia.org/wiki/Amy%20Sillman |
Ali Benhadj (also Belhadj; ; born 16 December 1956) is an Algerian Islamist activist and preacher and cofounder of the Islamic Salvation Front (FIS) political party, the winner of the June 1990 local elections and the 1991 Algerian legislative election.
Biography
Born in 1956 in Tunis to parents of Algerian origin from the wilaya (province) of Adrar in Algeria, Benhadj became a teacher of Arabic and an Islamist activist in the 1970s. He had close ties to Mustafa Bouyali's Islamic Armed Movement (MIA), and was arrested in 1983 and sentence in 1985 by a state security court. In 1989, after the Algerian Constitution was changed to allow multiparty democracy, he helped found the FIS, an Islamic party which won the first free elections in Algeria since its independence. He was considered the co-head or number two leader of the FIS, along with president Abassi Madani. During this period, he was a preacher at the famous Al-Sunna mosque in Bab el-Oued, a district in Algiers.
In 1991, soon after FIS had finished a General strike and massive peaceful demonstrations in Algiers that was disrupted by a sudden attack by snipers and armed forces that ended with the death of over 1000 civilians in one day and 1000s injured, he, along with FIS president Abassi Madani, was arrested and jailed on charges of threatening state security. In late 1991, FIS won the first round of parliamentary elections, which were then called off by the military, who banned FIS; Benhadj remained in jail before and throughout all of the Algerian Civil War that followed. In December 1994, the hijackers of Air France Flight 8969 demanded Ali Benhadj's release along with Abbassi Madani. The hijackers later dropped those demands in exchange for fuel to fly to France from Algeria. He was released only after serving a 12-year sentence in 2003 under the condition of abstaining from all political activity. Benhadj has been called a charismatic preacher.
In July 2005, he was arrested for making a statement on Al-Jazeera which praised Iraqi insurgents and condemned Algeria for sending diplomats to Iraq shortly after two Algerian diplomats (Ali Belaroussi and Azzedine Belkadi) had been kidnapped. He was released just under a year later in March 2006, under the Charter for Peace and National Reconciliation.
He joined the protests in Bab El Oued on 5 January 2011 and was arrested the same day. He was charged a few days later with "harming state security and inciting an armed rebellion."
On 25 July 2011, Benhadj's 23-year-old son Abdelkahar, along with three-would be suicide bombers and two of his associates, were shot dead by Algerian security forces while planning a suicide bombing at a military checkpoint in Algiers. Abdelkahar Benhadj was considered to be a high ranking senior leader in Al Qaeda in the Islamic Maghreb.
In January 2015 he called for early presidential election as "a first step towards solving the country's political crisis" (Algerian President Abdelaziz Bouteflika suffered a stroke in April 2014).
Views
Seen as the spiritual leader of the most hardline factions of the FIS, he was against women working and condemned democracy as a Western innovation, while emphasizing the importance of Islamic education. In 1990 declared his intention, "to ban France from Algeria intellectually and ideologically, and be done, once and for all, with those whom France has nursed with her poisoned milk." Benhadj declared that:
Democracy is a stranger in the House of God. Guard yourself against those who say that the notion of democracy exists in Islam. There is no democracy in Islam. There exists only the shura (consultation) with its rules and constraints. ... We are not a nation that thinks in terms of majority-minority. The majority does not express the truth.
He was also violently against political pluralism:
Multi-partism is not tolerated unless it agrees with the single framework of Islam ... If people vote against the Law of God ... this is nothing other than blasphemy. The ulama [religious scholars] will order the death of the offenders who have substituted their authority for that of God.
He described his favourite authors as Ibn Taymiyya, and Ibn al-Qayyim, as well as the more recent Hassan al-Banna and Sayyid Qutb. However, his ideology is distinct from his favorite authors.
Personal life
Benhadj is married and has five children.
References
1956 births
Algerian dissidents
Living people
People from Tunis
Algerian prisoners and detainees
Prisoners and detainees of Algeria
Islamic Salvation Front politicians
Algerian people of Mauritanian descent
People of the 2010–2012 Algerian protests
21st-century Algerian people | https://en.wikipedia.org/wiki/Ali%20Benhadj |
The Church of the Holy Trinity or commonly known as the Premonstratensian Church (), or initially the Jesuit Church (Slovak: Jezuitský kostol), is a Roman Catholic church in Košice, Slovakia. It is an example of Baroque architecture in the city and was the site of the martyrdom of three saints in 1619.
History
Origin
It the Middle Ages, the Royal House (a seat of the Royal Chamber), stood on the site of the present church. In 1618, at the beginning of the Counter-Reformation and the start of the Thirty Year War, The captain of the city established there a dwelling and a chapel for Jesuits in the Protestant town. Two Jesuits Melchior Grodziecki, Stephen Pongracz were sent there, to work with a canon Marek Križin. On 7 September 1619, the forces of George I Rákóczi, the father of the Prince of Transylvania George II Rákóczi, stormed the castle and arrested the priests. They gave them a death sentence on charges of treason; accusing them of inviting the Polish army into Kassa. They were tortured and then beheaded that day. The execution of the priests shocked the local population, Catholics and Protestants alike.
Construction
In 1657, the Bishop of Eger, Benedict Kishdy, founded the first Košice University (Universitas Cassoviensis) close to the site. Later, the daughter-in-law of George I Rákóczi, Sofia Bathory, wife of George II Rákóczi, bought the ruins of the former Royal House with intention of building a church for the Jesuits there to make amends for the events of the Thirty Years' War. In 1681, construction on the church finished and it was opened.
Post-suppression
On 21 July 1773, the Jesuits were expelled from the city as part of the suppression of the Society of Jesus. So in 1811, the church was given to Premonstratensians who currently administer the church.
Gallery
See also
List of Jesuit sites
References
Churches in Košice
Jesuit churches in Slovakia
Premonstratensian Order
Rákóczi family
17th-century Roman Catholic church buildings in Slovakia | https://en.wikipedia.org/wiki/Church%20of%20the%20Holy%20Trinity%2C%20Ko%C5%A1ice |
Ena Swansea (born 1966) is an artist based in New York City. Her paintings often take memory as a point of departure.
Early life
Swansea was born in Charlotte, North Carolina. Her parents, an architect and an editor, were Quakers active in the civil rights and anti-draft movements in the 1960s. She studied painting and film at the University of South Florida in Tampa.
Work
Swansea makes paintings in both oil and water based materials, extensively experimenting with their chemistry. As Barry Schwabsky describes in his 2017 review of Swansea's work in Artforum, "Swansea has developed an unusual technique of painting on a graphite-infused ground, which seems to situate everything in a darkly glimmering, indistinct twilit space; you might even call the resulting light effects Caravaggesque. On this ground, where brush marks often seem to float discretely, the paintings’ imagery may appear to be in a state of dissolution—but it never comes close to being unrecognizable." She works primarily in oil paint on a graphite foundation, often painting brightly colored figures on a dark iridescent background. The painter Luc Tuymans has described this unique effect between the interaction of oil and graphite in Swansea’s work "as if it had corroded through time.”
The paintings are high-contrast, with deep blacks, and both vibrant and muted colors. Both the palette and method of construction have been described as cinematic, privileging formal values over narrative, building and overwriting the image in a labor-intensive process.
Swansea often combines images in selections that eschew fixed meaning, with topical and cultural references. The fraught history of the American south, including gay and civil rights, are frequent topics, along with landscape and maritime images. Subjects are revisited over many years in a discursive examination of the contemporary world, including paintings of the Macy’s Day Parade and the first Nascar racetrack in North Carolina, still extant but now abandoned in a pine forest. Swansea draws heavily from her southern roots, including the story of her ancestor Southern Baptist preacher Thomas Dixon. "No one as yet has really pointed out that my paintings, whether they are of New York City or something else, carry a piece of the most disturbed part of United States history in them, as is my genetic burden, one might say."
Critic Belinda Grace Gardner says of Swansea's work, "Her compositions have the evasiveness of dreams or afterimages that briefly manifest themselves on the edges of perception." Similarly, author Oliver Koerner von Gustorf has written that Swansea’s paintings place this “American space in a hypnotic trance: she replaces the crystalline bright canvas with the darkness of a television screen switched off.”
Swansea is influenced by art history and her early work in film. The initial images come from a large archive of photographs, silos of repeating topics which forge a link between digital culture and painting. Growing up around architectural drawings and models, combined with her parents' 1960s psychedelic posters, and 19th-century woodcuts and engravings, resulted in a unique sensibility and visual heritage.
Exhibitions
Swansea’s first exhibition was a 2-person show with Robert Miller at P122 in the East Village in 1996, followed by a solo show in 1998. Her first museum survey was at the Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg, in 2009, which selected paintings from the previous 5 years.
Swansea has held solo exhibitions at Ben Brown Fine Arts in London and Hong Kong, Gaa Gallery of Cologne and Provincetown, Friedman Benda Gallery in New York, Locks Gallery in Philadelphia, 313 in Seoul, Berlin and Zurich; Arndt & Partner Gallery, Zurich; Robilant+Voena, St. Moritz, Robert Miller Gallery in New York, and Galerie Hans Mayer in Dusseldorf.
Selected group exhibitions include Manscaping, The Hole, New York, NY, and Los Angeles, CA (2022); Doomed and Famous: Selection from the Adrian Dannatt Collection, Miguel Abreu Gallery, New York, NY (2021); De la Tauromaquia à la Goyesque, Hommage à Francisco de Goya, Musée des Cultures Taurines Henriette et Claude Viallat, Nîmes (2019); Against Forgetting I, Gaa Gallery Provincetown, MA (2018); The Grass is Green, Gaa Gallery Cologne Project Space, Cologne (2016); Sight unseen, Ellen Harvey and Ena Swansea, Locks Gallery, Philadelphia, PA (2015); Friedman Benda Gallery, New York (2014); Zürcher Gallery, New York (2013); 313 Gallery, Seoul (2013); Psycho, 41 paintings from 2002 - 2011 in European collections, Deichtorhallen/Sammlung Falckenberg, Hamburg, (2012); ARNDT Berlin, New York,(2011); Bertrand Delacroix Gallery, New York (2011); Water is Best Locks Gallery, Philadelphia (2009); Naked!, Kasmin Gallery, New York (2009); the beginning, 313 Gallery, Seoul, Korea (2009); True Romance - Allegories of Love from the Renaissance to the Present, Kunsthalle Vienna (2008); Symbolism, Von der Heydt Museum, Wuppertal, Germany (2007); Back to the Figure - Contemporary Painting, Museum Franz Gertsch, Burgdorf, Switzerland (2006); Goetz meets Falckenberg, Sammlung Falckenberg, Hamburg (2005); The Triumph of Painting part 3, Saatchi Gallery in London (2005); Greater New York, MoMAPS1, New York (2005); Story-Tellers, Kunsthalle Hamburg (2005); and Central Station at La Maison Rouge in Paris (2004).
Collections
Swansea's 2012 exhibition, Psycho, at the Deichtorhallen / Sammlung Falckenberg, was a selection of over 40 of Swansea's paintings from 2002–2012, chosen from various European collections.
Her work is included in several public collections, including the Museum of Modern Art, New York; the Galerie Neue Meister Dresden; Deichtorhallen, Sammlung Falckenberg, Hamburg; the Olbricht Collection, Berlin; Cornell University's Herbert F. Johnson Museum of Art, Ithaca, NY; Boca Raton Museum of Art, Boca Raton, FL and the Colby College Museum of Art, Waterville, ME.
Awards and publications
Swansea is the recipient of a 2001 Hassam, Speicher, Betts and Symons Purchase Award from the American Academy of Arts and Letters.
Critical writing on Swansea's work has been published internationally, including Art in America, monopol, Parkett, The Art Newspaper, The Brooklyn Rail, Flash Art, Fantom, The New York Sun, ArtNet, ARTinvestor, Art – Das Kunstmagazin and ArtForum.
Publications include Ena Swansea – new painting (New York: André Schlechtriem Temporary Inc., 2008); The Triumph of Painting (London: Randomhouse, 2004); Compass in Hand: Selections from the Judith Rotthschild Contemporary Drawings Collection, Catalogue Raisonné (New York: The Museum of Modern Art, 2009); Central Station, collection of Harald Falckenberg, à La Maison Rouge (Paris: Fage èditons, 2004); and Ena Swansea, Reality of Shadows (Philadelphia: Locks Gallery, 2002).
Public projects
In 2010, Swansea was selected as the first American artist to produce a “Goyesque” occupying the entire sand floor of the ancient Roman bullfighting arena in Arles. The ephemeral painting, 150 x 300 feet, existed for about an hour, erased by the feet of bulls and matadors.
In 2016, Swansea participated in an invitational exhibition which involved redesigning an Upper East Side apartment, entitled “Be My Guest: The Art of Interiors”, closely collaborating with Mickalene Thomas, Misha Kahn, and five other artists. Swansea’s contributions were custom reversible sofas, whose imagery is based upon the artist’s paintings.
Personal life
Swansea is married to Antoine Guerrero, who is in charge of special projects at LUMA Arles, and former Director of Operations and Exhibitions at MoMAPS1. Swansea is the widow of film critic Joel Siegel with whom she has a son.
References
External links
Ena Swansea's Website
Living people
American women painters
1966 births
20th-century American painters
American contemporary painters
20th-century American women artists
21st-century American women artists | https://en.wikipedia.org/wiki/Ena%20Swansea |
N-Ethylmaleimide (NEM) is an organic compound that is derived from maleic acid. It contains the amide functional group, but more importantly it is an alkene that is reactive toward thiols and is commonly used to modify cysteine residues in proteins and peptides.
Organic chemistry
NEM is a Michael acceptor in the Michael reaction, which means that it adds nucleophiles such as thiols. The resulting thioether features a strong C-S bond and the reaction is virtually irreversible. Reaction with thiols occur in the pH range 6.5–7.5, NEM may react with amines or undergo hydrolysis at a more alkaline pH. NEM has been widely used to probe the functional role of thiol groups in enzymology. NEM is an irreversible inhibitor of all cysteine peptidases, with alkylation occurring at the active site thiol group (see schematic).
Case studies
NEM blocks vesicular transport. In lysis buffers, 20 to 25 mM of NEM is used to inhibit de-sumoylation of proteins for Western Blot analysis. NEM has also been used as an inhibitor of deubiquitinases.
N-Ethylmaleimide was used by Arthur Kornberg and colleagues to knock out DNA polymerase III in order to compare its activity to that of DNA polymerase I (pol III and I, respectively). Kornberg had been awarded the Nobel Prize for discovering pol I, then believed to be the mechanism of bacterial DNA replication, although in this experiment he showed that pol III was the actual replicative machinery.
NEM activates ouabain-insensitive Cl-dependent K efflux in low K sheep and goat red blood cells. This discovery contributed to the molecular identification of K-Cl cotransport (KCC) in human embryonic cells transfected by KCC1 isoform cDNA, 16 years later. Since then, NEM has been widely used as a diagnostic tool to uncover or manipulate the membrane presence of K-Cl cotransport in cells of many species in the animal kingdom. Despite repeated unsuccessful attempts to identify chemically the target thiol group, at physiological pH, NEM may form adducts with thiols within protein kinases that phosphorylate KCC at specific serine and threonine residues primarily within the C-terminal domain of the transporter. The ensuing dephosphorylation of KCC by protein phosphatases leads to activation of KCC.
References
External links
The MEROPS online database for peptidases and their inhibitors: NEM
The bifunctional analogues such as p-NN'-phenylenebismaleimide can be used as cross-linking reagent for cystine residues. see Lutter, L. C., Zeichhardt, H., Kurland, C. G. & Stoffier,G. (1972) Mol. Gen. Genet. 119, 357-366.
Maleimides
Biochemistry
Biochemistry methods
Reagents
Reagents for biochemistry
Enzyme inhibitors
Protease inhibitors | https://en.wikipedia.org/wiki/N-Ethylmaleimide |
Victor Selwyn (1917–2005) was a British journalist whose career began during World War II with a collection of poems from soldiers. It was this work that led him to attain his MBE in 1996 He was associated with the Cairo poets, and was — along with Denis Saunders and David Burk — an editor of Oasis which grew into the Salamander Oasis Trust of which he was serving as editor-in-chief when he died.
References
1917 births
2005 deaths
British male journalists
Members of the Order of the British Empire | https://en.wikipedia.org/wiki/Victor%20Selwyn |
{{Infobox person
| name = Brian Moll
| image =
| imagesize =
| caption =
| occupation =
| known_for = The Young Doctors (TV series) as Dr Vincent SnapeA Country Practice (TV series) as Alfred Muldoon
| years_active = 1953–1994 (retired)
| birth_name = Brian Percy Moll
| birth_date =
| birth_place = Wanstead, London, England
| death_date =
| death_place = Sippy Downs, Queensland, Australia
}}
Brian Percy Moll (19 May 1925 – 9 August 2013) was a British-born Australian comedian character actor of stage, television and film and director and producer who emigrated to Australia from his native England in 1950. Quitting his job as a publicity officer, he became a professional actor in 1953. He was best known for his soap opera television roles, but also appeared in film and numerous theatre productions.
Early life
He was born in Chaucer Road, Wanstead, North East London on 19 May 1925 to Hedges Percy Moll and Dorethy Dot Alice Sarah (née Mitchell)?? Brother Peter James Moll
During World War II, he was conscripted to the Royal Navy in 1943 at the age of eighteen and spent the later years of World War II serving on a minesweeper. His ship was involved in the D-Day operation and he watched the action from just off the Arromanches beach.
In October 1950, he immigrated from England and arrived in Melbourne, Australia under the £10 assisted passage emigration scheme. In December 1975, he took Australian Citizenship.
Career
Theatre
Moll started taking on leading parts with the Melbourne Little Theatre starting from 1953 and as well as acting he was producing and directing difficult plays by playwrights including as Chekov and Ibsen. In 1963 he moved to Brisbane and he joined the Queensland Arts Theatre. He continued his acting career in his spare time. In the 1960s he was campaigning in Brisbane for a new permanent arts centre and was involved in these plans which resulted in the Arts Complex being built.
In 1970 he was in It's a Rum Do and had the role of Samuel Marsden, the priest who was partly responsible for bringing merino sheep to Australia which started the wool industry. The play was chosen to be given a Royal Command Performance in the Brisbane Arts Centre. He was presented to the Queen and he told her that over the past two years he had played eight priests. She asked him "Why" and she smiled when he answered "It was my purity of spirit and a bald head". After this, his acting career took off.
Television and film
Moll was known for his villainous roles, once remarking that this was due to his bald head (he had been completely bald since the age of 25). As a jobbing actor, like many of the era he had numerous character roles on the Crawford Productions TV serials including Matlock Police, Homicide and Division 4, as well as many guest roles on other television series; mini-series, telemovies; and films.
In 1975, he became better known however for playing the recurring role of slimy Town Clerk Eddie Buchanan in soap opera Number 96, Dr. Vincent Snape in The Young Doctors in 1977–1978, and briefly as Mr. Spencer in Prisoner in 1980.
He was most likely however best known for his long running itinerant role in serial A Country Practice, as devious and pompous town councillor Alfred Muldoon a role he played as the script permitted from 1982 to 1992, through 120 episodes.
He had a small cameo role in the film Street Fighter in 1994
In 1990, he appeared as Mr. Gordian in Bloodmoon'', a horror film.
Later years and death
Moll retired in 1994 and resided in Sippy Downs, Queensland in a nursing home, where he died in August 2013, aged 88, His ashes were scattered near his home on the Sunshine Coast.
Filmography
Film
Television
References
External links
1925 births
2013 deaths
Australian male film actors
Australian male television actors
People from Wanstead
British emigrants to Australia
20th-century Australian male actors
Australian male stage actors | https://en.wikipedia.org/wiki/Brian%20Moll |
Jules de Balincourt (born 1972) is a French-born American contemporary artist, based in Brooklyn, New York. He is best known for his abstract, atmospheric paintings, with saturated colors, blurring the line between fantasy and reality.
Biography
In 1972 de Balincourt was born in Paris and moved throughout his childhood but primarily growing up near the Malibou Lake area in the Santa Monica Mountains. He was educated in the San Francisco Bay Area at the California College of the Arts (CCA), receiving a B.F.A. in ceramics in 1998 and went on to study in New York City at the Hunter College graduating in 2005 with an M.F.A.
In 2006, de Balincourt founded the alternative art space Starr Space (formerly known as Starr Street Projects) in Brooklyn, New York. Starr Space operated for three years and was used for diverse community programming, art events, yoga, weekly farmers market, rock shows, church parties and fundraisers, notable performances and performers such as Ryan Trecartin, Terence Koh, Rita Ackermann, Mirror Mirror, the Slits, Lucky Dragons and Harmony Korine.
To create his paintings, he doesn't often work from photos or drawings. In his paintings he uses stencils, tape, knives and spray paint in the style of Outsider art.
Carol Lee called de Balincourt the "mayor of Bushwick" in an article for Paper.
Exhibitions
His work has been exhibited at prominent international galleries and museums including Musee d’Art Moderne de la Ville de Paris and Palais de Tokyo in Paris, Mori Museum in Tokyo (solo) and has been featured in high-profile exhibitions including, “Greater New York” at the P.S.1 Contemporary Art Center and MOMA in New York, and “USA Today” at the Royal Academy in London.
His work is in prominent collections, including the Oppenheimer – JCCC Collection for the Nerman Museum of Contemporary Art, and the Saatchi Gallery, Brooklyn museum, LACMA.
References
External links
Jules de Balincourt's website
Jules de Balincourt on Re-Title.com sample of artwork
1972 births
20th-century French painters
20th-century French male artists
French male painters
French contemporary artists
21st-century French painters
21st-century French male artists
Hunter College alumni
Living people
Artists from New York (state)
California College of the Arts alumni
People from Bushwick, Brooklyn | https://en.wikipedia.org/wiki/Jules%20de%20Balincourt |
David Hubert Boothby Chesshyre (22 June 1940 – 24 December 2020) was a British officer of arms.
Chesshyre served for more than forty years as an officer of arms in ordinary to Queen Elizabeth II and as a member of Her Majesty's Household. He was Clarenceux King of Arms, the second most senior member of the College of Arms and the second most senior heraldic position in England, Wales, Northern Ireland, Australia, New Zealand, and several other Commonwealth countries. His other appointments included those of Registrar of the College of Arms, Secretary of the Order of the Garter, and Honorary Genealogist to the Royal Victorian Order. Chesshyre undertook heraldic and genealogical work for high-profile clients such as the former prime minister Sir Edward Heath. He wrote seven books, including the official history of the Order of the Garter.
In October 2015, a jury sitting at Snaresbrook Crown Court found by a unanimous verdict that Chesshyre had committed child sexual abuse offences in the 1990s. He was found to be unfit to plead, and his trial was therefore a trial of the facts. This means that no formal conviction is recorded and Chesshyre was therefore given an absolute discharge.
Early life and family
David Hubert Boothby Chesshyre was born on 22 June 1940, the son of Captain (later Colonel) Hubert Layard Chesshyre (d. 1981), an officer in the Royal Engineers, and his wife Katharine Anne (d. 1995), daughter of Major Basil Tanfield Beridge Boothby. Hubert had adopted the surname Chesshyre in 1938, renouncing his previous surname Isacke; he was the son of Major-General Hubert Isacke and maternal grandson of Sir Charles Layard, the Chief Justice of Ceylon. Among Chesshyre's other ancestors were the Earls of Dundee and Lauderdale, the Boothby baronets and the lawyer Sir John Chesshyre.
Education and early career
Chesshyre was educated at St Michael's Preparatory School, Otford, where he was a contemporary of John Hurt. He went on to The King's School, Canterbury (1954–59).
Chesshyre studied at Trinity College, Cambridge, graduating with a Bachelor of Arts degree in 1962, and proceeding by convention to Master of Arts in 1966. After graduating from Cambridge Chesshyre worked for Moët et Chandon and John Harvey & Sons between 1962 and 1965. He then studied at Christ Church, Oxford, where he was awarded a Diploma in Education in 1967.
Chesshyre served in the Honourable Artillery Company from 1964 until 1965.
Heraldic career
College of Arms
Having received his Diploma in Education from Oxford, Chesshyre did not enter the teaching profession, but instead was appointed in 1967 to a position as an assistant at the College of Arms. He was a Green Staff Officer at the Investiture of the Prince of Wales in 1969. Appointed a member of the Chapter of the College of Arms the following year, he served as Rouge Croix Pursuivant (1970–78), Chester Herald (1978–95), Norroy and Ulster King of Arms and Principal Herald of the North part of England and of Northern Ireland (1995–97), and Clarenceux King of Arms and Principal Herald for the South, East and West parts of England (1997–2010). From 1971 until 1978 he also served on the staff of Anthony Wagner. He was Registrar of the College of Arms from 1992 until 2000 and was the Founder Secretary of the College of Arms Uniform Fund in 1980, serving in that capacity until 1999. From early in his career Chesshyre from time to time served as a deputy to Garter Principal King of Arms for the purpose of introducing peers into the House of Lords. For example, in 1975 he introduced Baroness Vickers.
As a herald, Chesshyre designed the coats of arms of a number of notable people, including the former Prime Minister Sir Edward Heath, two Speakers of the House of Commons (Baroness Boothroyd and John Bercow), the Archbishop of York David Hope, the businessman Lord Sugar, the musician Sir Paul McCartney, the author Sir Terry Pratchett and the actor Sir John Hurt.
Chesshyre was Secretary of the Order of the Garter from 1988 until 2003, having been trained for the role by his predecessor Walter Verco and by Verco's predecessor-but-one, Anthony Wagner. Upon his resignation Chesshyre had an audience with The Queen at Buckingham Palace, during which he surrendered his badge of office. Following the 1992 Windsor Castle fire Chesshyre was, together with Peter Begent, appointed heraldic consultant for the reconstruction of St George's Hall. Chesshyre was also Honorary Genealogist of The Society of the Friends of St George's and Descendants of the Knights of the Garter. He also served for twenty-three years as Honorary Genealogist to the Royal Victorian Order (1987–2010), again, succeeding Walter Verco. As Ulster King of Arms (merged with Norroy) Chesshyre also held the technically extant position of King of Arms, Registrar, and Knight Attendant of the Order of St Patrick. He was therefore briefly one of just two members of the Order of St Patrick, the other member being Queen Elizabeth II, who remained Sovereign of the Order.
Chesshyre retired from the College of Arms on 31 August 2010. His last public duties took place at the State Opening of Parliament on 25 May 2010 and at the Garter Day ceremony on 14 June 2010. Commentating on the State Opening for the BBC, Huw Edwards remarked upon Chesshyre's forty years of service.
Other work
In 1973, Chesshyre completed a report into the missing collar on the tomb of Elizabeth I in Westminster Abbey. He was a member of the Abbey's Architectural Advisory Panel from 1985 until 1998, and then of its Fabric Commission from 1998 until 2003. He was also heraldic advisor for the west window of the Henry VII Lady Chapel, donated by John Templeton and devised by Donald Buttress, which The Queen unveiled in 1995.
Chesshyre served as heraldic advisor to the committee that organised the re-enactment of the funeral of Arthur, Prince of Wales in Worcester on 3 May 2002. On the day of the re-enactment, Chesshyre processed through the streets of Worcester bearing Arthur's crested helm, followed by other heralds bearing his sword, tabard, gauntlets, and spurs.
Chesshyre worked as a freelance lecturer in the United Kingdom and abroad. For many years he lectured for the National Association of Decorative and Fine Arts Societies and Speaker Finders.
Chesshyre has been credited with establishing the probable origins of the common error of using the term crest to refer to the whole achievement. He explains that in the 18th century it was common for smaller items, such as spoons and forks, to be engraved with the crest alone, while the full achievement was reserved for larger items such as salvers. For this reason a number of publications appeared from the late 18th century through to the early 20th century which recorded only crests. Chesshyre later successfully lobbied the chief revise editor of The Times to include an explanation of the precise meaning of the term crest in a new edition of the newspaper's staff manual.
Chesshyre was a choral clerk of Trinity College, Cambridge during his time as an undergraduate at the college. From 1979 until 1993 Chesshyre was a member of The Bach Choir. Chesshyre sang for the London Docklands Singers, which he joined in 2002. He was, from 1980, a member of the Madrigal Society, the oldest musical society in Europe (see Madrigal). He became a Freeman of the Worshipful Company of Musicians in 1994 and a Liveryman of the Company in 1995.
Scholarly publications
The Most Noble Order of the Garter, which Chesshyre co-authored with Peter Begent and Lisa Jefferson, included a foreword by Prince Philip, Duke of Edinburgh. One of the book's reviewers, John Goodall, wrote that it was the "most comprehensive" study of the subject since that of Elias Ashmole, and "unlikely to be superseded". Another reviewer, Maurice Keen, wrote that it was "invaluable to scholars whose interests touch on the history of the order, from the widest variety of points of view and period specialisation", and that "Altogether, Peter Begent and Hubert Chesshyre have put together a volume that for its thoroughness, its interest and its physical attraction is a worthy tribute to the longevity of England's highest order of chivalry."
M. K. Ridgway, reviewing The Identification of Coats of Arms on British Silver, wrote that Chesshyre "has the undoubted gift of making a difficult and complicated subject both exciting and interesting".
In the early 1970s Chesshyre met the architect Thomas Saunders when Chesshyre and one of his brothers unsuccessfully competed with Saunders to bid for a property in Bethnal Green, 17 Old Ford Road. Four years after he had purchased the property, Saunders contacted Chesshyre with a commission to write a history of Bethnal Green, with particular reference to the legend of the Blind Beggar. This resulted in The Green, co-authored with A. J. Robinson, which was later described by Victor E. Neuburg as "The best—indeed only—comprehensive account of the subject".
Honours
Chesshyre was appointed a Lieutenant of the Royal Victorian Order (LVO) in the Queen's Birthday Honours of 11 June 1988 and was promoted to be a Commander of the Order (CVO) in the New Year Honours of 31 December 2003. Chesshyre's appointment to be a Commander of the Royal Victorian Order was cancelled and annulled with effect from Tuesday 15 May 2018.
Chesshyre became a Freeman of the City of London in 1975. He was elected a fellow of the Society of Antiquaries of London in 1977 and was a member of its heraldry committee, known as the Croft Lyons Committee. Since 1983 he has been a member of the Cocked Hat Club, the senior dining club of the Society of Antiquaries, serving as praeses (president) in 1986. Chesshyre was also a member of the Council of the Heraldry Society from 1973 until 1985, and he was elected a fellow of the Society in 1990. He was vice-president of the Institute of Heraldic and Genealogical Studies (IHGS) and was a Director of the IHGS until 31 December 1993. However, after his sexual offences and the forfeiture of his main honour came to light, The Observer reported that the "trustees promptly removed him as vice-president". Chesshyre has been honoured with the titles of associate member of the Society of Heraldic Arts and honorary member of the White Lion Society. He was also the patron of the now defunct Middlesex Heraldry Society.
In 1998 the Cambridge University Heraldic and Genealogical Society appointed Chesshyre to deliver its annual Mountbatten Memorial Lecture. Two years later, Chesshyre was a guest of honour at the CUHAGS Fiftieth Annual Dinner held in the Great Hall of Clare College on 25 March 2000.
Child sexual abuse and honours forfeiture
Chesshyre was charged with offences of child sexual abuse and in October 2015 stood trial before a jury sitting at Snaresbrook Crown Court. The offences pertained to a teenage male, and took place during the 1990s. Chesshyre was determined to be unfit to plead due to a stroke and dementia. The trial therefore went ahead as a trial of the facts. The jury found unanimously that he had committed two of the offences charged against him on the indictment. However, no conviction is formally recorded and the court consequently granted him an absolute discharge. The Honours and Appointments Secretariat, which is part of the Cabinet Office, said in evidence to the Independent Inquiry into Child Sexual Abuse that it "takes the view that the outcome of the trial holds equivalent weight to a full criminal investigation [and hence a criminal conviction]."
Despite a criminal finding of fact having been made, Sir Alan Reid, Secretary of the Royal Victorian Order, refused to recommend the forfeiture of Chesshyre's appointment to the order, stating that Chesshyre had not technically been convicted and that he had been given an absolute discharge. Following an appeal by the victim's MP, which led to the Prime Minister, Theresa May, seeking to have the original decision reviewed by an independent committee, Reid's decision was overturned and Chesshyre's award was forfeited with effect from 15 May 2018. Unusually, however, the forfeiture was not notified in the London Gazette, normally the standard procedure in such cases. At the time of his death, Chesshyre still held almost all the many other honours conferred upon him throughout his career, despite calls for these, too, to be revoked. The case avoided wide public knowledge, in part because Chesshyre's name was misspelled in court documents throughout his legal process, until March 2019, when it was mentioned at a public hearing of the Independent Inquiry into Child Sexual Abuse, which led in turn to an article in The Observer newspaper. According to journalist Jamie Doward, "When approached by the Observer, the various societies of which he [Chesshyre] is a member confirmed that they would not be dissociating themselves from him."
In response to calls by a number of its fellows, the Council of the Society of Antiquaries of London subsequently proposed a resolution to revoke Chesshyre's Fellowship. However, the Fellows present at the meeting on 24 October 2019 (109 out of a total of over 3,000) voted by 76 votes to 33 to reject the resolution, and to allow Chesshyre to remain a Fellow. In a statement the Council said that it "regrets that a majority of those present did not see fit to support the resolution", and was said to be "dismayed" by the outcome.
Death
Chesshyre died on 24 December 2020, aged 80.
Coat of arms
List of publications
Books
Carl Alexander von Volborth, Heraldry of the World, ed. D. H. B. Chesshyre, translated into English by Bob and Inge Gosney (London: Blandford Press, 1973)
D. H. B. Chesshyre, The Identification of Coats of Arms on British Silver, drawings by Margaret J. Clark (London: Hawkslure Publications, 1978)
A. J. Robinson and D. H. B. Chesshyre, The Green: A History of the Heart of Bethnal Green and the Legend of the Blind Beggar (1st edn., London: Borough of Tower Hamlets, 1978; 2nd edn., London: London Borough of Tower Hamlets, Central Library, 1986)
D. H. B. Chesshyre and Adrian Ailes, Heralds of Today: A Biographical List of the Officers of the College of Arms, London, 1963–86, with a foreword by the Duke of Norfolk, KG, Earl Marshal of England (Gerrards Cross: Van Duren, 1986)
D. H. B. Chesshyre and Thomas Woodcock, eds., Dictionary of British Arms: Medieval Ordinary vol. 1 (London: Society of Antiquaries of London, 1992)
D. H. B. Chesshyre, Garter Banners of the Nineties (Windsor: College of Arms, 1998)
Peter J. Begent and D. H. B. Chesshyre, The Most Noble Order of the Garter: 650 years, with a foreword by His Royal Highness the Duke of Edinburgh KG and a chapter on the statutes of the Order by Dr Lisa Jefferson (London: Spink, 1999)
D. H. B. Chesshyre and Adrian Ailes, Heralds of Today: A Biographical List of the Officers of the College of Arms, London, 1987–2001, with a foreword by the Earl of Arundel (London: Illuninata, 2001)
Book chapters
D. H. B. Chesshyre, "The Most Noble Order of the Garter", in The Orders of the Thistle and the Garter (Kinross, 1989), pp. 27–46
Anthony Harvey and Richard Mortimer, eds., The Funeral Effigies of Westminster Abbey (Woodbridge: Boydell, 1994; rev. edn. 2003) [contribution]
D. H. B. Chesshyre, "The Modern Herald", in Patricia Lovett, The British Library Companion to Calligraphy, Illumination and Heraldry: A History and Practical Guide (London: British Library, 2000), pp. 257–268
Peter Begent, Hubert Chesshyre, and Robert Harrison, "The Heraldic Windows of St George's Chapel", in A History of the Stained Glass of St George's Chapel, Windsor Castle, ed. Sarah Brown (Historical monographs relating to St. George's Chapel, Windsor Castle, vol. 18; Windsor: Dean and Canons of Windsor, 2005)
Reference work articles
Stephen Friar, ed., A Dictionary of Heraldry (New York: Harmony Books, 1987) (author of articles on "Garter, Order of", pp. 160–2; "Grant of Arms", pp. 171–2; "Pedigrees, Proof and Registration of", pp. 264–5)
D. H. B. Chesshyre, "Sir Edward Walker (1612–1677)", The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004)
Journal articles
P. J. Begent and D. H. B. Chesshyre, "The Fitzwilliam Armorial Plate in St George's Chapel, Windsor", The Coat of Arms, NS 4 (1980–82), no. 114, pp. 269–74
P. J. Begent and D. H. B. Chesshyre, "The Spencer-Churchill Augmentations", The Coat of Arms, NS 6 (1984–86), no. 134, pp. 151–5
D. H. B. Chesshyre, "Canting Heraldry", The Coat of Arms, NS 7 (1987–89), no. 138, pp. 29–31
Hubert Chesshyre, "The Heraldry of the Garter Banners", Report of the Society of the Friends of St George's and the Descendants of the Knights of the Garter, vol. VII, no. 6 (1994/5), pp. 245–55
In addition to the above, Chesshyre was also formerly a regular contributor to the journal British History Illustrated
Book reviews
D. H. B. Chesshyre, review of Richard Marks and Ann Payne, eds., British Heraldry from its Origins to c. 1800 (London: British Museum Publications, 1978), The Antiquaries Journal, vol. 59, issue 2 (1979), pp. 460–461
D. H. B. Chesshyre, review of G. D. Squibb, Precedence in England and Wales (Oxford: Clarendon Press, 1981), The Antiquaries Journal, vol. 62, issue 2 (1982), pp. 435–436
Unpublished MSS
D. H. B. Chesshyre, "Number Seventeen, or the History of 17 Old Ford Road, Bethnal Green and the Natt Family" (Unpublished MS, c. 1970–80; Tower Hamlets Local History Library and Archives L.6160 (class 040))
D. H. B. Chesshyre, "The Restoration of the Regalia to the Tomb of Queen Elizabeth the First in Westminster Abbey: Research into the Identity of the Collar Missing from the Queen's Marble Effigy" (Unpublished MS, 1973; The National Archives SAL/MS/852)
References
People stripped of a British Commonwealth honour
English officers of arms
1940 births
2020 deaths
Alumni of Trinity College, Cambridge
Alumni of Christ Church, Oxford
People educated at The King's School, Canterbury
British local historians
British medievalists
Fellows of the Society of Antiquaries of London
English folklorists
English genealogists
English biographers
British people convicted of child sexual abuse | https://en.wikipedia.org/wiki/Hubert%20Chesshyre |
Loggins and Messina is the second album by singer-songwriters Loggins and Messina, released in 1972.
Following on the success of their first album, this album built on the strengths of their debut outing. It also became the true introduction of the team, Loggins and Messina, not as singles playing together, but rather as a team that played as one.
It featured two songs that charted, with "Your Mama Don't Dance" reaching its peak at number 4, their highest-charting single. The album itself charted at number 16. The album version of "Thinking of You" is a different recording than the hit single. Kenny Loggins played harmonica on four songs: "Whiskey", "Long Tail Cat", "Thinking of You" and the Jim Messina-penned instrumental "Just Before the News".
Track listing
Side one
"Good Friend" (Jim Messina) – 4:04 (lead singer: Jim Messina)
"Whiskey" (Kenny Loggins) – 1:58 (lead singer: Kenny Loggins)
"Your Mama Don't Dance" (Loggins, Messina) – 2:48 (lead singers: Jim Messina, Kenny Loggins)
"Long Tail Cat" (Loggins) – 3:47 (lead singer: Kenny Loggins)
"Golden Ribbons" (Messina) – 6:08 (lead singers: Jim Messina, Kenny Loggins, Larry Sims)
Side two
"Thinking of You" (Messina) – 2:19 (lead singer: Jim Messina)
"Just Before the News" (Messina) – 1:09 (instrumental)
"Till the Ends Meet" (Loggins) – 3:10 (lead singer: Kenny Loggins)
"Holiday Hotel" (Messina, Al Garth) – 2:02 (lead singer: Jim Messina)
"Lady of My Heart" (Loggins) – 1:44 (lead singer: Kenny Loggins)
"Angry Eyes" (Loggins, Messina) – 7:40 (lead singers: Kenny Loggins, Jim Messina)
Personnel
Kenny Loggins – vocals, rhythm guitar, harmonica, acoustic guitar
Jim Messina – vocals, lead guitar, electric mandolin, acoustic guitar
Loggins & Messina band
Merel Bregante – backing vocals, drums
Lester "Al" Garth – violin, recorder, alto and tenor saxophones
Jon Clarke – flute, oboe, recorder, baritone saxophone, soprano saxophone, tenor saxophone
Larry Sims – backing vocals, bass
Sidemen
Michael Omartian – Hammond organ, acoustic piano, harmonium, clavinet, tack piano, Wurlitzer electric piano
Rusty Young – dobro on "Long Tail Cat"
Milt Holland – percussion
Production
Producer – Jim Messina
Engineer – George Beauregard
Mixing – John Fiore
Recording Consultant – Alex Kazanegras
Design – Ron Coro and Anne Garner
Front Cover Photo – Jim Marshall
Back Cover Photo – Marsha Reed
Management – Schiffman and Larsen
Charts
Album – Billboard (United States)
Singles - Billboard (United States)
References
Loggins and Messina albums
1972 albums
Albums produced by Kenny Loggins
Albums produced by Jim Messina (musician)
Columbia Records albums | https://en.wikipedia.org/wiki/Loggins%20and%20Messina%20%28album%29 |
David Thorpe (born 1972, London, UK) is an artist based in London.
Thorpe received his BA degree in 1994 from Humberside University and his MA degree in 1998 from Goldsmiths, University of London.
He has shown work in various exhibitions including Die Young Stay Pretty at the ICA, London, at Schirn Kunsthalle in Frankfurt, Monica de Cardenas in Milan and Murray Guy in New York City. Thorpe participated in British Art Show 6 at various venues. He exhibited at the Chisenhale Gallery with Unit.
References
David Thorpe – Saatchi Gallery
1972 births
20th-century English painters
English male painters
21st-century English painters
Living people
Alumni of Goldsmiths, University of London
Alumni of the University of Lincoln
English contemporary artists
20th-century English male artists
21st-century English male artists | https://en.wikipedia.org/wiki/David%20Thorpe%20%28artist%29 |
The Zenit-2M, Zenit-2SB, Zenit-2SLB or Zenit-2FG was a Ukrainian expendable carrier rocket derived from the Zenit-3SL. It was a member of the Zenit family of rockets, which were designed by the Yuzhmash.
Development
The Zenit 2M was a modernised version of the Zenit-2, incorporating modifications and upgrades made to the design for the Sea Launch programme.
Launches of Zenit-2M rockets were conducted from Baikonur Cosmodrome Site 45/1. Commercial launches are conducted by Land Launch, and use the designation 2SLB, however as of 2011, no commercial launches have been ordered and no launch of 2SLB has taken place as of 2023. Launches conducted by Roskosmos or the Russian Space Forces use the designation 2M. The designation 2SB can also be applied to the rocket when it is being used as part of a larger vehicle, such as the Zenit-3SLB.
The first launch of a Zenit-2M occurred on 29 June 2007, carrying the last Tselina-2 ELINT satellite for the Russian Space Forces, Tselina-2 satellites having been previously launched by older Zenit-2 rockets. The second launch, carrying the Fobos-Grunt and Yinghuo-1 spacecraft, was conducted on 8 November 2011, using a modified configuration designated the Zenit-2FG. This configuration incorporated the payload fairing used on the Zenit-3F rocket, and a special adaptor for the Fobos-Grunt spacecraft, which incorporated a Fregat-derived propulsion system. The Zenit-2 and Zenit-2M, however, were supplanted by the Zenit-3SLB after 2008.
See also
List of Zenit launches
References
Zenit (rocket family)
Vehicles introduced in 2007 | https://en.wikipedia.org/wiki/Zenit-2M |
Salatiwara was a Middle Bronze Age city in south-central Anatolia on a road connecting the kingdoms and Burushattum. The history of the city is known primarily from the Anitta text.
In the 18th century BC, Salatiwara was besieged by Anitta, King of Kussara. Anitta defeated troops who were sent out from the city to confront him. The soldiers were taken to Nesa as prisoners. When the city revolted and marshaled its forces along the Hulana River, Anitta circled around and captured the city from behind, setting fire to the city in the process.
A large amount of silver and gold, as well as 40 teams of horses and 1400 infantry were removed from the city, either by the king of Salatiwara as he escaped, or by Anitta as booty.
References
External links
Image and transliteration of the Anitta text
Hittite cities
Former populated places in Turkey
Lost ancient cities and towns | https://en.wikipedia.org/wiki/Salatiwara |
The black-bellied tern (Sterna acuticauda) is a tern found near large rivers in the Indian subcontinent, its range extending from Pakistan, Nepal and India to Myanmar. It has become very scarce in the eastern part of its range and the International Union for Conservation of Nature has assessed its conservation status as being endangered.
They have a black belly in the summer and a deep forked tail. They can sometimes resemble whiskered terns (Chlidonias hybrida), but the deeper fork of the tail and the black on the lower belly distinguish them from the shallow fork and black closer to the breast on the whiskered tern. Considering that sequence analysis supports moving the similar black-fronted tern ("Sterna" albostriata) into Chlidonias, this species might also be better placed in that genus, but no research has yet been conducted.
Description
The black-bellied tern grows to a length of . In the breeding plumage, the crown and nape are black and the upper parts are pale grey. The throat is white and the breast pale grey, gradually darkening to a black belly. The wings are long, slender and pointed and the tail is deeply forked with sharply pointed tips. The bill and feet are yellow or orange and the iris is reddish brown. Outside the breeding season, the belly is whitish, the tail is reduced in length and the bill has a dark tip.
Distribution and habitat
The species occurs mostly in Pakistan, Nepal, India and Bangladesh, with a separate range in Myanmar. Its typical habitat is lowland rivers and marshes, and sometimes ditches and pools, at altitudes of up to about . It is an entirely inland species and is not found on the coast.
Ecology
The black-bellied tern has long wings but its flight is slow, with much flapping. It feeds on insects and small fish, skimming over the surface of the water and ground to pick up insects, and plunging obliquely into the water to feed on crustaceans, tadpoles and fish. Breeding takes place from February to April, the nesting site usually being a flat sandy location near a river or lake, a sand spit or a sandy island. It does not nest colonially but may nest with other birds such as river terns (Sterna aurantia), pratincoles (Glareola spp.) and Indian skimmers (Rynchops albicollis).
Status
S. acuticauda is classified as being endangered by the International Union for Conservation of Nature. The rationale behind this is that the riverine habitats in which it breeds are under threat in much of southeastern Asia and, although it has an extensive range, it is believed to be extinct in southern China, Nepal, Thailand, Laos, Cambodia and Vietnam. Only in Pakistan, India and Bangladesh are there larger populations, and even in these countries, this bird is thought to be seriously declining, and there may be fewer than one thousand mature individuals in existence. The threats it faces include the degradation of the islands and sandspits on which it breeds, the collection of eggs for food, predation of eggs and chicks by dogs, cats and crows, flooding of nesting sites by the construction of river dams, competition for fish by local fishermen, entanglement in nets, disturbance, extraction of water, sand and gravel dredging and pollution.
References
black-bellied tern
Birds of Pakistan
Birds of India
Birds of Bangladesh
black-bellied tern
black-bellied tern | https://en.wikipedia.org/wiki/Black-bellied%20tern |
To the Last Man may refer to:
Comics
To the Last Man, a 2014 story arc (issues 19-21) of Abe Sapien. A film poster of the 1933 western appears in #20.
Novels
To the Last Man (Grey novel), a 1921 Western novel by Zane Grey
To the Last Man (Shaara novel), a 2004 historical novel by Jeff Shaara
Films
To the Last Man (1923 film), American silent western based on Grey's 1921 novel; directed by Victor Fleming
To the Last Man (1933 film), another American version of Grey's novel; directed by Henry Hathaway
Television
Gunsmoke: To the Last Man, a 1992 TV movie based on the TV series Gunsmoke
To the Last Man (Torchwood), an episode of Torchwood
See also
The Last Man (disambiguation) | https://en.wikipedia.org/wiki/To%20the%20Last%20Man |
Oasis was a 1943 literary anthology published in Cairo during World War II. It was edited by Denis Saunders, David Burk, and Victor Selwyn, all then serving in the armed forces. The introduction was written by General Henry Maitland Wilson, who was at this time Commander-in-Chief of the Middle East.
The Palestine Post reviewed the collection: "The poems were written by men under the stress of war in the desert, in the air and on the sea, under the impact of countries and people strangely new to them."
Notes
In January 1944 Wilson was made Supreme Allied Commander in the Mediterranean, and became a Field Marshal at the end of 1944.
The Palestine Post, an English language newspaper founded in 1932, changed its name to The Jerusalem Post in 1950.
References
Denis Saunders' obituary
1943 anthologies
Poetry anthologies
War poetry | https://en.wikipedia.org/wiki/Oasis%20%28anthology%29 |
Sir Thomas Woodcock FRHSC (born 20 May 1951) is a genealogist who served as Garter Principal King of Arms at the College of Arms from 2010 to 2021.
Early life
Woodcock was educated at Eton College before going up to University College, Durham, where he graduated with a Bachelor of Arts degree. He then pursued further studies at Darwin College, Cambridge, becoming LLB. He was called to the Bar at the Inner Temple.
Career
Woodcock began his heraldic career in 1975 as a research assistant to Sir Anthony Wagner, Garter King of Arms. In 1978 he was appointed Rouge Croix Pursuivant. In 1982 he was promoted to Somerset Herald, becoming Norroy and Ulster in 1997, then Garter Principal King of Arms on 1 April 2010. On 1 July 2021, Woodcock retired as Garter as well as his other heraldic and genealogical offices.
Personal life
In 1998, Woodcock married Lucinda Harmsworth King.
Honours
Woodcock was appointed Lieutenant of the Royal Victorian Order (LVO) in the 1996 Birthday Honours, promoted Commander of the Royal Victorian Order (CVO) in the 2011 Birthday Honours and Knight Commander of the Royal Victorian Order (KCVO) in the 2021 Birthday Honours.
In 2017, he succeeded William Hunt, Windsor Herald, as Genealogist of the Most Venerable Order of the Hospital of Saint John of Jerusalem serving until 2021, having been appointed in July 2018 an Officer of the Order (OStJ).
A Deputy Lieutenant for the County of Lancashire since December 2005, he assists the Lord Lieutenant, Lord Shuttleworth, to represent King Charles III throughout the county.
Elected a Fellow of the Society of Antiquaries of London (FSA) on 3 March 1990, he was awarded the SAL's Society Medal in 2015. He was also elected a Fellow of The Heraldry Society (FHS) on 26 June 1996.
Arms
See also
Heraldry
College of Arms
King of Arms
Herald
Pursuivant
References
External links
Thomas Woodcock's Coat of Arms – Granted in 1961
CUHAGS Officer of Arms Index
Debrett's People of Today
1951 births
Living people
People educated at Eton College
Alumni of University College, Durham
Alumni of Darwin College, Cambridge
British genealogists
English officers of arms
Members of the Inner Temple
Deputy Lieutenants of Lancashire
Fellows of the Society of Antiquaries of London
Garter Principal Kings of Arms
Officers of the Order of St John
Knights Commander of the Royal Victorian Order | https://en.wikipedia.org/wiki/Thomas%20Woodcock%20%28officer%20of%20arms%29 |
Westlock County is a municipal district in central Alberta, Canada that is north of Edmonton. The county was formerly known as the Municipal District of Westlock No. 92, and was created in 1943 from the merger of five smaller municipal districts.
Geography
Physiography
The county lies on the boundary of two of Canada's largest drainage basins. The northern and western sectors of the county are drained by the Pembina River which flows north to meet the Athabasca River, which drains into the Arctic Ocean via the Mackenzie River. The southern and eastern sections drain into the Sturgeon River which joins the North Saskatchewan and eventually empties via the Nelson River into Hudson Bay.
A 1986 federal map shows the area as being the north-western edge of the Eastern Alberta Plains. Specifically, the county includes parts of the Edmonton Plain (and its subdivision Westlock Plain), as well as the Tawatinaw Plain, and is bounded on the northwest by the Athabasca Valley. The county also lies within the apen parkland: a transitional biome between the boreal forest of Canada to the north and the prairie to the south.
Communities and localities
The following urban municipalities are surrounded by Westlock County.
Cities
none
Towns
Westlock
Villages
Clyde
Summer villages
Larkspur
The following hamlets are located within Westlock County.
Hamlets
Busby
Dapp
Fawcett
Jarvie
Nestow
Pibroch
Pickardville
Tawatinaw
Vimy
The following localities are located within Westlock County.
Localities
Analta
Anton Lake
Arvilla
Deeney
Eastburg
Eunice
Fawn Lake
French Creek
Halach
Halcreek
Halfway Lake
Jeffrey
Linaria
Pembina Heights
Regal Park
Rossington
Shoal Creek
Sylvan Glen
Waugh
Demographics
In the 2021 Census of Population conducted by Statistics Canada, Westlock County had a population of 7,186 living in 2,680 of its 3,134 total private dwellings, a change of from its 2016 population of 7,220. With a land area of , it had a population density of in 2021.
In the 2016 Census of Population conducted by Statistics Canada, Westlock County had a population of 7,220 living in 2,670 of its 3,009 total private dwellings, a change from its 2011 population of 7,644. With a land area of , it had a population density of in 2016.
Government
The municipal government consists of a reeve and six other elected councillors who work with a permanent staff of 32.
Education
The county is within the Pembina Hills Public Schools, which formed in 1995 as a merger of three school districts.
See also
List of communities in Alberta
List of municipal districts in Alberta
References
External links
1943 establishments in Alberta
Municipal districts in Alberta | https://en.wikipedia.org/wiki/Westlock%20County |
Fighter Squadron 24 (VF-24), called the Fighting Renegades was a fighter squadron of the United States Navy. Originally established as Fighter Squadron 211 in June 1955, it was redesignated VF-24 on 9 March 1959 and disestablished on 31 August 1996.
Background
VF-211 was established in June 1955 at NAS Moffett Field. The unit flew the FJ-3 Fury aboard the . The squadron transitioned to the F8U Crusader in 1957.
History
VF-24 made deployments to the Western Pacific aboard , USS Bon Homme Richard and from 1959 to 1975. While on duty, the squadron earned the Presidential Unit Citation, Navy Unit Commendation (2 awards), Meritorious Unit Commendation (5 awards), Battle Efficiency Award (1972), Armed Forces Expeditionary Medal (3 awards), and Republic of Vietnam Campaign Medal.
Vietnam War
While deployed aboard Bon Homme Richard (Carrier Air Wing 21), Lieutenant Commander Bobby C. Lee and Lieutenant Phillip R. Wood became the first VF-24 pilots to shoot down MiG aircraft over North Vietnam on 19 May 1967. The MiGs were downed with AIM-9 Sidewinder air-to-air missiles. Then on 21 July 1967, Commander Marion H. Issacks (XO) and Lieutenant Commander Robert L. Kirkwood made the 3rd and 4th MiG kills for their Squadron with 20 mm guns and Sidewinder missiles. VF-24 became one of the Navy's first "Ace" squadrons.
1970s
VF-24 made its last F-8 Crusader cruise aboard in 1975. Upon return to San Diego the Squadron transitioned to the F-14A Tomcat and received their first aircraft on 9 December 1975. VF-24 then changed the squadron name to "Red Checkertails". During the rest of the 1970s and early 1990s, VF-24 deployed to the Western Pacific with . VF-24 won several awards: the Admiral Joseph Clifton Award, the Battle Efficiency “E”, the CNO Aviation Safety Award, and two Sea Service Deployment Awards. The Squadron clean record was completed with six years and 22.000 flight hours without an accident. VF-24 had F8C's for 63-64 cruise on Midway and again for 64-65 cruise on Hancock. They made a short turn around in 65 and must have still flown the F8C, no time to convert to new A/C(F8E) There was no talk of new planes when I left in Sept of 65!
1980s
Further records were made in 1980s. In 1983, VF-24 along with Carrier Air Wing Nine, was assigned to the as part of Battle Group Echo. The first deployment by Central Americas operations and a WESTPAC which included 121 concurrent days of Indian Ocean Operations, the longest of any conventional powered aircraft carrier to date. The move to USS Ranger was because the Constellation had F/A-18 Hornet capability added and the Ranger cruise was nicknamed "DeathCruise '83/'84" due to the loss of 11 crewmen. In August 1984, VF-24 and its airwing began workups with the with another WESTPAC and Indian Ocean cruise in July 1985.
In April 1986, VF-24 was called upon to execute Operation Coyote which involved positioning four fully mission capable F-14s, accompanying aircrew and over 150 maintenance personnel and necessary spare parts over 3,300 km (2,000 mi) away within 46 hours. From the time of execute order to go, aircraft were on deck in Adak, Alaska, in less than 30 hours. This fast paced, strategically significant mission continued for seven days, despite limited command and control assets and an extremely difficult environment at Adak. Mission intercepts, employing innovative planning and tactics, of Soviet reconnaissance aircraft were well beyond expected range and were determined to be an overwhelming success. In October 1986, VF-24 surpassed the 3 years foreign object damage (FOD) free mark; an accomplishment no other F-14 fighter squadron matched. VF-24 deployed in January 1987, aboard USS Kitty Hawk for a six-month around-the-world cruise. The Fighting Renegades were awarded the 1986 CNO Aviation Safety Award, completed over 20,500 mishap free flight hours, achieved a record setting 97 consecutive days Full Mission Capable aircraft readiness, initiated air-to-air banner gunnery launches from the deck of USS Kitty Hawk and completed its 3rd consecutive FOD free cruise. Upon returning to NAS Miramar, VF-24 was again selected to deploy to Adak, Alaska, for their second Operation Coyote mission. VF-24 was awarded a Meritorious Unit Commendation and Navy Expeditionary Medal for the 1987 deployment.
VF-24 was busy in 1988 as they spent 70% of the year deployed and had joined with the rest of the airwing. They deployed to the northern and western Pacific and the Indian Ocean and provided security for the 1988 Summer Olympics in Seoul during Operation Olympic Presence as well as doing exercises with Midway and the Singapore, Malaysian and Thailand Air forces. 1988 was another year where VF-24 received a CNO Aviation Safety Award. Another cruise began in 1989 with the Nimitz through the Bering Strait. Upon their arrival in San Diego in August they began the transition to the F-14B. VF-24 was one of the first Pacific Fleet Fighter Squadrons to do so.
1990s
One year later, VF-24 made history as the first F-14 squadron to drop air-to-ground ordnance at NAS Fallon during Integrated Air Wing Training. In November 1990, they began preparations for deployment and headed for the Persian Gulf in February 1991 and were one of two west coast squadrons to deploy the F-14B. In April 1991, VF-24 began flying missions in support of Operation Provide Comfort over Iraq and Kuwait and participated in detachments to Bahrain and the United Arab Emirates. In June of the same year, VF-24 had completed nine years and 36.000 flight hours without incident. They returned to Miramar in August the same year.
VF-24 began an aggressive turnaround cycle by participating in RED FLAG exercise at Nellis AFB in February 1992. VF-24 flew sorties as "red air" against a coordinated multinational strike team. As with all Navy F-14 squadrons, VF-24 were Bombcat qualified, carrying "dumb" munitions such as Mk-80 series bombs, Mk-20 Rockeye cluster munitions, air laid sea mines, TALD surface-to-air missile decoys and practice bombs. Laser-guided bombs could be carried, but had to be buddy lazed. For all its time with the F-14 Tomcat, VF-24 was teamed with VF-211 as part of Carrier Air Wing Nine. Their last cruise took place from November 1995 to May 1996, on board the USS Nimitz. VF-24 was disestablished on 31 August 1996.
See also
History of the United States Navy
List of inactive United States Navy aircraft squadrons
List of United States Navy aircraft squadrons
References
External links
VF-24 Fighting Renegades
VF-24
FS0024 | https://en.wikipedia.org/wiki/VF-24 |
is the permanent marking or "tattoo" as traditionally practised by Māori, the indigenous people of New Zealand. It is one of the five main Polynesian tattoo styles (the other four are Marquesan, Samoan, Tahitian and Hawaiian).
(tattooists) were considered , or inviolable and sacred.
Historical practice (pre-contact)
Tattoo arts are common in the Eastern Polynesian homeland of the Māori people, and the traditional implements and methods employed were similar to those used in other parts of Polynesia. In pre-European Māori culture, many if not most high-ranking persons received . Moko were associated with mana and high social status; however, some very high-status individuals were considered too tapu to acquire moko, and it was also not considered suitable for some tohunga to do so.
Receiving constituted an important milestone between childhood and adulthood, and was accompanied by many rites and rituals. Apart from signalling status and rank, another reason for the practice in traditional times was to make a person more attractive to the opposite sex. Men generally received on their faces, buttocks () and thighs (). Women usually wore moko on their lips () and chins. Other parts of the body known to have moko include women's foreheads, buttocks, thighs, necks and backs and men's backs, stomachs, and calves.
Instruments used
Historically the skin was carved by (chisels), rather than punctured as in common contemporary tattooing; this left the skin with grooves rather than a smooth surface. Later needle tattooing was used, but, in 2007, it was reported that the currently was being used by some artists.
Originally ( specialists) used a range of (chisels) made from albatross bone which were hafted onto a handle, and struck with a mallet. The pigments were made from the for the body colour, and (burnt timbers) for the blacker face colour. The soot from burnt kauri gum was also mixed with fat to make pigment. The pigment was stored in ornate vessels named , which were often buried when not in use. The were handed on to successive generations. A (feeding funnel) is believed to have been used to feed men whose mouths had become swollen from receiving .
Men and women were both tā moko specialists and would travel to perform their art.
Changes with European colonisation
The practice of collecting and trading (tattooed heads) changed the dynamic of in the early colonial period. King (see below) talks about changes which evolved in the late 19th century when needles came to replace the as the main tools. The needle method was quicker and presented fewer possible health risks, but the texture of the became smooth. on men stopped around the 1860s in line with changing fashion and acceptance by .
Women continued receiving through the early 20th century, and the historian Michael King in the early 1970s interviewed over 70 elderly women who would have been given the before the 1907 Tohunga Suppression Act. Women's tattoos on lips and chin are commonly called pūkauae or moko kauae.
Contemporary practice
Since 1990 there has been a resurgence in the practice of for both men and women, as a sign of cultural identity and a reflection of the general revival of the language and culture. Most applied today is done using a tattoo machine, but there has also been a revival of the use of (chisels). Women too have become more involved as practitioners, such as Christine Harvey in Christchurch, Henriata Nicholas in Rotorua and Julie Kipa in Whakatāne. It is not the first time the contact with settlers has interfered with the tools of the trade: the earliest moko were engraved with bone and were replaced by metal supplied by the first visitors.
The most significant change was the adjustment of the themes and conquests the tattoos represented. Tā moko artist Turumakina Duley, in an interview for Artonview magazine, shares his view on the transformation of the practice: “The difference in tā moko today as compared to the nineteenth century is in the change of lifestyle, in the way we live. […] The tradition of moko was one of initiation, rites of passage – it started around that age – but it also benchmarks achievements in your life and gives you a goal to strive towards and achieve in your life.” Duley received moko to celebrate his graduation from a bachelor in Māori studies.
A large proportion of New Zealanders now have tattoos of some sort, and there is "growing acceptance ... as a means of cultural and individual expression."
In 2016 New Zealand politician Nanaia Mahuta received a moko kauae. When she became foreign minister in 2020, a writer said that her facial tattoo was inappropriate for a diplomat. There was much support for Mahuta, who said "there is an emerging awareness about the revitalisation of Māori culture and that facial moko is a positive aspect of that. We need to move away from moko being linked to gangs, because that is not what moko represent at all."
On 25 December 2021, Māori journalist Oriini Kaipara, who has a moko kauae, became the first person with traditional facial markings to host a prime-time news programme on national television in New Zealand.
In 2022, Ariana Tikao published a book called Mokorua: Ngā kōrero mō tōku moko kauae: My story of moko kauae detailing her tā moko journey; her artist was Christine Harvey.
Use by non-Māori
Europeans were aware of from the time of the first voyage of James Cook. Early Māori visitors to Europe, such as Moehanga in 1805, Hongi Hika in 1820 and Te Pēhi Kupe in 1826, all had full-face , as did several "Pākehā Māori," such as Barnet Burns. However, until relatively recently the art had little global impact.
Wearing of by non-Māori has been called cultural appropriation, and high-profile uses of Māori designs by Robbie Williams, Ben Harper and a 2007 Jean Paul Gaultier fashion show were controversial.
To reconcile the demand for Māori designs in a culturally sensitive way, the group promotes the use of the term , which has now gained wide acceptance:
... translates literally to mean—"skin writing." As opposed to moko which requires a process of consents, genealogy and historical information, kirituhi is merely a design with Māori flavour that can be applied anywhere, for any reason and on anyone...
Gallery
See also
, preserved Māori heads
, traditional male Samoan tattoo
References
Sources
Jahnke, R. and H. T., "The politics of Māori image and design", Pukenga Korero (Raumati (Summer) 2003), vol. 7, no. 1, pp. 5–31.
King, M., and Friedlander, M., (1992). Moko: Māori Tattooing in the 20th Century. (2nd ed.) Auckland: David Bateman.
Nikora, L. W., Rua, M., and Te Awekotuku, Ng., "Wearing Moko: Māori Facial Marking in Today's World", in Thomas, N., Cole, A., and Douglas, B. (eds.), Tattoo. Bodies, Art and Exchange in the Pacific and the West, London: Reacktion Books, pp. 191–204.
Robley, Maj-Gen H. G., (1896). Moko, or Maori Tattooing. digital edition from New Zealand Electronic Text Centre
Te Awekotuku, Ngahuia, "Tā Moko: Māori Tattoo", in Goldie, (1997) exhibition catalogue, Auckland: Auckland City Art Gallery and David Bateman, pp. 108–114.
Te Awekotuku, Ngahuia, "More than Skin Deep", in Barkan, E. and Bush, R. (eds.), Claiming the Stone: Naming the Bones: Cultural Property and the Negotiation of National and Ethnic Identity (2002) Los Angeles: Getty Press, pp. 243–254.
External links
Museum of New Zealand Te Papa Tongarewa Online Resources on Moko
Images relating to moko from the collection of the Museum of New Zealand Te Papa Tongarewa
New Zealand Electronic Text Centre collection on Ta Moko, mokamokai, Horatio Robley and his art. A bibliography provides further links to other online resources.
The rise of the Maori tribal tattoo, BBC News Magazine, 21 September 2012, Ngahuia Te Awekotuku, University of Waikato, New Zealand
Māori art
Māori culture
Māori words and phrases
Polynesian tattooing
Tattoo designs | https://en.wikipedia.org/wiki/T%C4%81%20moko |
Patric Laurence Dickinson (born 24 November 1950) is an English genealogist. He served as Clarenceux King of Arms from 2010 until 2021. He has worked at the College of Arms in London since 1968.
Background
Dickinson was educated at Marling School in Stroud, Gloucestershire, before going to Exeter College, Oxford, where he read modern history and graduated as MA. He was President of the Oxford Union Society and was subsequently called to the Bar at the Middle Temple. Dickinson served as a research assistant at the College of Arms from 1968 until his appointment as Rouge Dragon Pursuivant of Arms in Ordinary in 1978. He served as Richmond Herald from 25 January 1989 until 6 April 2010.
On 6 April 2010, he was promoted to the office of Norroy and Ulster King of Arms, holding this office very briefly until he was further advanced to Clarenceux King of Arms on 1 September 2010. He was succeeded in April 2021 by Timothy Duke. In 2004, Dickinson was named Secretary of the Order of the Garter. He is also, inter alios, a Vice-President of the Anthony Powell Society and was elected President of the Society of Genealogists in 2005.
Honours
Decorations
2006: Lieutenant of the Royal Victorian Order (LVO)
Medals
2012: Queen Elizabeth II Diamond Jubilee Medal
Academic
Fellow 2000: Society of Genealogists (FSG)
Arms
See also
Heraldry
Pursuivant
King of Arms
References
External links
The College of Arms
Debrett's People of Today
Society of Genealogists
CUHAGS Officer of Arms Index
1950 births
Living people
People from Gloucestershire
Presidents of the Oxford Union
Alumni of Exeter College, Oxford
English genealogists
English officers of arms
Members of the Middle Temple
Lieutenants of the Royal Victorian Order
English male non-fiction writers
Fellows of the Society of Genealogists | https://en.wikipedia.org/wiki/Patric%20Dickinson%20%28genealogist%29 |
Cecily Brown (born 1969) is a British painter. Her style displays the influence of a variety of contemporary painters, from Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens, Poussin and Goya. Brown lives and works in New York.
Personal life
Brown was born to novelist Shena Mackay and art critic David Sylvester and raised in England. Prior to her 1994 move to New York City, Brown resided in New York as an exchange student from the Slade School of Art in 1992. From the age of three Brown wanted to be an artist; she was supported in this ambition by her family, notably by her grandmother and two of her uncles who were also artists. Brown is married to architecture critic Nicolai Ouroussoff; they have one daughter.
Since 2014, Brown has been serving on the board of directors of the Foundation for Contemporary Arts (FCA).
Education
Brown earned a B-TEC Diploma in Art and Design from the Epsom School of Art, Surrey, England (1985–87) (now part of the University for the Creative Arts), took drawing and printmaking classes at Morley College, London (1987–89), and received a BA degree in Fine Arts from the Slade School of Art, London (1989–93). During her studies she worked as a waitress and, later, in an animation studio. In addition to painting, Brown also studied printmaking and draftsmanship. She earned First Class Honours at the Slade and was the first-prize recipient in the National Competition for British Art Students.
Career
Brown left London to sign on to the Gagosian Gallery in New York City. She became known to the art world in the late 1990s through an exhibition of abstracted paintings of rabbits. The rabbits in the works are frolicking in bacchanalian landscapes. In 1995, the art world took notice of her work when she displayed Four Letter Heaven at the Telluride Film Festival; it was shown in the United States as well as Europe. The films consist of sexual and pornographic themes, which she explores in the majority of her work. In 2000, she was photographed for Vanity Fair lying in front of one of her paintings, wearing a T-shirt emblazoned with a dollar sign.
Brown maintained a studio in the Meatpacking District of Manhattan, then in 2011, she worked from a studio at a former office near Union Square.
Work
Painting
Brown uses drawing as a prerequisite to guide her work. Through the use of repetition, Brown captures images that both attract and confound her. Though her drawings are not as exhibited as her paintings, both art mediums contain similar aspects in showcasing her erotic view of art through subject matter. Brown states, “I want to make forms that are either just dissolving or in the process of just becoming something and to play with the relationship between the eye and the brain.”
Brown's paintings combine figuration and utter abstraction while exploring the power relationship between male and female. Expanding the tradition of abstract expressionism, she has become known for a painting style suggestive of abstract and abstract expressionist painters such as Willem de Kooning and Oskar Kokoschka. Brown has minimal anxiety about the art media she uses; she said in an interview with Lari Pittman that "As someone who works with traditional materials, I've always had little anxiety that the medium isn't contemporary enough, that the work could have been made at almost any time." In her interview with Pittman she discussed how she defines 'sexy' and 'sexual' in her work: "I suppose you could say that the sexual is in every painting, whether there is an overt subject or not. The tension within the painting, whatever the subject, is the desired outcome. The sexy would be the girl's lipstick smile or the shoe--the physical object from the three-dimensional world placed within the painting." When she begins a painting, she generally doesn't have an exact idea of what she is trying to achieve, but she lets the final painting reveal itself as she works. Whilst painting she likes to let the paintings develop and change drastically, because she believes the surprise makes her work more interesting. Brown says, "All the paintings I'm working on have more or less the same impetus; the same thoughts are driving them. I like there to be an argument within a painting." Sexuality and attraction are important themes in her work, which she explores through semi-figurative and abstract means. The way she handles paint within her work, becomes the subject matter itself by engulfing her figures within the paint or to use it to add a sense of humor to her sexual imagery. The main characteristic of Brown's paintings is her use of motion, expressive mark-making and many mixtures of color throughout her pieces. She also constantly changes palettes, so her work consistently shifts over time. Her paintings also recall the works of Philip Guston and the Bay Area Figurative School of the 1950s and 1960s. Brown often titles her paintings after classic Hollywood films and musicals, such as The Pyjama Game, The Bedtime Story and The Fugitive Kind. Brown said in an interview that "One of the main things I would like my work to do is to reveal itself slowly, continuously and for you never to feel that you're really finished looking at something." She also said in another interview that she asks herself as she works, "How can I paint the equivalent of what it's like to move through space, to move through the world, to be in a room, in a park, on the street?" In 2013, Brown based a series of paintings on a photograph of a large group of nude women that appeared on the British release of a 1968 Jimi Hendrix album Electric Ladyland.
The sexuality and eroticism of Brown's depictions of expressive figures and nudes are echoed in rich colours, luscious paint handling, and animated brushwork; her work combines representational and abstract elements. In her interview with Lari Pittman she discussed how she defines 'sexy' and 'sexual' in her work. Brown said, "I suppose you could say that the sexual is in every painting, whether there is an overt subject or not. The tension within the painting, whatever the subject, is the desired outcome. The sexy would be the girl's lipstick smile or the shoe--the physical object from the three-dimensional world placed within the painting." Her tactile technique stands out among contemporaries and links her to the art movement Abstract Expressionism. However, self-conscious of her connection with artists such as Willem de Kooning and Lucian Freud, Brown often interjects fresh humor or irony by titling her paintings after famous musicals and films. She has been grouped with leading female contemporary painters, including Charline von Heyl, Jacqueline Humphries, Laura Owens, Jutta Koether, Amy Sillman, and Emily Sundblad.
Cecily Brown works using a non-linear approach. Brown experiments with this approach by working with multiple canvases at one time. Working in large groups allows Brown to explore new compositional ideas while continually being spontaneous. Brown describes her process as "organic". She often spends multiple days on works, and will work on up to 20 works at a time, allowing layers of paint to dry between applications.
In 1997, Brown created Untitled, a permanent, site-specific installation for the group exhibition Vertical Paintings at the P.S. 1 Contemporary Arts Center (now MoMA PS1).
In the media
In the February 2000 edition of Vanity Fair, Brown, along with fellow artists Inka Essenhigh, John Currin and others, appeared in photographs taken by Todd Eberle. A photograph that appeared in The New Yorker made showed Brown from the back as she stood, cigarette in hand, studying one of her paintings.
Brown presided in 2004, along with other artists such as Laura Owens and Elizabeth Peyton, over a Democratic Party fund-raising event, Art Works for Hard Money, in Los Angeles.
Charity work
In 2020 Brown donated her work Wanton Boy to amfAR, The Foundation for AIDS Research, to help fund their temporary COVID-19 research initiative. The painting sold for $250,000 in a virtual auction conducted in July by Christie's, which also included donated works from artists such as Eddie Martinez and Dana Schutz.
Critical reception
Brown has received a lot of critical attention for powerful, athletically sized canvases and bold brushwork. The assertiveness of her paintings has often been compared to Abstract Expressionist works which, during their time, were linked to a fierce masculinity. As a female artist working in this vein, Brown's works have been seen as confronting both this tradition and gendered assumptions about art.
However, some recent critics have taken a different stance. In a 2011 review for The Guardian, art critic Adrian Searle rejected the dynamic and assertive surfaces of Brown's art and wrote: "What's really missing in her art is character, and for all the hectic painting, a sense of necessity." Likewise, in 2013, Leah Ollman wrote a review of a Gagosian Gallery show for The LA Times, in which she observed: "Instead of powerful and passionate, her voice comes across as detached. The volume is turned up, but the verve is on low." Roberta Smith, in The New York Times, called a Gagosian exhibition it reviewed in 2000 "lackluster" and suggested that Brown's "career is ahead of her artistic development." Smith subsequently wrote a largely positive review of Brown's work in an article titled "I Was Wrong About Cecily Brown".
Art market
Cecily set an early auction record when her oil painting Sick Leaves sold for 2.2 million dollars at a Christie's auction in March 2017. Shortly after, Suddenly Last Summer (1999), originally estimated at $1.8 to $2.5 million, fetched $6.8 million at a 2018 Sotheby's auction in New York.
Exhibitions
Brown has staged many solo shows and exhibitions in the United States, United Kingdom, and internationally. Her notable solo shows include Spectacle (1997), Deitch Projects, New York; Directions - Cecily Brown (2002), Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Cecily Brown (2004), Museo Nacional Centro de Arte Reina Sofía, Madrid; Cecily Brown: Rehearsal (2016), Drawing Center, New York; If Paradise Were Half as Nice (2018-2019), originating at the Instituto Tomie Ohtake, São Paulo; Cecily Brown (2020), Blenheim Palace, Woodstock, Oxfordshire, and Cecily Brown: Death and the Maid (2023) Metropolitan Museum of Art.
She has also participated in many group exhibitions, including the Whitney Biennial (2004).
Notable works in public collections
Four Letter Heaven (Animation Cells) (1995), Museum of Modern Art, New York
Untitled suite (1995), Museum für Moderne Kunst, Frankfurt, Germany
Untitled (1997), MoMA PS1, Museum of Modern Art, New York
Broken Lullaby (1999), Denver Art Museum
Father of the Bride (1999), Buffalo AKG Art Museum, Buffalo, New York
Service de Luxe (1999), Rubell Museum, Miami/Washington, D.C.
Tender is the Night (1999), The Broad, Los Angeles
Trouble in Paradise (1999), Tate, London
Puttin' on the Ritz (1999-2000), Solomon R. Guggenheim Museum, New York
Hoodlum (2000-2001), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Black Painting I (2002), The Broad, Los Angeles
Black Painting 2 (2002), Whitney Museum, New York
Black Painting 4 (2003), Rubell Museum, Miami/Washington, D.C.
Girl on a Swing (2004), National Gallery of Art, Washington, D.C.
Girl on a Swing #2 (2004), The Broad, Los Angeles
Red Suzannah (2004), San Francisco Museum of Modern Art
Half-Bind (2005), Des Moines Art Center, Iowa
Skulldiver III (Flightmask) (2006), Museum of Fine Arts, Boston
Oh, Marie! (2007), Des Moines Art Center, Iowa; and Museum of Fine Arts, Boston
Fair of Face, Full of Woe (2008), Metropolitan Museum of Art, New York
All of Your Troubles Come from Yourself (2006-2009), Whitney Museum, New York
Untitled (2010), Museum of Modern Art, New York
A Storm at Sea (2017), Georgia Museum of Art, Athens
Where, When, How Often, and with Whom (2017), Louisiana Museum of Modern Art, Humlebæk, Denmark
Triumph of the Vanities II (2018), Brooklyn Museum, New York
The Hound with the Horses' Hooves (2019), Yale Center for British Art, New Haven, Connecticut
Further reading
Dore Ashton, Cecily Brown, Rizzoli, New York, 2008.
Cecily Brown: Rehearsal, The Drawing Center's Drawing Papers, Volume 128, October 5, 2016.
Jason Rosenfeld, "Interview with Cecily Brown," The Brooklyn Rail, December 2017/January 2018.
Courtney J. Martin, Jason Rosenfeld, Francine Prose, Cecily Brown, Phaidon, London, 2020.
References
External links
Cecily Brown – Painting – Saatchi Gallery
Albright-Knox Art Gallery. Retrieved 1 June 2007.
Selected Works by Brown
1969 births
Living people
20th-century English women artists
21st-century English women artists
Alumni of the Slade School of Fine Art
British contemporary painters
English people of Russian-Jewish descent
English contemporary artists
English expatriates in the United States
English women painters
Painters from London
Postmodern artists | https://en.wikipedia.org/wiki/Cecily%20Brown |
The Coolpix S1 is a brand of digital camera in production by Nikon since 2005. Its image sensor is a CCD with 5.0 million pixels. It has a 2.5-inch thin-film transistor liquid crystal display device with 110,000 pixels.
See also
Nikon Coolpix S3
Nikon Coolpix S10
References
External links
S0001
Cameras introduced in 2005
Point-and-shoot cameras
Digital cameras with CCD image sensor | https://en.wikipedia.org/wiki/Nikon%20Coolpix%20S1 |
No. 13 (City of Darwin) Squadron is a Royal Australian Air Force (RAAF) squadron. The unit saw combat during World War II as a bomber and maritime patrol squadron and is currently active as a mixed regular and reserve RAAF unit located in Darwin, fulfilling both operational support and training duties.
History
World War II
No. 13 Squadron was formed from elements of No. 12 Squadron at RAAF Station Darwin on 1 June 1940. Its first commanding officer was Wing Commander John Balmer. The squadron initially operated Avro Ansons in the general reconnaissance role and flew maritime surveillance patrols over the seas to the north of Australia and survey flights over northern Australia. The squadron was re-equipped with Lockheed Hudson light bombers, suffering its first loss in September when an aircraft was destroyed on take-off. In early 1941, the squadron was tasked with locating a German commerce raider and a U-boat, before joining the search for survivors from HMAS Sydney following its battle with the German auxiliary cruiser Kormoran. In May 1941, the squadron began familiarisation flights over the Netherlands East Indies in preparation for deploying to the NEI following the outbreak of war with Japan.
On 7 December 1941, the day before the start of the Pacific War—the position of the International Date Line meant this was actually a day before the famous attack on Pearl Harbor, only with the same date—No. 13 Squadron deployed two flights of Hudsons (a total of six aircraft) to Ambon, where they were based at Laha Airfield in the NEI. The squadron's operations record book for 8 December 1941 recorded that: "At the outbreak of war with Japan the Squadron's Aircraft strength was 12 Hudsons, of which six were operating from Laha, NEI. The remainder of the Aircraft were left at Darwin pending the executive from higher authority to proceed to Namlea, NEI." Three days later, the squadron's commander, Wing Commander Joshua McDonald, was killed in an accident; Squadron Leader John Ryland took over and shortly afterwards the squadron deployed its third flight to Namlea Airfield on Buru Island. At the end of the month, the third flight moved to Babo in Dutch New Guinea. Flying in the face of heavy resistance, and lacking fighter support, the squadron's aircraft conducted operations throughout the eastern islands of the NEI, during which several aircraft were lost. Others were also destroyed on the ground as Japanese aircraft attacked Laha. The surviving aircraft from these flights returned to Darwin in February 1942, as Ambon faced invasion.
No. 13 Squadron was severely affected by the Japanese air raids on Darwin on 19 February 1942, the squadron's headquarters, stores and spares being destroyed. Its aircraft were undamaged, having been moved inland to Daly Waters the previous week, or over Timor on task. In March, No. 13 Squadron moved to Hughes Airfield. As a result of the squadron's heavy losses during the defence of the NEI and the raids on Darwin, No. 13 Squadron generally only had one or two aircraft operational on most days in early 1942. Nevertheless, the squadron continued to fly operational attack and reconnaissance missions over the NEI, including an anti-shipping raid around Beco, in Timor, on 10 August 1942, sinking Japanese netlayer Fukuei Maru No. 15 and damaged another in a mast-height attack that was launched in response from intelligence information provided by Australian commandos deployed on the island as part of Sparrow Force. No. 13 Squadron was later awarded the United States Presidential Unit Citation for its operations over Timor during August and September 1942; it is one of only two RAAF squadrons to have received this honour, the other unit being No. 2 Squadron for its performance in the Vietnam War.
The squadron continued to conduct operations against the Japanese until 4 April 1943, when it handed over its Hudsons to No. 2 Squadron and was withdrawn to RAAF Base Fairbairn to rest and re-equip. At Fairbairn the squadron took delivery of Bristol Beaufort and Lockheed Ventura aircraft and conducted anti-submarine and shipping patrols along the Australian east coast. The Beauforts were handed over to No. 2 Squadron in August. The future Australian Prime Minister Gough Whitlam served with the squadron as a navigator from 2 August 1943 until February 1945.
No. 13 Squadron moved to Cooktown, north-eastern Queensland, in late May 1944 before moving again to Gove, Northern Territory, in August; from there it mainly carried out anti-submarine and escort patrols, though it also mounted a small number of bombing raids against the eastern islands of the NEI. In late June 1945, the squadron moved to Morotai in the NEI and, soon after the end of the war, to Labuan in British North Borneo. From Labuan the squadron operated in the transport role and ferried ex-prisoners of war and other personnel back to Australia before being disbanded on 11 January 1946. Casualties during the war amounted to 87 personnel killed.
Reformation
No. 13 Squadron was re-formed as a non-flying Active Reserve squadron located at RAAF Base Darwin on 1 July 1989; later that month it was conferred with the title "No. 13 (City of Darwin) Squadron". On 31 May 1990, the squadron was officially presented the Presidential Unit Citation it had been awarded in 1942. On 1 July 2010, changes to the structure of the Combat Support Group resulted in the combat support and fixed-base services functions of No. 321 Expeditionary Combat Support Squadron (321 ECSS) being integrated with No. 13 Squadron at Darwin and 321 ECSS being disbanded.
Commanding Officers
The following officers commanded No. 13 Squadron between 1940 and 1946:
Wing Commander John Balmer
Graham Barton
Robert Holmes
Lyle Holswich
William Keenan
Wing Commander Joshua McDonald
Ralph Moran
Peter Parker
Squadron Leader John Ryland
John Whyte
Frederick Wittscheibe
Base locations
The squadron's bases have included:
Darwin: 1 June 1940 – 6 December 1941
Laha: 6 December 1941 – 31 January 1942
Darwin: 31 January 1942 – 2 May 1942
Hughes: 2 May 1942 – 19 April 1943
Unknown: 20 April 1943 – 24 August 1944
Gove: 25 August 1944 – 26 June 1945
Transit to Borneo, via Morotai: 27 June 1945 – 14 July 1945
Labuan, Borneo, 15 July 1945 – 11 January 1946
Aircraft operated
No. 13 Squadron operated the following aircraft:
Avro Anson (June 1940)
Lockheed Hudson (June 1940 – April 1943)
Bristol Beaufort (April–August 1943)
Lockheed Ventura (April 1943 – January 1946)
References
Notes
Bibliography
External links
No. 13 Squadron Official Website
13
Military units and formations established in 1940 | https://en.wikipedia.org/wiki/No.%2013%20Squadron%20RAAF |
The Mold and Denbigh Junction Railway was a railway company that built a railway line in North Wales. It formed a link between the Mold Railway (from Chester) and the Vale of Clwyd Railway towards Rhyl.
The line opened in 1869. Serving a largely rural district, it never attracted much business, and the passenger service was withdrawn in 1962. Ordinary goods traffic ceased not long after, and the line closed completely in 1983.
Conception
The Chester and Holyhead Railway was opened throughout in 1850, and it was absorbed by the London and North Western Railway in 1858. The Great Western Railway was the principal competitor of the LNWR in the area, and the GWR had taken steps to reach Rhyl, an important regional centre. It hoped to do this by taking control of a series of local railways, northwards from the Vale of Llangollen Railway at Corwen, which itself branched from the GWR at Ruabon. The GWR attempted to take control of the Denbigh, Ruthin & Corwen Railway as well as the Vale of Clwyd line.
In 1860, the London and North Western Railway took steps to fend off this incursion, supporting a railway from its Mold terminus through the River Alyn and Wheeler valleys and joining the Vale of Clwyd Railway just north of Denbigh. The Great Western Railway lost interest and the threat abated.
A local railway between Mold and Denbigh was still of value, and local interests promoted the Mold and Denbigh Junction Railway. The company was incorporated on 6 August 1861 to build a link railway between the Mold Railway and the Vale of Clwyd Railway. The Mold Railway connected Chester and Mold, and the Vale of Clwyd Railway connected Rhyl and Denbigh.
Construction
The new company was unable to raise the funds for construction of its line, until Richard Samuel France, a railway contractor and mineowner, offered to build the line in exchange for shares. He made good progress until the national financial crisis of 1866, when he became financially embarrassed, and was unable to continue. At that time, of the £432,000 raised in share capital, only £1,360 was in the name of others than France himself. Many landowners were still owed money for the land acquired by the company, and there was much construction work still to be accomplished.
Between Bodfari and Trefnant and Denbigh there was to be a triangular junction. The main line running towards Rhyl and joining the Vale of Clwyd at Trefnant and a cut off heading south west towards Denbigh, joining the Vale of Clwyd about a mile north of the town's station and running parallel. The northern leg of the triangle was abandoned and only partly constructed with a few hundred metres visible at the east end.
Notwithstanding the shortage of the Company's own funds, in 1866 it had obtained powers to build a line paralleling the Mold Railway to join the Wrexham, Mold and Connah's Quay Railway; powers for a 22 mile line to Llandudno were refused in that session. Despite the financial situation, in 1867 the M&DJR obtained a further Act of Parliament for running powers over part of the Wrexham, Mold and Connah's Quay Railway, and also (belatedly) to Denbigh.
Richard Samuel France now disappeared from the scene, and the only hope of completing the line lay with the LNWR, and that company funded the completion of the line.
Opening
The line opened on 12 September 1869 and was worked by the LNWR, although the Mold and Denbigh Junction Railway company remained independent.
1895 passenger train service and after
Bradshaw's Guide shows the passenger train service in 1895: there were seven trains each way daily, all but one stopping at all stations.
By 1919 there were two return journeys on the line by a "motor train".
1923 and after
In 1923 the main line railways of Great Britain were "grouped" under the Railways Act 1921; the LNWR was a constituent of the new London Midland and Scottish Railway. The Mold and Denbigh Junction Railway, of course only a financial shell, was schemed into the LMS.
The LMS increased the passenger train service, with eleven trains each way between Chester and Denbigh, as well as three between Denbigh and Mold, with some of the workings extended to and from Ruthin or Corwen. A motor train worked three round trips from Denbigh.
Decline
Passenger trains on the line were withdrawn on 30 April 1962, but goods and parcels traffic to Mold from Chester continued. The closure had been planned, and announced, for September 1961 but the arrangements for alternative transport were not completed, and the closure was deferred. Many local residents made other arrangements anyway and carryings in the final months were very low. The track from Dolfechlas Crossing to the junction with the Vale of Clwyd line just north of Denbigh was lifted in 1963. However, limestone powder traffic continued to originate at Ruby Limeworks and goods trains also served the Synthite chemical works (a factory producing formaldehyde) just north of Mold. Jones Balers (latterly Aliss Chalmers) exported straw balers to Europe on ferry wagon flats from Mold for many years in the 1960 and 70s.
On 1 January 1968 the line was further reduced in operational length, consisting only of a stub at Mold to the Synthite works. Access to it was made from Wrexham over the former Wrexham, Mold and Connah's Quay Railway to Hope, and then by the connecting spur to the former Mold Railway there.
The line from the Synthite works to Rhydymwyn was still in place, and was revived in 1974 for the transportation inwards of oil pipe sections for the Anglesey to Ellesmere Port pipe line, which uses part of the old Mold and Denbigh Junction Railway trackbed near Afonwen. When the Synthite works transferred from rail to road haulage on 15/3/1983 the railway activity in the area ceased completely.
Residual structures
Mold station buildings survived until 1988, occupied by a builders' merchant and latterly a Tesco Superstore. The original M&DJR station buildings at Rhydymwyn, Caerwys and Bodfari survive as private dwellings.
Topography and station list
The route climbed the Alyn Valley to Rhyd-y-mwyn. The summit of the line was on the Mold side of Star Crossing Halt, after the line passed through a narrow limestone gorge, crossing the main road twice on plate girder bridges at Hendre to reach the watershed. The line then descended towards Denbigh at 1 in 80 down the Wheeler Valley.
Mold; opened 14 August 1849; closed 30 April 1962;
Rhydymwyn; opened 6 September 1869; closed 30 April 1962;
Star Crossing Halt; opened 2 November 1914; closed 1 January 1917; reopened 1 July 1919; closed 30 April 1962;
Nannerch; opened 6 September 1869; closed 30 April 1962;
Caerwys; opened 6 September 1869; closed 30 April 1962;
Bodfari; opened 6 September 1869; closed 30 April 1962;
Denbigh opened 5 October 1858; replaced by permanent station December 1860; closed 30 April 1962.
References
Further reading
Carvell, Roger (2009) The Chester to Denbigh Railway,
External links
Closed railway lines in Wales
Railway companies established in 1861
Railway lines opened in 1869
Railway companies disestablished in 1922
Standard gauge railways in Wales
London, Midland and Scottish Railway constituents
1861 establishments in Wales | https://en.wikipedia.org/wiki/Mold%20and%20Denbigh%20Junction%20Railway |
Tanikaze can refer to:
Tanikaze Kajinosuke, a sumo wrestler
Japanese destroyer Tanikaze, two destroyers of the Imperial Japanese Navy | https://en.wikipedia.org/wiki/Tanikaze |
Milan Gurović (; born 17 June 1975) is a Serbian former professional basketball player and current basketball coach. During his pro career, he played for numerous clubs from all over Europe. Gurović was also a member of the senior national teams of both FR Yugoslavia / Serbia and Montenegro and Serbia.
Early life
Gurović was born in Novi Sad, SR Serbia, SFR Yugoslavia to Serbian parents. His father Božidar and mother Mara, both hailed from the vicinity of Trebinje, in Herzegovina. Raised in the Novi Sad neighbourhood of Detelinara with a younger brother Veljko, young Milan practiced kung fu before taking up the sport of basketball.
Club career
Early years
After taking up basketball at thirteen years of age with KK Slavija Novi Sad, Gurović quickly moved across town to join the youth system of the more established NAP Novi Sad a.k.a Naftagas Promet under coach Zoran Trivan. Two years later, at age fifteen, he debuted for NAP's first team thus getting a chance to compete against grown men in the Yugoslav Second Basketball League. He simultaneously attended the streamlined Agricultural High School in Novi Sad.
Peristeri
Marking himself out quickly as a talented youngster at NAP, in December 1992, Gurović was noticed by a Greek basketball scout who convinced the 17-year-old teenager's parents to authorize their son's move to Greece. Although initially told by the scout that he'd be joining Olympiakos, the youngster ended up at Peristeri, getting attached to its youth team. He would simultaneously train with the club's first team coached by Kostas Politis.
For five days in the summer of 1994, during his first visit home since moving to Greece, 19-year-old Gurović was attached to the newly-promoted BFC Beočin's training camp in Novi Sad's SPENS arena in order to improve his basketball skills and fitness level. Training for the upcoming 1994-95 YUBA League season, the club's first in FR Yugoslavia's top-tier league, BFC's coaching staff—consisting of head coach Muta Nikolić and his assistant Zoran Trivan (Gurović's old coach at NAP)—decided to accommodate young Gurović, a player not on their roster, in order to help his basketball development.
By the 1994-95 league season, Gurović entered Peristeri's first team permanently. As was the case with many young basketball players from former Yugoslavia at the time (mostly of Serbian ethnicity), he also took Greek citizenship, and thus competed as a domestic player, under the name Milan Malatras.
From summer 1995, for the following two seasons at Peristeri, Gurović was coached by compatriot Dragan Šakota whom the player credits for greatly helping him improve his game and find his footing in a foreign country at such a young age. It was Šakota who moved Gurović to the small forward position having previously been deployed at power forward or even center. Playing alongside another talented Serbian youngster and future star Marko Jarić, who joined the club in 1996, it was not long before Gurović started showing exceptional quality. By his fourth season with the club, 1997–98, he averaged 17.2 points per game.
FC Barcelona
In the summer of 1998, in-demand Gurović moved to FC Barcelona, signing a two-year contract with an optional third year. Brought in by the Barça management as replacement for forward Marcelo Nicola who moved on to Benetton, the Serb's transfer to Barcelona was a big money deal that heightened expectations. Prior to signing with Barcelona, the forward was very close to joining Ettore Messina's Virtus Bologna, even making a trip to Bologna with his agent Rade Filipovich of BDA Sports International agency and interacting with the team's players Radoslav Nesterović and Predrag Danilović.
Joining the roster featuring compatriot Saša Đorđević, Efthimios Rentzias, incoming Derrick Alston and Rodrigo de la Fuente, including up-and-coming youth players Pau Gasol and Juan Carlos Navarro, in the 1998–99 season, Gurović made a valuable contribution to the Barça team that won the Spanish ACB League title and European Korać Cup.
2000–01 season
Rejecting Panathinaikos
Over the summer 2000, Gurović got called up for the FR Yugoslavia national team training camp for the Sydney Olympics before getting cut by the national team's head coach Željko Obradović and thus not included on the final 12-man roster the coach took to Australia. Many years later, Gurović revealed that, following the Olympics, Obradović made him an offer of joining his club side, reigning EuroLeague champion Panathinaikos. However, still mad about not being taken to the Olympics, 25-year-old Gurović rejected the offer, figuring that Obradović was just stroking his ego after cutting him in the national team. Gurović also revealed a later personal realization that rejecting the Panathinaikos offer was a regrettable mistake.
Joining AEK
Still, despite not taking the Panathinaikos offer, return to Greece was on the cards with their city rivals AEK Athens coached by Dušan Ivković with Martin Müürsepp and new acquisition İbrahim Kutluay on the roster. However, after a good start in Euroleague, the club ran into financial issues that resulted in player salaries being late. Not keen on staying at the club under financial uncertainty, Gurović left AEK in late December 2000 after appearing in only 5 Greek League and 4 EuroLeague games.
Finishing the season in Trieste
Gurović transferred to Pallacanestro Trieste of the Italian league where he played out the remainder of the 2000–01 season under head coach Cesare Pancotto.
Back to Spain: CB Málaga
Gurović was on the move again in the summer 2001 transfer season, returning to Spain by joining CB Málaga led by the Serbian coach Božidar Maljković.
In his first season in Andalusia, Gurović averaged 14 points per game over 32 regular season league games as Málaga grabbed the second spot ahead of playoffs. In the playoffs, the team made it to the final, getting swept 3-games-to-0 by the Duško Ivanović-coached Saski Baskonia (TAU Cerámica) featuring Dejan Tomašević, Andrés Nocioni, Luis Scola, and Fabricio Oberto.
Celtics pre-season camp
Summer 2002 would in many ways be the turning point in Gurović's career. Boston Celtics invited him to their pre-season camp during June 2002 where he appeared alongside some 30 players, including fellow Europeans Jaka Lakovič and Darius Songaila. Without much of chance to play in games mostly led by head coach Jim O'Brien's assistants, Gurović left the camp. Later that summer, twenty-six-year-old Gurović made the final FR Yugoslavia 12-man squad for the 2002 FIBA World Championship in Indianapolis. His exceptional performance against the Americans in the quarterfinals capped off with two big three-pointers in the last quarter further cemented his iconic status with Serbian fans, and also gained him a lot of attention internationally. Following the showing against the Americans, specifically the Celtics star Paul Pierce, Gurović was reportedly approached in Indianapolis by the Celtics coach Jim O'Brien, however, no deal was made again as the player had already re-signed with Málaga.
Back in Málaga for a second season, he featured in 30 ACB regular-season games averaging 10.3ppg as well as in sixteen EuroLeague games where his scoring average was 12.7ppg.
2003-04 season
Cancelled pre-contract with Saski Baskonia
During the summer 2003 transfer window, Gurović was involved in a sequence of events and decisions that eventually led to him surprisingly returning home to play for NIS Vojvodina. Initially, the 28-year-old agreed to a pre-contract with the Duško Ivanović-coached Saski Baskonia, however, after further informing himself about coach Ivanović's gruelling training methods, Gurović decided not to join the club due to personal concerns about incurring long-term injuries as a result of Ivanović's rigid practice regiment.
Return home: NIS Vojvodina
After not showing up at Vitoria-Gasteiz following his EuroBasket 2003 participation with the Serbia-Montenegro national team, Gurović had to find a new club on a short notice with most top-team rosters around Europe already filled. He began to be courted by KK Hemofarm from Vršac, however, in a sudden turnaround in late September 2003, he decided to go with NIS Vojvodina from his hometown Novi Sad, citing a desire to be closer to his family and signing a two-year contract featuring an opt-out option following the first year. Saski Baskonia sued Gurović for not honouring his commitment to them, and the case went before FIBA's arbitration committee in Geneva that ruled in Vojvodina's favour.
Joining the roster coached by Nikola Lazić, featuring Kebu Stewart, Predrag Šuput, István Németh, Nenad Čanak, and veteran Dejan Radonjić, Gurović simultaneously competed in the Serbia-Montenegro League and Adriatic League. Midway through the season, in December 2003, he unexpectedly received another offer of potentially making the NBA when the San Antonio Spurs, whose head coach Gregg Popovich had noticed Gurović the previous summer in Indianapolis, wanted the player to join as back-up for Hedo Türkoğlu. However, being under contract with Vojvodina, Gurović was not let out of his contract.
2004–05 season
Aborted transfer to UNICS
Following a season in his hometown, Gurović was on the move again. During late summer 2004, he agreed terms with Russian club UNICS from the Tatarstan federal subject, but after arriving in Kazan with his wife and kids in late August and early September to make living arrangements, he had a change of heart. Though satisfied with the club's organizational structure and basketball facilities, Gurović characterized things outside of basketball in Kazan as being below the level he was used to in Greece, Spain, or Serbia, specifically citing being unhappy with the apartment the club provided him with, lack of an English-language school for his kids, and general dissatisfaction with the city as the reasons not to stay in Kazan. He furthermore mentioned that the television coverage he watched while in Kazan of the unfolding Beslan school hostage crisis thousand kilometres away in another Russian city had a bad psychological effect on him that ultimately also affected his decision not to stay in Tatarstan.
Two months at Partizan
Finally, in late October 2004, Gurović signed for Serbia-Montenegro champions KK Partizan. Playing on three fronts: Serbian league (still in full format), EuroLeague, and regional Adriatic League, Gurović posted a good season. This was the first season that KK Partizan participated in the regional Balkans-wide league after years of pressure to join the competition.
Barely two weeks after signing for Partizan, Gurović became embroiled in controversy launched in the Croatian media regarding his shoulder tattoo of controversial World War II figure Draža Mihailović. Four days before Partizan's mid-November 2004 away game at Cibona, Croatian sports web portal SportNet.hr posted an editorial by Bernard Jurišić headlined "A Chetnik in Partisan Clothing is Coming for a Visit", urging the Croatian public and authorities to "stop a person sporting a tattoo of a Chetnik legend on his arm from entering Croatia". The rest of the Croatian media immediately picked up the story, further whipping up public sentiment against Gurović in the country. What followed was an official state-level reaction, with Croatia's Ministry of the Interior announcing Gurović would be turned away at the border if he tried to enter the country. Due to fears of crowd trouble when Partizan plays away in Croatia, the club decided not to take Gurović on those away trips.
In mid December 2004, less than two months after signing, Gurović and the crno-beli parted company as head coach Duško Vujošević expressed regret about "certain things that have nothing to do with basketball coming to the forefront and affecting the player's life and basketball form". A sizeable portion of the Serbian public saw the behaviour of Partizan's front office as a failure to stick up for their player, however, Gurović himself had only good things to say about his two months at Partizan including praise for the way club management, specifically sports director Dragan Todorić and coach Vujošević, treated him with his only complaints having to do with what he felt to be occasional lack of general support in Serbia from the country's basketball federation and official political circles. But, some two years later, now a member of Partizan's heated cross-town rivals Red Star, Gurović came out saying his Partizan stint was the biggest mistake of his career and that "individuals from Partizan's club management used him for their self-promotion".
Finishing the season at Joventut
In late February 2005, following a two-month layover from playing basketball, Gurović signed with Joventut Badalona thus reuniting with head coach Aíto García Reneses who had previously coached the player at Barcelona from 1998 until 2000.
Crvena zvezda
In early September 2005, Gurović signed a one-year contract with Crvena zvezda thus reuniting with head coach Dragan Šakota who took over the team months earlier. The club also acquired Pero Antić, all of which meant that it entered the season with high hopes and expectations.
Gurović led the team in ULEB Cup (now called EuroCup) during 2005–06.
He especially came into his own throughout fall 2006 at age 31, putting on great scoring displays game after game. At the end of the season Gurović led the ULEB Cup in individual scoring with 25.9 points per game, and he also dominantly won the Adriatic League's scoring title, with 28.6 points per game.
Season in Poland
Over the summer 2007 transfer window, 32-year-old Gurović signed for the Sopot-based Polish club Prokom Trefl, owned and bankrolled by the Polish billionaire . The veteran, naturally, assumed the role of the team leader and memorably led the team to the Polish league title. His year in Poland was not without controversy either as on 25 May 2008, during game 4 of Polish Basketball League 2007–08 Playoff Finals, Gurović got involved in an infamous brawl with two players from opposing team Turów Zgorzelec - Iwo Kitzinger and Thomas Kelati. After the incident authorities of the DBE took the decision that marked him as the fight's instigator and Milan has been suspended for game 5. He was also fined PLN20,000 (about €6,000).
Galatasaray
After reportedly being a transfer target of Russian club Triumph Lyubertsy, on August 8, 2008, it was announced that Gurović signed for the Turkish club Galatasaray together with compatriot Dejan Milojević.
On Tuesday 29 September 2009, Milan Gurović announced his retirement from professional basketball. In 2015, discussing his sixteen-year playing career, Gurović listed Saša Đorđević, Juan Carlos Navarro, Dejan Bodiroga, Peja Stojaković, and Vlade Divac as the best players he's played with.
In late August 2010, following a year on the sidelines, 35-year-old Gurović entertained the idea of a return to playing, even offering his services to Crvena zvezda head coach Mihailo Uvalin. Nothing came of it in the end.
National team career
Due to accepting Greek citizenship when he moved to Peristeri early in his career, Gurović's national team status remained unclear for most of the 1990s. As such, he did not feature in FR Yugoslavia youth national teams.
During summer 1998, as a sought-after player throughout Europe who's about to leave Peristeri for a top European club, 23-year-old Gurović received a Yugoslavia national team call-up from head coach Željko Obradović for the 1998 FIBA World Championship training camp. Two more Yugoslav players from the Greek League with similar legal status—Peja Stojaković and Dragan Tarlać—also received call-ups, however, they, unlike Gurović, opted not to show up due to the unclear situation. Gurović, on the other hand, did show up for the training camp while hoping for the best in terms of administrative and legal matters. In the end, despite completing the entire gruelling two-month training camp, Gurović was not allowed to compete for Yugoslavia at the World Championship due to an intervention by the Hellenic Basketball Federation president George Vassilakopoulos.
A year later, the administrative/legal issue was settled and Gurović made the Yugoslavia team at EuroBasket 1999 under the same head coach Željko Obradović. Making his national team major competition debut, the Barcelona forward had an unremarkable tournament—marked by scant playing time, occasional poor shooting that led to DNPs in subsequent games, with his only two notable outings coming in the second round-robin group games versus Spain and Russia—as the team lost in the semi-final to Boša Tanjević's Italy featuring Carlton Myers and Gregor Fučka before winning bronze medal.
Gurović has gold medals at the EuroBasket 2001 and the 2002 FIBA World Championship. He also took part in the EuroBasket 2003 and the EuroBasket 2005.
Prior to the EuroBasket 2007, he was chosen as the first captain of the newly formed senior Serbian national team, under head coach Zoran Slavnić.
Career statistics
EuroLeague
|-
| style="text-align:left;"| 2000–01
| style="text-align:left;"| AEK Athens
| 4 || 2 || 21.9 || .452 || .400 || .783 || 2.5 || .3 || .8 || .0 || 13.0 || 9.8
|-
| style="text-align:left;"| 2001–02
| style="text-align:left;"| Unicaja Málaga
| 11 || 8 || 22.7 || .337 || .320 || .826 || 3.9 || .6 || .3 || .0 || 11.3 || 9.3
|-
| style="text-align:left;"| 2002–03
| style="text-align:left;"| Unicaja Málaga
| 16 || 8 || 24.1 || .432 || .393 || .820 || 3.4 || .7 || .7 || .1 || 12.7 || 12.7
|-
| style="text-align:left;"| 2004–05
| style="text-align:left;"| Partizan Belgrade
| 6 || 6 || 27.9 || .273 || .235 || .739 || 2.3 || 1.0 || 1.3 || .0 || 9.2 || 3.3
|-
| style="text-align:left;"| 2007–08
| style="text-align:left;"| Prokom Trefl
| 12 || 11 || 29.1 || .377 || .342 || .882 || 4.8 || .9 || .8 || .1 || 15.3 || 14.6
|- class="sortbottom"
| style="text-align:left;"| Career
| style="text-align:left;"|
| 49 || 39 || 25.3 || .377 || .344 || .824 || 3.7 || .7 || .7 || .1 || 12.6 || 11.0
Coaching career
Gurović began organizing basketball clinics for kids in Belgrade's Šumice sports center in December 2011.
Assistant at Red Star
When Milivoje Lazić got named the head coach of Crvena zvezda in July 2012, he selected Gurović to be his first assistant. Lazić got relieved of his duties only two games into the season, but Gurović stayed on in the same role under Lazić's replacement Vlada Vukoičić. Vukoičić wouldn't finish the season either, getting fired just before the Adriatic League Final Four in Laktaši and replaced with Dejan Radonjić. Gurović again continued on as assistant coach, finishing the season in that role, as Crvena zvezda again failed to win either the Adriatic or the Serbian title.
Head coaching debut: KK FMP
In late June 2013, Gurović got named the head coach of FMP, Crvena zvezda's feeder club competing in the Basketball League of Serbia (KLS).
2013–14 season
In his debut season behind the bench, Gurović's FMP team led by a couple of somewhat experienced journeymen — 25-year-old Slobodan Dunđerski and 24-year-old Filip Čović — in addition to talented 19-year-old Nikola Čvorović as well 18-year-olds Đorđe Kaplanović, Marko Gudurić, and Brano Đukanović finished the First League stage of the campaign on top with a 20–6 record, ahead of Crnokosa, Metalac Valjevo, and Borac Čačak, thus qualifying for the Super League stage.
On 7 February 2014 Gurović's FMP pulled out a famous win over favourites KK Partizan in the Serbian Cup quarterfinal: an 85–79 overtime triumph behind Nikola Čvorović's 27 points. The win was still seen as a significant upset despite injury-riddled Partizan fielding a makeshift squad half of which consisted of junior players as proud Gurovic praised his players. In its semifinal versus the Dejan Milojević-coached Mega Basket team, FMP led by 5 at the half on the back of its strong second quarter showing, but collapsed in the third and—despite some improvement in the fourth—lost the game 85–93 as towards the end of the contest Gurović reacted explosively to verbal abuse (he would later reveal consisted of insults against his family) from several spectators behind his bench who were ejected from the arena as a result.
Competing in the eight-team Super League against Serbian clubs from the Adriatic League (Red Star, Partizan, Mega, and Radnički Kragujevac) as well its three First League competitors, FMP managed a 5–9 record that was good enough for 5th spot, just outside a playoff berth. Due to FMP's association with Red Star and Gurović's personal past with Partizan fans as well as FMP's cup win earlier in the season, both of FMP's Super League games against Partizan were especially memorable. The teams met again on 2 June 2014 in Hala sportova with FMP leading throughout the nervy contest and building a 17-point lead heading into the final quarter before Partizan shifted into a higher gear and out shot their opposition 34–13 in the fourth quarter for an 86–82 win. Gurović was targeted throughout the match by Partizan fans and the arena erupted when he pushed Boris Dallo, a move that resulted in an automatic ejection from the sidelines as Partizan coach Duško Vujošević even took to the public address microphone, imploring home fans to calm down.
Personal life
Like a number of Serbian professional basketball players who transferred to the Greek Basket League clubs during the early 1990s—including Dragan Tarlać, Peja Stojaković, Dušan Vukčević, Dušan Jelić, Rasho Nesterović, Miroslav Pecarski, and Marko Jarić—in addition to his native country Serbia, Gurović also holds Greek citizenship, which he obtained for practical reasons of playing without EU administrative restrictions in the Greek Basket League. At the time, Gurović played for Peristeri, where he started his basketball career. In order to get Greek citizenship, his last name was changed; he thus competed under the name Milan Malatras while he was in Greece. The name change was required, as it reflected the citizenship documents submitted. There are rumors that these documents were often falsified, and subject to counterfeiting.
While playing for KK Partizan Gurović was not let in Croatia and Bosnia to play a game because of his tattoo of WW2 Chetnik leader Draža Mihailović on his shoulder. Above that tattoo, he has a tattooed eagle.
Serbian writer Biljana Srbljanović referred to Gurović as "that tattooed fool" in her online exchange with Nebojša Krstić, the adviser to President of Serbia at her blog. When informed and asked by daily tabloid Kurir about Srbljanović's online comments, Gurović responded: "For her information, that 'tattooed fool' speaks, besides Serbian, three foreign languages. I know who this writer is and feel very sorry for her. Women of her age can do or say foolish stuff sometimes if they don't get their portion of cock in the morning. She must've awoken unfucked that day when she said this."
Targeted by Partizan fans
One year prior to signing with Red Star Belgrade in September 2005, Gurović had been a member of their arch-rivals Partizan Belgrade. As a result, once he joined Red Star, he began to be targeted by the Partizan fans, Grobari, who suddenly turned on him having previously supported him strongly during the forward's Croatia entry ban when he was with Partizan. The antagonism culminated during the 2007 Serbian league playoff final when the Grobari chanted insults and provocations from the stands targeting Milan's wife, children and parents. Milan responded and in TV interview said that "Grobari are cattle". In the second game, when Red Star were hosts, incidents occurred on the stands between Red Star fans Delije and police. Gurović tried to calm Red Star supporters and to defend them from police. Delije chanted "You are Zvezda's chetnik Milan" (Serbian : "Ti si Zvezdin Četnik Milane") and Gurović cried. In the third game, Grobari used Milan's tears as provocation. Partizan won the series 3–1, becoming Serbian champions.
Gurović was elected on 5-year term as a member of the Assembly of the Crvena zvezda Basketball Club on 27 December 2021.
See also
List of KK Crvena zvezda players with 100 games played
References
External links
Milan Gurović at acb.com
Milan Gurović at tblstat.net
Milan Gurović at euroleague.net
1976 births
Living people
ABA League players
AEK B.C. players
Basketball League of Serbia players
Baloncesto Málaga players
FC Barcelona Bàsquet players
FIBA EuroBasket-winning players
FIBA World Championship-winning players
Galatasaray S.K. (men's basketball) players
Greek Basket League players
Greek basketball coaches
Naturalised basketball players
Greek men's basketball players
Greek people of Serbian descent
Joventut Badalona players
KK Crvena zvezda players
KK Crvena zvezda assistant coaches
KK FMP coaches
KK Novi Sad players
KK Partizan players
KK Vojvodina Srbijagas players
KK Vršac coaches
Liga ACB players
Members of the Assembly of KK Crvena zvezda
Naturalized citizens of Greece
Pallacanestro Trieste players
Peristeri B.C. players
Asseco Gdynia players
Serbia men's national basketball team players
Serbian expatriate basketball people in Greece
Serbian expatriate basketball people in Italy
Serbian expatriate basketball people in Poland
Serbian expatriate basketball people in Spain
Serbian expatriate basketball people in Turkey
Serbian men's basketball coaches
Serbian men's basketball players
Serbian nationalists
Serbian people of Bosnia and Herzegovina descent
Small forwards
Basketball players from Novi Sad
Yugoslav men's basketball players
2002 FIBA World Championship players
Serbia and Montenegro men's basketball players
Serbia and Montenegro expatriate sportspeople in Greece
Serbia and Montenegro expatriate sportspeople in Spain
Serbia and Montenegro expatriate sportspeople in Italy
Greek expatriate basketball people in Italy
Greek expatriate basketball people in Turkey
Greek expatriate basketball people in Poland
Greek expatriate basketball people in Spain | https://en.wikipedia.org/wiki/Milan%20Gurovi%C4%87 |
Stará Ľubovňa ( ) is a town with approximately 16,000 inhabitants in northeastern Slovakia. The town consists of the districts Podsadek and Stará Ľubovňa.
Names
The name is of Slovak or Slavic origin and is potentially derived from a personal name. It comes from a root ľub- meaning lovely, nicely. The same root is present in Czech Libeň, Polish Lublin, Slovenian Ljubljana and others similar Slavic geographic names. The German name Altlublau and the Hungarian Ólubló were derived from the Slovak version.
Geography
Stará Ľubovňa is situated on the Poprad River south of the Polish border and east of the High Tatras. It is one of the oldest towns in the Spiš, an historic administrative county (comitatus) of the Kingdom of Hungary, and is today the administrative capital of the district of Stará Ľubovňa in the Prešov Region.
History
In 1292 Stará Ľubovňa is first mentioned as Libenow. Until it became a free royal town in 1364 the town fell under the jurisdiction of the castle.
In 1412 it belonged to the 16 Spiš towns given by the Hungarian King Sigismund of Luxemburg as a deposit to King Władysław II of Poland. The pledge was part of the Treaty of Lubowla and was thought to be only for a short time, but it finally lasted for 360 years. Only in the course of the first Partition of Poland in 1772 during the reign of Maria Theresa of Austria the territory came back to the Kingdom of Hungary. The pledge was actually an advantage for the towns concerned because they did not have to submit themselves to the comitatus or nobility and had a neutral position in turmoils between Poland and Hungary.
Sights
From a hill over the city the castle of Ľubovňa dominates the city. The castle is open to the public and houses a museum about its history. From its already reconstructed tower there are good views over the surroundings. Next to the castle there is an open-air museum, Ľubovniansky skanzen, with many houses and other buildings showing the folk architecture of the region. The most interesting exhibit is the wooden Greek-Catholic church from Matysová, built in 1833.
The old town consists mainly of the rectangular St. Nicolas Square which is surrounded by burgher's houses of the 17th century. In the centre there is the gothic Roman Catholic Church of St. Nicolas built in 1280.
Another building of interest is the new Greek-Catholic church of the Mother of Eternal Help in the south of the city. It was consecrated by Pope John Paul II on 22 April 1990 and is constructed in the shape of a royal crown.
Demographics
In the 2011 population census, the town had 16,341 residents. According to the 2001 census, the town had 16,227 inhabitants. 89.5% of inhabitants were Slovaks, 5.97% Roma, 1.48% Rusyn, 1.00% Ukrainian and 0.64% Czechs. The religious make-up was 67.65% Roman Catholics, 22.20% Greek Catholics, 5.01% people with no religious affiliation, 1.61% Orthodox and 0.81% Lutherans.
Famous residents
Ján Melkovič, actor
Ján Kubašek, priest and signatory of the Pittsburgh Agreement
Marián Hossa, professional ice hockey right winger
Zita Pleštinská, politician and Member of the European Parliament
Twin towns — sister cities
Stará Ľubovňa is twinned with:
Aleșd, Romania
Bački Petrovac, Serbia
Balchik, Bulgaria
Biograd na Moru, Croatia
North Augusta, United States
Nowy Sącz, Poland
Połaniec, Poland
Svaliava, Ukraine
Vsetín, Czech Republic
Gallery
References
Bibliography
Okresný národný výbor: Okres Stara Ľubovňa
Turistický sprievodca: Slovenské kráľovské mestá Bardejov, Kežmarok, Levoča, Stará Ľubovňa
External links
Official website
Museum of Stará Ľubovňa
Cities and towns in Slovakia
Spiš | https://en.wikipedia.org/wiki/Star%C3%A1%20%C4%BDubov%C5%88a |
Kussara (Kuššar) was a Middle Bronze Age kingdom in Anatolia. The kingdom, though apparently important at one time, is mostly remembered today as the origin of the dynasty that would form the Old Hittite Kingdom.
Location
Kussara is occasionally mentioned (as Ku-ša-ra) in the clay tablets of the Old Assyrian traders in Anatolia, and less often in the early Hittite Kingdom (as KUR URU Ku-uš-ša-ra). Hittite sources have little to offer on the context of Kussara, and since the city disappears out of political history at a very early date, the records of the Old Assyrian traders still constitute the only real indication for the location of the city. The borders of Kussara remain unknown, and the old city of Kussara has not yet been found. Several proposals for its placement have been advanced.
Massimo Forlanini, an expert in the geography of ancient Anatolia, has stated that Kussara was probably situated southeast of Kanesh, but presumably north of Luhuzzadia/Lahu(wa)zzandiya, between Hurama and Tegarama (modern day Gürün), perhaps on a road which was crossing another road to the north in the direction of Samuha.
Professor Trevor Bryce wrote "[t]he city of Kussara probably lay to the south-east of the Kizil Irmak basin in the anti-Taurus region, on or near one of the main trade routes from Assyria and perhaps in the vicinity of modern Şar (Comana Cappadocia)".
Another proposal for a location is in the mountainous area west of Elbistan.
Kussaran kings
Pithana and his son Anitta, forerunners of the later Hittite kings, are the only two recorded kings of Kussara. Their exploits are known chiefly from the so-called Anitta Text, one of the earliest inscriptions in the Hittite language as yet discovered.
Pithana took control over Kanesh (Neša) and its important trade centrum in roughly 1780 BC. The people later revolted against the rule of his son, Anitta, but Anitta crushed the revolt and made Kanesh his capital. Kussara itself, however, appears to have retained ceremonial importance. Anitta also defeated the polities of Zalpuwa and Hattum, after which he took the title of Great King. Most scholars also accept a further king, Labarna I, to be a member of the Kussaran dynasty.
It is notable that Hattusili I, recognized as one of the first Hittite kings, referred to himself as "man of Kussara", although his capital (from which he likely took his name) was Hattusa. Again, Kussara seems even then to have retained some importance, since this was where Hattusili called a council on his own succession.
Economy, language and government
The language or dialect of Kussara is neither found nor described in either the Assyrian or Hittite texts, but from the evidence of Old Assyrian trade tablets, it is known that a palace and a karum (Assyrian trade station) existed in the city. The Kings of Kussara became the Kings of Kanesh in the Karum IB period of Kanesh. Hattusili I and Hattusili III mentioned the origins of the Kings of the land of Hatti as Hattusili I styled himself: "man of Kussara . . . Great King Tabarna, Hattusili the Great King, King of the land of Hatti." No other town or land was ever mentioned by a King of Hattusa as the origin of the Kings of Hattusa.
Because the Kings of Kussara and their clan formed the base of the Old Kingdom of the Hittites, the Hittite language (known as 'Nesili' to its speakers after the city of Kanesh or Nesa) was the language of the ruling officials. It is assumed that the language of Kussara was Indo-European, because if it were not, many more non-Indo-European elements would be expected in its apparent successor, Hittite. Craig Melchert concluded in the chapter "Prehistory" of his book The Luwians (2003–17): "Hittite core vocabulary remains Indo-European". The Anitta Text records that when Pithana captured Kanesh, he did no harm to it, but made the inhabitants "his mothers and fathers." Some scholars have taken this unique statement to mean there were cultural and/or ethnic affinities between Kussara and Kanesh.
References
Sources
External links
Former populated places in Turkey
Lost ancient cities and towns | https://en.wikipedia.org/wiki/Kussara |
Eduard Munk (14 January 1803 – 3 May 1871) was a German philologist. He was a cousin of Salomon Munk.
Munk was born in Gross Glogau. He studied from 1822 to 1825 at Breslau and Berlin, and was a favorite disciple of August Böckh. Munk was active as teacher, officiating from 1827 to 1848 at the Royal Wilhelmsschule at Breslau, and from 1850 to 1857 intermittently at the gymnasium of Glogau, and afterward as a private tutor. In 1862 he received the title of professor.
Munk was a profound student of classical literature. Though, without any prospects of a university professorship, on account of his Jewish religion, he nevertheless devoted all his life exclusively to study, the result of which he gave to the world in numerous works.
Munk was an earnest student of Judaism and a faithful Jew.
Works
"Die Metrik der Griechen und Römer" (Glogau, 1834) – translated into English and published as "The metres of the Greeks and Romans" (1844).
"De Fabulis Atellanis" (Leipzig, 1840)
"Geschichte der Griechischen Literatur" (Berlin, 1849–50; 3d ed. by Volkmann, 1879–80) – Chapters translated into English by D.B. Kitchin and published as "The student's manual of Greek tragedy" (1891).
"Die Natürliche Ordnung der Platonischen Schriften" (Berlin, 1857)
"Geschichte der Römischen Literatur" (ib. 1858-61; 2d ed. by Oskar Seyffert, 2 vols., 1875–77).
Some of Munk's works have been translated into English, Spanish, and Russian.
References
1803 births
1871 deaths
German classical scholars
19th-century German Jews
German philologists
People from Głogów
People from the Province of Silesia
University of Breslau alumni
Humboldt University of Berlin alumni | https://en.wikipedia.org/wiki/Eduard%20Munk |
Michael Ballhaus, A.S.C. (5 August 1935 – 12 April 2017) was a German cinematographer who collaborated with directors such as Rainer Werner Fassbinder, Martin Scorsese, Mike Nichols, James L. Brooks, and Wolfgang Petersen. He was a member of both the Academy of Arts, Berlin, and the American Society of Cinematographers.
Early life
Ballhaus was born in Berlin as the son of German actors and . His uncle was actor and director Carl Ballhaus. Ballhaus was influenced by family friend Max Ophüls, and appeared as an extra in Ophüls' last film Lola Montès (1955).
Career
Ballhaus came to prominence with his work with Rainer Werner Fassbinder beginning with Whity (1971), in addition to The Bitter Tears of Petra von Kant (1972), Chinese Roulette (1976) and The Marriage of Maria Braun (1978). In 1990, he was the head of the jury at the 40th Berlin International Film Festival.
After settling in the United States, he worked on many American films, such as Baby It's You (1983) for John Sayles; Old Enough (1984) for Marisa Silver; Under the Cherry Moon (1986) for Prince; After Hours (1985), The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), The Age of Innocence (1993), Gangs of New York (2002) and The Departed (2006) for Martin Scorsese; Broadcast News (1987) and I'll Do Anything (1994) for James L. Brooks; The Fabulous Baker Boys (1989) for Steve Kloves; Bram Stoker's Dracula (1992) for Francis Ford Coppola; Sleepers (1996) for Barry Levinson; and Wild Wild West (1999) for Barry Sonnenfeld. Ballhaus appeared in Rosa von Praunheim's film Fassbinder's Women (2000).
Ballhaus was nominated three times for the Academy Award for Best Cinematography for his work on Broadcast News, The Fabulous Baker Boys and Gangs of New York, but never won. Despite this, he did win the Chicago Film Critics Association Award for Best Cinematography for his work on Bram Stoker's Dracula; both the Boston Society of Film Critics and Los Angeles Film Critics Association Award for Best Cinematography for his work on The Fabulous Baker Boys; and the Los Angeles Film Critics Association Award for Best Cinematography for his work on Goodfellas.
His documentary In Berlin, made with Ciro Cappellari, was released in May 2009.
Ballhaus's final film was Sherry Hormann's 3096 Days in 2013.
Personal life and death
Ballhaus was married to actress and art director Helga Maria Betten from 1958 until her death in 2006. She appeared in a handful of films, such as those directed by Fassbinder. They had two sons: cinematographer Florian and assistant director Jan Sebastian.
In 2011, Ballhaus married German-American film director Sherry Hormann, who is known for Desert Flower. He died at his home in Berlin on 12 April 2017, at the age of 81, after a short illness.
Filmography
Awards
2007 Bavarian Film Awards Honorary Award
See also
List of German-speaking Academy Award winners and nominees
References
External links
Cinemascope interview
Michael Ballhaus in Genealogy Wiki
1935 births
2017 deaths
Film people from Berlin
European Film Awards winners (people)
Honorary Golden Bear recipients
Members of the Academy of Arts, Berlin
Recipients of the Order of Merit of Berlin
German cinematographers
German expatriates in the United States
Commanders Crosses of the Order of Merit of the Federal Republic of Germany
Lucky Strike Designer Award recipients | https://en.wikipedia.org/wiki/Michael%20Ballhaus |
The Gary Coleman Show is a 30-minute Saturday morning animated series produced by Hanna-Barbera Productions that originally aired on NBC during the 1982–1983 season. The series featured Gary Coleman as the voice of Andy LeBeau, an apprentice angel, who was dispatched back to Earth to earn his wings by helping others.
The show featured the voices of Gary Coleman, Lauren Anders, Jennifer Darling, Julie McWhirter Dees, Geoffrey Gordon, LaShana Dendy, Jerry Houser, Calvin Mason, Sidney Miller and Steve Schatzberg.
Synopsis
The character of Andy LeBeau was a spin-off character from Coleman's television film The Kid with the Broken Halo (1982). In each episode, Andy was dispatched to help a child in need and resolve his problem by his supervisor and fellow angel, Angelica. The antagonist in each episode was Hornswoggle, a demon that only Andy could see, who tried to make Andy's mission more difficult, usually by getting him to make the wrong choice or by otherwise complicating the mission. It was up to Andy to correct whatever mistakes he made and foil Hornswoggle's plans.
Cast
Gary Coleman - Andy LeBeau
Lauren Anders - Chris
Jennifer Darling - Angelica
Julie McWhirter Dees - Lydia
Geoffrey Gordon - Haggle
LaShana Dendy - Tina
Jerry Houser - Bartholomew
Calvin Mason - Spence
Sidney Miller - Hornswoggle
Steve Schatzberg - Mack
Additional voices
Rick Dees -
Patrick Fraley -
Billie Hayes -
Casey Kasem - Announcer (uncredited)
Danny Mann -
Zelda Rubinstein -
Eric Suter -
Janet Waldo -
Frank Welker -
Episodes
Later years
The Gary Coleman Show went into syndication when it aired on Cartoon Network in the 1990s and briefly on Boomerang in 2000. Due to Coleman's troubled problems since late 1998, it moved to Adult Swim in 2006. This program has yet to be released on the Boomerang app after regarding his negative reputation. As of 2023, no DVD release of this show is announced by Warner Bros. Discovery.
See also
It's Punky Brewster (1985)
References
External links
1982 American television series debuts
1982 American television series endings
1980s American black cartoons
Television series about angels
American children's animated fantasy television series
American animated television spin-offs
Animation based on real people
Animated television shows based on films
English-language television shows
Television series by Hanna-Barbera
Television series by Warner Bros. Television Studios
NBC original programming | https://en.wikipedia.org/wiki/The%20Gary%20Coleman%20Show |
The 2005 Summer Universiade, also known as the XXIII Summer Universiade, took place in İzmir, Turkey, in August.
Emblem
The emblem is the letter “U”, inspired by the bird's-eye view of the Gulf of İzmir. This shape has perfectly fit the letter “U” of Universiade, symbolizing its multi-cultural feature, while the smooth outline emphasizes the harmony and uniformity of the Universiade spirit.
Mascot
Name: EFE
Efes are the leaders and heroes of societies that lived in Western Anatolia during the early 1990s. The village dandy Efe, guards and defends all the members of his society and also deals with much of their social work and events as if he is the father of all. For this reason, all the members of the society behave respectfully towards him with strong, emotional, family ties. The Efes were legends in these areas with their smart, fearless, alert dashing behaviors as brave and manly young fellows. They became the symbols of bravery, power and justice throughout the Aegean history.
Nowadays, the word “Efe” is the explanation of a virtuous, brave man who is the symbol of justice in every case. Therefore, we call successful athletes “Efe” stating their various qualifications in one brief word.
Venues
İzmir Streets — Athletics (Walking, Half-marathon)
İzmir Atatürk Spor Salonu — Basketball, Volleyball
Karşıyaka Arena — Basketball, Volleyball
Halkapinar Spor Salonu — Gymnastics, Diving
Şirinyer Hipodromu — Archery, Tennis
Altay Alsancak Stadi — Football
Sports Authority of İzmir — Shooting, Volleyball
İzmir Atatürk Stadium — Athletics, Football
Manisa Özel Yıdare Swimming Complex — Swimming
İzmir University Sport Complex — Wrestling, Taekwondo, Fencing, Water Polo
İzmir Port — Sailing
Sports
Core Events
Optional Events
Participants
(host)
Medal table
External links
Official website
Universiade
Universiade
2000s in İzmir
August 2005 sports events in Turkey
International sports competitions hosted by Turkey
Multi-sport events in Turkey
Sports competitions in İzmir | https://en.wikipedia.org/wiki/2005%20Summer%20Universiade |
The 2003 Summer Universiade, also known as the XXII Summer Universiade, took place in Daegu, South Korea.
Emblem
The alphabet letter "U" and five stars, which is FISU's emblem, make up the basis of the emblem for the Daegu Universiade.
It symbolizes the theme of "Dream for Unity" and the five goals (Dream, Advance, Equalize, Green and Unite) of the Games.
The wide green stripe emphasizing Daegu's image as an environmentally friendly city.
The Five-colored stripes symbolize Daegu as a city of textile and fashion.
The soaring figure of the Universiade's five stars and five stripes in harmony symbolize the challenging spirit of youth across the globe, Daegu's upright spirit and vision for the bright future.
Mascot
The mascot embodies the Image of Daegu Summer Universiade, a festival of the University Students on the global village.
The rainbow colors symbolize the textile & fashion industry, environmentally friendly city and the dreams toward unity transcending all the barriers or differences.
Cyber-typed Mascot represents the creativity and challenging spirit toward the future of the youth.
Venues
Daegu
Suseong
Daegu Stadium — ceremonies, athletics, football
Daegu Athletics Park Swimming Pool — water polo
Daegu Athletics Arena — gymnastics
Kyeongbuk High School Gymnasium — taekwondo
Junghwa Girls' High School Gymnasium — basketball
Suseong District Stadium — football
Buk
Daegu Municipal Stadium — football
Daegu Baseball Stadium — archery
Daegu Citizens' Gymnasium — basketball
Daegu Gymnasium — volleyball
Daegu Il Middle School Gymnasium — volleyball
Riverside Football Ground — football
Daegu Expo Hall 1 — fencing
Dalseo
Daegu Universiade Tennis Center — tennis
Duryu Swimming Pool — swimming, diving
Duryu Arena — judo
Yeungnam High School Gymnasium — basketball
Nam
Yeungnam College of Science & Technology Gymnasium — volleyball
Gumi
Gumi Citizens' Stadium — football
Park Chung Hee Gymnasium — basketball
Andong
Andong Gymnasium — basketball
Gyeongju
Sorabol College Gymnasium — basketball
Yeongcheon
Yeongcheon Gymnasium — volleyball
Gyeongsan
Kyungil University Gymnasium — volleyball
Catholic University of Daegu Gymnasium — volleyball
Gimcheon
Gimcheon Main Stadium — football
Sports
Events in a total of twelve sports were contested at this Universiade.
Note: Numbers in brackets denote the number of different events held in each sport.
Obligatory sports
Aquatics
Artistic gymnastics (14)
Rhythmic gymnastics (8)
Optional
Participants
(host)
Medal table
External links
Official website (archived)
2003
Universiade
Universiade
Sports competitions in Daegu
Universiade
Multi-sport events in South Korea
August 2003 sports events in Asia | https://en.wikipedia.org/wiki/2003%20Summer%20Universiade |
William Frederick Frazer (8 July 1960 – 28 June 2019) was a Northern Irish Ulster loyalist activist and advocate for those affected by Irish republican violence in Northern Ireland. He was the founder and leader of the pressure group Families Acting for Innocent Relatives (FAIR). He was also a leader of the Love Ulster campaign and more recently, the Belfast City Hall flag protests. In 2019, from evidence gained in a police report, journalist Mandy McAuley asserted that the Ulster Defence Association had been supplied weapons, in the late 1980s, by the Ulster Resistance and that Frazer was the point of contact for those supplies. She asserted that multiple sources also confirmed this to be true.<ref>Spotlight On The Troubles: A Secret History; Series 1, Episode 5</ref> Those weapons were linked to at least 70 paramilitary murders.
Background
William Frazer grew up in the village of Whitecross, County Armagh, Northern Ireland, as one of nine children, with his parents Bertie and Margaret. He was an ex-member of the Territorial Army, and a member of the Free Presbyterian Church of Ulster. He attended a local Catholic school and played Gaelic football up to U14 level. Frazer described his early years as a “truly cross-community lifestyle”. Growing up, he was a fan of the American actor John Wayne and wrestling. His father, who was a part-time member of the British Army's Ulster Defence Regiment (UDR) and a council worker, was killed by the Provisional Irish Republican Army (IRA) on 30 August 1975. The family home had previously been attacked with petrol bombs and gunfire which Frazer claimed were IRA men, due to Bertie's UDR membership. Frazer has stated that his family was well respected in the area including by "old-school IRA men" and received Mass cards from Catholic neighbours expressing their sorrow over his father's killing. Frazer believes an IRA member helped carry the coffin at his father's funeral. Over the next ten years four members of Frazer's family who were members or ex-members of the Royal Ulster Constabulary or British Army were killed by the IRA. An uncle of Frazer's who was a member of the UDR was also wounded in a gun attack.
Soon after his father's death, the IRA began targeting Frazer's older brother who was also a UDR member. Like many South Armagh unionists, the family moved north to the village of Markethill. After leaving school, Frazer worked as a plasterer for a period before serving in the British Army for nine years. Following this he worked for a local haulage company, then set up his own haulage company, which he later sold.
During the Drumcree conflict, Frazer was a supporter of the Portadown Orange Order who were demanding the right to march down the Garvaghy Road against the wishes of local residents. Frazer was president of his local Apprentice Boys club at the time.
For a brief period after selling his haulage firm Frazer ran "The Spot", a nightclub in Tandragee, County Armagh, which closed down after two Ulster Protestant civilians who had been in the club, Andrew Robb and David McIlwaine, were stabbed to death in February 2000 by the Ulster Volunteer Force (UVF), after one of them had allegedly made derogatory remarks about dead UVF Mid-Ulster Brigade leader Richard Jameson. Frazer was confronted in an interview on BBC Radio Ulster about the murders by the father of one of the victims, Paul McIlwaine. During the Smithwick Tribunal (set up to investigate allegations of collusion in the 1989 Jonesborough ambush) it was alleged by a member of Garda Síochána that Frazer was a part of a loyalist paramilitary group called the Red Hand Commando.Sunday Life, 5 August 2012 I'm No Red Hand, insists Campaigner Frazer denied the allegations, saying they put his life in danger.
Frazer applied for a licence to hold a firearm for his personal protection and was turned down, a chief inspector said, in part because he was known to associate with loyalist paramilitaries.Protection move after court plea BBC News, 27 October 2004
In 2019, the BBC investigative journalism programme Spotlight reported that Frazer distributed assault rifles and rocket launchers from Ulster Resistance to loyalist terror groups who used them in more than 70 murders. A police report on the activities of the former UDA boss Johnny Adair states he was receiving weapons from Ulster Resistance in the early 1990s and his contact in Ulster Resistance was Frazer.
FAIR campaign and related activism
FAIR, founded by Frazer in 1998, claims to represent the victims of IRA violence in South Armagh. It has been criticised by some for not doing the same for victims of loyalist paramilitary organisations or for those killed by security forces. In the past, Frazer had said of loyalist paramilitary prisoners that "they should never have been locked up in the first place", and that he had "a lot of time for Billy Wright" a loyalist who rejected the Good Friday Agreement. He had also defended security force collusion with loyalist paramilitaries, stating in an interview with Susan McKay: "If you were in the UDR and your brother was shot, are you telling me you wouldn't [pass information on to loyalists]? ... See if a Paki comes from India and kills a Provo? I'm going to shake his hand."
In February 2006, Frazer was an organiser of the Love Ulster parade in Dublin that had to be cancelled due to rioting. In January 2007, Frazer protested outside the Sinn Féin Ard Fheis in Dublin that voted to join policing structures in Northern Ireland. He "expressed outrage at the idea that the 'law-abiding population' would negotiate with terrorists to get them to support democracy, law and order."
In January 2007, Frazer dismissed Police Ombudsman Nuala O'Loan's report into security force collusion with loyalist paramilitaries.
In March 2010, he claimed to have served a civil writ on deputy First Minister Martin McGuinness, of Sinn Féin, seeking damages arising from the killing of Frazer's father by the Provisional IRA. Both Sinn Féin and the courts denied that any such writ had been served, but in June 2010 Frazer announced that he would seek to progress his claim in the High Court. There has since been no report of any such litigation. Frazer had previously picketed McGuinness's home in Derry in 2007 to demand support for calls for Libya to compensate victims of IRA attacks. Accompanied by two other men, Frazer attempted to post a letter to the house but was confronted by local residents and verbally abused. When McGuinness stood for election in the 2011 Irish presidential election Frazer announced that he and FAIR would picket the main Sinn Féin election events. He said, "If the people of the South want a terrorist to represent them around the world as their president then heaven help them." In the event, however, no such pickets took place.
In September 2010, the Special EU Programmes Body (SEUPB) revoked all funding to FAIR (more than £800,000 over three years) due to "major failures in the organisation's ability to adhere to the conditions associated with its funding allocation" uncovered following a "thorough audit" of the tendering and administration procedures used by FAIR. In a statement the SEUPB said: "The SEUPB is charged with ensuring the proper use of public money and as such has no option but to revoke all financial assistance, (amounting to approximately £880,000), that has been offered to the organisation... FAIR has been given every opportunity to respond to and address these issues. The decision to revoke and recover all financial assistance given to the project has not been taken lightly, however, given the seriousness of the issues no other recourse is available."
In November 2011, SEUPB announced that it was seeking the return of funding to FAIR and another Markethill victims group, Saver/Naver. FAIR was asked to return £350,000 while Saver/Naver was asked to return £200,000. Former Ulster Unionist Party (UUP) leader Lord Empey demanded that the conclusions about FAIR's finances be released into the public domain.
In January 2012, Frazer announced a protest march to be held on 25 February through the mainly Catholic south Armagh village of Whitecross, to recall the killing of ten Protestant workmen by the South Armagh Republican Action Force in January 1976 in the Kingsmill massacre. He also named individuals whom he accused of responsibility for the massacre. Frazer later announced that the march had been postponed "at the request of the Kingsmills families". A 2011 report by the Historical Enquiries Team (HET) found that members of the Provisional IRA carried out the attack despite the organisation being on ceasefire.
A delegation including Frazer, UUP politician Danny Kennedy and relatives of the Kingsmill families travelled to Dublin in September 2012 to seek an apology from the Taoiseach, Enda Kenny. The apology was being sought for what they described as the Irish government's "blatant inaction" over the Kingmills killings. The Taoiseach said he couldn't apologise for the actions of the IRA but assured the families there was no hierarchy for victims and their concerns were just as important as any other victims' families. The families expressed disappointment although Frazer stated he was pleased to have met the Taoiseach.
On 16 November 2012 Frazer announced that he was stepping down as director of FAIR, after he had reviewed a copy of the SEUPB audit report which, he claimed, showed no grounds for demanding the reimbursement of funding. He added "I will still be working in the victims sector."
Political career
In addition to his advocacy for Protestant victims, Frazer contested several elections in County Armagh. He was not elected, and on most occasions lost his deposit. He ran as an Ulster Independence Movement candidate in the 1996 Forum Elections and the 1998 Assembly elections, and as an independent in the 2003 Assembly elections and a council by-election.
Frazer's best electoral showing was 1,427 votes, 25.9%, in a Newry and Mourne District Council by-election in August 2006, when Frazer had the backing of the local UUP and Democratic Unionist Party (DUP). The total votes polled 5,587 (47.6% of the local electorate); it was a two-candidate race for the Fews Area between Frazer and Sinn Féin candidate Turlough Murphy. The combined unionist vote in 2005 in the area had been 2,446.
In the 2010 UK general election, Frazer contested the Newry and Armagh Parliamentary constituency as an independent candidate. He received 656 votes (1.5%). The seat was retained by Sinn Féin's Conor Murphy who received 18,857 votes.
In the 2011 Assembly elections he was listed as a subscriber for the Traditional Unionist Voice candidate for the Newry and Armagh constituency, Barrie Halliday who secured 1.8% of the vote. At Newry Crown Court on Wednesday, June 21, 2017, Pastor Barrie Gordon Halliday was sentenced to nine months in prison, suspended for eighteen months, when he pleaded guilty to seventeen counts of VAT repayment fraud.
In November 2012, Frazer announced his intention to contest the 2013 Mid Ulster by-election necessitated by Martin McGuinness's decision to resign the parliamentary seat to concentrate on his Assembly role. Frazer was quoted in The Irish News in January 2013 as stating that he would not condemn any paramilitary gunman who shot McGuinness.
Despite his earlier advocacy of Ulster nationalism, in 2013 Frazer declared himself in favour of re-establishing direct rule in Northern Ireland.
On 24 April 2013, Frazer and others, including former British National Party fundraiser Jim Dowson and David Nicholl, a former member of the paramilitary-linked Ulster Democratic Party, announced the launch of a new political party called the Protestant Coalition.
Since his death in June 2019, investigative work by BBC's Spotlight has alleged that Frazer had supplied weapons to the loyalist paramilitary group Ulster Resistance which were used in the murder of a number of Irish civilians.
Other activities
In 2004 Frazer invited to South Armagh Larry Pratt of Gun Owners of America, an advocate of the American militia movement, who had admitted links with "the Ku Klux Klan and an Aryan Nation official".
Frazer came to wider attention in October 2005 when he got into a public argument with a Redemptorist priest, Father Alec Reid. Frazer made remarks that Catholics had butchered Protestants during the Troubles. Father Reid likened unionist treatment of Catholics to the treatment of the Jews by the Nazis. Reid later apologised for the remark, saying he had lost his temper. Frazer reported Reid to the police for incitement to hatred, but no legal action ensued.
In October 2011 he attended a protest in Pomeroy against the use of rubble from a demolished police station to level out the playing field of the local GAA club, which hosts an annual tug-of-war event in memory of Seamus Woods, an IRA member killed by the premature explosion of a mortar while attacking the station. The station was the target of many such IRA attacks during the Troubles. Frazer stated that "moving the rubble to the GAA club would cause a lot of heartache for many families. The unionist population is small in Pomeroy and they certainly feel betrayed."
In November 2011, after an apology by UUP MLA John McCallister for "unionist failings" in the past (at a Sinn Féin conference in Newry), Frazer reacted furiously. Frazer stated that people were "appalled" by McCallister's remarks.
In May 2012, after seeing the Italian flag being flown as part of a cultural event held in Donaghmore's St Patrick's Primary School and mistaking it for the Irish Tricolour, Frazer accused the school for 4-to-11-year-old children of being "the junior headquarters of SF/IRA youth", stating on Facebook that "I wounder do they also train the children in how to use weapons, for it seems they can do what they wont."(sic) Concerned for the safety of students and the school's reputation, teachers informed police of the accusations and photographs of the school posted by Frazer were later removed from Facebook.
Frazer expressed outrage after his car was stopped and searched by the PSNI in October 2012 under anti-terror laws. He announced his intention to report the incident to his solicitor and the Police Ombudsman. The incident occurred outside Whitecross and Frazer's wallet and documents were taken away for examination. Unknown to police, he made a voice recording on his mobile phone. He had taken photos of the cars the police were in but police removed the camera from Frazer and deleted the images. Police provided no explanation to Frazer as to why the stop and search procedure was undertaken.
Following the 2013 horse meat scandal Frazer gave an interview to The University Times in which he claimed horse meat had actually been introduced to the food chain by the IRA five years before the scandal broke. He also claimed that republicans were behind "old fat cows that are 30 months old" being sold for food before adding that "a blind eye has been turned to it" and that "this is the kind of thing that's going on that we're sick of".
In September 2013 an illegal mobile abattoir was found in Newry. William stated that his "IRA horse burger" claims were now vindicated.
In March 2014 more illegal abattoirs where found by the FSA in Forkhill and Bessbrook.
Frazer's car was set on fire at his home outside Markethill in the early hours of 10 February 2013. Frazer stated that he was asleep inside the house at the time. A passing police patrol noticed the fire but the car was destroyed. Frazer blamed republicans for the incident and claimed to have received a death threat a few hours before the attack. Frazer posted photos to his Facebook page reportedly showing a bullet that was posted to him, however it was pointed out by the satirical web group LAD that the handwriting on the envelope was the same as his own and that the envelope lacked a sorting office stamp.
In September 2013, when brought before court under the serious crime act of 2007, Frazer arrived to court dressed as radical Muslim cleric and terrorist, Abu Hamza. He claimed that this was an act of protest, as the legislation he was being charged under was one he believed to be designed for the conviction of Muslim extremists, and therefore should not have applied to him.
In 2014 Frazer attacked the BBC for having a supposed Gaelic Athletic Association top on the soap EastEnders'' and that "it glorified terrorism" and the IRA. The top in question turned out to be a PE top from a Ballymena school. When asked if he wanted to apologise for the mistake he refused.
In 2014 Frazer and the Protestant Coalition led a campaign against a teacher at the Boy's Model School when it was revealed she was a member of Sinn Féin, justifying their stance that due to her politics she should not be teaching at the school. She left after weeks of abuse.
In November 2015 he warned of leading a protest at Belfast International Airport, due to a perceived lack of Northern Ireland branded gifts and souvenirs for sale at the airport compared to products advertised as being Irish or from Ireland.
Flag protests
On 3 January 2013 Frazer said that he had contacted the Garda Síochána to inform them that he and some followers would hold a protest in Dublin over the decision by Belfast City Council to reduce the number of days the Union Flag flew above Belfast City Hall. Shortly thereafter he became spokesman of the "interim committee" of the Ulster People's Forum, one of a number of loyalist umbrella groups established to co-ordinate the protests.
On 27 February 2013, Frazer was arrested by the PSNI in his home village of Markethill, for questioning in relation to organising and participating in illegal parades and protests which were centred on the flags issue. Jamie Bryson, who along with Frazer was one of the most prominent spokespersons for the flag protesters, was also later arrested in Bangor after going on the run for several days. Frazer was charged with three counts of participating in unnotified public processions and obstruction of traffic in a public place. Frazer was subsequently released on bail. On 16 July 2013, he was rearrested for alleged breach of bail conditions. The charges against Frazer were later dropped.
George Galloway's lawsuit
In January 2016, George Galloway in the Belfast High Court won leave to sue in the UK the American internet search engine company Google, which owns the internet video posting site YouTube. Material was posted on YouTube by Frazer, who described Galloway as a supporter of terrorist beheadings. Frazer was also being sued. The action is believed to be the first of its kind in Europe.
Death
Frazer died of cancer on 28 June 2019. Traditional Unionist Voice (TUV) leader Jim Allister and DUP Assembly member Jim Wells paid tribute to his memory.
See also
Andrew Robb and David McIlwaine killings
References
External links
FAIR website
1960 births
2019 deaths
People from County Armagh
People of The Troubles (Northern Ireland)
Activists from County Armagh
Place of birth missing
Ulster Independence Movement politicians
Deaths from cancer in Northern Ireland | https://en.wikipedia.org/wiki/Willie%20Frazer |
Pahvische is a 2002 album by the Finnish group Eläkeläiset.
Track listing
"Kiitokset humpasta" (Kristian Voutilainen) – 3:24
"Hanurissa Arja" (Onni Varis) – 2:56
"Kuuma humppa" (Lassi Kinnunen) – 3:19
"Humppanautinto" (Martti Varis) – 3:25
"Jenkkapolkkahumppa" (Voutilainen) – 3:21
"Päivätanssit" (Kinnunen) – 2:54
"Humpataan, jumalauta" (O. Varis) – 2:02
"Miksei täällä humppa soi?" (Voutilainen) – 3:52
"Ranttalihumppa" (M. Varis) – 3:50
"Sukellan humppaan" (O. Varis) – 3:22
"Bingohon" (Kinnunen) – 3:24
"Kiikkustuolissa" (Voutilainen) – 2:22
"Humpalle vaan" (M. Varis) – 3:15
"Humppastara" (Kinnunen) – 3:25
"Humppauskonto" (Voutilainen) – 3:33
The CD also contains a 25-minute extra track, not listed on the cover, consisting of radio noise mixed with speech and fragments of songs. Some sources list this final track with the name "Humppaviritys".
References
The official home page of Eläkeläiset. URL accessed on 25 June 2008.
Russian Eläkeläiset fanclub
Texts from this album
External links
Eläkeläiset covers, a list of which band and song each track on the album parodies.
2002 albums
Eläkeläiset albums | https://en.wikipedia.org/wiki/Pahvische |
Ayr is a town in south-west Scotland in the county of Ayrshire.
Ayr may also refer to:
People
Ayr (clan), a sub-clan of the Somali Hawiye clan
Sheriff of Ayr (est. 1221) for Ayr, Scotland
Ivan Ayr, film director
Nicolás Ayr (born 1982) Argentine soccer player
Places
Australia
Ayr, Queensland, a town in Australia
Shire of Ayr, a former local government area in Queensland, Australia, containing Ayr
Canada
Ayr, Ontario, a village in Canada
Ayr Lake, a fjord on Baffin Island, Nunavut, Canada
Ayr Pass, a mountain pass on Baffin Island, Nunavut, Canada
United Kingdom
Ayrshire, a county in Scotland, Chapman code AYR
County of Ayr, Ayrshire, Scotland; containing Ayr
Point of Ayr, the northernmost point of mainland Wales
River Ayr, a river in Ayrshire, Scotland
United States
Ayr, Nebraska, a village in the U.S.
Ayr, North Dakota, a village in the U.S.
Ayr Township, Adams County, Nebraska, a township in the U.S.
Ayr Township, Pennsylvania, a township in the U.S.
Elsewhere
Ayr (crater), on Mars
Ayr, Iran, a village in Markazi Province, Iran
Ayr Mountains, Kazakhstan
Aïr Mountains, Niger
Government
Ayr (Scottish Parliament constituency), a constituency of the Scottish Parliament (Holyrood)
Ayr (UK Parliament constituency), a constituency of the House of Commons of the Parliament of the United Kingdom from 1950 to 2005
Ayr and Renfrew (Commonwealth Parliament constituency), a constituency of the Kingdom of Scotland, and Commonwealth of Scotland and England; 1654-1659
Sultanate of Agadez or Sultanate of Aïr
Schools
Australia
Ayr State High School, Ayr, Queensland, Australia; a secondary school and heritage site
United Kingdom
Ayr United Football Academy, Ayr, Ayrshire, Scotland, UK; a sports school
Ayr College, Ayr, Ayrshire, Scotland, UK; a former college and now campus of Ayrshire College
Ayr Academy, Ayr, Ayrshire, Scotland, UK; a secondary school
Sports
Ayr Racecourse, Ayr, Ayrshire, Scotland, UK; a horse racing track
Ayr RFC, Ayr, Ayrshire, Scotland, UK; a rugby union team
Ayr United F.C., Ayr, Ayrshire, Scotland, UK; a soccer team
Ayr F.C., Ayr, Ayrshire, Scotland, UK; a soccer team
Transportation
Australia
Ayr railway station, Queensland, Australia
United Kingdom
Ayr TMD, Ayr, Ayrshire, Scotland, UK; a rail depot
Ayr railway station, Ayr, Ayrshire, Scotland, UK; current rail station
Ayr railway station (1839–1857), Ayr, Ayrshire, Scotland, UK; former rail station
Ayr railway station (1856-1886), Ayr, Ayrshire, Scotland, UK; a former rail station replaced by Ayr railway station
English Electric Ayr, British 3-seat coastal patrol plane
Point of Ayr Lighthouse, Point of Ayr, Wales, UK
River Ayr Way, a long-distance path along the River Ayr, in Ayr, Ayrshire, Scotland, UK
Other
2nd (Ayr) Ayrshire Artillery Volunteer Corps, of the British Army
Alegrijes y Rebujos (AyR), a children's telenovela
AYR, an Estonian manufacturer of sidecarcross frames
Aymara language (ISO 639 code: ayr)
Ayr Mount, a heritage plantation house in Hillsborough, North Carolina
See also
Ayr (constituency)
Ayr County (disambiguation)
Ayr Hospital (disambiguation)
Ayr station (disambiguation)
Ayr Township (disambiguation)
Ayre (disambiguation)
Ayres (disambiguation)
Ayrshire (disambiguation)
Heads of Ayr (disambiguation)
Mount Ayr (disambiguation)
Newton-on-Ayr (disambiguation) | https://en.wikipedia.org/wiki/Ayr%20%28disambiguation%29 |
Joviânia is a municipality in south-central Goiás state, Brazil. The population was 7,402 (2020 IBGE) in a total area of 454.9 km2.
Location
Joviânia is 177 kilometers from the state capital, Goiânia. It is located approximately halfway between Rio Verde and Morrinhos. Highway connections with Goiânia are made by GO-040 / Aragoiânia / Cromínia / Pontalina / Aloândia / GO-320. See Sepin for the list of distances in Goiás
The vegetation is typical cerrado with trees with twisted branches and thick bark. The soil is rich in basalt and other unexplored minerals.
The climate is mild with average annual temperatures of around 23 °C.
Tourism
Most of the natural tourist spots are on private property. There are several waterfalls, rivers, and a vast flora and fauna.
History
The origin of the town is related to the devotion that a rancher, Antônio Miguel da Costa, had for the Catholic representation of the Virgin, Nossa Senhora Abadia. The pioneer donated lands in the name of the "saint" with the intention of starting a town near Goiatuba and about 170 kilometers from Goiânia. In 1942 the town of Bela Vista was formed. Joviânia became a district of Goiatuba with the name "Joviânia" in 1953, the name being chosen in homage to Joviano Ferreira Barbosa, one of the first founders. In 1958 it became a municipality.
Political Data
Mayor: Romeu José Gonçalves (January 2005)
Vice-mayor: Juscelino Fernandes da Silva
Number of council members: 9
Number of eligible voters: 5,510 (2007)
Demographics
Population density: 14.80 inhabitants/km2 (2007)
Urban and rural population in 2007: 6,086 and 645
Urban and rural population in 1980: 4,110 and 2,210
Population in 1980: 6,320
Population growth rate 1996/2007: 0.13%
Economy
The economy is based on modest commerce, public employment, cattle raising, and agriculture. There was one dairy in 2005.
Economic Data
(All economic data are from Sepin)
Number of Industrial Establishments: 6 (June/2007)
Dairies: Laticínios Terra Nova Ltda (07/06/2007)
Banking Establishments: - Banco do Brasil S.A. - Banco Itaú S.A.
Number of Retail Commercial Establishments: 107 (August/2007)
Automobiles: 823
Cattle (head) 38,285 (2006)
Farms: 320 with 32,300 ha., of which 13,930 ha. were cultivated (2006)
Pasture land: 12,291 ha.
Woodland and forests: 5,939 ha.
Workers in agriculture: 490
Corn: 1,500 ha.
Sorghum: 2,000 ha.
Soybeans: 21,600 ha.
Modest production of wheat and beans
Education (2006)
There were 1,324 students in primary schools and 246 students in middle and secondary schools.
Literacy Rate: 87.2%
Health (2007)
Hospitals: 1
Beds: 12
Walk-in health clinics: 1
Infant mortality rate: 19.67 (in 1,000 live births)
Municipal Human Development Index
MHDI: 0.786
State ranking: 19 (out of 242 municipalities in 2000)
National ranking: 897 (out of 5,507 municipalities in 2000)
For the complete list see Frigoletto.com
See also
List of municipalities in Goiás
Meia Ponte Microregion
References
Frigoletto
Sepin
Municipalities in Goiás | https://en.wikipedia.org/wiki/Jovi%C3%A2nia |
The London Buddhist Centre (LBC) is a temple in Bethnal Green in East London, is the main base for the London Triratna Buddhist Community, formerly known as the Friends of the Western Buddhist Order. It opened in 1978, and is located in an ornate, vernacular redbrick Victorian fire station, completed in 1888, and in use by the London fire service until 1969. The building was fire-damaged in the 1970s, before being renovated by volunteers for its current use. Further major improvements were completed in 2009.
The centre teaches meditation and Buddhism and offers drop-in lunchtime meditation sessions Monday-Saturday, and evening sessions on Tuesdays and Wednesdays, open to beginners. The centre also explores the teaching of the Buddha (dharma) and its relevance in today's society through seminars, courses, classes and retreats. Regular retreats are run at its retreat centre in Suffolk, Vajrasana.
In addition to this the centre also runs courses and retreats using mindfulness based cognitive therapy approaches. Its courses for depression, based on the mindfulness-based cognitive behavioral therapy methodology of Jon Kabat-Zinn at the University of Massachusetts Medical School, featured in the Financial Times in 2008. This initiative is supported by the local authority, the London borough of Tower Hamlets. The Times has also reported on the centre's work with those affected by alcohol dependency
The building's ground floor areas include a library, bookshop and reception room, with painted murals, as well as two ornate shrine rooms with Buddha figures, or "rupas", sculpted by Chintamani, a member of the Triratna Buddhist Order. A third, basement, room for meditation and classes, primarily used by a project called "Breathing Space", opened in 2009. The building's upper floors house Buddhist residential communities.
The LBC is a UK-registered charity (255420), and is part of a local network of Buddhist businesses and organisations within the Bethnal Green area. This includes Buddhist communities, a charity shop and an arts centre.
The former fire station is a Grade II listed building.
References
External links
London Buddhist Centre website
Religion in the London Borough of Tower Hamlets
Buddhist temples in London
Buddhist organisations based in the United Kingdom
Grade II listed buildings in the London Borough of Tower Hamlets
Grade II listed religious buildings and structures
Bethnal Green
Defunct fire stations | https://en.wikipedia.org/wiki/London%20Buddhist%20Centre |
Igor Rakočević (; born 29 March 1978) is a Serbian professional basketball executive and former player.
At a height of 1.94 m (6'4 ") tall, he played at both the point guard and shooting guard positions, but he spent the vast majority of his career playing as a shooting guard. During his playing career, Rakočević was a two-time All-EuroLeague Team member, and a three-time Alphonso Ford EuroLeague Top Scorer Trophy winner. He was also a member of the senior FR Yugoslavian national team, which was eventually renamed the Serbian and Montenegrin national team. With FR Yugoslavia, he won gold medals at both the 2001 FIBA EuroBasket and the 2002 FIBA World Championship.
Professional career
Early years
Rakočević played with Crvena zvezda and Budućnost before going to the NBA. With Crvena zvezda, he won the YUBA League championship in the 1997–98 season, and finished second in the FIBA Korać Cup in the same season.
In 2000, after getting drafted in the NBA, he signed a three-year contract with KK Budućnost, with an NBA exit clause along with a set transfer fee should he decide to exercise the clause.
Minnesota Timberwolves
Rakočević was selected by the Minnesota Timberwolves, in the 2nd round (51st overall) of the 2000 NBA draft. He did not play in the NBA, until the 2002–03 NBA season, in which he totaled 244 minutes of playing time, in 42 games played, and averaged 1.9 points, 0.8 assists, and 0.4 rebounds per game. He was released after the season, and signed by the San Antonio Spurs, who also released him shortly after. The 2002 - 2003 season ended up being his only season in the NBA, with his final game being a 97–78 win over the Portland Trail Blazers on April 6, 2003. In his final game, Rakočević played for 1 minute and recorded 1 assist and no other stats.
Back to Europe
In October 2003, Rakočević returned to Europe, and signed with Crvena zvezda, where he was the top scorer of the Adriatic League. He was the captain and best player of Crvena zvezda in that 2003–04 season.
He continued his career in Spain, where he played with Pamesa Valencia, Real Madrid and Tau Cerámica. In the EuroLeague 2006–07 season, he won the Alphonso Ford EuroLeague Top Scorer Trophy. He was also selected to the All-EuroLeague Second Team of that year's competition. With TAU Cerámica, Rakočević won the Spanish Supercup title in 2006, 2007, and 2008, the Spanish King's Cup title in 2009, and the Spanish ACB League championship in 2008. He also won another Alphonso Ford Top Scorer Trophy with TAU, in 2009.
In June 2009, he signed a three-year contract with the Turkish Super League club Efes Pilsen. While playing with Efes, he also won the 2011 Alphonso Ford Top Scorer Trophy. In June 2011, he left Efes.
In October 2011, Rakočević signed with the Italian League club Montepaschi Siena, for the 2011–12 season.
On 9 August 2012, he signed a two-year contract with Crvena zvezda, which began his third stint with that team. In July 2013, Rakočević decided not to play for Crvena zvezda in the following season, and he made the statement that he would play abroad for one more season, or would retire, and become the sports director of the team.
National team career
Rakočević made his debut with the senior FR Yugoslavian national team at the 2000 Summer Olympic Games. After that, he played at the 2001 EuroBasket, in Turkey (where he won a gold medal), and at the 2005 EuroBasket, in Serbia and Montenegro. He was a member of the FR Yugoslavia team that became the FIBA World Champions in Indianapolis, at the 2002 FIBA World Championship, and he was the captain of the Serbia and Montenegro national team in Japan, at the 2006 FIBA World Championship. He also played at the 2004 Athens Summer Olympic Games.
Post-playing career
In February 2015, Rakočević was elected as the vice-president of the Basketball Federation of Serbia, and put in charge of men's basketball. In December 2020, he was not sought for re-election.
Rakočević was elected on 5-year term as a member of the Assembly of the KK Crvena zvezda on 27 December 2021.
Personal life
Rakočević is the son of former Serbian basketball player Goran Rakočević, who played at the point guard position with Crvena zvezda.
Since retiring from professional basketball, Rakočević has taken up Brazilian Jiu-Jitsu and in December 2021 was promoted to black belt in the art after a little over nine years of training.
Career statistics
EuroLeague
|-
| style="text-align:left;"| 2000–01
| style="text-align:left;" rowspan=2| Budućnost
| 11 || 10 || 29.8 || .417 || .222 || .653 || 2.7 || 1.8 || 1.4 || .0 || 12.9 || 9.8
|-
| style="text-align:left;"| 2001–02
| 14 || 12 || 29.6 || .480 || .345 || .655 || 1.6 || 2.1 || 1.3 || .0 || 17.7 || 14.8
|-
| style="text-align:left;"| 2005–06
| style="text-align:left;"| Real Madrid
| 20 || 9 || 27.2 || .443 || .402 || .893 || 2.9 || 3.0 || .8 || .0 ||14.8 || 14.2
|-
| style="text-align:left;"| 2006–07
| style="text-align:left;" rowspan=3| TAU Cerámica
| 22 || 20 || 27.2 || .492 || .475 || .843 || 2.4 || 1.7 || 1.4 || .1 || style="background:#cfecec;"|16.2 || 14.4
|-
| style="text-align:left;"| 2007–08
| 22 || 22 || 27.8 || .465 || .396 || .837 || 2.3 || 1.7 || .7 || .0 || 14.9 || 12.7
|-
| style="text-align:left;"| 2008–09
| 21 || 21 || 26.5 || .460 || .398 || .895 || 2.3 || 2.0 || .8 || .0 || style="background:#cfecec;"| 18.0 || 16.8
|-
| style="text-align:left;"| 2009–10
| style="text-align:left;" rowspan=2| Efes Pilsen
| 16 || 5 || 20.1 || .353 || .286 || .833 || 1.7 || 2.3 || .4 || .0 || 10.0 || 9.1
|-
| style="text-align:left;"| 2010–11
| 14 || 14 || 29.9 || .457 || .435 || .877 || 2.3 || 1.7 || .7 || .0 || style="background:#cfecec;"| 17.2 || 15.0
|-
| style="text-align:left;"| 2011–12
| style="text-align:left;"| Montepaschi
| 19 || 5 || 19.7 || .399 || .455 || .780 || 1.9 || 1.6 || .3 || .1 || 9.4 || 7.0
|- class="sortbottom"
| style="text-align:left;"| Career
| style="text-align:left;"|
| 159 || 118 || 26.3 || .449 || .384 || .816 || 2.3 || 2.0 || .8 || .0 || 14.6 || 12.8
NBA
Regular season
|-
| style="text-align:left;"| 2002–03
| style="text-align:left;"| Minnesota
| 42 || 0 || 5.8 || .379 || .417 || .806 || .4 || .8 || .1 || .0 || 1.9
|- class="sortbottom"
| style="text-align:left;"| Career
| style="text-align:left;"|
| 42 || 0 || 5.8 || .379 || .417 || .806 || .4 || .8 || .1 || .0 || 1.9
Awards and accomplishments
Pro career
Crvena zvezda Belgrade
FR Yugoslav League (1): 1998
Serbian Radivoj Korać Cup (2): 2004, 2013
Budućnost Podgorica
FR Yugoslav League (1): 2001
FR Yugoslav Cup (1): 2001
Valencia Basket
Valencian League (1): 2005
Real Madrid
Community of Madrid Tournament (1): 2006
TAU Cerámica
Spanish League (1): 2008
Spanish Cup (1): 2009
Spanish Supercup (3): 2006, 2007, 2008
Efes Istanbul
Turkish Super Cup (2): 2009, 2010
Montepaschi Siena
Italian League (1): 2012
Italian Cup (1): 2012
Individual
FR Yugoslavian League Most Improved Player: (1998)
Adriatic League Final Four Top Scorer: (2004)
Adriatic League Top Scorer: (2004)
Spanish ACB League 3 Point Shootout Champion: (2007–08)
3× Alphonso Ford EuroLeague Top Scorer Trophy: 2007, 2009, 2011
All-EuroLeague Second Team: (2007)
All-EuroLeague First Team: (2009)
Spanish League Top Scorer: (2009)
All-Spanish League Team: (2009)
FR Yugoslavian junior national team
1996 FIBA Europe Under-18 Championship:
1997 Nike Hoop Summit
1997 FIBA Under-21 World Cup:
1998 FIBA Europe Under-20 Championship:
1998 FIBA Europe Under-20 Championship: MVP
FR Yugoslavian senior national team
1997 Mediterranean Games:
2001 EuroBasket:
2002 FIBA World Championship:
See also
List of father-and-son combinations who have played for Crvena zvezda
KK Crvena zvezda accomplishments and records
List of Brazilian jiu-jitsu practitioners
List of Serbian NBA players
References and notes
External links
Igor Rakočević at acb.com
Igor Rakočević at draftexpress.com
Igor Rakočević at euroleague.net
Igor Rakočević at fiba.com
Igor Rakočević at fibaeurope.com
Igor Rakočević at legabasket.it
Igor Rakočević at tblstat.net
1978 births
Living people
2002 FIBA World Championship players
2006 FIBA World Championship players
ABA League players
Anadolu Efes S.K. players
Basketball executives
Basketball League of Serbia players
Basketball players at the 2000 Summer Olympics
Basketball players at the 2004 Summer Olympics
Basketball players from Belgrade
Basketball players with retired numbers
Competitors at the 1997 Mediterranean Games
FIBA EuroBasket-winning players
FIBA World Championship-winning players
KK Budućnost players
KK Crvena zvezda players
Liga ACB players
Mediterranean Games bronze medalists for Serbia and Montenegro
Mediterranean Games medalists in basketball
Mens Sana Basket players
Members of the Assembly of KK Crvena zvezda
Minnesota Timberwolves draft picks
Minnesota Timberwolves players
National Basketball Association players from Serbia
Olympic basketball players for Serbia and Montenegro
Serbia and Montenegro men's basketball players
Point guards
Real Madrid Baloncesto players
Saski Baskonia players
Serbian basketball executives and administrators
Serbian expatriate basketball people in Montenegro
Serbian expatriate basketball people in Italy
Serbian expatriate basketball people in Spain
Serbian expatriate basketball people in Turkey
Serbian expatriate basketball people in the United States
Serbian men's basketball players
Shooting guards
Valencia Basket players
Serbia and Montenegro expatriate sportspeople in the United States
Serbia and Montenegro expatriate sportspeople in Spain | https://en.wikipedia.org/wiki/Igor%20Rako%C4%8Devi%C4%87 |
Haut-Katanga (French for "Upper Katanga") is one of the 21 new provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Haut-Katanga, Haut-Lomami, Lualaba, and Tanganyika provinces are the result of the dismemberment of the former Katanga province. Haut-Katanga was formed from the Haut-Katanga district and the independently administered cities of Likasi and Lubumbashi. Lubumbashi retained its status as a provincial capital.
The new province's territory corresponds to the historic Katanga-Oriental that existed in the early period after independence between 1963 and 1966.
Territories
Its current territories are:
Kasenga
Kipushi
Mitwaba
Pweto
Sakania
Approximate correspondence between historical and current province
References
Provinces of the Democratic Republic of the Congo
2015 establishments in the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Haut-Katanga%20Province |
The Centre for Cities is an independent, non-partisan urban policy research unit and a charity registered in England. The Centre's main goal is to understand how and why economic growth and change takes place in the United Kingdom's cities.
History
The Centre for Cities was launched in March 2005 as part of IPPR and became independent in November 2007.
Since 2017, Andrew Carter has been the CEO for Centre for Cities. With his 20 years of experience in urban economic policies for public and private developers.
Research
The Centre produces an annual Cities Outlook report assessing the economic performance of the 64 largest towns and cities in the United Kingdom. From 2016 onwards the Centre for Cities reevaluated its methodology for defining primary urban areas, based on this it now recognises 63 primary urban areas in the UK:
Grimsby and Hastings removed
Basildon, Exeter and Slough added
Bolton and Rochdale merged with the Manchester PUA.
In 2018, the Centre for Cities released a report challenging the Government's approach to improving UK business productivity. They suggest that the Government should focus on the UK's weaker regions to attract more productive exporters, and not just focus on the UK's least productive companies in general.
Funding
In November 2022, the funding transparency website Who Funds You? gave Centre for Cities a B grade (rating goes from A to E).
References
External links
Centre for Cities
National institutes of urbanism
Urban planning organizations
Charities based in London | https://en.wikipedia.org/wiki/Centre%20for%20Cities |
Elizabeth Anne, Lady William Russell (2 October 1793 – 10 August 1874) was the wife of Lord George William Russell and a well-known socialite.
Early life
Elizabeth Anne Theophila Rawdon was born on 2 October 1793, child of Frances (née Hall-Stevenson) and Captain the Hon. John Theophilus Rawdon (died 1808), the brother of Francis Rawdon-Hastings, 1st Marquess of Hastings.
She was baptised at St Mary, Staines, Middlesex, on 4 October 1793. She spent much of her childhood in Europe, particularly Vienna and 'received an education more suited to a boy than a girl' at that time, including a deep knowledge of French, German, Spanish, and Italian, Greek and Latin as well as botany, astronomy and classical literature.
Adult life
Elizabeth Anne Rawdon married Lord George William Russell on 21 June 1817. A beautiful and energetic cosmopolitan who had enjoyed a broad European education, Lord Byron praised her in Beppo as "[one] whose bloom could, after dancing, dare the dawn". However, her outspoken Tory sympathies won her few friends among her husband's Liberal circle. Henry Brougham, 1st Baron Brougham and Vaux described her as '"that accursed woman'".
She and Russell had three sons, all of whom she tutored at home, perhaps lending them a rather distinctive approach to life:
Francis Russell, 9th Duke of Bedford;
Lord Arthur John Edward Russell;
Odo Russell, 1st Baron Ampthill.
Benjamin Disraeli said in conversation "I think she is the most fortunate woman in England, for she has the three nicest sons".
She died on 10 August 1874.
Commemoration
A biography of Elizabeth, Lady William Russell was published by the Oxford Dictionary of National Biography in December 2020.
Bibliography
References
1793 births
1874 deaths
English socialites
Wives of knights
Wives of younger sons of peers | https://en.wikipedia.org/wiki/Elizabeth%2C%20Lady%20William%20Russell |
To the Last Man: A Story of the Pleasant Valley War is a 1921 western novel written by Zane Grey.
Origin
To The Last Man is a shorter version of Tonto Basin. Grey submitted the manuscript of Tonto Basin to the magazine The Country Gentleman, which published it in serialization as To the Last Man from May 28, 1921, through July 30, 1921. This was a much shorter version of the original, omitting much of the backstory. This shorter version was published by Harper Brothers.
Plot introduction
It is a story of a family feud healed by young love. The story is based on a factual event involving the notorious Hashknife gang of Northern Arizona.
Plot summary
The story follows an ancient feud between two frontier families that is inflamed
when one of the families takes up cattle rustling.
The ranchers are led by Jean Isbel and, on the other side, Lee Jorth and his band of cattle rustlers.
In the grip of a relentless code of loyalty to their own people, they fight the war of the Tonto Basin, desperately, doggedly, to the last man, neither side seeing the futility of it until it is too late. And in this volatile environment, young Jean finds himself hopelessly in love with a girl from whom he is separated by an impassable barrier.
Characters in "To the Last Man"
Jean Isbel – Jean Isbel is a woodsman from Oregon drawn into the Tonto Basin feud by his father, Gaston Isbel. He has the reputation of being an excellent tracker and fighter. He is born from Gaston's second wife, who was Native American. He is in love with Ellen Jorth.
Gaston Isbel – Gaston Isbel is a Texas cattleman ranching in the Tonto Basin. He is involved in an old feud with Lee Jorth. He calls his son Jean Isbel into the feud in the hope that Jean will help him win the feud.
Lee Jorth – Lee Jorth is an ex-cattleman from Texas involved in an old feud with Gaston Isbel. He is supposedly a sheep herder running sheep on the cattle's range in the Tonto Basin. He is involved with many shady characters, including the notorious Hashknife gang. His daughter is Ellen Jorth.
Ellen Jorth – is the daughter of Lee Jorth; is caught meeting Jean Isbel early in the story but because of the family feud cannot related to him as she might like. She is told lies by her father and placed in situations where she must uphold her family but secretly being in love with Jean.
Colter – part of the Jorth group.
Greaves – store keeper and part of the Jorth group.
Bill – half brother to Jean Isbel; son of Gaston Isbel.
Guy – half brother to Jean Isbel; son of Gaston Isbel.
Jim Blaisdell – neighbor rancher to Gaston Isbel.
John Sprague – old prospector lived near Jorth; was good friend to Ellen.
Daggs – sheepman, part of the Jorth group.
Blue – older gunslinger from Texas who tells them he is really King Fisher the famous gunfighter; this brings fear to the sheepmen.
See also
To the Last Man (1923 film)
To the Last Man (1933 film), a 1933 Henry Hathaway film based on the Zane Grey novel starring Randolph Scott, Esther Ralston, Buster Crabbe, Barton MacLane, Noah Beery, Shirley Temple, and Eugenie Besserer.
Frederick Russell Burnham participated on the losing side in the real-life Tonto Basin feud and narrowly escaped alive. After the feud, he went home to California and left for Africa only a few years later.
References
External links
1921 American novels
Western (genre) novels
Novels by Zane Grey
Novels based on actual events
Novels set in Arizona | https://en.wikipedia.org/wiki/To%20the%20Last%20Man%20%28Grey%20novel%29 |
Albert Stöckl (Möhren, Middle Franconia, Kingdom of Bavaria, 15 March 1823 – Eichstädt, 15 November 1895) was a German neo-scholastic philosopher and theologian.
Biography
He received his classical education at the gymnasium at Eichstädt, studied philosophy and theology at the episcopal lyceum in the same city (1843–48), and was ordained priest 22 April 1848. His first position was that of curate at the pilgrimage church at Wemding.
In 1850, he was made instructor of philosophy at the episcopal lyceum at Eichstädt, and two years later was appointed professor of theoretical philosophy in the same institution. He received the degree of Doctor of Philosophy (1855) from the University of Würzburg; and was transferred (1857) to the theological section of the lyceum as professor of exegesis and Hebrew.
In the autumn of 1862 he accepted a call as professor of philosophy at the academy of Münster in Westphalia. The disagreeable divisions and discord which arose in this institution at the time of the First Vatican Council led Stöckl, in the summer of 1871, to resign his professorship and return to the Diocese of Eichstädt as parish priest at Gimpertshausen.
On 7 March 1872, he was installed as a cathedral canon at Eichstädt. At the same time he again became professor of practical philosophy, philosophy of religion, and pedagogy in the lyceum. In addition to his labours as a scholar Stöckl also took an active part in political life. From 1878 to 1881 he was a member of the lower house of the Reichstag.
Works
During the many years of his life spent in teaching, Stöckl wrote a large number of text-books covering the entire field of philosophy which had a large circulation not only in Germany but also in other countries, including the United States of America. As one of its most distinguished representatives, he had an important share in the revival of Thomistic philosophy. Both as teacher and as author he was noted for simplicity, logical acumen, and lucidity.
Among his numerous writings the following should be mentioned particularly:
Liturgie und dogmatische Bedeutung der alttestamentlichen Opfer (Ratisbon, 1848)
Die speculative Lehre vom Menschen und ihre Geschichte (Würzburg, 2 vols., 1858–59)
"Die Lehre der vornicänischen Kirchenväter von der göttlichen Trinität" (Eichstädt, 1861, in the "Programm" of the lyceum)
Das Opfer nach seinem Wesen und nach seiner Geschichte (Mainz, 1861)
Geschichte der Philosophie des Mittelalters (3 vols., Mainz, 1864–66)
Lehrbuch der Philosophie (Mainz, 1868; 7th ed., 3 vols., 1892; 8th ed., revised by G. Wohlmuth, 1905-)
Lehrbuch der Geschichte der Philosophie (Mainz, 1870; 3rd ed., 2 vols., 1888; tr. "Handbook of the History of Philosophy", by T. A. Finlay, S.J., Dublin, 1887)
Die Infallibilität des Oberhauptes der Kirche und die Zustimmungsadressen an Herrn von Döllinger (Münster, 1870; 2nd ed., 1870)
Grundriss der Aesthetik (Mainz, 1871; 3rd ed., 1889, under the title Lehrbuch der Aesthetik)
Grundriss der Religionsphilosophie (Mainz, 1872; 2nd ed., 1878); Lehrbuch der Pädagogik (Mainz, 1873; 2nd ed., 1880)
Lehrbuch der Geschichte der Pädagogik (Mainz, 1876)
Der Materialismus geprüft in seinen Lehrsätzen und deren Consequenzen (Mainz, 1877)
Das Christenthum und die grossen Fragen der Gegenwart auf dem Gebiete des geistigen, sittlichen und socialen Lebens. Apologetisch-philosophische und socialpolitische Studien (3 vols., Mainz, 1879–80)
Geschichte der neueren Philosophie von Baco und Cartesius bis zur Gegenwart (2 vols., Mainz, 1883)
Das Christenthum und die modernen Irrthümer. Apologetisch-philosophische Meditationen (Mainz, 1886)
Geschichte der christlichen Philosophie zur Zeit der Kirchenväter (Mainz, 1891)
Grundzüge der Philosophie (Mainz, 1892; 2nd ed., edited by Ehrenfried, 1910)
Grundriss der Geschichte der Philosophie (Mainz, 1894)
Lehrbuch der Apologetik (2 pts., Mainz, 1895).
Stöckl contributed numerous papers on apologetics, philosophico-historical, and pedagogical subjects to the periodical press, especially to Der Katholik. He also wrote a large number of articles for the second edition of the "Kirchenlexikon", and several of the longer articles for the "Staatslexikon der Görres-Gesellschaft".
Sources
1823 births
1895 deaths
People from Treuchtlingen
People from the Kingdom of Bavaria
19th-century German Roman Catholic priests
Centre Party (Germany) politicians
Members of the 3rd Reichstag of the German Empire
Members of the 4th Reichstag of the German Empire
19th-century German Catholic theologians
19th-century German male writers
German male non-fiction writers | https://en.wikipedia.org/wiki/Albert%20St%C3%B6ckl |
Full Sail is the third album by singer-songwriter duo Loggins and Messina, released in 1973. It showed the versatility of the duo, with everything from 1950s retro to island-style to soft ballads. The single "My Music" charted at No. 16, and the follow-up, "Watching the River Run", made it to No. 71. The album as a whole did better, reaching No. 10 on the Pop Charts.
Track listing
Side one
"Lahaina" (Jim Messina) – 2:32 (lead singer: Jim Messina)
"Travelin' Blues" (Messina) – 3:44 (lead singer: Jim Messina)
"My Music" (Kenny Loggins, Messina) – 3:04 (lead singer: Jim Messina)
"A Love Song" (Loggins, Dona Lyn George) – 3:11 (lead singer: Kenny Loggins)
"You Need a Man/Coming to You" (Messina) – 5:22/3:48 (No track split) (lead singers: Kenny Loggins [You Need a Man]/Jim Messina [Coming to You])
Side two
"Watching the River Run" (Messina, Loggins) – 3:27 (lead singers: Kenny Loggins, Jim Messina)
"Pathway to Glory" (Messina) – 8:37 (lead singer: Jim Messina)
"Didn't I Know You When" (Loggins, Michael Omartian) – 2:40 (lead singer: Kenny Loggins)
"Sailin' the Wind" (Daniel Loggins, Dann Lottermoser) – 6:09 (lead singer: Kenny Loggins)
Personnel
Kenny Loggins – vocals, rhythm guitar, acoustic guitar, harmonica
Jim Messina – vocals, lead guitar, acoustic guitar, mandolin
Loggins & Messina band
Jon Clarke – oboe, baritone saxophone, bass saxophone, soprano saxophone, tenor saxophone, flute, alto flute, bass flute, bass clarinet, English horn
Al Garth – violin, bass clarinet, recorder, alto saxophone, tenor saxophone
Larry Sims – bass, backing vocals
Merel Bregante – drums, timbales, backing vocals
Additional musicians
Michael Omartian – keyboards
Vince Charles – steel drums
Milt Holland – percussion
Production
Producer – Jim Messina
Photography – Ed Caraeff
Art Direction – Ron Coro
Illustrations – Joe Garnett
Engineers – Jim Messina and Alex Kazanegras
Quadraphonic Mix – Larry Keys and Alex Kazanegras
Quadraphonic Mix Supervision – Al Lawrence and Alex Kazanegras
Charts
Album – Billboard (United States)
Singles – Billboard (United States)
References
Loggins and Messina albums
1973 albums
Albums produced by Jim Messina (musician)
Columbia Records albums
Albums recorded at Wally Heider Studios | https://en.wikipedia.org/wiki/Full%20Sail%20%28Loggins%20and%20Messina%20album%29 |
Kasaï-Oriental (French for "East Kasai") is one of the 21 new provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Kasaï-Oriental, Lomami, and Sankuru provinces are the result of the dismemberment of the former Kasaï-Oriental province. Kasaï-Oriental was formed from the Tshilenge district and the independently administered city of Mbuji-Mayi which retained its status as a provincial capital.
The new province's territory corresponds to most of the historic Sud-Kasaï province which existed in the early period after independence between 1963 and 1966.
History
Kasai-Oriental is inhabited by members of the Luba tribe.
Congo obtained independence from Belgium in 1960. Friction with Congo's other ethnic groups and encouragement by Belgian corporations hoping to keep their mining concessions led to the secession of the province of South Kasai as a separate state headed by Albert Kalonji.
After being repulsed, the Congo occupied the province in September 1961. Several thousand people were killed during the "pacification" of South Kasai, which lasted through the spring of 1962.
The population of Mbuji-Mayi grew rapidly with the immigration of Luba people from other parts of the country.
Diamond mining
The region in which Mbuji-Mayi is situated annually produces one-tenth in weight of the world's industrial diamonds, with mining managed by the Société Minière de Bakwanga. This is the largest accumulation of diamonds in the world, more concentrated than those at Kimberley, South Africa. Mbuji-Mayi handles most of the industrial diamonds produced in the Congo.
Political divisions
The province consists of the following five territories:
Kabeya-Kamwanga
Katanda
Lupatapata
Miabi
Tshilenge
Languages
French is the official language. Tshiluba is one of the four national languages of the Democratic Republic of the Congo. Tshiluba is spoken by about 6.3 million people in the Kasai-Oriental, Kasai-Occidental and Kasaï-Central provinces.
See also
Kasai region
List of governors of Kasaï Oriental Province
References
Provinces of the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Kasa%C3%AF-Oriental |
Kasaï is one of the 21 new provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Kasaï and Kasaï-Central provinces are the result of the dismemberment of the former Kasaï-Occidental province. Kasaï was formed from the Kasaï district and the independently administered city of Tshikapa which became the capital of the new province.
There are 5 administrative territories within the province, which include:
Dekese
Ilebo
Kamonia (Tshikapa)
Luebo
Mweka
See also
Kasai region
Kamwina Nsapu rebellion
References
01
Provinces of the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Kasa%C3%AF%20Province |
Technique were a British synthpop band from the mid-1990s featuring Kate Holmes of Frazier Chorus and singer Xan Tyler. The band was named after New Order's 1989 album of the same name, and they were signed to Creation Records, the record label owned by Holmes's husband, Alan McGee.
Formation
Holmes and Tyler met at Butterfly, the studio owned by legendary producer and former Killing Joke member Youth, where Tyler was working as a session backing vocalist. They began work on the group's debut album, with synthpop veteran Stephen Hague and Oasis producer Owen Morris handling production duties alongside Holmes herself. Other notable contributors to the album included Ash frontman Tim Wheeler, vocalist Kirsty Hawkshaw and Youth himself on bass.
Releases
Technique released two singles on Creation in the summer of 1999: "Sun is Shining" and "You & Me". "Sun is Shining" reached No. 64 in the UK Singles Chart in April 1999 and "You & Me" got to No. 56 in August of the same year. The album, by now entitled Pop Philosophy, was promo-ed but never officially saw the light of day after McGee decided to close the label. Technique lay dormant for several years while McGee set up his new venture, Poptones. Holmes and Tyler contributed to Mission Control's Dub Showcase album (produced by Holmes' long-term associate Mad Professor), which featured several unreleased songs from Pop Philosophy.
In 2000, C-pop singer Coco Lee had a huge hit on the Asian market with a cover of Technique's second single, "You and Me". Following this, Poptones released a truncated version of Pop Philosophy in Germany and Asia, featuring seven tracks plus two remixes by Matt Darey. "Sun is Shining" and "You & Me" were also re-released in Germany to capitalise on the new found interest, and the band toured extensively during 2001.
Disbandment
Technique disbanded, and Tyler was unable to take part in a tour supporting Depeche Mode. Kate Holmes replaced her with Sarah Blackwood from Newcastle-upon-Tyne band Dubstar, and shortly thereafter the two decided to collaborate and write material together. The new band, electro-pop band Client, signed a deal with Andy Fletcher's Toast Hawaii record label.
References
English synth-pop groups
Creation Records artists | https://en.wikipedia.org/wiki/Technique%20%28band%29 |
Kasaï-Central is one of the 21 new provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Kasaï-Central and Kasaï provinces are the result of the dismemberment of the former Kasaï-Occidental province. Kasaï-Central was formed from the Lulua district and the independently administered city of Kananga which retained its status as a provincial capital.
The new province's territory corresponds to the historic Luluabourg Province which existed in the early period after independence between 1963 and 1966.
Within this province, there are 5 territories which are named:
Demba 4. Kazumba
Dibaya 5. Luiza
Dimbelenge
See also
Kasai region
Kamwina Nsapu rebellion
References
01
Provinces of the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Kasa%C3%AF-Central |
Lualaba Province (Jimbo la Lualaba, in Swahili) is one of the 21 provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Lualaba, Haut-Katanga, Haut-Lomami, and Tanganyika provinces are the result of the dismemberment of the former Katanga province. Lualaba was formed from the Lualaba and Kolwezi districts. Kolwezi was a hybrid city/district which was separated from its two territories and the city proper became the capital of the new province.
Former province
Lualaba Province was separated from Katanga Province on 30 June 1963. Then, on 24 April 1966, it was united with Katanga Oriental to form Sud-Katanga Province, which was later merged back into Katanga. The President of Lualaba, from 1965 the governor, was Dominique Diur who held office from 23 September 1963 until 24 April 1966.
References
External links
Provinces of the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Lualaba%20Province |
Hernan Bas (born 1978 in Miami, Florida, United States) is an artist based in Miami, Florida. He graduated in 1996 from the New World School of the Arts in Miami.
Bas is known for his depictions of waifs and dandies, who are somewhat based on his own experiences, as well as his work with the material SlimFast and the paranormal. Overtime, Bas says, these characters have grown in his paintings and taken on different roles. Bas is gay and queerness often influences his work in the form of waifs and other young men, typically recurrent characters in his work.
Bas owns a building in Detroit that was renovated by Nicola Kuperus and Adam Lee Miller, the couple behind Detroit electronic music act Adult. The building is on a block called Service Street noted for the number of diverse and accomplished artists that work there, including techno music pioneer Derrick May.
Early life
Bas was born in 1978, in Miami, Florida and moved upstate to a small town as a young boy. Bas has described growing up in the town as "kind of like living in the 'X-Files," and has credited it with his interest in the paranormal. He says he had a "spooky childhood" full of "U.F.O. and Bigfoot sightings mixed with ghosts in the woods and a bunch of other bizarre occurrences."
Bas began painting at around three or four years old. He attended the art magnet program in the Miami public school system. Bas said that through the program he effectively began attending art school in seventh grade and by the time he graduated from New World in 1996, he was doing four hours of art every day. Because of his early art education, Bas did not feel that he needed any more formal training and left the Cooper Union after one semester.
Career
While Bas identifies himself as a painter, he has also experimented with other mediums such as film and also photography. He has built himself a dark room in the basement of his studio to continue experimenting with photography.
Bas' first solo exhibition in a commercial art gallery took place in 2001 at the Fredric Snitzer Gallery, and was called Hernan’s Merit & the Nouveau Sissies'. In 2004, Bas' artwork was displayed at the 2004 Whitney Biennial at the Whitney Museum in New York City. One year later, in 2005, Bas participated in two more group exhibits, The Triumph of Painting: Part III, at the Saatchi Gallery in London, England and in New Worlds - New Romanticism in Contemporary Art, at Schirn Kuntshalle, in Frankfurt, Germany. Also in 2005, Bas earned a fellowship to Giverny, France, where he got to paint on Claude Monet's estate. In 2007, Bas had a major presentation at the Rubell Family Collection in Miami, which travelled to the Brooklyn Art Museum in 2008. In 2009, Bas participated in the group exhibit "the Collectors," curated by Elmgreen & Dragset for the Nordic and Danish Pavilions at the 53rd Venice Biennale. In 2010, Bas moved his studio from Miami to Detroit, stating he enjoyed the "weirdness" of the city. In 2012, Bas had shows in New York, at the Lehman Maupin Gallery, and in Paris, at Galerie Perrotin, and South Korea.
Bas' artwork is part of the permanent collections of the Brooklyn Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York City. The Brooklyn Museum of Art displays the Aesthete's Toy (2004) and Night Fishing (2007) in the permanent collection. Bas has a total of eight works at the Museum of Modern Art in New York City, The Start of the Rain (2004), All By Myself (2004), Idyll in Elysium (2003), The Love of the Exiotic (2003), The One That Got Away (2003), Untitled (2003), The Whores of Venice (Version 1) (2003), and The Whores of Venice (Version 2). In Washington, D.C. he has artwork at the Hirshhorn Museum and Sculpture Garden, the Museum of Contemporary Art in Los Angeles, the Museum of Contemporary Art in North Miami, and the Museum of Modern Art in San Francisco. MOCA Los Angeles has four works by Bas in the permanent collection: Hell Hound, Parade Boy, My New Boyfriend, and Sleepwalker. The Museum of Contemporary Art in North Miami has three pieces by Bas in the permanent collection. The collection includes Fleeting Moments (2005), Slim Fast Silhouette (1999-2000), and Ghosts of You (2001).
Influences
Bas has described some of his influences as the lives of saints and the paranormal. He has also cited Oscar Wilde and Charles Baudelaire as inspirations, as well as Joris-Karl Huysman. He has indicated that most of his inspiration comes from the past and he does not pay attention to much contemporary work. His inspirations have also come from Miami, the city where he grew up, especially its "superficial beauty" with which he grew up around and made him feel unattractive as a "skinny boy." Bas also took inspiration from Joseph Beuys' use of painting with fat, as it was one of the first exhibits he saw. He also found inspiration in the Felix Gonzalez-Torres candy piles in his early work with slim fast, allowing his viewers to take a cup of slim fast with them.
Before Bas starts painting, he typically does research, which according to the artist involves reading and watching a lot of movies, which leads to Bas becoming "obsessively interested in any new stories or tales..." According to Bas, these stories can be both fictional or true, and he also looks into artists he may have not noticed before for inspiration. He then likes to "remix" his influences to create something of his own, a process inspired by his musician friends in Detroit who are asked to remix albums. Bas says that sometimes his friends create better remixes than the original song, his ultimate goal is to do the same with his paintings, "sampling" the artists who inspired him until they are unrecognizable as the original artist, becoming his own work instead.
Bas' homosexuality has also been an influence specifically in works like his series Bloodwerk, Bright Young Things, and Supernatural. In his earliest paintings, Bas' characters lived in what the artist described as "fag-limbo," which Bas described as the point between "realizing you're different and telling everyone else that you're different." Bas' artwork mostly consists of "waifs" who play a variety of roles from the Hardy boys to saints. In Bright Young Things, Bas indicated that he was trying to rewrite history to bring queerness to light in a time when it was not widely exposed, in the case of his series, the 1920s. Men's fashion magazines have also served as inspiration for Bas' "waif" figures.
Bas' interest in the paranormal and his sexuality have intersected within his artwork, as the artist says he developed a connection between the paranormal and the other-worldly with homosexuality. Bas says this connection can be seen in his painting, the primordial soup theory (2010). He says he connects homosexuality with the paranormal because he connects the "insane stuff" people perceive about homosexuality to be similar to how people view the paranormal.
Further reading
Chad Alligood, Hernan Bas: A Brief Intermission (Malaga: Centro de arte contemporáneo), 2019
Christian Rattemeyer, Jonathan Griffin, Nancy Spector, Hernan Bas (New York: Rizzoli), 2014
Michele Robecchi, René Zechlin, Hernan Bas: The Other Side (Berlin: Distanz), 2012
Mark Coetzee, Robert Hobbs, Dominic Molon, Hernan Bas: Works from the Rubell Family Collection (Miami: Rubell Family Collection), 2008
Nancy Spector, Massimiliano Gioni, Silvia Cubina, Hernan Bas: Soap Operatic (Miami: The Moore Space), 2004.
References
External links
Lehmann Maupin Gallery, New York
Victoria Miro Gallery, London
Fredric Snitzer Gallery, Miami
Sandroni Rey Gallery, Los Angeles
Galerie Peter Kilchmann, Zurich
1978 births
20th-century American painters
American male painters
21st-century American painters
Artists from Florida
Artists from Miami
American gay artists
American LGBT painters
Gay painters
Living people
20th-century American male artists | https://en.wikipedia.org/wiki/Hernan%20Bas |
The Sheffield, Ashton-under-Lyne and Manchester Railway was an early British railway company which opened in stages between 1841 and 1845 between Sheffield and Manchester via Ashton-under-Lyne. The Peak District formed a formidable barrier, and the line's engineer constructed Woodhead Tunnel, over long. The company amalgamated with the Sheffield and Lincolnshire Junction Railway and Great Grimsby and Sheffield Junction Railway companies, together forming the Manchester, Sheffield and Lincolnshire Railway in 1847.
In the twentieth century the line carried an exceptionally heavy freight traffic, and it was electrified in 1954; at that time a new Woodhead Tunnel was driven. In 1974 the major part of the route was closed to passenger trains, leaving passenger operation continuing only on the Manchester–Hadfield section, and in 1981 the line east of Hadfield closed completely. The Manchester–Hadfield–Glossop section and a branch to Stalybridge remain in use.
Origins
At the end of the 18th century the need for improved transport links between Manchester and Sheffield, only apart but separated by the upland Peak District, was increasing. The canal route involved a long northwards detour through the Pennines, and the journey took eight days.
In 1826 a land surveyor in Sheffield, Henry Sanderson, put forward a line to Manchester via Edale and a prospectus for a "Sheffield and Manchester Railway" was published in August 1830, with George Stephenson appointed to be the engineer.
There were concerns about the severity of the gradients on this line, which would involve rope-worked inclines. He suggested an alternative route, via Penistone, that would involve less tunnelling, and have gentler gradients which could be worked by locomotives, but this scheme too failed to attract support.
In 1835 Charles Vignoles was asked to examine another route, again via Woodhead and Penistone; and a new provisional company, the "Sheffield, Ashton-under-Lyne and Manchester Railway" was formed. This line could be worked by adhesion, and required only a tunnel. Vignoles and Joseph Locke were asked to make independent surveys, and in October met to reconcile any differences, at which time they decided that a longer tunnel at a lower level would reduce the approach gradients involved.
After parliamentary expenses of £18,000 (), the line obtained its authorising Act of Parliament on 5 May 1837. The only opposition came from the Manchester and Birmingham Railway, with whom it was agreed that the line from Ardwick would be shared as it entered a joint station in Manchester at Store Street.
Construction and first opening
The first sod was cut near the western end of the Woodhead Tunnel site on 1 October 1838. The following year the line had been marked out, land purchase was proceeding well, and construction had begun with Thomas Brassey as contractor. However a number of shareholders were defaulting on their payments, and there were concerns about the cost of construction. The Woodhead Tunnel would be built as a single-track bore to reduce costs. The relationship between the board and its engineer, Vignoles, was becoming strained, and Vignoles resigned. Joseph Locke agreed to act as engineer in a consultative capacity only, if the board would appoint resident engineers for the day-to-day supervision of the work.
In 1841 Locke reported that construction of the tunnel would probably cost £207,000 (), about twice the original estimate. Considerable volumes of water were encountered in the headings and more powerful pumps were acquired. In late 1841 the line was ready as far as Godley Toll Bar, a distance of , and the directors made an experimental trip over it on 11 November 1841. The Board of Trade inspecting officer, Sir Frederick Smith, passed the line as safe, and it was opened to the public on 17 November 1841. There was no opening ceremony, but each shareholder was sent a free ticket for travel on that day. The Manchester and Birmingham Railway's temporary station at Travis Street, Manchester, was used, pending the readiness of the Store Street terminal. The route was single track throughout as an economy measure, at first without any intermediate passing places. It shared the final approach from to Travis Street with the M&BR trains, on the M&BR track. Nearly 40% of gross passenger receipts were payable to the M&BR for the use of the short section of their line. Goods traffic was developed much more slowly.
The arrangements for safe working at the junction seem to have been lax, and the Manchester Guardian observed that
Some caution will be requisite here to prevent two trains... coming into contact at this point. This, of course, may be done by arranging the times, or by keeping the rails separate, which is indeed to be the case when the line is completed to the new Manchester station, but at the present, the proper precaution seems to be to stand a watchman there to keep a look-out on both lines, and see that when a train is arriving on one line, there is no train arriving on the other, or if there be, to make the signal to one of them to slacken speed.
Permanent way maintenance was put to contract.
Completion of the line, and a cancelled alliance
The M&BR and SA&MR opened the jointly-owned Store Street station in Manchester on 10 May 1842. The initial opening of a single line only proved impossibly constraining, and installation of double track was ordered early in 1842, together with construction on from Godley to Glossop. The line from Godley to was opened on 10 December 1842, and on to a "Glossop" station, later to be renamed , on 24 December 1842. There were six daily trains to Glossop supplemented by four to Newton & Hyde station. There were four to Glossop on Sundays. By November 1842 the stations were Manchester (Store Street), Ardwick, Gorton, Fairfield, Ashton, Dukinfield, Newton & Hyde, Broadbottom and Glossop. The Dukinfield station (called Dog Lane) was closed in 1845; another station, named simply was opened nearby in 1846, closing in 1847. There was also a Dukinfield station on the Stalybridge branch.
The main line was opened as far as Woodhead in 1844, with stations at Hadfield and Woodhead. Construction of Woodhead Tunnel was the next hurdle, but improved pumping machinery had been installed, enabling better progress.
Alliances and extensions of the network were in the minds of the directors. Encouragement was offered to a proposed Sheffield and Lincolnshire Junction Railway, to run from the SA&MR at Sheffield to Gainsborough. At the same time (1844) friendly relations with the Manchester and Birmingham Railway were further developed, and at length this led to a proposal by the M&BR with the Midland Railway to lease the SA&MR, giving those companies better access to Manchester. This seemed to be going well, and an authorising Act was passed, but the proposal was voted down in May 1845 by shareholders, who were persuaded that their line would be merely a remote satellite of the Midland Railway.
A branch line was being built from Ashton to . However disaster took place: on 19 April 1845 a nine-arch viaduct under construction collapsed: 17 workmen were killed.
On 9 June 1845 a short single line branch to was opened; powers were obtained in the 1846 parliamentary session to take it over from the Duke of Norfolk, who had caused it to be built. The branch joined the main line facing Manchester some distance to the east of the original Glossop station, now renamed Dinting.
The (unconnected) eastern section of the main line was opened on 14 July 1845; there were stations at Dunford Bridge, Penistone, Wortley, Deepcar, Oughty Bridge, Wadsley Bridge and a Sheffield station at Bridgehouses.
Finally on 22 December 1845 Woodhead Tunnel was ready and a ceremonial opening of the entire line, including the Stalybridge branch, took place; the following day it opened to the general public. The tunnel was at the time the longest in the country, at . Two extra stations were added at the site of previous coal sidings at and at .
Besides Woodhead, there were short tunnels at Audenshaw Road, Hattersley (two), Thurgoland and Bridgehouses. Among the bridges the two most notable were the Etherow Viaduct and the Dinting Viaduct, the latter with five central and eleven approach arches.
The completed network consisted of of main line, on the Stalybridge branch and on the Glossop branch.
1845: Expansion
The state of the money market considerably improved in 1844–45, and the Railway Mania took hold. The directors of the SA&MR saw that expansion was the way forward for the company. On 15 April 1845 a shareholders' meeting approved the submission of bills for the Manchester South Junction and Altrincham Railway, which would connect the line to the Liverpool and Manchester Railway, and the Barnsley Junction Railway, which would run from near Penistone to Barnsley and connect with the North Midland Railway at Royston. The Sheffield and Lincolnshire Junction Railway, from Sheffield to Gainsborough, was already approved. Supplementing this list were proposals for lines from Wortley through Thorncliffe to Chapeltown, and from Dukinfield to New Mills and on to a junction with the Buxton line of the Manchester and Birmingham Railway. The Barnsley Junction Railway might be extended to Pontefract, and exploratory meetings were opened with the promoters of a Boston, Newark and Sheffield Railway, and of a Hull and Barnsley Junction Railway. Not all of these lines were later authorised.
Of greatest significance was a meeting on 5 September 1845 between the SA&MR, the promoters of the Sheffield and Lincolnshire Junction Railway, and the Great Grimsby and Sheffield Junction Railway; the Grimsby Docks Company was included. The outcome was agreement to amalgamate the three concerns, forming a single railway connecting Manchester to Grimsby on the North Sea coast. The idea was developed and approved by Parliament on 27 July 1846, to be effective on 1 January 1847. The combined company would be named the Manchester, Sheffield and Lincolnshire Railway.
Part of the Manchester, Sheffield and Lincolnshire Railway
On the first day of existence of the new company, a connecting line from Bridgehouses station to the Sheffield station of the Midland Railway. It had originally been opened as the terminus of the Sheffield and Rotherham Railway; it was known as Sheffield Wicker station from 1852. The short steeply graded line was enclosed within a tunnel for almost its entire length, and was known locally as the Fiery Jack. It was used for wagon transfer purposes.
The through line required a better Sheffield station: a station was built, and opened on 15 September 1851, and named Victoria station.
An express passenger train service was run from Manchester to London, from 1857, in association with the Great Northern Railway. A timing of 5 hours 20 minutes was operated, the same time as on the rival London and North Western Railway (successor of the Manchester & Birmingham Railway), although that company soon accelerated its services to a speed that the MS&LR and GNR service could not match. For a time there was bitter hostility from the LNWR with some underhand tactics employed by it to discourage use of the rival service.
Woodhead Tunnel
There were a number of viaducts on the original line, although few survived into the 20th century in their original form. The principal engineering feature was Woodhead Tunnel. At in length it was the longest tunnel in the United Kingdom when built, and still the longest on the LNER system in 1947. It was originally planned to build a double-track tunnel, but to economise a single-track bore was made. The track rose at 1 in 201 towards the east.
No less than 157 tons of gunpowder were used for blasting and eight million tons of water were pumped out, whilst the total quantity of excavation was , about half of this being drawn up the shafts. It was completed at a cost in the region of £200,000. The formal opening of the Woodhead tunnel and of the whole line between Manchester and Sheffield took place on 22 December 1845, more than seven years after the first ground had been broken.
Special precautions were taken to ensure against accidents during operation through the tunnel. An SA&MR pilot engine was stationed at the tunnel and attached to the front of every train that passed through. On the front of the engine was fixed an argand lamp, with a large polished metal disc for reflection, so that a powerful beam of light was thrown forward on the track ahead. A contemporary newspaper account also stated that "Cooke & Wheatstone's patent magnetic telegraph was being fixed in the tunnel with an index, etc., at the stations at each end, capable of being worked by the station clerks."
The single line through the Woodhead tunnel soon proved to be an acute bottleneck and in 1847 (after the formation of the Manchester, Sheffield and Lincolnshire Railway) work upon a second bore was begun. This new tunnel, which was to accommodate the up road (towards Manchester), was driven alongside the original one, it opened on 2 February 1852.
After the Manchester, Sheffield and Lincolnshire
The Manchester, Sheffield and Lincolnshire Railway was renamed the Great Central Railway on 1 August 1897.
In 1923 most of the main line railways of Great Britain were "grouped" in to one or other of four new large companies. The Great Central Railway was a constituent of the new London and North Eastern Railway.
In 1936 the LNER approved a scheme for electrifying the whole line from Manchester via Sheffield to , together with the branches from to , from to and from to and – a total of . The system chosen was 1,500 V DC with overhead wires. All freight as well as passenger traffic was to be hauled by electric traction. For many years about 80 trains travelled through the tunnel each way, each day, of which 90% were loaded or empty coal workings and ventilation was a major problem. The decision to electrify was made as much to increase line capacity as any other consideration. Electrification work was well in hand before the advent of war in 1939 stopped it. In 1946–47 each bore of Woodhead Tunnel in turn was closed for 9 months for major repairs. However, following the nationalisation of railways in 1948, it was decided to close them permanently and bore a new double-track tunnel alongside, with enough clearance for the overhead electrification catenary. The new tunnel was long. It was opened by the Minister of Transport on 3 June 1954. The two old tunnels were later sealed off, and they were later purchased by the Central Electricity Generating Board to carry power cables through the Pennines.
On 5 January 1970 the passenger service between and over the Woodhead route was withdrawn; the electric commuter service from Manchester to Glossop and Hadfield continued in operation. Freight trains were withdrawn on the Woodhead route on 18 July 1981 and the line between Hadfield and Penistone was then closed completely. The line between Penistone and Sheffield remained in use by diesel Sheffield–Huddersfield trains, but with all intermediate stations including Sheffield Victoria having closed, trains had to reverse at Nunnery Junction to enter Sheffield Midland station. On 13 May 1983 these trains were diverted via and the ex-Midland route; the track between Penistone and was lifted, however the line from Deepcar to Nunnery Junction remains, single track, to serve the Fox steelworks.
On 10 December 1984, Manchester to Glossop and Hadfield electric trains started running at 25 kV AC (the same system as used on the West Coast Main Line which it adjoined) following conversion from the old 1500 V DC system. The system continues in use at the present day. The Stalybridge branch remains in use by local and express trains from Manchester Piccadilly to and .
Station list
Main line
Manchester Store Street (or "Bank Top"); opened jointly with the Manchester and Birmingham Railway 10 May 1842; named Manchester London Road from 1844; renamed 12 September 1960; still open;
Travis Street; temporary terminus opened by the M&BR 4 June 1840; served by SA&MR trains from 17 November 1841; closed 10 May 1842;
; opened 20 November 1842; still open;
; opened July 1855; still open;
; opened 23 May 1842; still open;
Fairfield; opened 17 November 1841; re-sited to the east 2 May 1892; still open;
Ashton & Hooley Hill; opened 17 November 1841; renamed 1845; still open;
Dukinfield (Dog Lane); opened 17 November 1841; closed 23 December 1845; reopened nearby as 1 May 1846; closed 1 November 1847;
(; opened 13 May 1985; still open;)
Newton; opened 17 November 1841; from 1848; still open;
; opened 17 November 1841 as temporary terminus; closed 11 December 1842;
Godley Junction; opened 1 February 1866; renamed Godley 6 May 1974; renamed 7 July 1986; closed after last train on 27 May 1995;
(; opened 7 July 1986; still open;)
Broadbottom; opened 11 December 1842; renamed Mottram 1845; Mottram & Broadbottom 1 July 1884; Broadbottom for Charlesworth 1 January 1954; 1955; still open;
Glossop; opened 25 December 1842; renamed Dinting 9 June 1845; closed 1 February 1847; see next;
Glossop Junction; opened 9 June 1845; renamed Dinting February 1847; renamed Glossop & Dinting 10 July 1922; renamed 26 September 1938; still open;
Hadfield; opened 8 August 1844; renamed Hadfield & Tintwistle between 1862–63 and 1880–81; Hadfield for Hollingworth 12 October 1903; from 1955;
; opened 1 July 1861; closed 4 February 1957;
; opened 8 August 1844; closed 27 July 1964;
; opened 14 July 1845; closed 5 January 1970;
; opened 1 May 1846; closed 1 November 1847; reopened January 1849; closed 6 March 1950;
; opened 14 July 1845; relocated at junction with the L&YR 1 February 1874; still open;
; opened 5 December 1845; closed 1 November 1847;
; probably opened soon after 5 December 1845; closed 1 November 1847;
; opened 14 July 1845; closed 2 May 1955;
; opened 14 July 1845; closed 15 June 1959;
Oughtibridge or opened 14 July 1845; closed 15 June 1959;
; opened 14 July 1845; closed 15 June 1959;
; opened 1 July 1888; closed 28 October 1940;
Sheffield (); opened 14 July 1845; closed 15 September 1851 (when station was opened by the amalgamated MS&LR).
Stalybridge branch
(as above);
Dukinfield; opened 23 December 1845; resited to south west March 1863; renamed 1954; closed 4 May 1959;
Park Parade or ; opened 23 December 1845; closed 5 November 1956;
; opened 23 December 1845; junction with LNWR from 1848; still open.
Glossop branch
(as above);
; opened 1 July 1845; renamed Glossop Central 10 July 1922; renamed Glossop 6 May 1974; still open.
Chief officers
Chairman
James Stuart-Wortley, 1st Baron Wharncliffe 1837–1840
John Parker MP 1840–1846
John Chapman 1846
Deputy Chairman
William Sidebottom 1837–1843
John Chapman 1843–1846 (then Chairman)
Secretary
Thomas Asline Ward 1837–1838
Charles Thompson 1838–1841
John Platford 1841–1845
James Meadows 1846
Engineer-in-Chief
Charles Blacker Vignoles 1838–1839
Joseph Locke 1840–1846
Alfred Stanistreet Lee 1846
Resident Engineer
Alfred Stanistreet Lee 1840–1846
John Bass 1846
Notes
References
Early British railway companies
Defunct companies based in Sheffield
Railway lines in Yorkshire and the Humber
Railway companies established in 1837
Railway lines opened in 1841
Railway companies disestablished in 1846
Manchester, Sheffield and Lincolnshire Railway
Woodhead Line
British companies established in 1837
British companies disestablished in 1846 | https://en.wikipedia.org/wiki/Sheffield%2C%20Ashton-under-Lyne%20and%20Manchester%20Railway |
Christoph Ruckhäberle (born 1972, Pfaffenhofen an der Ilm, West Germany) is an artist based in Leipzig. Ruckhäberle studied at the California Institute of the Arts from 1991 to 1992, and received his BFA in painting in 1995 and his MFA in 2002 from Hochschule für Grafik und Buchkunst in Leipzig. He is associated with the New Leipzig School.
His work has been shown in many exhibitions including the 2nd Prague Biennale, plus the LIGA Gallery in Berlin and Marianne Boesky in New York City. Ruckhäberle has also exhibited at galleries including Arario Gallery in Korea, Nicolai Wallner in Copenhagen, Denmark and Ghislaine Hussenot in Paris, France. Ruckhäberle is represented by Campoli Presti in London and Paris, Nicolai Wallner in Copenhagen, Galerie Kleindienst in Leipzig and Zieher Smith & Horton in New York.
External links
Christoph Ruckhäberle at Zieher Smith & Horton
Christoph Ruckhäberle CV
Review of Christoph Ruckhäberle at ZieherSmith
Review of Christoph Ruckhäberle at Zach Feuer Gallery
Christoph Ruckhäberle at Campoli Presti
Christoph Ruckhäberle at Nicolai Wallner
Christoph Ruckhäberle – Painting – Saatchi Gallery
Christoph Ruckhäberle at Galerie Kleindienst
1972 births
20th-century German painters
20th-century German male artists
German male painters
21st-century German painters
21st-century German male artists
Living people
German contemporary artists
People from Pfaffenhofen (district)
Hochschule für Grafik und Buchkunst Leipzig alumni | https://en.wikipedia.org/wiki/Christoph%20Ruckh%C3%A4berle |
Major-General Lord George William Russell (8 May 1790 – 16 July 1846) was a British soldier, politician and diplomat. He was the second son of the 6th Duke of Bedford and brother to John Russell, the Whig and Liberal Prime Minister. His children were Blanche Russell, Francis Russell, 9th Duke of Bedford, Arthur Russell the Whig and Liberal MP for Tavistock and Odo Russell, the British diplomat and first British Ambassador to the German Empire.
Life
Upon gaining the rank of lieutenant in the 1st Dragoon Guards, Russell was appointed aide-de-camp (ADC) to Sir George Ludlow on his Copenhagen Expedition in 1807. During the Peninsular War he fought in the Battle of Talavera on 27 July 1809 where he was wounded. He was then ADC to General Thomas Graham in 1810 and fought at the Battle of Barossa in 1811. He was ADC to Viscount Wellington (later the Duke of Wellington) in 1812 and again in 1817, when the Duke was Ambassador in Paris.
The second son of John Russell, 6th Duke of Bedford and brother of Prime Minister of the United Kingdom Lord John Russell, he sat as Member of Parliament (MP) for Bedford from 1812 until 1830. He was invested as a Companion, Order of the Bath (CB) in 1831. He held the office of Minister to Lisbon in August 1833, the office of Minister to Württemberg in November 1833 and the office of Ambassador to Berlin in 1835. He was invested as a Knight Grand Cross, Order of the Bath (GCB) in 1838 and gained the rank of major-general in November 1841.
Russell married Elizabeth Anne Rawdon, granddaughter of Elizabeth Rawdon, Countess of Moira. The couple were the parents of Blanche Russell, Francis Russell, 9th Duke of Bedford, Lord Arthur John Edward Russell and Odo Russell, 1st Baron Ampthill.
References
Bibliography
Lloyd, E. M. & Seccombe, T. "Russell, Lord George William (1790–1846)", rev. James Falkner, Oxford Dictionary of National Biography, Oxford University Press, 2004 , (Retrieved 28 Feb 2006) (subscription required)
External links
1790 births
1846 deaths
Ambassadors of the United Kingdom to Prussia
British Army major generals
British Army personnel of the Peninsular War
Knights Grand Cross of the Order of the Bath
G
Members of the Parliament of the United Kingdom for English constituencies
UK MPs 1812–1818
UK MPs 1818–1820
UK MPs 1820–1826
UK MPs 1826–1830
Younger sons of dukes | https://en.wikipedia.org/wiki/Lord%20George%20Russell |
Till Gerhard (born 1971) is a German artist based in Hamburg.
Life and work
Till Gerhard was born in Hamburg, Germany. He studied at Muthesius Hochschule fur Kunst und Gestaltung, Kiel (1992–93) and the Hochschule fur angewandte Wissenschaften, FB Gestaltung Professor Dieter Glasmacher, Hamburg (1993–98).
Gerhard paints large-scale canvases of rural communities, but with an unsettling atmosphere. Images include a cabin in the woods or a skyline dotted with refineries. He uses delicate spills of colour and heavy brushwork, as well as drips, splashes and smears.
He has exhibited in shows including Ohne uns hatte man Beton at SKAMraum, Hamburg, Nerdism at Zeughaus, Hamburg and Ein Tag, Ein Raum, Ein Bild at Sebastien Fath Contemporary in Mannheim. Gerhard has shown at the San Francisco Museum of Modern Art, Arndt & Partner in Zurich and Stellan Holm Gallery in New York.
He is represented by Stellan Holm [Gallery New York], Galleri K in Oslo and Ikon Ltd. in California.
See also
List of German painters
References
External links
Gerhard at the Saatchi Gallery, London
Stellan Holm Gallery, New York
Galleri K, Oslo
1971 births
20th-century German painters
20th-century German male artists
German male painters
21st-century German painters
21st-century German male artists
Living people | https://en.wikipedia.org/wiki/Till%20Gerhard |
The purple-throated mountaingem (Lampornis calolaemus) is a species of hummingbird in tribe Lampornithini of subfamily Trochilinae. It is found in Costa Rica, Nicaragua, and Panama.
Taxonomy and systematics
The purple-throated mountaingem's taxonomy is somewhat unsettled. As late as 1999 various authors have treated it, the white-throated mountaingem (L. castaneoventris) and gray-tailed mountaingem (L. cinereicauda) as a single species. Others have kept the purple-throated separate but lumped the other two as a single species. These three species form a closely related group that evolved some 3.5 million years ago and has diversified since.
The purple-throated mountaingem currently (2022) is its own species with three subspecies, the nominate L. c. calolaemus, L. c. pectoralis, and L. c. homogenes.
Description
The purple-throated mountaingem is long and weighs .
Both sexes of all subspecies have a medium-length straight black bill, a white to pale buff stripe behind the eye, and a fairly long tail.
Adult males of the nominate subspecies L. c. calolaemus have a glittering emerald green to bluish green forehead and crown. The rest of their upperparts are metallic bronze-green that shades to bluish or grass green on the uppertail coverts. Much of the face is dusky bronze green and the gorget is metallic violet or purple. The breast is bright metallic green with duller flanks and belly that tend to bronzy green or gray. The undertail coverts are deep bronzy gray with paler gray margins. The tail is dull blue-black.
Adult females of the nominate subspecies have bright metallic green upperparts that are somewhat bluish on the uppertail coverts and a bit bronzish elsewhere. The face is mostly blackish. The throat, breast, and belly are tawny yellow and the undertail coverts dull white to tawny buff. The central tail feathers and the upper half of the others are dull metallic green or bronze green. The lower half of the outer tail feathers are mostly black with pale gray tips.
Immature males of the nominate subspecies are much like the adult female, but with a dusky chin and throat and brownish gray undertail coverts with dull white margins.
Males of subspecies L. c. pectoralis have a deeper purple gorget than the nominate. The green of their neck and upperatail coverts is significantly darker than the nominates, and their belly and undertail coverts are also darker, with a smaller area of metallic green on the breast.
Males of subspecies L. c. homogenes are similar to those of the nominate but have a darker gray breast and belly. Females' upperparts are more bluish green than the nominate's, their central tail feathers darker bronze-green, and their underparts darker and more reddish.
Distribution and habitat
Subspecies L. c. pectoralis of purple-throated mountaingem is found from far southwestern Nicaragua to the Cordillera de Guanacaste in northwestern Costa Rica. The nominate L. c. calolaemus is found in the Coreillera Central and northern part of the Cordillera de Talamanca of northern and central Costa Rica. L. c. homogenes is found in western Panama from Chiriquí Province to Coclé Province and probably also in southern Costa Rica.
The species inhabits humid montane evergreen forest and cloudforest, where it favors steep slopes and broken terrain. In central Costa Rica it ranges in elevation from and is found as low as in northern Costa Rica.
Behavior
Movement
In some areas the purple-throated mountaingem moves to as low as after the breeding season.
Feeding
The purple-throated mountaingem feeds mostly on nectar. Males defend patches of flowers from other hummingbird species, from males of its own species, and also from females after courtship. Females are less territorial and often feed by trap-lining.
The species takes nectar from a wide variety of flowers. It is the primary pollinator of Psychotria elata and Palicourea lasiorrachis (Rubiaceae).
Females have slightly longer bills than males. There is some degree of niche differentiation between the sexes. Though both prefer flowers with a corolla long by wide, females far more often than males utilize plants with longer and thinner corollas.
Like most hummingbirds, the purple-throated mountaingem also feeds on insectes. Males capture them by hawking from a perch. Females hover-glean, often beating their wings against foliage which apparently flushes prey.
Breeding
The purple-throated mountain-gem breeds between October and April, the rainy season. The female is entirely responsible for nest building, incubation, and nestling care. The nest is a thick-walled open cup of plant fibers with moss and lichen on the outside. It is placed in the understory, on bamboo or in a small tree, and typically about above the ground. The female incubates the clutch of two white eggs for 17 to 18 days and fledging occurs 22 to 23 days after hatch.
Vocalization
The purple-throated mountaingem's song is "high, thin, and dry, a complex medley of sputtering and warbling notes." A frequently heard call is variously described as "trrrt" or "a sharp, penetrating, buzzy zeet or zeep." It also gives "higher-pitched, scratchy, chattering notes" when interacting with other hummingbirds.
Status
The IUCN has assessed the purple-throated mountaingem as being of Least Concern. Its population is estimated to be between 50,000 and 500,000 mature individuals but is thought to be decreasing. No specific threats have been identified. Though some of its habitat has been altered by humans, much remains untouched, and "studies attest to the strong resiliency of Purple-throated Mountain-gem populations in the face of habitat alteration."
Gallery
Notes
References
Further reading
External links
purple-throated mountaingem
Birds of Nicaragua
Birds of the Talamancan montane forests
purple-throated mountaingem
purple-throated mountaingem | https://en.wikipedia.org/wiki/Purple-throated%20mountaingem |
Daniel Bonifacius von Haneberg (16 June 1816 in Tanne near Kempten – 31 May 1876 in Speyer) was a German Catholic bishop and orientalist.
Early studies and career
He began his classical course at Kempten, where he pursued the studies prescribed by the curriculum, and mastered several Oriental languages (Hebrew, Arabic, Syriac, Persian, and Ethiopic). He next went to Munich, where he completed his elementary studies in the gymnasium, and followed the courses of philosophy and theology in the university.
While a theological student, he cultivated Sanskrit and Chinese over and above the Oriental languages with which he was already acquainted, translated a few works of Cardinal Wiseman, contributed several essays and poems to various German periodicals, and prepared for the Catholic priesthood. He took his degree of Doctor of Theology at the University of Munich in 1839, and was ordained priest at Augsburg, on 29 August of the same year.
The following November he qualified for a Privatdozent in the University of Munich by his thesis "De significationibus in Veteri Testamento præter literam valentibus" (Munich, 1839), and began in December his career of thirty-three years as a lecturer of the Old Testament. In 1841, he became extraordinary professor of Hebrew and of Holy Scripture in the same university, and in 1844 ordinary professor. His lectures, wherein he displayed a solid learning, a constant discretion, and a deep piety, were attended with great profit and delight by an increasing number of students not only from Bavaria, but also from the other German States, and soon caused him to be regarded as one of the most prominent Catholic professors of his day.
He carried out the duties of his priestly calling, such as preaching, attendance at the confessional, answers to sick-calls, etc. His learning and still more his virtues, secured for him great favor at the Bavarian court, and he acted as tutor in the families of the Duke Maxmilian and Prince Leopold.
In 1850, he joined the Order of St. Benedict, and a few years afterwards (1854) was chosen abbot of the Benedictine monastery of St. Boniface at Munich. He soon founded the Reform School at Andechs in Upper Bavaria, and a little he tried, but with small success, to establish missions of his order in Algiers and in the Orient.
As bishop
At the approach of the Vatican Council he was invited by Pope Pius IX to share in the labours preparatory to that assembly. After the dogma of papal infallibility had been solemnly proclaimed by the Council (18 July 1870), and publicly accepted by the German Bishops assembled at Fulda, (end of August, 1870), Hanneberg humbly gave up his former views concerning this point of doctrine, and sincerely submitted to the authority of the Church.
From 1864 onwards, several episcopal sees had been offered him, but he had declined them all. At length, however, on his presentation by the King of Bavaria for the Bishopric of Spires and at the instance of the Sovereign Pontiff, the humble abbot accepted that see, and was consecrated 25 August 1872. His zeal and success in the government of this diocese fully justified his selection for the episcopal dignity. In days of opposition to Catholicism in Germany — the days of the framing and application of the Falk Laws (1872-1875) — he fought against the encroachments of the civil power on the ecclesiastical jurisdiction. He also strenuously, though not always successfully, combated the influence of the Old Catholics of the time. He was most unsparing of himself in his confirmation tours, although the bodily fatigues thus entailed were far too much for his failing strength. After a few days of sickness he succumbed (31 May 1876) to pneumonia, which he had contracted in one of those episcopal tours, and was lamented by both clergy and people who revered him as a saint.
Works
Haneberg was a distinguished and prolific writer. During the years 1840 and 1841 he worked on his "Die religiösen Alterthümer der Hebrüer", and in 1844 he published his "Einleitung in das Alte Testament" as a text-book for his lectures. In the course of time, he recast both these works, the former of which passed to the second edition in 1869 under the title of "Die religiösen Alterthümer der Bibel", and the latter of which appeared rewritten as "Geschichte der biblischen Offenbarung," and was rendered into French by Isadore Goschler (Paris, 1856), reaching a fourth edition in 1876.
Besides these, his best-known works, he published several others which were chiefly the fruit of his Hebrew and Arabic studies, and formed his contribution to the Journal of the Oriental Society and to the transactions of the Bavarian Academy of Sciences of which he became a member in 1848. Among these latter works the following may be mentioned:
"Ueberdie arabische Psalmenübersetzung des Saadia"
"Uber das Schulwesen der Mohammedaner"
"Erörerungen über Bendo-Wakidi's Geschichte der Eroberung von Syrien"
"Ueber die Theologie des Aristotles"
"Canones S. Hippolyti arabice e codicibus romanis cum versione latinâ, annotationibus, et prolegomenis."
He found time also for contributing articles to the Kirchenlexicon of Wetzer and Weite.
References
1816 births
1876 deaths
People from Oberallgäu
Roman Catholic bishops of Speyer
German orientalists
German Benedictines
19th-century German Roman Catholic bishops
German male non-fiction writers
Deaths from pneumonia in Germany | https://en.wikipedia.org/wiki/Daniel%20Bonifacius%20von%20Haneberg |
Joanne Greenbaum (born 1953) is an American artist, known for her abstract paintings and small sculptures. She is based in New York City, and has previously worked in Neukölln in Berlin.
Early life and education
Joanne Greenbaum was born in 1953, in New York City. Greenbaum received her BA degree in 1975 from Bard College, where she studied under the direction of Elizabeth Murray.
Work
Greenbaum has exhibited her artwork internationally at places such as MoMA PS1, the Kusthalle Düsseldorf, the Nerman Museum of Contemporary Art, and the Haus Konstruktiv, among others.
Art critic John Yau writes of Greenbuam's process: "Working within a smaller surface area, and in her own words, doing 'just one thing' at a time, Greenbaum paints incrementally, adding a new layer upon whatever preceded it." Greenbaum uses mixed media some of which is not conventional, including oil paint, acrylic paint, magic marker, and others. Her paintings have been described as "geological", with each layer forming a distinct strata and she doesn’t remove any of the layers.
Starting in 2004, Greenbaum started to create abstract, small ceramic sculptures after enrolling in a ceramics class at Greenwich House.
Greenbaum received a Guggenheim Fellowship in 2001.
References
External links
Joanne Greenbaum - Nothing Major
1953 births
Bard College alumni
Living people
20th-century American painters
21st-century American painters
Painters from New York (state)
American women painters
20th-century American women artists
21st-century American women artists | https://en.wikipedia.org/wiki/Joanne%20Greenbaum |
In programming, a docstring is a string literal specified in source code that is used, like a comment, to document a specific segment of code. Unlike conventional source code comments, or even specifically formatted comments like docblocks, docstrings are not stripped from the source tree when it is parsed and are retained throughout the runtime of the program. This allows the programmer to inspect these comments at run time, for instance as an interactive help system, or as metadata.
Languages that support docstrings include Python, Lisp, Elixir, Clojure, Gherkin, Julia and Haskell.
Implementation examples
Elixir
Documentation is supported at language level, in the form of docstrings. Markdown is Elixir's de facto markup language of choice for use in docstrings:
def module MyModule do
@moduledoc """
Documentation for my module. With **formatting**.
"""
@doc "Hello"
def world do
"World"
end
end
Lisp
In Lisp, docstrings are known as documentation strings. The Common Lisp standard states that a particular implementation may choose to discard docstrings whenever they want, for whatever reason. When they are kept, docstrings may be viewed and changed using the DOCUMENTATION function. For instance:
(defun foo () "hi there" nil)
(documentation #'foo 'function) => "hi there"
Python
The common practice of documenting a code object at the head of its definition is captured by the addition of docstring syntax in the Python language.
The docstring for a Python code object (a module, class, or function) is the first statement of that code object, immediately following the definition (the 'def' or 'class' statement). The statement must be a bare string literal, not any other kind of expression. The docstring for the code object is available on that code object's __doc__ attribute and through the help function.
The following Python file shows the declaration of docstrings within a Python source file:
"""The module's docstring"""
class MyClass:
"""The class's docstring"""
def my_method(self):
"""The method's docstring"""
def my_function():
"""The function's docstring"""
Assuming that the above code was saved as , the following is an interactive session showing how the docstrings may be accessed:
>>> import mymodule
>>> help(mymodule)
The module's docstring
>>> help(mymodule.MyClass)
The class's docstring
>>> help(mymodule.MyClass.my_method)
The method's docstring
>>> help(mymodule.my_function)
The function's docstring
>>>
Tools using docstrings
cobra -doc (Cobra)
doctest (Python)
Epydoc (Python)
Pydoc (Python)
Sphinx (Python)
See also
Literate programming – alternative code commenting paradigm
Plain Old Documentation – Perl documentation
References
External links
Python Docstrings at Epydoc's SourceForge page
Documentation in GNU Emacs Lisp
Section from the doxygen documentation about Python docstrings
Programming constructs
Lisp (programming language)
Python (programming language)
Software documentation
String (computer science) | https://en.wikipedia.org/wiki/Docstring |
My Friend the Chocolate Cake are an Australian chamber pop group formed in 1989 by mainstays David Bridie on vocals and keyboards and Helen Mountfort on cello and backing vocals (both ex-Not Drowning, Waving). They have released seven studio albums with two reaching the ARIA Albums Chart top 50, Brood (1993) and Good Luck (1996). These two albums have both won the ARIA Award for Best Adult Contemporary Album; in 1995 and 1997.
History
1989–1992: Career beginnings
My Friend the Chocolate Cake were formed initially as an acoustic side project in 1989 by David Bridie on vocals, piano, harmonium and keyboards and Helen Mountfort on cello and backing vocals. Bridie and Mountfort were members of an ambient, world music ensemble not drowning, waving. In 1989, Bridie had taken a holiday to New Zealand and had written "a few more breezy compositions" that did not fit into the style of not drowning, waving. Upon return to Melbourne, Mountford joined his project with her own writing.
My Friend the Chocolate Cake took their name from a song title by an obscure Sydney band, Ya Ya Choral. Bridie admitted that one reason they chose an all-acoustic act was so they did not have to carry around amplifiers. Charles Miranda of The Canberra Times observed, "[their] emotive, in some instances ambient tunes, takes you to places you've been to in the past or would like to go to in the future."
Although the intention was to play a handful of shows, the band developed a following after securing a residency at Madigan's, a now-defunct venue in Brunswick. By 1990 Bridie and Mountfort were joined in the group by Russell Bradley on percussion, Andrew Carswell on mandolin, Hope Csutoros on violin and Andrew Richardson on guitar. With a budget of $800, the group released their debut self-titled album, My Friend the Chocolate Cake, in 1992 and it peaked at number 109 on the ARIA Charts in April of that year. It was co-produced by Bridie, Carswell and Mountfort with Tim Cole for Warner/East West. Ian McFarlane, an Australian musicologist, cited music journalist, Bruce Elder's review of the album in Rolling Stone Australia, "one of the best albums of high-art pop ever recorded in Australia." The album's lead single "A Midlife's Tale (Get It Back Now)" peaked at number 134 on the ARIA singles chart.
1993–1997: Brood and Good Luck
The group began recording their second studio album in mid-1993, while maintaining performances between not drowning, waving and My Friend the Chocolate Cake. Brood was released in July 1994. McFarlane described how it, "[showed] a more serious aesthetic at work. [It] had been recorded with a generous budget and mixed in New York... [and] featured an intimate, accessible sound that ranged from the uptempo pop of the [second] single 'Throwing It Away' to the gentle ballad 'The Old Years'." Brood peaked at No. 32 on the ARIA Albums Chart. By that time Bradley was replaced by Michael Barker on percussion and drums (ex-Daryl Braithwaite, the Black Sorrows). The lead single, "I've Got a Plan", was released in November 1994. At the ARIA Music Awards of 1995, Brood won the ARIA Award for Best Adult Contemporary Album. Barker was replaced in turn during 1995 by Greg Patten on drums.
My Friend the Chocolate Cake's third album, Good Luck was co-produced by Bridie and Mountfort with Jeremy Allom and was released in 1996. It peaked at No. 44 on the ARIA Albums Chart. McFarlane opined, "among the band's most accomplished and direct statements to date." At the ARIA Music Awards of 1997, it won ARIA Award for Best Adult Contemporary Album. The group played a sell-out show at Edinburgh Festival in Scotland and toured Europe. They followed with a live album, Live at the National Theatre, in December 1997.
1998–2009: Curious and Home Improvements
From 1998 the group went into hiatus while Bridie developed an interest in the musical environment of Papua New Guinea and moved there in 2000. Bridie began experimenting with the local string music scene, with a band called Hotel Radio.
In 2000, My Friend the Chocolate Cake's contract with Mushroom Records ended and they decided to represent themselves independently. Gathering in 2002 the group released their fourth studio album, Curious, in May of that year, via Capitol Records. It was co-produced by Bridie, Mountfort and Christian Scallan. It peaked at No. 14 on the ARIA Australasian Artists Albums chart and No. 19 on the related Alternative Albums chart. They followed with another hiatus from 2003.
In 2005 independent Australian label Liberation Music re-released My Friend the Chocolate Cake's back catalogue.
The band resumed recording in 2006 and released their fifth studio album, Home Improvementsin March 2007 – its title refers to its lyrical observations of suburban Australian life, a reoccurring theme in the band's music. The album reached the ARIA Albums Chart top 100.
Andrew Carswell retired from performing in July 2010.
2011–2018: Fiasco and The Revival Meeting
In February 2011, the group released "25 Stations", the lead single from their sixth studio album, Fiasco, released in April 2011. Bridie admitting that Carswell's departure had removed a part of their folky element. In May 2014, the band released Best Cake in Show, a compilation of live tracks. In January 2016, the group performed a one-off concert with Archie Roach at the Sydney Opera House.
Their seventh studio album, The Revival Meeting, was self-released in May 2017. In June 2018 the group announced "the upcoming MFTCC shows will be their last shows for some years, as they will be taking an indefinite hiatus to pursue other projects".
Musical style
My Friend the Chocolate Cake's music can be seen to straddle the worlds of ambient and world music, with an emphasis on piano and violin-led acoustic music. The band's collective musical influences are diverse and include: Penguin Cafe Orchestra, Irish and Scottish folk music, Joy Division, Arvo Pärt, and folk / pop / rock performers such as Billy Bragg, Talk Talk, John Cale and Michelle Shocked.
Television
In the 1990s, the song "The Romp" was frequently used on promotional adverts on Australia's ABC channel. A number of the band's songs have appeared in the Australian adolescent television drama Heartbreak High including "Salt", "Your Ship Is Gone" and "Talk About Love". "I've Got a Plan" was used in episodes of the Australian soap opera, Home and Away, broadcast in the UK on 16 March 2012.
Discography
Studio albums
Live album
Compilation album
Singles
Awards
ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. My Friend the Chocolate Cake has won 2 awards from 2 nominations.
!
|-
| 1995
| Brood
| Best Adult Contemporary Album
|
|
|-
| 1997
| Good Luck
| Best Adult Contemporary Album
|
|
|-
References
General
Note: Archived [on-line] copy has limited functionality.
Specific
External links
Bandcamp page
ARIA Award winners
Musical groups from Melbourne | https://en.wikipedia.org/wiki/My%20Friend%20the%20Chocolate%20Cake |
Fiji's Constituency Boundaries Commission was a civil service body charged under the 1997 Constitution of Fiji with determining the boundaries of electoral constituencies for the House of Representatives.
The Commission was established by Sections 75 through 77 of the Constitution. It had three members. One was chosen by the Prime Minister and one by the Leader of the Opposition. The third member was the Chairperson, chosen by the President, after consulting with both the Prime Minister and the Leader of the Opposition.
The chairperson must possess the qualifications required of a member of the Judiciary. Barred from membership were persons who are or have been in the preceding four years members of either house of Parliament or of a municipal council, or employed as civil servants. This was to safeguard the political impartiality of the commission.
The last commission was appointed in March 2005 for a term of twelve months. Its membership was as follows:
Barrie Sweetman (chairman)
Ratu Epeli Kanaimawi
Rajeshwar Singh
Malakai Nagia served as secretary to the commission.
The commission recommended changes to its functions. The Fiji Live news service reported on 28 February 2006 that it proposed sitting in the year following a parliamentary election. It also called for changes allowing for it to be appointed three years before a subsequent election, and for its work to be completed a year before an election.
The commission became redundant with the 2013 Constitution, which established a single multi-member constituency for all 50 Members of Parliament.
Boundaries Commission | https://en.wikipedia.org/wiki/Constituency%20Boundaries%20Commission%20%28Fiji%29 |
Barnaby Furnas, (born Philadelphia, Pennsylvania 1973), is an American painter and former graffiti artist who lives and works in New York City. He studied at the School of Visual Arts in New York and received a BFA in 1995 before going on to study at Columbia University in New York, receiving an MFA in 2000. He makes his own paint from pigment mixed with urethane.
Exhibitions
Furnas’s work has been exhibited widely internationally at galleries and museums such as the Baltic Centre for Contemporary Art in Gateshead in the UK, Kunsthalle Wien in Austria, Museum of Contemporary Art, Chicago, Museo d'Arte Moderna di Bologna, The Whitney Museum of American Art in New York, and The Royal Academy in London. He is represented by Marianne Boesky Gallery in New York and Victoria Miro Gallery in London.
External links
The Saatchi Gallery Information on Barnaby Furnas including artworks, text panels, articles, and full biography
Artforum review, November, 2003.
1973 births
Living people
Painters from Philadelphia
20th-century American painters
American male painters
21st-century American painters
21st-century American male artists
School of Visual Arts alumni
Columbia University School of the Arts alumni
20th-century American male artists | https://en.wikipedia.org/wiki/Barnaby%20Furnas |
Lomami is one of the 21 new provinces of the Democratic Republic of the Congo created in the 2015 repartitioning. Lomami, Kasaï-Oriental, and Sankuru provinces are the result of the dismemberment of the former Kasaï-Oriental province. Lomami was formed from the Kabinda district and the independently administered city of Mwene-Ditu. The town of Kabinda was elevated to capital city of the new province.
See also
Kasai region
References
External links
Archive of official website in 2017
01
Provinces of the Democratic Republic of the Congo
2015 establishments in the Democratic Republic of the Congo | https://en.wikipedia.org/wiki/Lomami%20Province |
"Supermodel (You Better Work)" is a song by American dance music singer and drag queen RuPaul. It was released as a double A-sided single alongside "House of Love" in November 1992. The song served as the lead single from his debut major label album, Supermodel of the World. The song became a dance club anthem that, though particularly popular within the gay handbag house scene, found mainstream success. The song consists of RuPaul giving advice to a young black supermodel, and briefly several other models, largely consisting of "sashay, shantay!", "work, turn to the left", "work, now turn to the right", and "you better work". The music video for the song, featuring RuPaul in various outfits cavorting around town, became a staple on MTV. Singer Kurt Cobain of Nirvana cited the song as one of his favorites of 1993, and the two were photographed together at the MTV Video Music Awards that year.
"Supermodel" was a modest hit on the pop charts in both the US (number 45) and the UK (number 39). It also reached number two on the US dance chart. This song is RuPaul's highest charting pop hit in the US to date. The song features spoken word snippets by actress LaWanda Page, who went on to appear in several music videos by RuPaul. The single is most commonly found on compact disc coupled with "House of Love", which would go on to become a single itself in some markets. Various 12-inch vinyl releases were also pressed, including a limited edition picture disc in the United Kingdom. It was also covered by Taylor Dayne for The Lizzie McGuire Movie soundtrack.
BuzzFeed ranked "Supermodel (You Better Work)" number 42 in their list of "The 101 Greatest Dance Songs Of the '90s" in 2017. Pitchfork featured it in their lists of "50 Songs That Define the Last 50 Years of LGBTQ+ Pride" in 2018 and "The 250 Best Songs of the 1990s" in 2022.
Chart performance
In the United States, the song peaked on the Billboard Hot 100 at number 45 and the Billboard Hot Dance Club Play chart at number two. It sold nearly 500,000 copies there. It was not only a hit in the US, it also reached number four on the Canadian RPM Dance/Urban chart. In Europe, "Supermodel (You Better Work)" was a top 20 hit in Austria, peaking at number 16. And it entered the top 40 in both the Netherlands (38) and the UK (39), while peaking at number 15 on the UK Dance Singles Chart. In Germany, the song charted at number 100.
Critical reception
Alex Henderson from AllMusic noted, "When he tears into "Supermodel (You Better Work)" and other overtly '70s-influenced dance-floor gems, RuPaul shows himself to be a sweaty, emotional belter who projects a lot more soul and honest emotion than most of the cookie-cutter artists dominating '90s urban-contemporary radio." Larry Flick from Billboard wrote, "New York City club and drag personality returns to the recording world with a festive twirler that aims to lengthen the life of the voguing phenomenon. RuPaul sashays like a seasoned diva over frothy synths and NRG-etic house beats." In 2018, Jim Farber from Entertainment Weekly described it as a "pivotal single/lifestyle slogan", adding that it "became an instant club classic, italicized by a plethora of snap-ready tag lines, including "you better work", "I have one thing to say", and "Sashay/Shantay!" each repeated with intensifying attitude." Caroline Sullivan from The Guardian declared it as "a seventies-style disco workout containing every hysterical cliche of that era, from soaring violins to sonorous groans from Ru. See your picture everywhere - a million derriere, Ru observes in a roar recalling the late, great Divine. Absolutely fabulous." In his weekly UK chart commentary, James Masterton viewed it as "an unremarkable dance/pop tribute to the world of the supermodels sung by the larger than life Rupaul, drag queen extraordinaire."
Pan-European magazine Music & Media commented, "Camp as it is, the musical backing is of course in a stylish '70s disco mode. Give "Supermodel (You Better Work)" and "Miss Lady DJ" a try, it's for all sexes." Andy Beevers from Music Week deemed it a "wonderfully OTT tribute to the stars of the catwalk". Mandi James from NME wrote, "Rupaul is a dominatrix drag queen, nearly seven foot in his stilletos, who spends most of the record bitchin', dissin' and coing over the likes of Linda and Cindy. All perfectly innocent fun of course which will alleviate the macho bravado of the dancefloor no ends as the boys sashay along." Sam Wood from Philadelphia Inquirer felt it succeed at "being more than celebrations of surface - the glitz and gloss of haute couture, the perfect coiffure. Fashion is his/her passion, but RuPaul brings an over-the-top sense of commitment to those tracks. Identity, and what constitutes it, are on the line." Rupert Howe from Select remarked its "catwalk cattiness". Mark Frith from Smash Hits gave the song four out of five, adding, "It's a great hi-NRG dance romp which celebrates the world of the supermodel from the most super of all models. Wonderful."
Music video
The accompanying music video for "Supermodel (You Better Work)" was directed by Randy Barbato. The music video premiered in 1993 on MTV and was an unexpected success, as grunge (such as Nirvana) and gangsta rap were popular at the time. It tells the story of a little black girl (played by RuPaul) in the Brewster projects of Detroit, Michigan, who is spotted by an "Ebony Fashion Fair" talent scout who grows up to become a successful model and is given the title Supermodel of the World. The song features LaWanda Page who has several lines in the song, but does not appear in the music video despite appearances in other RuPaul music videos. The music video is a tribute to RuPaul's early childhood and his career in both the gay community and mainstream culture. The phrase "Supermodel You Better Work" was coined by RuPaul in the 90's. It was nominated for "Best Dance Video" at the 1993 MTV Video Music Awards and won an award in the category for "Best Music Video" on the 1993 WMC International Dance Music Awards.
The music video for "Supermodel (You Better Work)" was later published on Tommy Boy Records' official YouTube channel in 2018, and had generated more than 6.1 million views as of October 2023.
Media usage
The song was featured in the first season of RuPaul's Drag Race, being performed by contestants Akashia and Victoria Parker in a "lipsync for your life".
Impact and legacy
BuzzFeed ranked "Supermodel (You Better Work)" number 42 in their list of "The 101 Greatest Dance Songs Of the '90s" in 2017. Stopera and Galindo stated that this is "the song that brought RuPaul mainstream success."
Pitchfork featured it in their list of "50 Songs That Define the Last 50 Years of LGBTQ+ Pride" in 2018.
In 2022, Time Out ranked it number 23 in their list of "The 50 Best Gay Songs to Celebrate Pride All Year Long", while Pitchfork placed it at number 222 in their list of "The 250 Best Songs of the 1990s".
The song has been covered several times, notably by Taylor Dayne for The soundtrack of 2003's Hilary Duff's The Lizzie McGuire Movie and as a 2021 single by musician Jimmy Harry under his synthpop outfit Bonsai Mammal with vocals provided by singer Liz.
The song also been heard in TV shows like iZombie and Pose.
Track listing
(varies from country to country; this reflects the United States CD single, which sold the most copies)
"Supermodel (You Better Work)" (Ready to Wear Mix)
"Supermodel (You Better Work)" (7" Mix)
"Supermodel (You Better Work)" (Couture Mix)
"Supermodel (You Better Work)" (La Wanda in Your Face)
"House of Love" (7" Radio Version)
"House of Love" (12" Version)
"House of Love" (Dub)
Charts
Weekly charts
Year-end charts
2006 version
In 2006, RuPaul re-recorded the track with an 80's freestyle inspired backing track and released it as the leadoff single from his album ReWorked. This version reached number 21 on the US dance chart.
Track listing
US nine track maxi-single
"Supermodel (You Better Work)" (El Lay Toya Jam) – 3:55
"Supermodel (You Better Work)" (Craig C. Havenhurst Vocal) – 9:29
"Supermodel (You Better Work)" (There, U Just Got Rocked Mix) – 4:08
"My Love Sees No Color" (Electrolight Popular Mix) – 4:02
"Supermodel (You Better Work)" (Clean El Lay Toya Jam) – 3:55
"Supermodel (You Better Work)" (Craig C. Encino Edit) – 3:54
"My Love Sees No Color" (Electrolight Stockholm Mix) – 4:38
"Supermodel (You Better Work)" (Craig C. Neverland Dub) – 9:25
"Supermodel (You Better Work)" (Jackopella) – 3:45
AUS CD No. 1
"Supermodel (You Better Work)" (El Lay Toya Jam) – 3:55
"Supermodel (You Better Work)" (Craig C. Neverland Instrumental) – 9:27
"Coming Out of Hiding" (Trance Gender Mix) – 3:25
"My Love Sees No Color" (Electrolight Stockholm Mix) – 4:40
AUS CD No. 2
"Supermodel (You Better Work)" (Craig C. Encino Edit) – 3:55
"My Love Sees No Color" (Electrolight Popular Mix) – 4:03
"My Love Sees No Color" (Matheos' Dancin' Belly Mix) – 4:25
"My Love Sees No Color" (Electrolight Stockholm Edit) – 4:05*
"My Love Sees No Color" (Electrolight Popular Extended Club Mix) – 10:21
"My Love Sees No Color" (Electrolight Stockholm Extended Club Mix) – 11:04
"Supermodel (You Better Work)" (El Lay Toya Acappella) – 3:56
(Re)Mix is only a dub/edit
References
1992 songs
1992 singles
RuPaul songs
Songs written by Jimmy Harry
LGBT-related songs
Songs written by Larry Tee
Tommy Boy Records singles | https://en.wikipedia.org/wiki/Supermodel%20%28You%20Better%20Work%29 |
Johannes Wohnseifer (born 1967) is a German artist based in Cologne.
Early life and education
Wohnseifer was born in Cologne, Germany.
Work
Wohnseifer often draws reference to the German history of his youth, such as the 1972 Summer Olympics and the Red Army Faction. He creates smooth, glossy, billboard-like paintings.
Exhibitions
Wohnseifer has exhibited in shows including Irresistible Impulse at Galerie Gisela Capitain in Cologne, Intervention at Sprengel Museum in Hanover, Hein, Schellberg, Wohnseifer at Schnittraum in Cologne. He has shown at the Hara Museum of Contemporary Art in Tokyo, Union Gallery in London and Galerie Yvon Lambert in Paris.
Art market
Wohnseifer is represented by Casey Kaplan in New York, Johann König in Berlin, Praz-Delavallade in Paris/Los Angeles and Nicolas Krupp in Basel.
References
External links
Johannes Wohnseifer at Johann König
Johannes Wohnseifer at Saatchi Gallery
1967 births
Living people
German painters
German male painters | https://en.wikipedia.org/wiki/Johannes%20Wohnseifer |
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