text stringlengths 1 22.8M |
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Naag aur Nagin is a 2005 Pakistani supernatural drama film which was released on 31 December 2005. It was directed and produced by Jamshed Naqvi and written by Rukhsana Noor. The film features Saima Noor and Moammar Rana in leading characters of serpents along with Shafqat Cheema, Badar Munir, Veena Malik, Babar Ali, Irfan Khoosat and Tabinda. The plot of the film revolves around two serpents Sawak (Moammar Rana) and Beena (Saima) who have disguised into the form of human beings which effects their relationship when Sawak falls for a bubbly girl Farwa (Veena Malik) who belongs to an influential family.
Plot
The story revolves around Beena and Sawak as they become humans from snakes after being together for a century. After becoming a human, Sawak is working as a businessman where company's admin Changez has become his rival and wants to destroy his professional as well as his personal life. Later, Sawak deceives the love of his life Beena and seeks to attract Farwa which agitate Beena and she finds different ways to get Sawak back in his life. Farwa is a happy-go-lucky girl who is unaware of the secret that Sawak is basically a serpent. Farwa's childhood friend Saju secretly loves her but did not express his feelings in-front of her.
After several failed attempts to destroy Sawak's life, Changez finally learns that he and Beena are serpents and tries to openly reveal this secret but loses his life during the process. In the end, Beena and Saju team-up and succeed to unite with their respective lovers, Sawak and Farwa.
Cast
Saima as Beena
Moammar Rana as Sawak
Shafqat Cheema as Changez
Babar Ali as Saju
Veena Malik as Farwa
Badar Munir as Dilbar Jan
Tabinda as Shaadan
Hina Khan
Somia Ghazal
Irfan Khoosat
Sweety Naz
Sitara Awan
Music
The music director is M. Ashraf, while Rukhsana Noor, Saeed Gillani and Riaz ur Rehman Saghar have written the songs. A. Nayyar, Azra Jehan, Ameer Ali, Saira Naseem, Humaira Channa and Waris Baig are the film song singers.
References
External links
2000s Urdu-language films
Pakistani supernatural films
2005 films
Films scored by M Ashraf |
Matthew Blastares (; ) was a 14th-century Byzantine Greek monk in Thessalonica and early scholarly opponent of reconciliation with Rome. He was also the writer of the Syntagma Canonum.
Life
Blastares was a hieromonk in the monastery of Kyr Isaac in Thessalonica, where he died after 1346.
Works
He is best known for his Syntagma kata stoicheion (), completed in 1335. The chief innovation of the Syntagma was Blastares' ambition was to reconcile canon law with civil law, whereas previous treatises had focused on one of the two, ignoring the other.
The Syntagma is subdivided into 24 sections, each on a specific legal topic, and usually further subdivided into chapters. It became very popular even outside the Byzantine Empire, and was translated into Serbian during the Serbian Empire of Stephen Dushan.
Apart from the Syntagma, Blastares was also the author of a number of other legal works, including a lexicon of Latin legal terms, and summaries of the nomocanons of Niketas of Heraclea, patriarchs Nikephoros I and John Nesteutes. His further work includes a poem on the offices and titles of the Byzantine court, a synopsis of rhetoric; theological treatises against the Latin Church, azymes, the Jews, and Palamism; a work on Divine Grace; a letter to Constantine II Lusignan on the Holy Spirit; as well as liturgical hymns and epigrams.
References
Sources
1340s deaths
14th-century Byzantine monks
14th-century Byzantine writers
14th-century jurists
Byzantine jurists
Byzantine Thessalonian writers
Canon law of the Eastern Orthodox Church
Greek Christian monks
Year of birth unknown
Year of death uncertain |
```java
/*
* or more contributor license agreements. See the NOTICE file
* distributed with this work for additional information
* regarding copyright ownership. The ASF licenses this file
*
* path_to_url
*
* Unless required by applicable law or agreed to in writing, software
* WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
*/
package org.apache.beam.sdk.io.gcp.spanner.changestreams.restriction;
import static org.junit.Assert.assertEquals;
import static org.junit.Assert.assertFalse;
import static org.junit.Assert.assertTrue;
import com.google.cloud.Timestamp;
import org.junit.Before;
import org.junit.Test;
public class DetectNewPartitionsRangeTrackerTest {
private TimestampRange range;
private DetectNewPartitionsRangeTracker tracker;
@Before
public void setUp() throws Exception {
range = TimestampRange.of(Timestamp.ofTimeMicroseconds(10L), Timestamp.ofTimeMicroseconds(20L));
tracker = new DetectNewPartitionsRangeTracker(range);
}
@Test
public void testTryClaim() {
assertEquals(range, tracker.currentRestriction());
assertTrue(tracker.tryClaim(Timestamp.ofTimeMicroseconds(10L)));
assertTrue(tracker.tryClaim(Timestamp.ofTimeMicroseconds(10L)));
assertTrue(tracker.tryClaim(Timestamp.ofTimeMicroseconds(11L)));
assertTrue(tracker.tryClaim(Timestamp.ofTimeMicroseconds(11L)));
assertTrue(tracker.tryClaim(Timestamp.ofTimeMicroseconds(19L)));
assertFalse(tracker.tryClaim(Timestamp.ofTimeMicroseconds(20L)));
}
}
``` |
Coprographia is involuntarily making vulgar writings or drawings. The word comes from the Greek (), meaning "feces", and (), meaning "writing". Related terms are coprolalia, the involuntary usage of obscene and/or profane words, and copropraxia, the involuntary performance of obscene gestures.
References
Symptoms and signs: Nervous system
Tourette syndrome |
Antonio Schinella Conti (1677–1749), also known by his religious title as Abate Conti, was an Italian writer, translator, mathematician, philosopher and physicist. He was born in Padua on 22 January 1677 and died there on 6 April 1749.
Life
In 1699 Conti became an Oratorian Father in Venice but ceased to fulfil priestly duties after 1708. His placement, however, had allowed him to follow studies in philosophy, mathematics, astronomy, science and medicine. This strengthened his belief in the ability of the human intellect to investigate reality and to come to conclusions at odds with the traditional religious interpretations current until then and to formulate his own theories.
In 1713 he left for Paris, where he befriended the scientific thinkers Bernard Le Bovier de Fontenelle, Nicolas Malebranche and Charles François de Cisternay du Fay. In 1715 he left for London to observe an eclipse of the sun and to visit Isaac Newton, for whom he acted as intermediary in the Leibniz-Newton calculus controversy. During this period he also began a lasting friendship with Lady Mary Wortley Montagu, whose poems he translated, and who made him the recipient of her more philosophical Turkish Embassy Letters (1717–18). Starting in autumn 1716, he left to spend six months in dialogue with thinkers in the Netherlands and Germany, and then returned to England, continuing both scientific and literary projects there.
In 1718 he returned to Paris, where he continued to play an active part in the intellectual life of the French capital and during that time began a verse translation of Jean Racine's Athalie and, with the help of the exiled politician Viscount Bolingbroke, continued his translation of Alexander Pope's The Rape of the Lock, although this was not published until after his death. Once back in Italy in 1726, he continued to encourage scientific studies at university level and with the support of Celia Grillo Borromeo drew up a plan for an Italian scientific academy. During much of this time his scientific work was subject to censorship, although a selection of his literary works appeared in 1739.
Free-thinking pillar of the Age of Enlightenment though he was, however, Conti could not entirely free himself from all the prejudices of his times. Coming from a patrician background and generally mixing with the titled and royalty, he vented his sarcasm upon the social pretensions of the Venetian composer Antonio Vivaldi. Again, despite enjoying the friendship and patronage of some of the foremost women intellectuals in Britain, France and Italy, he was at the same time advancing pseudo-scientific arguments to demonstrate not simply women's physical but also their mental inferiority.
As a dramatist and admirer of Shakespeare, Conti had begun his own blank verse Giulio Cesare in London and completed it in 1726. It was later followed by three more Roman tragedies: Giunio Bruto (1743), Marco Bruto (1744) and Druso (1748), which appeared with individual prefaces by the author. To his own plays may be added publication of the revised translation of Athalie and another of Voltaire's drama Mérope (Venice 1744). A dramatic excursion of a different sort was the series of experimental long cantatas he wrote for the Venetian composer Benedetto Marcello: the duet, Il Timoteo, with a text translated from John Dryden; then five monologues, Cantone, Lucrezia, Andromaca, Arianna abandonnata, and finally Cassandra.
During his life, Conti was made the subject of an ink drawing by the caricaturist Pier Leone Ghezzi. After his death a statue of him was commissioned by his home town in 1781 from the local sculptor Felice Chiereghin.
Works
References
1677 births
1749 deaths
18th-century Italian male writers
Italian translators
Italian dramatists and playwrights
18th-century Italian mathematicians
18th-century Italian philosophers
Fellows of the Royal Society
18th-century Italian historians
18th-century Italian physicists |
Meggernie Castle is a castle in the heart of Perth and Kinross, in central Scotland. It is located halfway up Glenlyon, where the river Lyon flows through on its way to join the river Tay, shortly below Loch Tay. From 1920, until his death in 1958 the castle was owned by Sir Ernest Wills, 3rd Baronet, JP, CStJ. From 1958, until its sale in 1979, the castle was owned by Sir Ernest's son and successor to the baronetcy; Lt. Col. Sir (Ernest) Edward de Winton-Wills, 4th Baronet of Hazelwood.
Etymology
The name Meggernie may be of Pictish origin. It may be derived from an element cognate with Welsh migwernedd, meaning "boggy meadow".
History
Prior to the construction of Meggernie Castle, there is evidence that a thatched keep of some sort was erected on the site. The exact date of the erection of the oldest existing part of Meggernie Castle has not been determined, although some sources claim that it was John Campbell of Glenlyon who built it around 1585. However, there is a document known as the "Register of the Great Seal," in which King James VI grants to the Campbell family the ownership of land in the area to form the Barony of Glenlyon. The chief of this Barony is said to reside in "the Tower named Meggernie" and since this bequest is dated 4 March 1603, this evidence ties in loosely with the construction date of 1585. The thatched keep had a slated roof added to it initially by Robert Campbell of Glenlyon and additions were also made in later years.
Architecture
The walls of the castle are around five feet in thickness in keeping with its role as a defensive structure and in total the castle is five storeys tall. Each corner of the castle possesses a square tower which is bracketed out from the main body of building. The original castle had few windows and those that do exist are narrow slits in the wall. This style is entirely in keeping with the fashion of the day and can be seen in numerous other fortified castles and keeps constructed around the same time. The original castle keep has also had a more modern mansion house attached to it since its construction, although the style of this is still in keeping with that of the original building. Many architectural details of Meggernie can be clearly seen in photographs of the building, including the four small square towers at the corners of the keep, and the long, low mansion house which extends from one side of the keep.
Haunting
Several ghost stories surround Meggernie Castle, the best-known dating from the time that the house was occupied by the Menzies's of Culdares. An early Menzies of Culdares married a very beautiful woman much younger than himself. However, her youth and attractiveness led him to become jealous of her and he is said to have murdered her in a fit of rage. After concealing her body in a locked chest in one of the castle towers, he absented himself for some time and, after his return, spread the story of how his wife had tragically met her death by drowning whilst the two of them had been travelling in Europe. Although the locals believed the story, Menzies still felt anxious and fearful and decided to dispose of the body in the nearby churchyard. Having cut the body in two, he managed to bury the lower half in the graveyard one night, leaving the upper part still in the chest. However, before he was able to bury the upper half, he met with foul play and the next morning his body was found at the entrance to the tower where the upper part of his wife's body still lay. Although Menzies had clearly been murdered, nobody was ever tried for the crime and his death remains a mystery.
Most ghost sightings have involved guests staying at the castle who claim to have seen the upper part of a woman's body floating through the air. One visitor to the castle claims to have been awakened one night by the feeling of a red hot kiss on his cheek. When he sat up in bed, he saw the ghostly form of a woman's torso moving away from his bed towards the wall, before passing through into the next room.
During restoration work at the castle in the mid 19th century, workmen are said to have unearthed skeletal remains of the upper half of a woman's body. These were removed for burial, but sightings of her ghost were reported after this occurred. Claims have also been made that the buried lower half of the body haunts the nearby churchyard.
References
Specific
General
Cliffrock Castle, Josephine Rombouts, Querido
Glencoe and the End of the Highland War, Paul Hopkins, John Donald Publishers Ltd
Fifty Great Ghost Stories, edt. John Canning, Souvenir Press Ltd
Scottish Hauntings, Grant Campbell, Piccolo Ltd.
’’Debrett’s Peerage and Baronetage’Wills of Hazelwood,Baronet
’’Burke's Peerage,Baronetage and Knightage, Wills of Hazelwood, Baronet
Castles in Perth and Kinross
Houses in Perth and Kinross
Category A listed buildings in Perth and Kinross
Listed castles in Scotland
Inventory of Gardens and Designed Landscapes
Reportedly haunted locations in Scotland |
Babubhai Patel may refer to:
Babubhai Patel (cricketer) (1911–?), Indian cricketer
Babubhai Patel (politician), Indian politician
Babubhai J. Patel (1911–2002), chief minister of Gujarat state in India |
Hennadiy Hanyev (; born 15 May 1990) is a Ukrainian professional footballer who plays as a goalkeeper for Bulgarian First League club CSKA 1948.
Career
He is the product of Youth Sportive School in his native village Zorya and FC Chornomorets Odesa. His first trainers were Vasyl Zlatov and Anton Kucherevskyi. From summer 2012 he played for FC Stal Alchevsk. In June 2022, Hanyev joined CSKA 1948 Sofia.
Personal life
Hanyev is of Bessarabian Bulgarian descent.
References
External links
1990 births
Living people
People from Sarata
Ukrainian men's footballers
Men's association football goalkeepers
FC Chornomorets Odesa players
FC Chornomorets-2 Odesa players
FC Nyva Vinnytsia players
FC Stal Alchevsk players
FC Hirnyk Kryvyi Rih players
FC Zirka Kropyvnytskyi players
FC Inhulets Petrove players
FC Vereya players
FC Dunav Ruse players
PFC Beroe Stara Zagora players
FC CSKA 1948 Sofia players
Ukrainian people of Bulgarian descent
Ukrainian expatriate men's footballers
Expatriate men's footballers in Bulgaria
Ukrainian expatriate sportspeople in Bulgaria
Ukrainian Premier League players
Ukrainian First League players
Ukrainian Second League players
First Professional Football League (Bulgaria) players
Footballers from Odesa Oblast |
This is an incomplete list of people who have served as Lord-Lieutenant of City of Limerick.
William Bourke, 8th Baron Bourke of Connell: 1689–1691 (died 1691)
William Monsell, 1st Baron Emly of Tervoe –1894
Windham Thomas Wyndham-Quin, 4th Earl of Dunraven and Mount-Earl 1895–1922
References
Limerick County of City |
Gentleman () is a 2022 South Korean crime action film written and directed by Kim Kyung-won. Starring Ju Ji-hoon, Park Sung-woong and Choi Sung-eun, the film depicts story of the president of a secret agency, who pretends to be a prosecutor to find a missing client and chases bad guys regardless of whether it is illegal or legal. It was released on December 28, 2022.
Cast
Ju Ji-hoon as Ji Hyeon-soo
Park Sung-woong as Kwon Do-hoon
Choi Sung-eun as Kim Hwa-jin
Ko Ju-hee as paramedic
Lee Hyeon-gyun as Prosecutor Kang Seung-jun
Kang Hong-seok as Cho Chang-mo
Lee Dal as Jo Pil-yong
Park Hye-eun as a genius hacker
Production
Initially Han So-hee was offered the role along with Ju Ji-hoon in the film. Later Han So-hee left the cast due to health reasons and Park Sung-woong, and Choi Sung-eun joined the cast in August 2021.
The principal photography began on August 20, 2021 and was wrapped up on December 5. The Wavve original film was scheduled to be released in theaters and waves in 2022 after post-production.
Release
The film released on December 28, 2022, on 751 screens. The film has been sold in 42 countries, including Japan, Taiwan, Hong Kong, Vietnam, Russia and Poland. It is releasing in Taiwan on January 6, in Vietnam on January 27, and in Mongolia on February 9.
Home media
The film was made available for streaming on IPTV (KT olleh TV, SK Btv, LG U+ TV), Home Choice, Google Play, satellite TV (Skylife), WAVVE, Naver Series ON from January 12, 2023.
Reception
Box office
The film opened at 3rd place with 44,056 admissions at the Korean box office. , it grossed $1,673,173 and have 219,807 admissions.
Critical response
Jung Jae-hyun of Cine21 reviewing the film praised the acting, writing, "The biggest strength of Gentleman, comes from the actors who gave 100% to save the charm of the characters." Jung was critical of twists in the story, writing, "The narrative of the film undergoes several plot twists, and these transitions do not mesh with the motivation of the characters." Concluding the review Jung also criticised the predictability of the endings of characters that they meet within the narrative." Jeong Ha-eun writing in Sports Seoul opined, "it is perfect for a killing time movie with moderate laughter and fun." Writing about acting Jeong said, "It feels like the character is wearing the actor's clothes." Concluding review she praised the director for playing the music to suit the scene, writing, "the exciting music that comes out in a tense situation creates a fresh atmosphere."
References
External links
2022 films
2022 crime action films
2020s South Korean films
2020s Korean-language films
South Korean crime action films |
Field work or Fieldwork may refer to:
Field work (scientific method)
Field fortifications
Fieldwork novel by American journalist Mischa Berlinski
Field Work, poetry collection by Seamus Heaney |
Fernand Crommelynck (19 November 1886 – 17 March 1970) was a Belgian dramatist. His work is known for farces in which commonplace weaknesses are developed into monumental obsessions.
Biography
He was born into a family of actors, the child of a French mother and a Belgian father and he himself was also an actor. His sons Aldo Crommelynck (1931–2009), Piero (1934-2001) and Milan were renowned master printmakers, who worked with Pablo Picasso and many other major artists of the twentieth century.
In his earliest works Crommelynck already demonstrated the grasp of style and content that in his maturity culminated in works of great poetic force. The dramatic structure in Nous n'irons plus au bois (1906), Le sculpteur de masques (1908) and Le marchand de regrets (1913), was already based on the logical development of an absurd premise. French composer Cecile Paul Simon set Le marchand de regrets to music.
Crommelynck's masterpiece was Le Cocu magnifique (1920), a 'lyrical farce' on the theme of a lover's jealousy. Staged with constructivist sets by Vsevolod Meyerhold — the first of their kind — the theatre play was such a hit that Crommelynck was able to give up acting and devote himself to writing. In Tripes d'or (1926) he satirized the passion for money and the spurious prestige it confers, while in Carine, ou la jeune fille folle de son âme (1929) he contrasted love and sensuality in the story of a chaste young girl who is faithful to her ideals of love to the bitter end.
Both in language and dramatic technique, Crommelynck has been one of the most lyrical and original writers of the 20th century theatre.
Select works
Le Sculpteur de masques (1908)
L'Histoire de Minna Claessens (Alfred Machin, 1912)
L'agent Rigolo et son chien policier (Alfred Machin, 1912)
Le Marchand de regrets (1913)
Maudite soit la guerre (Alfred Machin, 1914)
Le Cocu magnifique (drama)' (1921)
Les Amants puérils (1921)
Tripes d'or (1930)
Le Cadavre n° 5 (Gaston Schoukens, 1932)
Une Femme qu'a le cœur trop petit (1934)
Chaud et froid (1936)
Selected filmography
The Judge (1921)
Miarka (1937)
The Novel of Werther (1938)
I Am with You (1943)
References
External links
Fernand Crommelynck Bio-and Bibliography
Fernand Crommelynck in Britannica Online Encyclopedia
1886 births
1970 deaths
20th-century Belgian dramatists and playwrights
Belgian male dramatists and playwrights |
Imad Baba (born March 15, 1974) is a former American soccer midfielder. He spent seven years in Major League Soccer (MLS) with the New England Revolution and Colorado Rapids. He was also a member of the American squads at the 1989 U-16 World Championships, 1993 U-20 World Cup and the 1996 Summer Olympics. Baba earned one cap with the senior United States national team.
Club career
Early career
Baba's father moved to Texas from Palestine. Baba was born and raised in Texas. In 1990, he was given a trial at Manchester United, but failed to impress. He was the 1992 Texas High School Player of the Year and a four-time Parade Magazine high school All-American, the only player to earn that honor four times. After high school, he attended the Clemson University where he played on the men's soccer team for three seasons from 1993 to 1995. A varsity starter as a freshman, Baba elected to skip his last season in order to turn professional.
Professional career
On March 4, 1996, the New England Revolution selected Baba in the second round (16th overall) of the 1996 MLS College Draft. Baba spent five seasons with the Revs. He became a free agent on December 21, 2000. The Revs traded him to the Colorado Rapids for Matt Okoh, the rights to Alan Woods and a second round draft pick on March 19, 2001. Baba spent the next two seasons with the Rapids before announcing his retirement on June 13, 2002.
International
Baba entered the national team program with the U-16 team as it went through qualifications for the 1989 U-16 World Championship. The U.S. easily qualified only to go 1-1-1 in group play and fail to make the second round. However, Baba scored the lone U.S. goal in its victory over Brazil, the first U.S. goal of the tournament.
Baba went on to play for the U.S. at the 1993 U-20 World Cup in Australia. Baba scored a goal in the 6-0 victory over Turkey in the first U.S. game of the tournament. Once again this was the first U.S. goal of the tournament. The U.S. again went 1-1-1 in group play, but this time it advanced to the second round where the team met Brazil. This time the results were not so favorable to the U.S. as it fell 3-0 to Brazil.
In 1995, Baba again played with the U.S., this time as part of the U-23 national team at the Pan American Games. In this tournament, he started two of the three U.S. games as the U.S. crashed out with an 0-3 record.
He was a member of the Olympic soccer team at the 1996 Summer Olympics. The U.S. went 1-1-1 yet again, but this was not good enough to qualify for the second round.
Baba earned his only cap with the senior United States national team on January 24, 1999, in a scoreless tie with Bolivia when he came on for Eddie Lewis in the 75th minute.
External links
Sams-Army profile
New England Revolution fan profile
1974 births
Living people
American men's soccer players
Soccer players from Texas
People from Humble, Texas
American people of Palestinian descent
Parade High School All-Americans (boys' soccer)
United States men's international soccer players
Clemson Tigers men's soccer players
New England Revolution players
Colorado Rapids players
Olympic soccer players for the United States
Footballers at the 1996 Summer Olympics
Major League Soccer players
United States men's youth international soccer players
United States men's under-20 international soccer players
United States men's under-23 international soccer players
Pan American Games competitors for the United States
Footballers at the 1995 Pan American Games
New England Revolution draft picks
Men's association football midfielders |
Brian Manker is the Principal Cellist of the Montreal Symphony Orchestra in Montreal, Quebec, Canada, and cellist of the New Orford String Quartet and the Adorno Quartet. Manker has performed throughout North America as a member of the Harrington String Quartet, the Cassatt Quartet, and the Atlanta Chamber Players.
Manker is on the faculty of the Schulich School of Music of McGill University in Montreal. He has also taught at West Texas State University (now West Texas A&M University) and Emory University.
Manker plays a cello made by Pietro Guarneri of Venice in 1729. as well as a cello made by Samuel Zygmuntowicz in 2005.
Discography
The New Orford String Quartet's debut album of the final quartets of Schubert and Beethoven received very enthusiastic reviews and was nominated for a JUNO Award in 2012. He also has recorded the six Bach cello suites on Storkclassics. The New Orford has also recorded the complete chamber music of Jacques Hetu, works of Francois Dompierre, Tim Brady, Airat Ichmouratov's String Quartet No. 4, as well as the Brahms op.51 quartets, which won a JUNO award.
References
Cellists
Year of birth missing (living people)
Living people
Place of birth missing (living people)
Academic staff of McGill University
West Texas A&M University faculty
Emory University faculty |
Ráðbarðr, Raðbarðr or Rathbarth (late 7th century) was a legendary king of Garðaríki, who appears in Sögubrot and the Lay of Hyndla.
Sögubrot tells that he married the fugitive princess Auðr the Deep-Minded, the daughter of Ivar Vidfamne, without the consent of her father king Ivar Vidfamne, who soon departed to punish his daughter. He died en route, however, and so Ráðbarðr helped Auð's son Harald Wartooth claim his maternal grandfather's possessions in Sweden and Denmark.
Ráðbarðr and Auðr had a son together named Randver.
References
Kings in Norse mythology and legends |
Graça Morais GOIH (born 1948) is a Portuguese artist. A member of the Academia Nacional de Belas-Artes (National Academy of Fine Arts) of Portugal, she was made a Grand Officer of the Order of Prince Henry in 1997. She is married to the musician Pedro Caldeira Cabral.
Early life and education
Maria da Graça Pinto de Almeida Morais was born on 17 March 1948 in the small village of Vieiro, in Freixiel, in the Trás-os-Montes region of northeast Portugal. She was the daughter of Alda Pinto and Jaime Morais, the second of six children. In 1957 and 1958 she lived in Mozambique, which is where her parents gave her a first box of watercolour paints. She first experimented with oil painting in 1964, copying paintings by Gustave Courbet. Morais attended schools in Vila Flor and Bragança before entering the Escola Superior de Belas Artes do Porto (School of Fine Arts of Porto - ESBAP) in 1971, where she studied painting. In 1971 she married Jaime Silva, who was on the same course. They separated in 1985, having one daughter. From 1976 to 1979, she lived and studied in Paris, with a scholarship from the Calouste Gulbenkian Foundation.
Career
In 1974 Morais held her first solo exhibition, at the Museu de Alberto Sampaio in the town of Guimarães. This was the beginning of a career that has included more than one hundred individual and collective exhibitions. While in Paris she founded the Puzzle Group, together with eight artists and an art critic, which, for two years, presented numerous exhibitions of paintings, installations and performances, including at the Salon de la Jeune Peinture in Paris, in 1977. While in Paris she got to know the painters Eduardo Arroyo and Bernard Rancillac, among others. In May 1978 she held a solo exhibition in Paris, entitled A Caça (The Hunt), at the Portuguese Cultural Centre.
Returning to Portugal in 1979, Morais moved to the capital of Lisbon and moved into an atelier there in 1980. However, in 1981 she returned to her birthplace, together with her daughter. In 1983 she held a solo exhibition in Lisbon. In the same year, José Sommer Ribeiro, director of the Calouste Gulbenkian Museum in Lisbon, invited her to be part of the Portuguese representation at the São Paulo Art Biennial in Brazil, after which she was invited to exhibit in São Paulo. In 1984 she produced twenty large-scale paintings/drawings, which were exhibited at the São Paulo Museum of Modern Art. In 1985 she participated in Féminie 85 at UNESCO in Paris, and exhibited at the World Trade Center in New York City, as part of an exhibition on Portuguese contemporary artists. In the same year, a book of her engravings, entitled Graça Morais: Linhas da Terra (Graça Morais: Earth Lines), with text by :pt: António Mega Ferreira, was published in a numbered and signed edition of 250.
Morais continued to exhibit in 1987, the year in which she began to construct an atelier in her home village of Vieiro. In 1988, at the request of the noted Portuguese writer, José Saramago, she illustrated a reprint of his book O Ano de 1993 (The Year of 1993). In the same year, she was the guest in London of the Portuguese-British artist, Paula Rego and her husband, Victor Willing, where she worked in a studio next to Rego's. She represented Portugal in the "Eighty" exhibition, which toured several European cities, and her works formed part of the Arte Contemporáneo Português exhibition at the Museo de Arte Contemporáneo (Madrid), the 70/80 Arte Portuguesa, in São Paulo and Rio de Janeiro, and the Five Portuguese Artists showing at the Art Society of the International Monetary Fund in Washington, D.C.
In 1988 and 1989, Morais was artist in residence in Cabo Verde, at the invitation of the Portuguese ambassador. In 1990 she exhibited in the then Portuguese colony of Macau, where she met her second husband, Pedro Caldeira Cabral, who was giving a guitar recital. They married in 1993. She was represented in an exhibition in New York City, entitled A Survey of Portuguese Art. In 1993, she designed the sets for The Screens, by Jean Genet, at the Teatro Experimental de Cascais, and, in 1995, the scenography and costumes for Richard II, by William Shakespeare, at the D. Maria II National Theatre in Lisbon.
Continuing to be very productive and to exhibit widely, she visited Moscow in 1996, in preparation for the installation of a work of azulejo tile panels in a metro station, which was done in 1997. She has worked on azulejos in several other locations, including at Fogueteiro train station in Seixal and at Amadora - Falagueira metro station in the Lisbon area; at the municipal market and municipal theatre of Bragança; in a bank and school in Bragança; in a clinic in Mirandela and in the Astrophysics and Planetarium Centre in Porto.
In 2002, Morais and Miguel Torga published O Reino Maravilhoso, written by Torga with 49 illustrations by Morais. In 2004 she illustrated O Segredo da Mãe, by Nuno Júdice. In 2005, she published a book about her work, Uma Geografia da Alma, with contributions by Júdice, Fernando Pernes, Maria Velho da Costa, and others. During this period, she continued to exhibit on a regular basis, including at the Cascais Cultural Centre. In 2006 she collaborated with the Portuguese poet Sophia de Mello Breyner Andresen on an exhibition held in Lisbon. In 2006, a retrospective of her work was held at the Cordoaria Nacional in Belém, near Lisbon, while in 2007 she held exhibitions in Porto and Coimbra. In 2008, the Centro de Arte Contemporânea Graça Morais (CACGM) was opened in Bragança. Similar to the Casa das Histórias Paula Rego in Cascais, this gallery exhibits pieces from a permanent collection of the work of Morais, together with rotating exhibitions by other artists. In 2021 she donated a further 70 works of art to the museum.
Several wall tapestries of the work of Morais have been made by the Manufactura de Tapeçarias de Portalegre. They can be found in the Assembly of the Republic in Lisbon, at Lisbon City Council, at the Technical University of Lisbon, at the Mário Soares and Maria Barroso Foundation in Lisbon, and elsewhere.
Morais continued to exhibit in Portugal and elsewhere. From 2017 to 2019 she presented at the Champalimaud Foundation in Lisbon, at the Calouste Gulbenkian Foundation in Paris, and at the National Museum of Contemporary Art in Lisbon, among others. In July 2018, the tenth anniversary of the CACGM was celebrated with the establishment of the Laboratory of Arts in the Mountain – Graça Morais (LAM – GM) to promote opportunities for teaching and research activities based on the practice of arts in a mountain context.
Films about Morais
The life and work of Graça Morais have been the subject of the film documentaries As Escolhidas (The Chosen - 1997) by Margarida Gil, Na Cabeça de uma Mulher está a História de uma Aldeia (In the Head of a Woman is the Story of a Village - 1999) by Joana Morais, and Graça Morais e os Escritores (Graça Morais and the Writers - 2017) by Luís Alves de Matos.
Awards and honours
Morais won the SocTip Award for Artist of the Year, in 1991. She was made a Grand Officer of the Order of Prince Henry in 1997. In 2011 she received the Arts Prize - Casino da Póvoa and, in 2013, the Grand Prize Acquisition of the Portuguese National Academy of Fine Arts. She also received the Women Creators of Culture award in 2014. In 2016, she was given the "Life’s Work" Award by SOS Azulejo. In 2017, she received the Gold Medal of Cultural and Scientific Merit, from the town of Vila Nova de Gaia and, in 2018, she was the recipient of the Medal of Honour of the Polytechnic Institute of Bragança (IPB). In March 2019, she was awarded the Portuguese Medal of Cultural Merit. In May 2022 Morais was awarded an honorary doctorate by the University of Trás-os-Montes and Alto Douro (UTAD).
References
External links
Some of the paintings by Morais on the theme of rural life
1948 births
Living people
20th-century Portuguese women artists
Portuguese contemporary artists
Portuguese painters
People from Trás-os-Montes
University of Porto alumni
Grand Officers of the Order of Prince Henry |
Aplothorax burchelli is a species of beetle in the family Carabidae, the only species in the genus Aplothorax. It is endemic to the island of Saint Helena in the South Atlantic. The genus has been found to be nested within Calosoma by phylogenomic analysis.
References
Carabinae
Monotypic Carabidae genera |
Highland Local School District is a public school district mainly in Medina County, Ohio with a small portion in neighboring Summit County. The district was established in 1952 by consolidating the rural Hinckley, Granger, and Sharon school districts. It covers most of Hinckley, Granger, and Sharon townships and parts of Montville, Copley, Medina, and Brunswick Hills townships.
Schools
Elementary schools
Granger Elementary School, grades Preschool–5 (1724 Wilbur Rd, Medina)
Hinckley Elementary School, grades K–5 (1157 Ridge Rd, Hinckley)
Sharon Elementary School, grades K–5 (6216 Ridge Rd, Wadsworth)
Middle schools
Highland Middle School, grades 6–8 (3880 Ridge Rd, Medina)
High schools
Highland High School, grades 9–12 (4150 Ridge Rd, Medina)
In July 1970 a portion of the Revere Local School District was transferred to the Highland district.
References
External links
Education in Medina County, Ohio
School districts in Ohio
School districts established in 1952 |
Omar García is the name of:
Omar García (footballer, born 1939), Argentine footballer
Omar García (footballer, born 1983), Spanish footballer |
"Some Enchanted Evening" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific. It has been described as "the single biggest popular hit to come out of any Rodgers and Hammerstein show." Andrew Lloyd Webber describes it as the "greatest song ever written for a musical".
The song is a three-verse solo for the leading male character, Emile, in which he describes first seeing a stranger, knowing that he will see her again, and dreaming of her laughter. He sings that when you find your "true love", you must "fly to her side, and make her your own, / Or all through your life you may dream all alone."
In South Pacific
The song appears in the first act of the musical. It is sung as a solo by the show's male lead, Emile de Becque, a middle-aged French expatriate who has become a plantation owner on a South Pacific island during World War II. Emile falls in love with Ensign Nellie Forbush, an optimistic and naive young American navy nurse from Little Rock, Arkansas. The two have known each other for only a few weeks, and each worries that the other may not return his or her love. In the song, Emile expresses his romantic feelings for Nellie, recalling how they met at an officers' club dance and instantly were attracted to each other. He describes a man seeing a stranger and instantly knowing he will see her again, hearing her laughter and dreaming of it. He says that when you find your "true love", you must "fly to her side, and make her your own"; otherwise, all your life you will "dream all alone". He later asks her to marry him. The song is then reprised several times during the show by Nellie and/or Emile as their relationship experiences setbacks and reconciliations.
In the original Broadway production, "Some Enchanted Evening" was sung by former Metropolitan Opera star Ezio Pinza. Pinza won the Tony Award for Best Actor in 1950 for this role, and the song made him a favorite with audiences and listeners who normally did not attend or listen to opera. In the 2001 London revival of the show, Philip Quast won an Olivier Award for Best Actor for his role as Emile, and seven years later, international opera singer Paulo Szot won a Tony for his portrayal in the 2008 New York revival.
In the film version of South Pacific, the first and second scenes of the play are switched around. Because of the switch, Emile enters later in the film, and "Some Enchanted Evening" is not heard until nearly 45 minutes into the film, while in the original stage version it is heard about 15 minutes after Act I begins. In the film, the song is sung by Metropolitan Opera bass Giorgio Tozzi, who dubbed the singing for actor Rossano Brazzi. Tozzi's version finished at No. 28 on the 2004 American Film Institute list and television special, AFI's 100 Years...100 Songs, selecting the top 100 songs in American cinema.
Analysis
According to Popular Music in America, the song's "lush orchestration, expansive form, and above all its soaring melody" allow the singer and character (Emile) to "linger in the moment" of immediate infatuation. Gerald Mast's history of the American musical notes that the song is a climactic moment which reveals that two characters have fallen in love, and it expresses a seize-the-opportunity lyric: "When you find your true love ... Then fly to her side / And make her your own". According to the running commentary on the 2006 Fox DVD release of the 1958 film version of South Pacific, Lehman Engel remembered that Oscar Hammerstein II wanted to write a song based around verbs but waited ten years to do so before he wrote this song, in which the verses are built around the verbs "see", "hear" and "fly".
Selected recorded versions
Many popular singers have recorded and performed "Some Enchanted Evening". Perry Como's version was a #1 hit in 1949, and Frank Sinatra recorded the song several times.
Ezio Pinza (recorded April 18, 1949, Original Broadway cast recording of South Pacific). His single version reached No. 7 in the Billboard charts in 1949.
Perry Como (1949). His single reached No. 1 in 1949
Frank Sinatra (1949), (1963, including a duet with Rosemary Clooney), (1967). The 1949 version reached the No. 6 position in the Billboard charts.
Bing Crosby (1949), recorded March 10, 1949 and reached No. 3 in the Billboard charts during a 20-week stay.
Jo Stafford - Autumn in New York (1950). Her single version reached No. 4 in the Billboard charts in 1949.
Giorgio Tozzi (1958 for the film soundtrack; 1967 for the Lincoln Center revival cast recording with Florence Henderson)
Andy Williams (from the 1958 album Andy Williams Sings Rodgers and Hammerstein)
Jay & The Americans (1965). The Group's single version reached No. 13 on the Hot 100, Billboard charts in 1965.
José Carreras (1986) for a studio cast recording of South Pacific with Kiri Te Kanawa, Mandy Patinkin and Sarah Vaughan
Willie Nelson included the song on his 1988 album, What a Wonderful World
Barbra Streisand (from her No. 1 1993 album Back to Broadway)
The Temptations (1995, For Lovers Only)
Bryn Terfel – Something Wonderful: Bryn Terfel Sings Rodgers and Hammerstein (1996)
Philip Quast for the 2002 London revival cast recording of South Pacific
Art Garfunkel (from his 2007 album Some Enchanted Evening)
Paulo Szot – South Pacific (The New Broadway Cast) (2008)
Bob Dylan (from his No.1 2015 album Shadows in the Night)
In popular culture
The song's title has been used as the name for albums, such as one by Blue Öyster Cult, one by Art Garfunkel and a cast album and PBS special of the revue "Some Enchanted Evening" – The Songs of Rodgers & Hammerstein. It was used as the name for television episodes in such TV series as The Simpsons, Last of the Summer Wine, Man About the House, and Bless This House.
The song has been sung in films and on TV shows, for example by Harrison Ford in the film American Graffiti (1978 reissue), by an itinerant chanteuse in Crossing Delancey (1988), by Jon Bon Jovi on Ally McBeal in the episode "Homecoming" (2002) and by Bert in episode 102 on The Muppet Show (1977) to Connie Stevens. In April 2023, the song featured in the BBC Radio 4 series Soul Music.
Notes
References
External links
Songs about nights
1949 songs
Songs with lyrics by Oscar Hammerstein II
Songs with music by Richard Rodgers
Perry Como songs
Frank Sinatra songs
Jo Stafford songs
Bing Crosby songs
Andy Williams songs
Jay and the Americans songs
Barbra Streisand songs
The Temptations songs
Number-one singles in the United States
Songs from South Pacific (musical)
Love themes
Songs from South Pacific (1958 film)
de:Der Babysitter ist los |
```java
/*******************************************************************************
*
* All rights reserved. This program and the accompanying materials
*
* path_to_url
* path_to_url
*/
package org.eclipse.paho.android.sample.activity;
import android.util.Log;
import org.eclipse.paho.android.service.MqttTraceHandler;
class MqttTraceCallback implements MqttTraceHandler {
public void traceDebug(java.lang.String arg0, java.lang.String arg1) {
Log.i(arg0, arg1);
}
public void traceError(java.lang.String arg0, java.lang.String arg1) {
Log.e(arg0, arg1);
}
public void traceException(java.lang.String arg0, java.lang.String arg1,
java.lang.Exception arg2) {
Log.e(arg0, arg1, arg2);
}
}
``` |
King William Street may refer to:
King William Street, Adelaide in Adelaide, South Australia
King William Street (Hamilton, Ontario) in Hamilton, Ontario
King William Street, London in London, United Kingdom
King William Street tube station, a closed London Underground station
See also
William Street (disambiguation)
King William (disambiguation) |
```python
# pylint: disable=missing-docstring
from __future__ import absolute_import
from __future__ import division
from __future__ import print_function
from __future__ import unicode_literals
import unittest
import numpy as np
# Weird imports / assignment because the normal import syntax doesn't work for tf.keras in tf 1.8
from tensorflow import keras
# pylint:disable=wrong-import-position
Sequential = keras.models.Sequential
Dense = keras.layers.Dense
Activation = keras.layers.Activation
from cleverhans.utils_keras import KerasModelWrapper
class TestKerasModelWrapper(unittest.TestCase):
def setUp(self):
import tensorflow as tf
def dummy_model():
input_shape = (100,)
return Sequential(
[
Dense(20, name="l1", input_shape=input_shape),
Dense(10, name="l2"),
Activation("softmax", name="softmax"),
]
)
self.sess = tf.Session()
self.sess.as_default()
self.model = dummy_model()
def test_softmax_layer_name_is_softmax(self):
model = KerasModelWrapper(self.model)
softmax_name = model._get_softmax_name()
self.assertEqual(softmax_name, "softmax")
def test_logit_layer_name_is_logits(self):
model = KerasModelWrapper(self.model)
logits_name = model._get_logits_name()
self.assertEqual(logits_name, "l2")
def test_get_logits(self):
import tensorflow as tf
model = KerasModelWrapper(self.model)
x = tf.placeholder(tf.float32, shape=(None, 100))
preds = model.get_probs(x)
logits = model.get_logits(x)
x_val = np.random.rand(2, 100)
tf.global_variables_initializer().run(session=self.sess)
p_val, logits = self.sess.run([preds, logits], feed_dict={x: x_val})
p_gt = np.exp(logits) / np.sum(np.exp(logits), axis=1, keepdims=True)
self.assertTrue(np.allclose(p_val, p_gt, atol=1e-6))
def test_get_probs(self):
import tensorflow as tf
model = KerasModelWrapper(self.model)
x = tf.placeholder(tf.float32, shape=(None, 100))
preds = model.get_probs(x)
x_val = np.random.rand(2, 100)
tf.global_variables_initializer().run(session=self.sess)
p_val = self.sess.run(preds, feed_dict={x: x_val})
self.assertTrue(np.allclose(np.sum(p_val, axis=1), 1, atol=1e-6))
self.assertTrue(np.all(p_val >= 0))
self.assertTrue(np.all(p_val <= 1))
def test_get_layer_names(self):
model = KerasModelWrapper(self.model)
layer_names = model.get_layer_names()
self.assertEqual(layer_names, ["l1", "l2", "softmax"])
def test_fprop(self):
import tensorflow as tf
model = KerasModelWrapper(self.model)
x = tf.placeholder(tf.float32, shape=(None, 100))
out_dict = model.fprop(x)
self.assertEqual(set(out_dict.keys()), set(["l1", "l2", "softmax"]))
# Test the dimension of the hidden represetation
self.assertEqual(int(out_dict["l1"].shape[1]), 20)
self.assertEqual(int(out_dict["l2"].shape[1]), 10)
# Test the caching
x2 = tf.placeholder(tf.float32, shape=(None, 100))
out_dict2 = model.fprop(x2)
self.assertEqual(set(out_dict2.keys()), set(["l1", "l2", "softmax"]))
self.assertEqual(int(out_dict2["l1"].shape[1]), 20)
if __name__ == "__main__":
unittest.main()
``` |
Vigny may refer:
Vigny, Moselle, a commune in the Moselle department
Vigny, Val-d'Oise, a commune in the Val-d'Oise department
Alfred de Vigny (1797-1863), French writer |
Marco Bucci (29 November 1960 – 6 August 2013) was an Italian discus thrower. He won one medal, at senior level, at the 1983 Summer Universiade.
Biography
Bucci was born in Ferrara. He won the national championships three times. In 1980s, he had a rivalry with Marco Martino. In 1984, he was forced to forfeit prior to the qualification of the discus throw at the 1984 Summer Olympics because of a stretched pectoralis muscle strain.
National records
Discus throw: 66.96 m ( Formia, 30 June 1984) - holder to 28 May 1989
Achievements
Nationaltitles
2 wins in discus throw at the Italian Athletics Championships (1982, 1984)
1 win in discus throw at the Italian Winter Throwing Championships (1984)
See also
Italian all-time top lists - Discus throw
References
External links
1960 births
2013 deaths
Italian male discus throwers
Universiade medalists in athletics (track and field)
Sportspeople from Ferrara
Universiade bronze medalists for Italy
Medalists at the 1983 Summer Universiade |
Elias Charles Disney (February 6, 1859September 13, 1941) was a Canadian-American construction worker and entrepreneur. He is best known as the father of Roy and Walt Disney, co-founders of The Walt Disney Company.
Biography
Early life
Disney was born in the rural village of Bluevale, in what is now Ontario, Canada, to Irish Protestant immigrants Kepple Elias Disney (1832–1891) and Mary Disney (née Richardson) (1838–1909). Both parents had emigrated from Freshford, County Kilkenny in Ireland to Canada as children, accompanying their parents. His parents would have eight other children in the following 18 years after the birth of Elias. Disney's father owned a farm and got into a variety of other business ventures to make money.
He moved to California with his father in 1878 in hopes of finding gold. Instead, Kepple was convinced by an agent of the Union Pacific Railroad to buy of land near Ellis, Kansas. When the family moved, they would let go of their previously conservative ways with the exception of Elias. In Ellis, Disney attempted to live as an orange grower and failed.
Career
Disney worked on his father's new farm until 1884, when he left to find another job. He was hired in a railroad machine shop for the Kansas Pacific Railroad (one of his co-workers was Walter Chrysler), then he joined the railroad crew building the Union Pacific line through Colorado. After the railroad contract was over, he became a professional fiddle player in Denver. Again he was unsuccessful, and he returned to his father's farm.
His sister Annie would become a teacher at the Beaver Bank School located in Ellis starting in 1884. Elias would sometimes fill in as a substitute teacher for his sister and there he started to get to know and eventually develop a relationship with one of her students, Flora Call. After she graduated, Flora's parents would sell their land in Ellis and move to Acron, Florida, with Disney following suit wanting to be with Flora. Elias and Flora were married in Acron, on January 1, 1888. Their marriage license was the first license ever issued by Lake County. Disney and his wife would move to Daytona Beach and manage the Halifax Hotel during the "tourist season of 1888" but left when the owner no longer needed a manager and kicked the two out of their rooms. They would have a son, Herbert in December 1888. He also worked for a short time as a mailman in Kissimmee, Florida, close to the eventual site of Walt Disney World. Disney did also attempt to make a career as an orange grower in Kissimmee buying , but he was unsuccessful. After this he would decide to move to Chicago leaving Florida during the late spring of 1890. Although frequently unsuccessful at self-employment, Disney's entrepreneurial tendencies were passed on to his son Walt.
He would be a construction worker for the 1893 World's Columbian Exposition in Chicago, an event which author Erik Larson suggests was a source of inspiration for his son Walt and the Disney kingdom he would eventually create. He bought shares of O-Zell Company, a jelly-canning factory that also produced apple juice in Chicago, where his son Walt Disney worked before he joined the Red Cross Ambulance Corps in World War I. The family would live at 3515 South Vernon Avenue in the Fourth Ward by 1890. On October 31, 1891, Disney bought a lot at 1249 Tripp Avenue By 1892, he had built a house on it. The neighborhood was called Hermosa and had been settled by Scottish, German, and Scandinavian immigrants. Their next two children were born there. The family would move into the new home located on Tripp Avenue on June 24, 1893, and shortly afterwards Flora give birth to a baby boy, Roy O. Disney. Disney wanted to name him Columbus but Flora wanted him to be named Roy instead and Roy was picked. When it came to deciding on a middle name, there would be issues. One day, Flora saw a lumber truck on Tripp Avenue with the company name of Oliver Lumber Company painted across the sides of it. After seeing this truck Elias and Flora would decide that Oliver would be Roy's middle name.
By the turn of the century, Disney had become an active building contractor. He built houses which he owned and then resold. He also built the Saint Paul Congregational Church, a building dedicated on October 14, 1900. Disney was one of the church's trustees, while his wife was its treasurer.
A neighboring family had two adolescent children involved in a car barn robbery, and Disney feared that crime would taint his own children.
On March 5, 1906, he bought a farm near Marceline, Missouri, for $3,000, or $75 per acre.
Its previous owner William E. Crane had died in November 1905. Crane was a veteran of the American Civil War and his house predated the foundation of Marceline.
On April 3, Disney bought an adjoining tract of about from Crane's widow for an additional $450.
Marceline was still accessible from Chicago, but provided a rural setting, and Disney's younger brother Robert owned a farm west of the city.
Disney and his family settled on the farm in April.
The Crane Farm had orchards of apples, peaches, and plums, and fields of grain. The farm animals included pigs, chickens, horses, and cows. The Disneys had a telephone connection by 1907.
In 1907, Disney convinced some of his fellow farmers to join the American Society of Equity, a farmer's union aiming to consolidate the members' buying power.
Herbert and Raymond Disney never liked life on the farm. They moved out around the fall of 1908, heading back to Chicago, where they found work as clerks.
The family sold the farm on November 28, 1910, as Disney fell ill. He was suffering from typhoid fever, followed by pneumonia. The Disneys lived in a rented house in Marceline, probably at 508 North Kansas Avenue. Until 1911, when they moved to Kansas City, Missouri. They lived in a rented house at 2706 East Thirty-first Street. They stayed there until they bought their own modest home in September 1914. It was situated at 3028 Bellefontaine Street.
On July 1, 1911, Disney purchased a newspaper delivery route for The Kansas City Star. It extended from the Twenty-seventh Street to the Thirty-first Street, and from Prospect Avenue to Indiana Avenue. Roy and Walt were put to work delivering the newspapers. The Disneys delivered the morning newspaper Kansas City Times to about 700 customers and the evening and Sunday Star to more than 600. Their customers increased with time. Disney also delivered butter and eggs to his newspaper customers. They were imported from a dairy farm in Marceline.
Disney sold the paper route on March 17, 1917. He had been investing in the O-Zell Company of Chicago since 1912 and moved back to the city in 1917 to take an active role in its management. The Disneys rented a flat at 1523 Ogden Avenue.
He retired from management work in 1920 and moved back to Kansas City. He was again listed as a carpenter. He moved to Portland, Oregon, by the fall (autumn September–October) of 1921. His son Herbert had earlier moved to this city.
Personal life and death
Disney married Flora Call on January 1, 1888, in Kismet, Lake County, Florida, north of the land on which Walt Disney World would eventually be built and lived for a short time in adjoining Acron, Florida. She was the daughter of his father's neighbors.
Soon after marriage, the Disneys moved to Chicago, Illinois, where Disney met and befriended Walter Parr, St. Paul Congregational Church's preacher for whom the Disneys' fourth son, Walt, was named.
The couple had five children:
Herbert Arthur Disney (December 8, 1888 – January 29, 1961, aged 72), letter carrier (1940 US Census)
Raymond Arnold Disney (December 30, 1890 – May 24, 1989, aged 98), self-employed insurance broker (1940 US Census)
Roy Oliver Disney (June 24, 1893 – December 20, 1971, aged 78), businessman and co-founder of The Walt Disney Company
Walter "Walt" Elias Disney (December 5, 1901 – December 15, 1966, aged 65), entrepreneur and co-founder of The Walt Disney Company
Ruth Flora Disney (December 6, 1903 – April 7, 1995, aged 91), philanthropist
Disney was a member of the Congregational Church and often preached stern sermons on Sundays in this church. His son, Walter Elias Disney, was named after a Congregationalist minister named Walter Parr. Disney and Walt had a tense relationship as Disney never saw Walt's profession as an artist as a real job.
Disney's son Raymond Arnold Disney named his son Charles Elias Disney after his father Elias Charles Disney.
Disney died on September 13, 1941, in Los Angeles aged 82. He is interred in Forest Lawn Memorial Park at Glendale, California.
Beliefs and habits
Disney never drank alcohol and rarely smoked. According to biographical accounts, Disney was a stern man who could have a strong temper at times, and would take the money his sons earned for "safekeeping", considering them too young to know the value of money. If his children misbehaved, Disney would not hesitate to punish them with a switch.
Disney was an ardent socialist and a supporter of Eugene Debs. Disney would talk socialism with various people and bring them home. He was a fiddler and would bring home anyone else who could play an instrument.
References
Sources
External links
Biography of the Disney Family in Canada
(documentary footage)
Windows on Main Street, U.S.A., at Disneyland Park: Elias Disney
1859 births
1941 deaths
19th-century Canadian people
20th-century Canadian people
Canadian people of Irish descent
Canadian emigrants to the United States
People from Huron County, Ontario
Burials at Forest Lawn Memorial Park (Glendale)
Union Pacific Railroad people
Canadian farmers
Canadian Congregationalists
Canadian Christian socialists
American Congregationalists
American Christian socialists
Elias
Congregationalist socialists
People from Marceline, Missouri
pl:Walt Disney#Rodzina |
Panteniphis is a genus of mites in the family Digamasellidae. There are at least four described species in Panteniphis.
Species
These four species belong to the genus Panteniphis:
Panteniphis africanus Genis, Loots & Ryke, 1969
Panteniphis athiasae Hirschmann, 1983
Panteniphis mirandus Willmann, 1949
Panteniphis tanzaniae Hirschmann, 1983
References
Ascidae
Articles created by Qbugbot |
Hrastovo is a village in Krumovgrad Municipality, Kardzhali Province, southern Bulgaria.
References
Villages in Kardzhali Province |
Seconda Divisione (Second Division) was the name of the second level of the Italian Football Championship from 1921 to 1926. The competition was initially founded in opposition to the FIGC by the clubs of Northern Italy, which disagreed the old format of the championship, based on plethoric regional groups. In 1921–22, two concurrent championships took place, before FIGC accepted the new format for 1922–23.
History
Northern League
The Seconda Divisione was formed by the clubs of the former Prima Categoria of the Lega Nord (Northern League) which did not enter into the new Prima Divisione. The Lega Sud (Southern League) had its own Seconda Divisione too, but it was simply the old Promozione which changed its name. The Lega Nord championship was the main competition, and after a pilot edition in 1921, from 1922 it was divided in six groups of eight teams each, becoming four groups of ten teams from 1924. The winners of the groups qualified for the final (Northern League Final) while the last teams were relegated in Terza Divisione (Third Division).
Northern Lower Directory
Because of the fascist Viareggio Charter, in 1926 the Seconda Divisione became the third Italian championship, as it happened in England in 1992. In Northern Italy it was formed by the worst clubs of the old Seconda and the best ones of the Terza, while in Southern Italy no changes took place. It was organized by two authorities, the Direttorio Divisioni Inferiori Nord (Lower Division Directory North) and the South one.
Regional tournaments
In 1929 with the creation of the Serie A and Serie B championships the Seconda Divisione became the fourth level of the Italian Football. In 1935 with the creation of the Serie C championship the Seconda Divisione became the fifth level of the Italian football, and it was reduced to a local tournament. In 1948 with the creation of the Promozione championship the Seconda Divisione became the sixth level of the Italian championship. In 1952 with the creation of the IV Serie championship the Seconda Divisione became the seventh level. In 1959 it was disbanded.
See also
Italian Football Championship
Prima Divisione
References
1
1922 establishments in Italy
1926 disestablishments in Italy |
Dopachrome is a cyclization product of L-DOPA and is an intermediate in the biosynthesis of melanin. It may tautomerise to form DHICA.
See also
Dopachrome tautomerase, a human gene
References
Alpha-Amino acids
Indolequinones |
Sure may refer to:
Seemingly unrelated regressions
Series of Unsurprising Results in Economics (SURE), an economics academic journal
Sure, as probability, see certainty
Sure (brand), a brand of antiperspirant deodorant
Sure (company), a telecommunications company operating in British Crown Dependencies and Overseas Territories
Stein's unbiased risk estimate (SURE), in estimation theory
The river Sauer
In music
"Sure" (Every Little Thing song), from the album Eternity
"Sure" (Take That song), from the album Nobody Else
See also
Shure |
In April 2021, more than three hours of audiotape was leaked from a seven-hour interview between economist Saeed Leylaz and Iranian foreign minister Mohammad Javad Zarif. The taped conversation was connected to an oral history project, titled "In the Islamic Republic, the military field rules," that documents the work of then-president Hassan Rouhani and his government. The tape was obtained by the London-based news channel Iran International and publicized by The New York Times. Zarif did not dispute the authenticity of the leaked tape, but questioned the motive. Iran International noted that Zarif's claim was "not very credible."
Although the tape has not been authenticated, the Iranian foreign ministry spokesman did not deny its validity, and critics of Zarif were calling for his resignation, saying that "he had threatened Iran’s national security by revealing to the world the country’s inner politics". Iran's president Hassan Rouhani ordered an investigation to identify who leaked the tape. He stated that it was "stolen for clear reasons". On May 2, 2021, in an Instagram post, Zarif apologized for the remarks that he made against Soleimani.
John Kerry and Iranian diplomacy
In the tape, Zarif said former U.S. Secretary of State John Kerry told him that Israel attacked Iranian assets in Syria "at least 200 times." Zarif said that he was astonished by the admission. Kerry was not recorded speaking on the tape, and the date of the recording is unknown. A posting on Iran International's website indicated that Zarif was taken aback, that it was not the IRGC who informed him about the Israeli strikes against Iran, but Kerry.
NBC reported that the leaked tape "inflamed a debate raging in Iran over the nuclear deal" with upcoming presidential elections. Also, its effects in the US where "Republican opponents of nuclear diplomacy with Iran have seized on Zarif's account".
History
On September 27, 2013, Kerry met with Zarif during the P5+1 and Iran summit, which eventually led to the JCPOA nuclear agreement. It was the highest-level direct contact between the United States and Iran in the last six years, and it made Kerry the first U.S. Secretary of State to have met with his Iranian counterpart since the 1979 Iranian Revolution.
In April 2021, the spokesperson for the United States Department of State Ned Price stated in a press briefing that he couldn't confirm the accuracy or authenticity of the Zarif audiotape or its claims, but implied that Kerry would not have likely been disclosing confidential information if it occurred. He stated that prior press reporting of Israeli attacks on Syria would have made the suspected call contents already part of the public record, making Kerry's alleged disclosures to Zarif as not confidential. As CNN noted, Israeli Prime Minister Benjamin Netanyahu revealed in July 2017 that Israeli airstrikes had targeted Iranian-backed Hezbollah-bound convoys in Syria "dozens of times", and in August 2017, Israeli Air Force chief Maj. Gen. Amir Eshel confirmed that Israel had attacked convoys bringing arms to Hezbollah several times over the past five years. In 2018, Israeli Intelligence Minister Israel Katz stated that "in the last two years Israel has taken military action [against Iran] more than 200 times within Syria itself." However, it is unclear whether Kerry allegedly revealed the Israeli operations to Zarif before or after Israel itself publicly reported them in 2018.
In May 2019, the Los Angeles Times reported that then-President Donald Trump said that Kerry “should be prosecuted” for meeting privately with Iranian officials.
Investigation requests
Nineteen Republican senators signed a letter asking President Joe Biden to investigate the Zarif claim, writing: "We write to convey our grave concerns over U.S. Special Presidential Envoy for Climate John Kerry’s position as a member of your administration's National Security Council and his record – both past and present – of potentially working with America’s adversaries against our national security interests and those of our allies. We ask you to investigate recent allegations that Secretary Kerry revealed sensitive information to the Iranian Foreign Minister Mohammad Javad Zarif, and if true, call for his removal from your national security team."
Three Republican representatives, Ann Wagner, Andy Barr, and Lee Zeldin, sent a letter to Diana Shaw, the State Department's acting inspector general, asking for a full investigation into Zarif's claims. In the letter they wrote, “Given the gravity of the security threat Iran poses to U.S. and Israeli interests, we respectfully ask that you fully investigate these allegations...Iran is a serious threat to Israel, a bulwark of democracy and stability in the Middle East. It is in our national security interest to stand by our strategic ally - not sell it out to our adversaries”. The letter also requested that Shaw make a determination if Kerry should have his security clearance revoked.
The lawmakers inquired what role Kerry had in formulating the Biden administration's policy on re-entering the JCPOA. They also questioned whether the state department knew of any Iranian proxy “follow-on attacks” made against Israel after Kerry allegedly met with Zarif.
In May 2021, Republicans on the House Oversight and Reform Committee requested documents from the White House regarding Kerry's security clearance. In the letter, signed by all but three Republicans on the panel, they questioned "Kerry’s fitness to serve in his current role with the National Security Council" and whether he should maintain a security clearance.
Reactions
John Kerry
In a tweet, Kerry denied Zarif's account, writing: “I can tell you that this story and these allegations are unequivocally false. This never happened — either when I was Secretary of State or since.”
Biden administration
United States Secretary of State Antony Blinken dismissed the audiotape as "utter nonsense."
Spokesperson for the United States Department of State Ned Price stated that he couldn't confirm the accuracy or authenticity of the audiotape or its claims, but implied that Kerry would not have likely been disclosing confidential information because Israel had publicly revealed that it had struck Iranian forces in Syria in 2017 and 2018.
Republicans
Starting on April 27, 2021, some Republicans suggested that Kerry should resign from the Biden administration's National Security Council or were highly critical of Kerry's alleged disclosures.
Sen. Dan Sullivan said “People are talking about treason — and I don’t throw that word around a lot...John Kerry does all kinds of things that I can’t stand. But this is the one that broke the camel’s back.”
Rep. Lee Zeldin called the alleged comments by Kerry “massively alarming" and If it's proven that Kerry actively undermined one of America's staunchest allies, he needs to resign from the Biden administration immediately and have his security clearance revoked".
Sen. Roger Marshall said, "John Kerry should be forced out of the Administration immediately — at the very least be removed entirely from all national security briefings and decisions".
Sen. Ted Cruz that if "this tape is verified, it would signal catastrophic and disqualifying recklessness by Envoy Kerry to Foreign Minister Zarif that endangered the safety of Americans and our allies".
Former United Nations Ambassador Nikki Haley tweeted that Kerry's disclosure was "stabbing" Israel in the back.
Rep. Mike Gallagher said, "It’s unfathomable that any U.S. diplomat, past or present, would leak intelligence to the world’s leading sponsors of terrorism at the expense of one of our staunchest allies".
Former secretary of state of the Trump administration, Mike Pompeo said, "When I was briefing Trump, Kerry was briefing Zarif".
Four-star general Jack Keane said that these are still allegations, but he was not surprised, stating that Zarif and Kerry have a "close relationship" that continued after Kerry left office. He said, that it was "completely irresponsible and downright reckless, and to a certain degree quite unprecedented in terms of our history."
Other Republicans expressed uncertainty about the tape's veracity.
Sen. Lindsey Graham said, "I don’t know if we should trust that tape or not. If it’s true, it’s very damaging...I like John Kerry, but that would not be helpful and it would be very problematic if it were true. But let’s wait and see how authentic this is.”
Rep. Michael McCaul said, "To me, we need to open an investigation. The facts need to come out. I don't know if they're true or not, but if they are, there should be consequences. This appears to be somewhat treasonous to be meeting with the enemy and cutting back deals and sharing information, intelligence related to Israel and its efforts against Iran proxies in Syria. Having said that, we don't know all the facts. And rest assured, I will find out."
Sen. Mitt Romney said, “It’s very troubling, and there needs to be full transparency to understand exactly what was done, by whom, for what purpose, and an accounting of what occurred...We have one recording by an Iranian official, but this is something that has to be evaluated and looked into.”
Media
FOX NEWS published a story that although there had been intense backlash after the New York Times published the story about Kerry, there had also been a "widespread blackout in media coverage", with ABC, CBS, NBC, and MSNBC making no mentions of the "controversy".
The National Review wrote: "Was this a deliberate Obama administration decision to tell the Iranians, or was Kerry freelancing? Either way, it seems extraordinarily unlikely that the Israelis had signed off on Kerry revealing this information to Tehran."
The Washington Post columnist, Marc A. Thiessen, wrote: "Four years ago, Senate Democrats demanded an investigation of Trump’s alleged disclosures to Russia. But now that it is Kerry who stands accused, the silence from Democrats is deafening. The Iranian foreign minister has said he learned this intelligence information from Kerry. That cannot simply be ignored. Democrats have a responsibility to conduct oversight over the Biden national security team. Kerry should be called to Capitol Hill to explain under oath what he said to Zarif — and when he said it."
Zarif's comments on Qasem Soleimani
In the tape, Zarif spoke about his relationship with Qasem Soleimani, who was killed by a United States drone strike in 2020. Zarif said that "by assassinating [Soleimani] in Iraq, the United States delivered a major blow to Iran, more damaging than if it had wiped out an entire city in an attack".
Reactions
On May 2, 2021, in an Instagram post, Zarif apologized for the remarks that he made against Soleimani, writing: "Some have tried to use this unfortunate situation as a means to disrupt the empathy of the brave people of this region or as a tool for short-term political goals...I should emphasize that my words do not undermine a single bit of the greatness of Martyr General Soleimani and his irreplaceable role in restoring the security of Iran, the region and the world...If I had known a sentence from those words would have been made public, I certainly would not have uttered it as I did in the past."
On May 2, 2021, during a televised speech, Iran's supreme leader, Ayatollah Ali Khamenei, said Zarif comments was a "big mistake that must not be perpetrated by officials of the Islamic republic".
Former secretary of state, Mike Pompeo, tweeted, "Our Administration’s exquisite strike on Qasem Soleimani had a massive impact on Iran and the Middle East. You don’t have to take my word for it. Ask @JZarif. President Biden still thinks it was a mistake."
In a letter to Zarif, several Iranian "martyrs" families criticized him for insulting Soleimani. They wrote that Zarif blamed other Iranians for his "failure" in negotiations.
References
2021 controversies
2021 in international relations
2021 in Iran
News leaks
Nuclear program of Iran
Hassan Rouhani
Qasem Soleimani
John Kerry controversies
Iran–United States relations |
```smalltalk
using System;
using Android.App;
using Android.Content;
using Android.Content.Res;
using Android.Runtime;
using Android.Views;
using Android.Widget;
using Xamarin.Forms.Internals;
namespace Xamarin.Forms.Platform.Android
{
[Obsolete("MasterDetailPage is obsolete as of version 5.0.0. Please use FlyoutPage instead.")]
internal class MasterDetailContainer : ViewGroup
{
const int DefaultMasterSize = 320;
const int DefaultSmallMasterSize = 240;
readonly bool _isMaster;
readonly MasterDetailPage _parent;
VisualElement _childView;
public MasterDetailContainer(MasterDetailPage parent, bool isMaster, Context context) : base(context)
{
_parent = parent;
_isMaster = isMaster;
}
public MasterDetailContainer(IntPtr javaReference, JniHandleOwnership transfer) : base(javaReference, transfer) { }
IMasterDetailPageController MasterDetailPageController => _parent as IMasterDetailPageController;
public VisualElement ChildView
{
get { return _childView; }
set
{
if (_childView == value)
return;
RemoveAllViews();
if (_childView != null)
DisposeChildRenderers();
_childView = value;
if (_childView == null)
return;
AddChildView(_childView);
}
}
protected virtual void AddChildView(VisualElement childView)
{
IVisualElementRenderer renderer = Platform.GetRenderer(childView);
if (renderer == null)
Platform.SetRenderer(childView, renderer = Platform.CreateRenderer(childView, Context));
if (renderer.View.Parent != this)
{
if (renderer.View.Parent != null)
renderer.View.RemoveFromParent();
SetDefaultBackgroundColor(renderer);
AddView(renderer.View);
renderer.UpdateLayout();
}
}
public int TopPadding { get; set; }
double DefaultWidthMaster
{
get
{
double w = Context.FromPixels(Resources.DisplayMetrics.WidthPixels);
return w < DefaultSmallMasterSize ? w : (w < DefaultMasterSize ? DefaultSmallMasterSize : DefaultMasterSize);
}
}
public override bool OnInterceptTouchEvent(MotionEvent ev)
{
bool isShowingPopover = _parent.IsPresented && !MasterDetailPageController.ShouldShowSplitMode;
if (!_isMaster && isShowingPopover)
return true;
return base.OnInterceptTouchEvent(ev);
}
protected override void Dispose(bool disposing)
{
if (disposing)
{
RemoveAllViews();
DisposeChildRenderers();
}
base.Dispose(disposing);
}
protected override void OnLayout(bool changed, int l, int t, int r, int b)
{
if (_childView == null)
return;
Rectangle bounds = GetBounds(_isMaster, l, t, r, b);
if (_isMaster)
MasterDetailPageController.MasterBounds = bounds;
else
MasterDetailPageController.DetailBounds = bounds;
IVisualElementRenderer renderer = Platform.GetRenderer(_childView);
renderer?.UpdateLayout();
}
void DisposeChildRenderers()
{
IVisualElementRenderer childRenderer = Platform.GetRenderer(_childView);
childRenderer?.Dispose();
_childView?.ClearValue(Platform.RendererProperty);
}
Rectangle GetBounds(bool isMasterPage, int left, int top, int right, int bottom)
{
double width = Context.FromPixels(right - left);
double height = Context.FromPixels(bottom - top);
double xPos = 0;
bool supressPadding = false;
//splitview
if (MasterDetailPageController.ShouldShowSplitMode)
{
//to keep some behavior we have on iPad where you can toggle and it won't do anything
bool isDefaultNoToggle = _parent.MasterBehavior == MasterBehavior.Default;
xPos = isMasterPage ? 0 : (_parent.IsPresented || isDefaultNoToggle ? DefaultWidthMaster : 0);
width = isMasterPage ? DefaultWidthMaster : _parent.IsPresented || isDefaultNoToggle ? width - DefaultWidthMaster : width;
}
else
{
//if we are showing the normal popover master doesn't have padding
supressPadding = isMasterPage;
//popover make the master smaller
width = isMasterPage && (Device.Info.CurrentOrientation.IsLandscape() || Device.Idiom == TargetIdiom.Tablet) ? DefaultWidthMaster : width;
}
double padding = supressPadding ? 0 : Context.FromPixels(TopPadding);
return new Rectangle(xPos, padding, width, height - padding);
}
protected void SetDefaultBackgroundColor(IVisualElementRenderer renderer)
{
if (ChildView.BackgroundColor == Color.Default)
{
TypedArray colors = Context.Theme.ObtainStyledAttributes(new[] { global::Android.Resource.Attribute.ColorBackground });
renderer.View.SetBackgroundColor(new global::Android.Graphics.Color(colors.GetColor(0, 0)));
}
}
}
}
``` |
St Michael and All Angels’ Church, Church Broughton is a Grade I listed parish church in the Church of England in Church Broughton, Derbyshire.
History
The church dates from the early 12th century but contains elements from the 14th, 15th and early 18th centuries.
It was restored in 1886 by J.R. Naylor of Derby and re-opened by the Bishop of Southwell on 22 June 1886.
Organ
The two-manual, 17-stop pipe organ was installed by Nicholson and Lord. A specification of the organ can be found on the National Pipe Organ Register.
Parish status
The church is in a joint parish with
St John the Baptist's Church, Boylestone
All Saints' Church, Dalbury
St Chad's Church, Longford
Christ Church, Long Lane
St Andrew's Church, Radbourne
St Michael's Church, Sutton-on-the-Hill
All Saints’ Church, Trusley
See also
Grade I listed buildings in Derbyshire
Grade I listed churches in Derbyshire
Listed buildings in Church Broughton
References
Church of England church buildings in Derbyshire
Grade I listed churches in Derbyshire |
```objective-c
// Use of this source code is governed by a BSD-style license that can be
// found in the LICENSE file.
#ifndef V8_WASM_MACRO_GEN_H_
#define V8_WASM_MACRO_GEN_H_
#include "src/wasm/wasm-opcodes.h"
#include "src/zone/zone-containers.h"
#define U32_LE(v) \
static_cast<byte>(v), static_cast<byte>((v) >> 8), \
static_cast<byte>((v) >> 16), static_cast<byte>((v) >> 24)
#define U16_LE(v) static_cast<byte>(v), static_cast<byte>((v) >> 8)
#define WASM_MODULE_HEADER U32_LE(kWasmMagic), U32_LE(kWasmVersion)
#define IMPORT_SIG_INDEX(v) U32V_1(v)
#define FUNC_INDEX(v) U32V_1(v)
#define TABLE_INDEX(v) U32V_1(v)
#define NO_NAME U32V_1(0)
#define NAME_LENGTH(v) U32V_1(v)
#define ENTRY_COUNT(v) U32V_1(v)
#define ZERO_ALIGNMENT 0
#define ZERO_OFFSET 0
#define BR_TARGET(v) U32V_1(v)
#define MASK_7 ((1 << 7) - 1)
#define MASK_14 ((1 << 14) - 1)
#define MASK_21 ((1 << 21) - 1)
#define MASK_28 ((1 << 28) - 1)
#define U32V_1(x) static_cast<byte>((x)&MASK_7)
#define U32V_2(x) \
static_cast<byte>(((x)&MASK_7) | 0x80), static_cast<byte>(((x) >> 7) & MASK_7)
#define U32V_3(x) \
static_cast<byte>((((x)) & MASK_7) | 0x80), \
static_cast<byte>((((x) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((x) >> 14) & MASK_7)
#define U32V_4(x) \
static_cast<byte>(((x)&MASK_7) | 0x80), \
static_cast<byte>((((x) >> 7) & MASK_7) | 0x80), \
static_cast<byte>((((x) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((x) >> 21) & MASK_7)
#define U32V_5(x) \
static_cast<byte>(((x)&MASK_7) | 0x80), \
static_cast<byte>((((x) >> 7) & MASK_7) | 0x80), \
static_cast<byte>((((x) >> 14) & MASK_7) | 0x80), \
static_cast<byte>((((x) >> 21) & MASK_7) | 0x80), \
static_cast<byte>((((x) >> 28) & MASK_7))
// Convenience macros for building Wasm bytecode directly into a byte array.
//your_sha256_hash--------------
// Control.
//your_sha256_hash--------------
#define WASM_NOP kExprNop
#define WASM_END kExprEnd
#define ARITY_0 0
#define ARITY_1 1
#define ARITY_2 2
#define DEPTH_0 0
#define DEPTH_1 1
#define DEPTH_2 2
#define ARITY_2 2
#define WASM_BLOCK(...) kExprBlock, kLocalVoid, __VA_ARGS__, kExprEnd
#define WASM_BLOCK_I(...) kExprBlock, kLocalI32, __VA_ARGS__, kExprEnd
#define WASM_BLOCK_L(...) kExprBlock, kLocalI64, __VA_ARGS__, kExprEnd
#define WASM_BLOCK_F(...) kExprBlock, kLocalF32, __VA_ARGS__, kExprEnd
#define WASM_BLOCK_D(...) kExprBlock, kLocalF64, __VA_ARGS__, kExprEnd
#define WASM_BLOCK_T(t, ...) \
kExprBlock, static_cast<byte>(ValueTypes::ValueTypeCodeFor(t)), __VA_ARGS__, \
kExprEnd
#define WASM_BLOCK_X(index, ...) \
kExprBlock, static_cast<byte>(index), __VA_ARGS__, kExprEnd
#define WASM_INFINITE_LOOP kExprLoop, kLocalVoid, kExprBr, DEPTH_0, kExprEnd
#define WASM_LOOP(...) kExprLoop, kLocalVoid, __VA_ARGS__, kExprEnd
#define WASM_LOOP_I(...) kExprLoop, kLocalI32, __VA_ARGS__, kExprEnd
#define WASM_LOOP_L(...) kExprLoop, kLocalI64, __VA_ARGS__, kExprEnd
#define WASM_LOOP_F(...) kExprLoop, kLocalF32, __VA_ARGS__, kExprEnd
#define WASM_LOOP_D(...) kExprLoop, kLocalF64, __VA_ARGS__, kExprEnd
#define WASM_LOOP_T(t, ...) \
kExprLoop, static_cast<byte>(ValueTypes::ValueTypeCodeFor(t)), __VA_ARGS__, \
kExprEnd
#define WASM_LOOP_X(index, ...) \
kExprLoop, static_cast<byte>(index), __VA_ARGS__, kExprEnd
#define WASM_IF(cond, ...) cond, kExprIf, kLocalVoid, __VA_ARGS__, kExprEnd
#define WASM_IF_T(t, cond, ...) \
cond, kExprIf, static_cast<byte>(ValueTypes::ValueTypeCodeFor(t)), \
__VA_ARGS__, kExprEnd
#define WASM_IF_X(index, cond, ...) \
cond, kExprIf, static_cast<byte>(index), __VA_ARGS__, kExprEnd
#define WASM_IF_ELSE(cond, tstmt, fstmt) \
cond, kExprIf, kLocalVoid, tstmt, kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_I(cond, tstmt, fstmt) \
cond, kExprIf, kLocalI32, tstmt, kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_L(cond, tstmt, fstmt) \
cond, kExprIf, kLocalI64, tstmt, kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_F(cond, tstmt, fstmt) \
cond, kExprIf, kLocalF32, tstmt, kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_D(cond, tstmt, fstmt) \
cond, kExprIf, kLocalF64, tstmt, kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_T(t, cond, tstmt, fstmt) \
cond, kExprIf, static_cast<byte>(ValueTypes::ValueTypeCodeFor(t)), tstmt, \
kExprElse, fstmt, kExprEnd
#define WASM_IF_ELSE_X(index, cond, tstmt, fstmt) \
cond, kExprIf, static_cast<byte>(index), tstmt, kExprElse, fstmt, kExprEnd
#define WASM_SELECT(tval, fval, cond) tval, fval, cond, kExprSelect
#define WASM_RETURN0 kExprReturn
#define WASM_RETURN1(val) val, kExprReturn
#define WASM_RETURNN(count, ...) __VA_ARGS__, kExprReturn
#define WASM_BR(depth) kExprBr, static_cast<byte>(depth)
#define WASM_BR_IF(depth, cond) cond, kExprBrIf, static_cast<byte>(depth)
#define WASM_BR_IFD(depth, val, cond) \
val, cond, kExprBrIf, static_cast<byte>(depth), kExprDrop
#define WASM_CONTINUE(depth) kExprBr, static_cast<byte>(depth)
#define WASM_UNREACHABLE kExprUnreachable
#define WASM_BR_TABLE(key, count, ...) \
key, kExprBrTable, U32V_1(count), __VA_ARGS__
#define WASM_CASE(x) static_cast<byte>(x), static_cast<byte>(x >> 8)
#define WASM_CASE_BR(x) static_cast<byte>(x), static_cast<byte>(0x80 | (x) >> 8)
//your_sha256_hash--------------
// Misc expressions.
//your_sha256_hash--------------
#define WASM_ID(...) __VA_ARGS__
#define WASM_ZERO kExprI32Const, 0
#define WASM_ONE kExprI32Const, 1
#define I32V_MIN(length) -(1 << (6 + (7 * ((length)-1))))
#define I32V_MAX(length) ((1 << (6 + (7 * ((length)-1)))) - 1)
#define I64V_MIN(length) -(1LL << (6 + (7 * ((length)-1))))
#define I64V_MAX(length) ((1LL << (6 + 7 * ((length)-1))) - 1)
#define I32V_IN_RANGE(value, length) \
((value) >= I32V_MIN(length) && (value) <= I32V_MAX(length))
#define I64V_IN_RANGE(value, length) \
((value) >= I64V_MIN(length) && (value) <= I64V_MAX(length))
#define WASM_NO_LOCALS 0
namespace v8 {
namespace internal {
namespace wasm {
inline void CheckI32v(int32_t value, int length) {
DCHECK(length >= 1 && length <= 5);
DCHECK(length == 5 || I32V_IN_RANGE(value, length));
}
inline void CheckI64v(int64_t value, int length) {
DCHECK(length >= 1 && length <= 10);
DCHECK(length == 10 || I64V_IN_RANGE(value, length));
}
inline WasmOpcode LoadStoreOpcodeOf(MachineType type, bool store) {
switch (type.representation()) {
case MachineRepresentation::kWord8:
return store ? kExprI32StoreMem8
: type.IsSigned() ? kExprI32LoadMem8S : kExprI32LoadMem8U;
case MachineRepresentation::kWord16:
return store ? kExprI32StoreMem16
: type.IsSigned() ? kExprI32LoadMem16S : kExprI32LoadMem16U;
case MachineRepresentation::kWord32:
return store ? kExprI32StoreMem : kExprI32LoadMem;
case MachineRepresentation::kWord64:
return store ? kExprI64StoreMem : kExprI64LoadMem;
case MachineRepresentation::kFloat32:
return store ? kExprF32StoreMem : kExprF32LoadMem;
case MachineRepresentation::kFloat64:
return store ? kExprF64StoreMem : kExprF64LoadMem;
case MachineRepresentation::kSimd128:
return store ? kExprS128StoreMem : kExprS128LoadMem;
default:
UNREACHABLE();
}
}
} // namespace wasm
} // namespace internal
} // namespace v8
//your_sha256_hash--------------
// Int32 Const operations
//your_sha256_hash--------------
#define WASM_I32V(val) kExprI32Const, U32V_5(val)
#define WASM_I32V_1(val) \
static_cast<byte>(CheckI32v((val), 1), kExprI32Const), U32V_1(val)
#define WASM_I32V_2(val) \
static_cast<byte>(CheckI32v((val), 2), kExprI32Const), U32V_2(val)
#define WASM_I32V_3(val) \
static_cast<byte>(CheckI32v((val), 3), kExprI32Const), U32V_3(val)
#define WASM_I32V_4(val) \
static_cast<byte>(CheckI32v((val), 4), kExprI32Const), U32V_4(val)
#define WASM_I32V_5(val) \
static_cast<byte>(CheckI32v((val), 5), kExprI32Const), U32V_5(val)
//your_sha256_hash--------------
// Int64 Const operations
//your_sha256_hash--------------
#define WASM_I64V(val) \
kExprI64Const, \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 35) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 42) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 49) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 56) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 63) & MASK_7)
#define WASM_I64V_1(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 1), kExprI64Const), \
static_cast<byte>(static_cast<int64_t>(val) & MASK_7)
#define WASM_I64V_2(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 2), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 7) & MASK_7)
#define WASM_I64V_3(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 3), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 14) & MASK_7)
#define WASM_I64V_4(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 4), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 21) & MASK_7)
#define WASM_I64V_5(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 5), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 28) & MASK_7)
#define WASM_I64V_6(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 6), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 35) & MASK_7)
#define WASM_I64V_7(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 7), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 35) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 42) & MASK_7)
#define WASM_I64V_8(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 8), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 35) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 42) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 49) & MASK_7)
#define WASM_I64V_9(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 9), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 35) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 42) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 49) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 56) & MASK_7)
#define WASM_I64V_10(val) \
static_cast<byte>(CheckI64v(static_cast<int64_t>(val), 10), kExprI64Const), \
static_cast<byte>((static_cast<int64_t>(val) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 7) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 14) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 21) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 28) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 35) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 42) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 49) & MASK_7) | 0x80), \
static_cast<byte>(((static_cast<int64_t>(val) >> 56) & MASK_7) | 0x80), \
static_cast<byte>((static_cast<int64_t>(val) >> 63) & MASK_7)
#define WASM_F32(val) \
kExprF32Const, \
static_cast<byte>(bit_cast<int32_t>(static_cast<float>(val))), \
static_cast<byte>(bit_cast<uint32_t>(static_cast<float>(val)) >> 8), \
static_cast<byte>(bit_cast<uint32_t>(static_cast<float>(val)) >> 16), \
static_cast<byte>(bit_cast<uint32_t>(static_cast<float>(val)) >> 24)
#define WASM_F64(val) \
kExprF64Const, \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val))), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 8), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 16), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 24), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 32), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 40), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 48), \
static_cast<byte>(bit_cast<uint64_t>(static_cast<double>(val)) >> 56)
#define WASM_REF_NULL kExprRefNull
#define WASM_GET_LOCAL(index) kExprGetLocal, static_cast<byte>(index)
#define WASM_SET_LOCAL(index, val) val, kExprSetLocal, static_cast<byte>(index)
#define WASM_TEE_LOCAL(index, val) val, kExprTeeLocal, static_cast<byte>(index)
#define WASM_DROP kExprDrop
#define WASM_GET_GLOBAL(index) kExprGetGlobal, static_cast<byte>(index)
#define WASM_SET_GLOBAL(index, val) \
val, kExprSetGlobal, static_cast<byte>(index)
#define WASM_LOAD_MEM(type, index) \
index, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, false)), \
ZERO_ALIGNMENT, ZERO_OFFSET
#define WASM_STORE_MEM(type, index, val) \
index, val, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, true)), \
ZERO_ALIGNMENT, ZERO_OFFSET
#define WASM_LOAD_MEM_OFFSET(type, offset, index) \
index, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, false)), \
ZERO_ALIGNMENT, offset
#define WASM_STORE_MEM_OFFSET(type, offset, index, val) \
index, val, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, true)), \
ZERO_ALIGNMENT, offset
#define WASM_LOAD_MEM_ALIGNMENT(type, index, alignment) \
index, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, false)), \
alignment, ZERO_OFFSET
#define WASM_STORE_MEM_ALIGNMENT(type, index, alignment, val) \
index, val, \
static_cast<byte>(v8::internal::wasm::LoadStoreOpcodeOf(type, true)), \
alignment, ZERO_OFFSET
#define WASM_CALL_FUNCTION0(index) kExprCallFunction, static_cast<byte>(index)
#define WASM_CALL_FUNCTION(index, ...) \
__VA_ARGS__, kExprCallFunction, static_cast<byte>(index)
#define TABLE_ZERO 0
// TODO(titzer): change usages of these macros to put func last.
#define WASM_CALL_INDIRECT0(index, func) \
func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECT1(index, func, a) \
a, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECT2(index, func, a, b) \
a, b, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECT3(index, func, a, b, c) \
a, b, c, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECT4(index, func, a, b, c, d) \
a, b, c, d, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECT5(index, func, a, b, c, d, e) \
a, b, c, d, e, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_CALL_INDIRECTN(arity, index, func, ...) \
__VA_ARGS__, func, kExprCallIndirect, static_cast<byte>(index), TABLE_ZERO
#define WASM_NOT(x) x, kExprI32Eqz
#define WASM_SEQ(...) __VA_ARGS__
//your_sha256_hash--------------
// Constructs that are composed of multiple bytecodes.
//your_sha256_hash--------------
#define WASM_WHILE(x, y) \
kExprLoop, kLocalVoid, x, kExprIf, kLocalVoid, y, kExprBr, DEPTH_1, \
kExprEnd, kExprEnd
#define WASM_INC_LOCAL(index) \
kExprGetLocal, static_cast<byte>(index), kExprI32Const, 1, kExprI32Add, \
kExprTeeLocal, static_cast<byte>(index)
#define WASM_INC_LOCAL_BYV(index, count) \
kExprGetLocal, static_cast<byte>(index), kExprI32Const, \
static_cast<byte>(count), kExprI32Add, kExprTeeLocal, \
static_cast<byte>(index)
#define WASM_INC_LOCAL_BY(index, count) \
kExprGetLocal, static_cast<byte>(index), kExprI32Const, \
static_cast<byte>(count), kExprI32Add, kExprSetLocal, \
static_cast<byte>(index)
#define WASM_UNOP(opcode, x) x, static_cast<byte>(opcode)
#define WASM_BINOP(opcode, x, y) x, y, static_cast<byte>(opcode)
//your_sha256_hash--------------
// Int32 operations
//your_sha256_hash--------------
#define WASM_I32_ADD(x, y) x, y, kExprI32Add
#define WASM_I32_SUB(x, y) x, y, kExprI32Sub
#define WASM_I32_MUL(x, y) x, y, kExprI32Mul
#define WASM_I32_DIVS(x, y) x, y, kExprI32DivS
#define WASM_I32_DIVU(x, y) x, y, kExprI32DivU
#define WASM_I32_REMS(x, y) x, y, kExprI32RemS
#define WASM_I32_REMU(x, y) x, y, kExprI32RemU
#define WASM_I32_AND(x, y) x, y, kExprI32And
#define WASM_I32_IOR(x, y) x, y, kExprI32Ior
#define WASM_I32_XOR(x, y) x, y, kExprI32Xor
#define WASM_I32_SHL(x, y) x, y, kExprI32Shl
#define WASM_I32_SHR(x, y) x, y, kExprI32ShrU
#define WASM_I32_SAR(x, y) x, y, kExprI32ShrS
#define WASM_I32_ROR(x, y) x, y, kExprI32Ror
#define WASM_I32_ROL(x, y) x, y, kExprI32Rol
#define WASM_I32_EQ(x, y) x, y, kExprI32Eq
#define WASM_I32_NE(x, y) x, y, kExprI32Ne
#define WASM_I32_LTS(x, y) x, y, kExprI32LtS
#define WASM_I32_LES(x, y) x, y, kExprI32LeS
#define WASM_I32_LTU(x, y) x, y, kExprI32LtU
#define WASM_I32_LEU(x, y) x, y, kExprI32LeU
#define WASM_I32_GTS(x, y) x, y, kExprI32GtS
#define WASM_I32_GES(x, y) x, y, kExprI32GeS
#define WASM_I32_GTU(x, y) x, y, kExprI32GtU
#define WASM_I32_GEU(x, y) x, y, kExprI32GeU
#define WASM_I32_CLZ(x) x, kExprI32Clz
#define WASM_I32_CTZ(x) x, kExprI32Ctz
#define WASM_I32_POPCNT(x) x, kExprI32Popcnt
#define WASM_I32_EQZ(x) x, kExprI32Eqz
//your_sha256_hash--------------
// Asmjs Int32 operations
//your_sha256_hash--------------
#define WASM_I32_ASMJS_DIVS(x, y) x, y, kExprI32AsmjsDivS
#define WASM_I32_ASMJS_REMS(x, y) x, y, kExprI32AsmjsRemS
#define WASM_I32_ASMJS_DIVU(x, y) x, y, kExprI32AsmjsDivU
#define WASM_I32_ASMJS_REMU(x, y) x, y, kExprI32AsmjsRemU
//your_sha256_hash--------------
// Int64 operations
//your_sha256_hash--------------
#define WASM_I64_ADD(x, y) x, y, kExprI64Add
#define WASM_I64_SUB(x, y) x, y, kExprI64Sub
#define WASM_I64_MUL(x, y) x, y, kExprI64Mul
#define WASM_I64_DIVS(x, y) x, y, kExprI64DivS
#define WASM_I64_DIVU(x, y) x, y, kExprI64DivU
#define WASM_I64_REMS(x, y) x, y, kExprI64RemS
#define WASM_I64_REMU(x, y) x, y, kExprI64RemU
#define WASM_I64_AND(x, y) x, y, kExprI64And
#define WASM_I64_IOR(x, y) x, y, kExprI64Ior
#define WASM_I64_XOR(x, y) x, y, kExprI64Xor
#define WASM_I64_SHL(x, y) x, y, kExprI64Shl
#define WASM_I64_SHR(x, y) x, y, kExprI64ShrU
#define WASM_I64_SAR(x, y) x, y, kExprI64ShrS
#define WASM_I64_ROR(x, y) x, y, kExprI64Ror
#define WASM_I64_ROL(x, y) x, y, kExprI64Rol
#define WASM_I64_EQ(x, y) x, y, kExprI64Eq
#define WASM_I64_NE(x, y) x, y, kExprI64Ne
#define WASM_I64_LTS(x, y) x, y, kExprI64LtS
#define WASM_I64_LES(x, y) x, y, kExprI64LeS
#define WASM_I64_LTU(x, y) x, y, kExprI64LtU
#define WASM_I64_LEU(x, y) x, y, kExprI64LeU
#define WASM_I64_GTS(x, y) x, y, kExprI64GtS
#define WASM_I64_GES(x, y) x, y, kExprI64GeS
#define WASM_I64_GTU(x, y) x, y, kExprI64GtU
#define WASM_I64_GEU(x, y) x, y, kExprI64GeU
#define WASM_I64_CLZ(x) x, kExprI64Clz
#define WASM_I64_CTZ(x) x, kExprI64Ctz
#define WASM_I64_POPCNT(x) x, kExprI64Popcnt
#define WASM_I64_EQZ(x) x, kExprI64Eqz
//your_sha256_hash--------------
// Float32 operations
//your_sha256_hash--------------
#define WASM_F32_ADD(x, y) x, y, kExprF32Add
#define WASM_F32_SUB(x, y) x, y, kExprF32Sub
#define WASM_F32_MUL(x, y) x, y, kExprF32Mul
#define WASM_F32_DIV(x, y) x, y, kExprF32Div
#define WASM_F32_MIN(x, y) x, y, kExprF32Min
#define WASM_F32_MAX(x, y) x, y, kExprF32Max
#define WASM_F32_ABS(x) x, kExprF32Abs
#define WASM_F32_NEG(x) x, kExprF32Neg
#define WASM_F32_COPYSIGN(x, y) x, y, kExprF32CopySign
#define WASM_F32_CEIL(x) x, kExprF32Ceil
#define WASM_F32_FLOOR(x) x, kExprF32Floor
#define WASM_F32_TRUNC(x) x, kExprF32Trunc
#define WASM_F32_NEARESTINT(x) x, kExprF32NearestInt
#define WASM_F32_SQRT(x) x, kExprF32Sqrt
#define WASM_F32_EQ(x, y) x, y, kExprF32Eq
#define WASM_F32_NE(x, y) x, y, kExprF32Ne
#define WASM_F32_LT(x, y) x, y, kExprF32Lt
#define WASM_F32_LE(x, y) x, y, kExprF32Le
#define WASM_F32_GT(x, y) x, y, kExprF32Gt
#define WASM_F32_GE(x, y) x, y, kExprF32Ge
//your_sha256_hash--------------
// Float64 operations
//your_sha256_hash--------------
#define WASM_F64_ADD(x, y) x, y, kExprF64Add
#define WASM_F64_SUB(x, y) x, y, kExprF64Sub
#define WASM_F64_MUL(x, y) x, y, kExprF64Mul
#define WASM_F64_DIV(x, y) x, y, kExprF64Div
#define WASM_F64_MIN(x, y) x, y, kExprF64Min
#define WASM_F64_MAX(x, y) x, y, kExprF64Max
#define WASM_F64_ABS(x) x, kExprF64Abs
#define WASM_F64_NEG(x) x, kExprF64Neg
#define WASM_F64_COPYSIGN(x, y) x, y, kExprF64CopySign
#define WASM_F64_CEIL(x) x, kExprF64Ceil
#define WASM_F64_FLOOR(x) x, kExprF64Floor
#define WASM_F64_TRUNC(x) x, kExprF64Trunc
#define WASM_F64_NEARESTINT(x) x, kExprF64NearestInt
#define WASM_F64_SQRT(x) x, kExprF64Sqrt
#define WASM_F64_EQ(x, y) x, y, kExprF64Eq
#define WASM_F64_NE(x, y) x, y, kExprF64Ne
#define WASM_F64_LT(x, y) x, y, kExprF64Lt
#define WASM_F64_LE(x, y) x, y, kExprF64Le
#define WASM_F64_GT(x, y) x, y, kExprF64Gt
#define WASM_F64_GE(x, y) x, y, kExprF64Ge
//your_sha256_hash--------------
// Type conversions.
//your_sha256_hash--------------
#define WASM_I32_SCONVERT_F32(x) x, kExprI32SConvertF32
#define WASM_I32_SCONVERT_F64(x) x, kExprI32SConvertF64
#define WASM_I32_UCONVERT_F32(x) x, kExprI32UConvertF32
#define WASM_I32_UCONVERT_F64(x) x, kExprI32UConvertF64
#define WASM_I32_CONVERT_I64(x) x, kExprI32ConvertI64
#define WASM_I64_SCONVERT_F32(x) x, kExprI64SConvertF32
#define WASM_I64_SCONVERT_F64(x) x, kExprI64SConvertF64
#define WASM_I64_UCONVERT_F32(x) x, kExprI64UConvertF32
#define WASM_I64_UCONVERT_F64(x) x, kExprI64UConvertF64
#define WASM_I64_SCONVERT_I32(x) x, kExprI64SConvertI32
#define WASM_I64_UCONVERT_I32(x) x, kExprI64UConvertI32
#define WASM_F32_SCONVERT_I32(x) x, kExprF32SConvertI32
#define WASM_F32_UCONVERT_I32(x) x, kExprF32UConvertI32
#define WASM_F32_SCONVERT_I64(x) x, kExprF32SConvertI64
#define WASM_F32_UCONVERT_I64(x) x, kExprF32UConvertI64
#define WASM_F32_CONVERT_F64(x) x, kExprF32ConvertF64
#define WASM_F32_REINTERPRET_I32(x) x, kExprF32ReinterpretI32
#define WASM_F64_SCONVERT_I32(x) x, kExprF64SConvertI32
#define WASM_F64_UCONVERT_I32(x) x, kExprF64UConvertI32
#define WASM_F64_SCONVERT_I64(x) x, kExprF64SConvertI64
#define WASM_F64_UCONVERT_I64(x) x, kExprF64UConvertI64
#define WASM_F64_CONVERT_F32(x) x, kExprF64ConvertF32
#define WASM_F64_REINTERPRET_I64(x) x, kExprF64ReinterpretI64
#define WASM_I32_REINTERPRET_F32(x) x, kExprI32ReinterpretF32
#define WASM_I64_REINTERPRET_F64(x) x, kExprI64ReinterpretF64
//your_sha256_hash--------------
// Numeric operations
//your_sha256_hash--------------
#define WASM_NUMERIC_OP(op) kNumericPrefix, static_cast<byte>(op)
#define WASM_I32_SCONVERT_SAT_F32(x) x, WASM_NUMERIC_OP(kExprI32SConvertSatF32)
#define WASM_I32_UCONVERT_SAT_F32(x) x, WASM_NUMERIC_OP(kExprI32UConvertSatF32)
#define WASM_I32_SCONVERT_SAT_F64(x) x, WASM_NUMERIC_OP(kExprI32SConvertSatF64)
#define WASM_I32_UCONVERT_SAT_F64(x) x, WASM_NUMERIC_OP(kExprI32UConvertSatF64)
#define WASM_I64_SCONVERT_SAT_F32(x) x, WASM_NUMERIC_OP(kExprI64SConvertSatF32)
#define WASM_I64_UCONVERT_SAT_F32(x) x, WASM_NUMERIC_OP(kExprI64UConvertSatF32)
#define WASM_I64_SCONVERT_SAT_F64(x) x, WASM_NUMERIC_OP(kExprI64SConvertSatF64)
#define WASM_I64_UCONVERT_SAT_F64(x) x, WASM_NUMERIC_OP(kExprI64UConvertSatF64)
//your_sha256_hash--------------
// Memory Operations.
//your_sha256_hash--------------
#define WASM_GROW_MEMORY(x) x, kExprGrowMemory, 0
#define WASM_MEMORY_SIZE kExprMemorySize, 0
#define SIG_ENTRY_v_v kWasmFunctionTypeCode, 0, 0
#define SIZEOF_SIG_ENTRY_v_v 3
#define SIG_ENTRY_v_x(a) kWasmFunctionTypeCode, 1, a, 0
#define SIG_ENTRY_v_xx(a, b) kWasmFunctionTypeCode, 2, a, b, 0
#define SIG_ENTRY_v_xxx(a, b, c) kWasmFunctionTypeCode, 3, a, b, c, 0
#define SIZEOF_SIG_ENTRY_v_x 4
#define SIZEOF_SIG_ENTRY_v_xx 5
#define SIZEOF_SIG_ENTRY_v_xxx 6
#define SIG_ENTRY_x(r) kWasmFunctionTypeCode, 0, 1, r
#define SIG_ENTRY_x_x(r, a) kWasmFunctionTypeCode, 1, a, 1, r
#define SIG_ENTRY_x_xx(r, a, b) kWasmFunctionTypeCode, 2, a, b, 1, r
#define SIG_ENTRY_x_xxx(r, a, b, c) kWasmFunctionTypeCode, 3, a, b, c, 1, r
#define SIZEOF_SIG_ENTRY_x 4
#define SIZEOF_SIG_ENTRY_x_x 5
#define SIZEOF_SIG_ENTRY_x_xx 6
#define SIZEOF_SIG_ENTRY_x_xxx 7
#define WASM_BRV(depth, ...) __VA_ARGS__, kExprBr, static_cast<byte>(depth)
#define WASM_BRV_IF(depth, val, cond) \
val, cond, kExprBrIf, static_cast<byte>(depth)
#define WASM_BRV_IFD(depth, val, cond) \
val, cond, kExprBrIf, static_cast<byte>(depth), kExprDrop
#define WASM_IFB(cond, ...) cond, kExprIf, kLocalVoid, __VA_ARGS__, kExprEnd
#define WASM_BR_TABLEV(val, key, count, ...) \
val, key, kExprBrTable, U32V_1(count), __VA_ARGS__
//your_sha256_hash--------------
// Atomic Operations.
//your_sha256_hash--------------
#define WASM_ATOMICS_OP(op) kAtomicPrefix, static_cast<byte>(op)
#define WASM_ATOMICS_BINOP(op, x, y, representation) \
x, y, WASM_ATOMICS_OP(op), \
static_cast<byte>(ElementSizeLog2Of(representation)), ZERO_OFFSET
#define WASM_ATOMICS_TERNARY_OP(op, x, y, z, representation) \
x, y, z, WASM_ATOMICS_OP(op), \
static_cast<byte>(ElementSizeLog2Of(representation)), ZERO_OFFSET
#define WASM_ATOMICS_LOAD_OP(op, x, representation) \
x, WASM_ATOMICS_OP(op), \
static_cast<byte>(ElementSizeLog2Of(representation)), ZERO_OFFSET
#define WASM_ATOMICS_STORE_OP(op, x, y, representation) \
x, y, WASM_ATOMICS_OP(op), \
static_cast<byte>(ElementSizeLog2Of(representation)), ZERO_OFFSET
//your_sha256_hash--------------
// Sign Externsion Operations.
//your_sha256_hash--------------
#define WASM_I32_SIGN_EXT_I8(x) x, kExprI32SExtendI8
#define WASM_I32_SIGN_EXT_I16(x) x, kExprI32SExtendI16
#define WASM_I64_SIGN_EXT_I8(x) x, kExprI64SExtendI8
#define WASM_I64_SIGN_EXT_I16(x) x, kExprI64SExtendI16
#define WASM_I64_SIGN_EXT_I32(x) x, kExprI64SExtendI32
#endif // V8_WASM_MACRO_GEN_H_
``` |
Brachiators are a type of primate mostly from the family Hylobatidae, which includes gibbons. Brachiators use their arms to move from tree branch to tree branch, through a process called brachiation. Their arms are longer than their legs, and are much more powerful.
Evolution
Brachiators began as four-footed monkey-like creatures in the Tertiary Era in Africa and Northern Europe. Eventually, some of the monkeys began to use their arms to swing, and lost their tails, due to evolution. They became apes with strong arms. Through the ages, the ape-like ancestors developed stronger arms and the shoulder blades moved from the side of their chests to the back of their bodies.
Most of these brachiators were smaller than average apes, so were able to move through the trees easier than gorillas or orangutans, although female orangutans do brachiate through the trees occasionally. The brachiators held their bodies upright in the trees, and would sometimes go on the ground and walk upright. This helped them survive in the plains when the forests began to die, because they were so unfamiliar to the predators that they would not be attacked.
Physical features
Brachiators have:
broad hip sockets
broad upper bodies
shoulder blades further back
locking knee joints
elongated heel bones
aligned and longer big toes
upright body position
strong muscles behind the thighs and the pelvis
bend in their loins
slightly arched spine (S-shaped)
hands adapted to grasping branches
large incisors
References
Human Origin
Primatology |
Simoneau is a surname. Notable people with the surname include:
Dan Simoneau (born 1959), American cross-country skier
Mark Simoneau (born 1977), American linebacker
Léopold Simoneau (1916–2006), French-Canadian tenor
Yves Simoneau (born 1955), Canadian film and TV director
Wayne Simoneau (1935–2017), American politician
Jacqueline Simoneau (born 1996), Canadian Olympian synchronized swimmer |
Exorista dydas is a species of bristle fly in the family Tachinidae.
Distribution
Canada, United States.
References
Insects described in 1849
Tachinidae
Taxa named by Francis Walker (entomologist)
Diptera of North America |
```smalltalk
namespace Xamarin.Forms
{
public interface IEffectControlProvider
{
void RegisterEffect(Effect effect);
}
}
``` |
Olga Victorivna Fedorishcheva (; born 17 March 1984), known as simply Olga Fedori, is a Ukrainian actress who works in English language films and programmes. She is best known for portraying Frieda Petrenko in the BBC medical drama Holby City from 2010 to 2012 and again from 2017 to 2019.
Early life
Fedori was born in Ukraine, where she studied international relations and law at Donetsk National University. During her first year of university, she participated in a study abroad program in Neosho County, Kansas, studying at Neosho County Community College (NCCC). After finishing her first year at NCCC, Fedori transferred to Harvard University in Cambridge, Massachusetts. While a Harvard student, Fedori performed at the American Repertory Theater and other theaters in Boston. Fedori graduated from Harvard in 2004, and began working in Off-Broadway productions in New York City. In addition to her acting career, Fedori also performed as the frontwoman of the band ICIA in London from 2006 to 2008.
Acting career
Fedori appeared in The Adventure of Earthboy and Stargirl in the title role as Stargirl in 2006. In 2007, she appeared in British television shows Skins, in which she played Anka in the sixth episode and EastEnders, playing Anya Covalenco.
She appeared as the leading female character Scarlett in the short film Birdfeeder which premiered in Brighton on 2 May 2007.
On 21 June 2008 at the Edinburgh International Film Festival, her first feature Mum & Dad, in which she plays the lead–protagonist Lena, premiered at the Filmhouse.
She appears briefly in the 2010 movie The Wolfman, in which she plays Maleva's daughter.
She first appeared in the BBC One medical drama Holby City on 12 May 2010, portraying the character of Frieda Petrenko, a Ukrainian nurse and later doctor (Fedori had to emphasise her Ukrainian accent for the part), and was shortlisted for the "Best Newcomer" award at the 2011 National Television Awards for the role. She left the series on 15 May 2012, returning on 12 December 2017.
She played Tatiana Romanova in the BBC Radio 4 adaptation of Ian Fleming's 1955 James Bond novel From Russia, With Love opposite Toby Stephens as Bond. The play was narrated and directed by Martin Jarvis.
Filmography
References
External links
1984 births
21st-century Ukrainian actresses
Donetsk National University alumni
Harvard University alumni
Living people
Ukrainian expatriates in the United Kingdom
Ukrainian expatriates in the United States
Ukrainian film actresses
Ukrainian stage actresses
Ukrainian television actresses |
```xml
<?xml version="1.0" encoding="utf-8"?>
<Project DefaultTargets="Build" ToolsVersion="14.0" xmlns="path_to_url">
<ItemGroup Label="ProjectConfigurations">
<ProjectConfiguration Include="Debug|Win32">
<Configuration>Debug</Configuration>
<Platform>Win32</Platform>
</ProjectConfiguration>
<ProjectConfiguration Include="Release|Win32">
<Configuration>Release</Configuration>
<Platform>Win32</Platform>
</ProjectConfiguration>
<ProjectConfiguration Include="Debug|x64">
<Configuration>Debug</Configuration>
<Platform>x64</Platform>
</ProjectConfiguration>
<ProjectConfiguration Include="Release|x64">
<Configuration>Release</Configuration>
<Platform>x64</Platform>
</ProjectConfiguration>
</ItemGroup>
<ItemGroup>
<ClCompile Include="cmp_wav.c" />
</ItemGroup>
<PropertyGroup Label="Globals">
<ProjectGuid>{9102D366-6707-4789-938B-A373675F5B4C}</ProjectGuid>
<Keyword>Win32Proj</Keyword>
<RootNamespace>cmp_wav</RootNamespace>
<OutDir>.\</OutDir>
</PropertyGroup>
<Import Project="$(VCTargetsPath)\Microsoft.Cpp.Default.props" />
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Debug|Win32'" Label="Configuration">
<ConfigurationType>Application</ConfigurationType>
<UseDebugLibraries>true</UseDebugLibraries>
<PlatformToolset>v140</PlatformToolset>
<CharacterSet>Unicode</CharacterSet>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Release|Win32'" Label="Configuration">
<ConfigurationType>Application</ConfigurationType>
<UseDebugLibraries>false</UseDebugLibraries>
<PlatformToolset>v140</PlatformToolset>
<WholeProgramOptimization>true</WholeProgramOptimization>
<CharacterSet>Unicode</CharacterSet>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Debug|x64'" Label="Configuration">
<ConfigurationType>Application</ConfigurationType>
<UseDebugLibraries>true</UseDebugLibraries>
<PlatformToolset>v140</PlatformToolset>
<CharacterSet>Unicode</CharacterSet>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Release|x64'" Label="Configuration">
<ConfigurationType>Application</ConfigurationType>
<UseDebugLibraries>false</UseDebugLibraries>
<PlatformToolset>v140</PlatformToolset>
<WholeProgramOptimization>true</WholeProgramOptimization>
<CharacterSet>Unicode</CharacterSet>
</PropertyGroup>
<Import Project="$(VCTargetsPath)\Microsoft.Cpp.props" />
<ImportGroup Label="ExtensionSettings">
</ImportGroup>
<ImportGroup Label="Shared">
</ImportGroup>
<ImportGroup Label="PropertySheets" Condition="'$(Configuration)|$(Platform)'=='Debug|Win32'">
<Import Project="$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props" Condition="exists('$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props')" Label="LocalAppDataPlatform" />
</ImportGroup>
<ImportGroup Label="PropertySheets" Condition="'$(Configuration)|$(Platform)'=='Release|Win32'">
<Import Project="$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props" Condition="exists('$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props')" Label="LocalAppDataPlatform" />
</ImportGroup>
<ImportGroup Label="PropertySheets" Condition="'$(Configuration)|$(Platform)'=='Debug|x64'">
<Import Project="$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props" Condition="exists('$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props')" Label="LocalAppDataPlatform" />
</ImportGroup>
<ImportGroup Label="PropertySheets" Condition="'$(Configuration)|$(Platform)'=='Release|x64'">
<Import Project="$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props" Condition="exists('$(UserRootDir)\Microsoft.Cpp.$(Platform).user.props')" Label="LocalAppDataPlatform" />
</ImportGroup>
<PropertyGroup Label="UserMacros" />
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Debug|Win32'">
<LinkIncremental>true</LinkIncremental>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Debug|x64'">
<LinkIncremental>true</LinkIncremental>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Release|Win32'">
<LinkIncremental>false</LinkIncremental>
</PropertyGroup>
<PropertyGroup Condition="'$(Configuration)|$(Platform)'=='Release|x64'">
<LinkIncremental>false</LinkIncremental>
</PropertyGroup>
<ItemDefinitionGroup Condition="'$(Configuration)|$(Platform)'=='Debug|Win32'">
<ClCompile>
<PrecompiledHeader>
</PrecompiledHeader>
<WarningLevel>Level3</WarningLevel>
<Optimization>Disabled</Optimization>
<PreprocessorDefinitions>WIN32;_DEBUG;_CONSOLE;%(PreprocessorDefinitions)</PreprocessorDefinitions>
<AdditionalIncludeDirectories>../../../pjsip/include;../../../pjlib/include;../../../pjlib-util/include;../../../pjmedia/include;../../../pjnath/include;%(AdditionalIncludeDirectories)</AdditionalIncludeDirectories>
</ClCompile>
<Link>
<SubSystem>Console</SubSystem>
<GenerateDebugInformation>true</GenerateDebugInformation>
<AdditionalDependencies>Iphlpapi.lib;dsound.lib;dxguid.lib;netapi32.lib;mswsock.lib;ws2_32.lib;odbc32.lib;odbccp32.lib;ole32.lib;user32.lib;gdi32.lib;advapi32.lib;libpjproject-i386-Win32-vc14-Debug.lib;%(AdditionalDependencies)</AdditionalDependencies>
<AdditionalLibraryDirectories>..\..\..\lib;%(AdditionalLibraryDirectories)</AdditionalLibraryDirectories>
<IgnoreSpecificDefaultLibraries>libcmtd.lib</IgnoreSpecificDefaultLibraries>
<OutputFile>$(TargetName)$(TargetExt)</OutputFile>
</Link>
</ItemDefinitionGroup>
<ItemDefinitionGroup Condition="'$(Configuration)|$(Platform)'=='Debug|x64'">
<ClCompile>
<PrecompiledHeader>
</PrecompiledHeader>
<WarningLevel>Level3</WarningLevel>
<Optimization>Disabled</Optimization>
<AdditionalIncludeDirectories>../../../pjsip/include;../../../pjlib/include;../../../pjlib-util/include;../../../pjmedia/include;../../../pjnath/include;%(AdditionalIncludeDirectories)</AdditionalIncludeDirectories>
<PreprocessorDefinitions>_DEBUG;_CONSOLE;%(PreprocessorDefinitions)</PreprocessorDefinitions>
</ClCompile>
<Link>
<SubSystem>Console</SubSystem>
<GenerateDebugInformation>true</GenerateDebugInformation>
<AdditionalDependencies>Iphlpapi.lib;dsound.lib;dxguid.lib;netapi32.lib;mswsock.lib;ws2_32.lib;odbc32.lib;odbccp32.lib;ole32.lib;user32.lib;gdi32.lib;advapi32.lib;libpjproject-x86_64-x64-vc14-Debug.lib;%(AdditionalDependencies)</AdditionalDependencies>
<AdditionalLibraryDirectories>..\..\..\lib;%(AdditionalLibraryDirectories)</AdditionalLibraryDirectories>
<IgnoreSpecificDefaultLibraries>libcmt.lib</IgnoreSpecificDefaultLibraries>
<OutputFile>$(TargetName)$(TargetExt)</OutputFile>
</Link>
</ItemDefinitionGroup>
<ItemDefinitionGroup Condition="'$(Configuration)|$(Platform)'=='Release|Win32'">
<ClCompile>
<WarningLevel>Level3</WarningLevel>
<PrecompiledHeader>
</PrecompiledHeader>
<Optimization>MaxSpeed</Optimization>
<FunctionLevelLinking>true</FunctionLevelLinking>
<IntrinsicFunctions>true</IntrinsicFunctions>
<AdditionalIncludeDirectories>../../../pjsip/include;../../../pjlib/include;../../../pjlib-util/include;../../../pjmedia/include;../../../pjnath/include;%(AdditionalIncludeDirectories)</AdditionalIncludeDirectories>
<PreprocessorDefinitions>WIN32;NDEBUG;_CONSOLE;%(PreprocessorDefinitions)</PreprocessorDefinitions>
</ClCompile>
<Link>
<SubSystem>Console</SubSystem>
<EnableCOMDATFolding>true</EnableCOMDATFolding>
<OptimizeReferences>true</OptimizeReferences>
<GenerateDebugInformation>true</GenerateDebugInformation>
<AdditionalDependencies>Iphlpapi.lib;dsound.lib;dxguid.lib;netapi32.lib;mswsock.lib;ws2_32.lib;odbc32.lib;odbccp32.lib;ole32.lib;user32.lib;gdi32.lib;advapi32.lib;libpjproject-i386-Win32-vc14-Release.lib;%(AdditionalDependencies)</AdditionalDependencies>
<AdditionalLibraryDirectories>..\..\..\lib;%(AdditionalLibraryDirectories)</AdditionalLibraryDirectories>
<IgnoreSpecificDefaultLibraries>libcmt.lib</IgnoreSpecificDefaultLibraries>
<OutputFile>$(TargetName)$(TargetExt)</OutputFile>
</Link>
</ItemDefinitionGroup>
<ItemDefinitionGroup Condition="'$(Configuration)|$(Platform)'=='Release|x64'">
<ClCompile>
<WarningLevel>Level3</WarningLevel>
<PrecompiledHeader>
</PrecompiledHeader>
<Optimization>MaxSpeed</Optimization>
<FunctionLevelLinking>true</FunctionLevelLinking>
<IntrinsicFunctions>true</IntrinsicFunctions>
<AdditionalIncludeDirectories>../../../pjsip/include;../../../pjlib/include;../../../pjlib-util/include;../../../pjmedia/include;../../../pjnath/include;%(AdditionalIncludeDirectories)</AdditionalIncludeDirectories>
<PreprocessorDefinitions>NDEBUG;_CONSOLE;%(PreprocessorDefinitions)</PreprocessorDefinitions>
</ClCompile>
<Link>
<SubSystem>Console</SubSystem>
<EnableCOMDATFolding>true</EnableCOMDATFolding>
<OptimizeReferences>true</OptimizeReferences>
<GenerateDebugInformation>true</GenerateDebugInformation>
<AdditionalDependencies>Iphlpapi.lib;dsound.lib;dxguid.lib;netapi32.lib;mswsock.lib;ws2_32.lib;odbc32.lib;odbccp32.lib;ole32.lib;user32.lib;gdi32.lib;advapi32.lib;libpjproject-x86_64-x64-vc14-Release.lib;%(AdditionalDependencies)</AdditionalDependencies>
<AdditionalLibraryDirectories>..\..\..\lib;%(AdditionalLibraryDirectories)</AdditionalLibraryDirectories>
<IgnoreSpecificDefaultLibraries>libcmt.lib</IgnoreSpecificDefaultLibraries>
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</Link>
</ItemDefinitionGroup>
<Import Project="$(VCTargetsPath)\Microsoft.Cpp.targets" />
<ImportGroup Label="ExtensionTargets">
</ImportGroup>
</Project>
``` |
Mossy Head is an unincorporated community in Walton County, Florida, located at the intersection of U.S. Highway 90 and County Road 1087, east of the north end of State Road 285. It is at the head of Mossy Head Branch, a tributary of the Shoal River. The ZIP Code for Mossy Head is 32434.
In 1951, Mossy Head became the interchange point for a base railroad constructed between the Louisville and Nashville Railroad and Eglin Air Force Base, located partially in Walton County. The line operated until the early 1980s, and a short section on the north end of the alignment still exists for rail shipments.
References
Unincorporated communities in Walton County, Florida |
Luc Decrop (born 23 February 1929) was a Belgian field hockey player. He competed in the men's tournament at the 1956 Summer Olympics.
References
External links
1929 births
Living people
Belgian male field hockey players
Olympic field hockey players for Belgium
Field hockey players at the 1956 Summer Olympics
Sportspeople from Ostend |
Glenn Ray Davis Jr. (born October 19, 1973) is an American politician from Virginia. Davis served as a member of the Republican Party representing the Virginia House of Delegates 84th district. He resigned on April 24, 2023 to serve as director of the Virginia Department of Energy.
Early life and education
Glenn Davis was born and raised in Norfolk, Virginia.
He attended George Mason University 1991 to 1993 and received a B.A. in economics there. He enrolled in the Massachusetts Institute of Technology Masters program from 2007 to 2010 with a concentration in organizational leadership.
Political career
Davis was elected to City of Virginia Beach City Council - Rose Hall District on November 4, 2008 defeating an incumbent first elected 28 years prior. Davis was re-elected to the city council on November 6, 2012.
Davis was elected to the House of Delegates in the November 2013 elections. Davis serves on the Education, Transportation, and General Laws Committees. Davis is also Vice-Chairman of the Joint Commission on Technology and Science (JCOTS) and chaired its Cybersecurity and Blockchain subcommittees. He is also a member of the Business Development, and Virginia Tourism Caucuses.
In March 2016, Davis announced that he was joining the race for Lieutenant Governor of Virginia. Davis began travelling the state of Virginia campaigning on the message of "Make Virginia #1 Again for Business and Job Growth". His platform was on tax reform, easing regulations on small businesses, modernizing education and creating 21st century jobs. During the campaign for Lt. Governor Davis traveled to Estonia to help look at bringing technology jobs to Virginia and traveled to Academic Institutions to look at broader uses for Virginia coal. Davis lost the Republican Primary for Virginia Lt. Governor taking 3rd place on June 13, 2017.
Davis ran again to be re-elected to his delegate seat and won on November 7, 2017.
In September 2019, Davis listed a $44,000 in-kind contribution from the Democratic Party of Virginia on his campaign finance report, which nearly doubled his reported fundraising for the month of September. His campaign stated that "unethical, dishonest" Democratic mailers against him actually backfired and were beneficial. DPVA spokesman Grant Fox called the move a "gimmick."
Davis won his November 5, 2019 re-election.
On September 10, 2020 Davis announced he would again seek the Republican nomination for Lieutenant Governor of Virginia.
In 2022, Davis was promoted to chair of the Education Committee.
Electoral history
Awards and recognition
In 2014, the Virginia Chamber of Commerce named Glenn "Freshman Legislator of the Year" for his leadership promoting private sector job growth during his first session in the Virginia General Assembly.
In 2015, the Virginia Chamber awarded Glenn their Economic Competitiveness Award and Small Business Advocate Award for his legislation protecting small businesses from costly mandates and helping entrepreneurs attract equity investments.
Personal life
Glenn and his wife, Chelle Davis, live in Virginia Beach and are both active in community and charitable efforts throughout Hampton Roads.
References
External links
1973 births
21st-century American politicians
Candidates in the 2021 United States elections
Living people
Republican Party members of the Virginia House of Delegates
Virginia city council members
Politicians from Virginia Beach, Virginia |
The 1992–93 Ukrainian Hockey Championship was the first season and annual national championship tournament created by the Ice Hockey Federation of Ukraine (FHU).
The championship consisted of two rounds. Six teams participated in the five-game first round of the championship. Five of teams were based on teams of sports schools and a junior squad of the national team. Teams of SVSM Kyiv and Jupiter advanced to the final round against the professional team Sokil Kyiv, who played in the International Hockey League. Sokil would go on to win the championship.
First round
Final round
External links
1992-93 Standings and results. Ukrainian Ice Hockey Federation
1992-93 Standings and results
UKHL
Ukrainian Hockey Championship seasons
Ukr |
Shouxian railway station () is a railway station on the Shangqiu–Hangzhou high-speed railway in Shou County, Huainan, Anhui, China. Opened on 1 December 2019, it is situated in the north of Shou County and is its only railway station.
References
Railway stations in Anhui
Railway stations in China opened in 2019 |
Carol Kidd MBE (born 19 October 1945) is a Scottish jazz singer.
Kidd was born in Glasgow, Scotland. She came to prominence in the mid-1970s, as the vocalist in the band led by vibraphonist / saxophonist Jimmy Feighan. In 1990, she released her award-winning album The Night We Called It a Day. She has subsequently performed and recorded extensively on her own. She has won several awards at the British Jazz Awards. In 1998, she was appointed an MBE.
Discography
Carol Kidd (Aloi, 1984)
All My Tomorrows (Aloi, 1985)
Nice Work (Linn, 1987)
The Night We Called It a Day (Linn, 1990)
I'm Glad We Met (Linn, 1991)
Crazy for Gershwin (Linn, 1994)
That's Me (Linn, 1995)
A Singer for All Seasons (Jazz Arena, 1998)
A Place in My Heart (Jazz Arena, 1999)
Debut (Linn, 2004)
Dreamsville (Linn, 2008)
Tell Me Once Again (Linn, 2010)
Auld Lang Syne (Aurora Music, 2015)
References
Further reading
Young, Andrew. "Watch This!; Bull's Kidd". The Glasgow Herald. 2 December 1978.
Crumley, James. "A Whole Lot of Jazz - But Still Not Enough". The Glasgow Herald. 31 March 1989. (Begin at last paragraph, next-to-last column.)
Young, Andrew. "Bubble Of Jazz Effervescence Is Taking London By Storm". The Glasgow Herald. 16 June 1979.
Batchelor, David. "Third Eye Centre, Glasgow: Jazz". The Glasgow Herald. 22 October 1981.
Batchelor, David. "Ronnie Scott's, London: Carol Kidd". The Glasgow Herald. 10 March 1982.
Batchelor, David. "Third Eye Centre, Glasgow: Martin Taylor and Carol Kidd". The Glasgow Herald. 2 December 1982.
Young, Andrew. "Singer Takes Plunge". The Glasgow Herald. 8 December 1984.
Mathieson, Kenny. "Queen's Hall, Edinburgh: Carol Hall". The Glasgow Herald. 30 March 1987.
Meadow, Elliot. "Theatre Royal, Glasgow: Carol Hall". The Glasgow Herald. 4 July 1987.
Meadow, Elliot. "Mitchell Theatre, Glasgow: Carol Hall". The Glasgow Herald. 30 June 1988.
Adams, Rob. "The Jazz Singer Puts Career Back In Full Swing". The Glasgow Herald. 23 June 1989.
Buie, Elizabeth. "Theatre Royal, Glasgow: Carol Kidd and Humphrey Lyttleton". The Glasgow Herald. 23 June 1989.
Wilson, Caroline. "Singer Carol Kidd Recovers from Breast Cancer". The Evening Times. 16 June 2013.
External links
Linn Records - Carol Kidd
1945 births
Living people
Scottish jazz singers
Members of the Order of the British Empire
British women jazz singers
Singers from Glasgow |
Stephens Island is about 40 km north of Dunk Island. With nearby Sisters Island it forms the South Barnard Islands Group, which is protected within the Barnard Island Group National Park. It is a popular site for tourist kayaking.
The island is part of the South Barnard Islands Important Bird Area, identified as such by BirdLife International because of its importance as a breeding site for terns.
See also
Stephens Island (Torres Strait)
References
Islands on the Great Barrier Reef
Important Bird Areas of Queensland |
```java
package razerdp.demo.model.common;
import android.content.Context;
import android.view.Gravity;
import android.view.View;
import android.widget.TextView;
import androidx.annotation.NonNull;
import com.google.android.material.bottomsheet.BottomSheetDialog;
import razerdp.basepopup.R;
import razerdp.demo.model.DemoCommonUsageInfo;
import razerdp.demo.popup.DemoPopup;
import razerdp.demo.popup.PopupDesc;
/**
* Created by on 2019/9/26.
* - BottomSheetDialog
*/
public class CommonBottomSheetDialogInfo extends DemoCommonUsageInfo {
TestSheetDialog mSheetDialog;
PopupDesc mPopupDesc;
public CommonBottomSheetDialogInfo() {
title = "BottomSheetDialogBasePopup";
option = "";
sourceVisible = false;
}
@Override
public void toShow(View v) {
if (mSheetDialog == null) {
mSheetDialog = new TestSheetDialog(v.getContext());
}
mSheetDialog.show();
}
@Override
public void toOption(View v) {
if (mPopupDesc == null) {
mPopupDesc = new PopupDesc(v.getContext());
mPopupDesc.setTitle("BottomSheetDialogBasePopup")
.setDesc(new StringBuilder("")
.append('\n')
.append("BottomSheetDialogFragmentBasePopupActivityDecorViewWindowTokenBottomSheetDialogFragment")
.append('\n')
.append("BasePopupBasePopup-Compat"));
}
mPopupDesc.showPopupWindow();
}
static class TestSheetDialog extends BottomSheetDialog {
TextView tvShow;
DemoPopup mDemoPopup;
TestSheetDialog(@NonNull Context context) {
super(context);
setContentView(R.layout.view_bottom_sheet);
tvShow = findViewById(R.id.tv_show);
tvShow.setOnClickListener(new View.OnClickListener() {
@Override
public void onClick(View v) {
showPopup();
}
});
}
private void showPopup() {
if (mDemoPopup == null) {
mDemoPopup = new DemoPopup(this).setText("\n\nBttomSheetDialogBasePopup");
}
mDemoPopup.setPopupGravity(Gravity.TOP | Gravity.CENTER_HORIZONTAL);
mDemoPopup.showPopupWindow(tvShow);
}
}
}
``` |
Christian Becker (born 1972, Krefeld) is a German film producer. He is the co-owner of Rat Pack Filmproduktion together with German major studio Constantin Film.
Biography
After working in the film business for many years, he enrolled at the University of Television and Film Munich in 1994, where he went on to produce over 15 short films, commercials and documentaries, including the shorts The Wrong Trip and Living Dead by directing student Dennis Gansel, and shorts by their mutual friend and fellow student Peter Thorwarth If It Don't Fit, Use a Bigger Hammer and Mafia, Pizza, Razzia. He also produced graduating films like Benjamin Herrmann's The Big Laugh based on the Henry Slesar short story and Student Oscar winner Quiero ser (I want to be...) by Florian Gallenberger. No student in the history of Munich Film School has ever produced as many student films as Christian Becker.
In 1997, Becker founded Indigo Filmproduktion and Becker & Haeberle Filmproduktion together with partner Thomas Haeberle, with which he produced Dennis Gansel's TV movie Das Phantom, or Thorwarth's theatrical cult features Bang Boom Bang and If It Don't Fit, Use a Bigger Hammer. After follow-ups including based on Feridun Zaimoğlu's novel and , Becker was one of the most successful producers in the German industry at the age of 28.
In August 2000, Becker and Häberle folded their production shingle into the entertainment conglom they co-founded, F.A.M.E. AG, and went public on Germany's Neuer Markt.
In 2001, Christian Becker left Indigo and Becker & Häberle, going on to found Rat Pack Filmproduktion and Westside Filmproduktion together with leading German distrib Constantin Film and his close-knit band of filmmaking pros.
Filmography
Feature Films
Blood Red Sky (2021) (producer)
(2018) (producer)
(2016) (producer)
Fack ju Göhte (2013) (producer)
/ Türkisch für Anfänger (2012) (producer)
Vicky and the Treasure of the Gods (2011)
We Are The Night (2010) (producer)
Jerry Cotton (2010) (producer)
Zeiten ändern dich (2010) (producer)
/ Vorstadtkrokodile 2 (2010) (producer)
The Legend of Loch Ness / Die Legende von Loch Ness (2010) (TV) (producer)
The Funny Fairytales / Die ProSieben Märchenstunde (producer) (16 episodes, 2006–2009)
Vicky the Viking / Wickie und die starken Männer (2009) (producer)
/ Vorstadtkrokodile (2009) (producer)
Killing is my business, honey / Mord ist mein Geschäft, Liebling (2009) (producer)
ProSieben Funny Movies (2008) (TV) (producer)
/ Das Wunder von Loch Ness (2008) (TV) (producer)
The Wave (2008) (producer)
Darkness / Nachts – Geschichten aus der Dunkelheit (2008) TV series (producer)
Lotta in Love (2006/2007) (Telenovela) (producer)
The Vexxer / (2007) (producer)
If it don't fit, use a bigger hammer / Was nicht passt, wird passend gemacht (producer) (TV series, 3 seasons, 2005–2009)
/ Hui Buh – Das Schlossgespenst (2006) (producer)
French for Beginners / Französisch für Anfänger (2006) (co-producer)
/ Meine verrückte türkische Hochzeit (2006) (TV) (producer)
Out of Bounds / Goldene Zeiten (2006) (producer)
Full Throttle / Vollgas – Gebremst wird später (2005) (TV) (producer)
Ich bin ein Berliner (2005) (TV) (producer)
/ Das Blut der Templer (2004) (TV) (producer)
Scratch: The New Sound of Terror / Ratten 2 – Sie kommen wieder! (2004) (TV) (producer)
The TriXXer / Der Wixxer (2004) (producer)
Jazzclub – Der frühe Vogel fängt den Wurm (2004) (producer)
Girl No.1 / Mädchen Nr. 1 (2003) (TV) (co-producer)
Nikos the Impaler / Nikos (2003) (V) (producer)
/ Das Jesus Video (2002) (TV) (producer)
Cuba Libre / Kubaner küssen besser (2002) (TV) (producer)
If It Don't Fit, Use a Bigger Hammer (2002) (producer)
Turkish Delights / Alles getürkt! (2002) (TV) (producer)
Revenge of the Rats / Ratten – sie werden dich kriegen! (2001) (TV) (producer)
A Fine Romance / Sind denn alle netten Männer schwul (2001) (TV) (producer)
One wedding and no funeral / Eine Hochzeit und (k)ein Todesfall (2001) (TV) (producer)
(2000) (producer)
(2000) (producer)
Das Phantom (2000) (TV) (producer)
Josephine (2000) (producer)
(1999) (TV) (producer)
Bang Boom Bang / Bang Boom Bang – Ein todsicheres Ding (1999) (producer)
Our Island in the South Pacific / Südsee, eigene Insel (1999) (producer)
Short Films
Kismet (2000) (executive producer)
Quiero ser (I want to be ...) (2000) (executive producer)
Operation Bluebird (1999) (co-producer)
Living Dead (1998) (producer)
Mafia, Pizza, Razzia (1997) (producer)
Die letzte Sekunde (1997) (co-producer)
Drachenträume (1997) (producer)
Was nicht paßt, wird passend gemacht (1997) (producer)
Fools and Heroes (1997) (supervising producer)
Der große Lacher (1997) (producer)
Die rote Waschmaschine (1997) (producer)
One Night Suicide (1996) (producer)
Der Tote vom anderen Ufer (1996) (line producer)
Kreuz & quer (1995) (supervising producer)
The Wrong Trip (1995) (producer)
Movie productions
Under the Rat Pack label, Christian Becker again had a remarkable string of successes, producing hit made-for-TV action-adventure (Jesus Video) based on Andreas Eschbach's bestseller, two seasons of the series spin-off Was nicht passt, wird passend gemacht (If it don't fit, use a bigger hammer), Rats 2, and mystic actioner .
His theatrical features include box-office smash Hammer-style Edgar Wallace spoof The TriXXer (Der WiXXer), which sold a total of 3 million tickets with the sequel The VeXXer (), as well as Peter Thorwarth's satire Out of Bounds (2004) starring Dirk Benedict, hit kidpic Hui Buh - The Goofy Ghost (2005) and Dennis Gansel's Sundance entry and European box-office smash The Wave (Die Welle) (2008).
2009 saw the release of hit kidpic Max von der Grün's , the screwball gangster comedy Mord ist mein Geschäft, Liebling (Killing is my business, honey), starring Rick Kavanian and Christian Tramitz as well as European film legends Bud Spencer and Franco Nero.
He also produced the most successful German box office hit 2009 Vicky the Viking by director Michael Bully Herbig; the film made nearly 5 million admissions in Germany only with a total gross revenue of approximately $40,582,384.
Awards and nominations (Excerpts)
Won
2009: German Comedy Awards Most Successful Picture – Vicky the Viking 2008: German Film Awards Best Picture/ Bronze – The Wave 1999: Bavarian Film Award/ VFF for Best New Producer – Bang Boom Bang''
Nominated
2006: German Comedy Awards Best Comedy Series – for: "Die ProSieben Märchenstunde"
2005: German Comedy Awards Best Comedy Series – for: "Kalkofes Mattscheibe"
2004: German Comedy Awards Best Comedy Series – for: "Was nicht passt wird passend gemacht – Die Serie"
References
External links
Rat Pack Homepage
1972 births
Living people
Mass media people from North Rhine-Westphalia
University of Television and Film Munich alumni
People from Krefeld |
Stadionul Crișul is a multi-purpose stadium in Chișineu-Criș, Romania. It is currently used mostly for football matches and is the home ground of Crișul Chișineu-Criș. The stadium holds 2,000 people and between 2012 and 2014 was renovated and upgraded, now having a new covered stand with 500 places on seats.
References
Football venues in Romania
Buildings and structures in Arad County |
Farrer Park MRT station is an underground Mass Rapid Transit (MRT) station along the North East line, located on the boundary of Kallang and Rochor planning areas, Singapore. It is one of the two stations that serve the ethnic district of Little India. The station sits underneath the Connexion building, an integrated hospital (Farrer Park Hospital) and hotel complex (One Farrer Hotel).
Farrer Park was named after John Farrer, who was President of the Municipal Commissioners from 1919 to 1931.
History
To accommodate the construction of the station, the formerly straight Race Course Road was broken up to its current two-part alignment, with both ends linked by junctions with Rangoon Road. Owen Road was also broken into two, as evident from its current alignment between Serangoon Road and Pek Kio estate. 55 lots required for the construction of the Farrer Park MRT station and the realignment of Race Course Road need to be surrendered by March 1997. However, as for the 51 lots required for the widening of Tessensohn Road and comprehensive redevelopment, the date of possession can be deferred to December 1997.
Construction was awarded on 15 June 1997 under the NEL Contract 706.
Before the station opened, the Singapore Civil Defence Force conducted the second ever Shelter Open House on 15–16 February 2003, together with Chinatown, Serangoon, and Hougang stations.
Station details
Located between Rangoon Road and Gloucester Road, Farrer Park station is close to Farrer Park Hospital, City Square Mall and Mustafa Centre. The station is served by the North East Line, between Little India and Boon Keng stations, and has the station code "NE8".
Art in Transit
Farrer Park is an area with a rich sporting heritage and history, and also known for being the site of Singapore's earliest horse racing turf club from the street name 'Old Racecourse Road' draws its name from. Farrer Park's interior design captured the spirit of the locality's sporting heritage with the Horse Racing and Soccer series of artworks titled Rhythmic Exuberance, by Singapore artist Poh Siew Wah. Another artwork by Poh, titled Aeroplane paid tribute to the first aeroplane landing in Singapore in 1911 at the Old Racecourse Road in Farrer Park.
References
External links
Official website
Railway stations in Singapore opened in 2003
Kallang
Rochor
Mass Rapid Transit (Singapore) stations |
Mali Videm () is a small settlement east of Šentlovrenc in the Municipality of Trebnje in Slovenia. The area is part of the historical region of Lower Carniola and is now included in the Southeast Slovenia Statistical Region.
References
External links
Mali Videm on Geopedia
Populated places in the Municipality of Trebnje |
Copeland is an unincorporated community located in eastern Collier County, Florida, United States. It lies at the junction of State Road 29 and Janes Memorial Scenic Drive (County Road 837). Copeland lies along the western border of the Big Cypress National Preserve, and wedged beside the Fakahatchee Strand Preserve State Park to the east. The hamlet of Jerome is a few miles to the north, while Carnestown lies a few miles to the south at the intersection of State Road 29 and U.S. Route 41.
Logging era: 1943-1957
Copeland was founded in 1932 and named in honor of David Graham Copeland, a U.S. Navy engineer who helped plan the Tamiami Trail and began a family-owned farming business at this location.
During the Second World War, the demand for cypress brought the timber industry to southwest Florida. The newly established Lee Cypress Lumber Company began operations in 1943 and made Copeland a company town. The operation was overseen by superintendent J.R. Terill, and Copeland served as the base camp for over three hundred sawyers, railroad workers, and their families. Homes were made of cypress and built on-site as the population increased. Most of the people living at Copeland were black and the community was segregated with separate facilities for white and black workers. The town boasted a commissary and a few "jukes" for entertainment. Almost all functions including entertainment were overseen by the Lee Cypress Company. A large railroad depot handled the logs that were brought out of the Fakahatchee Strand and other parts of the Big Cypress Swamp, the current Jane's Scenic Drive following the route of the main railroad line through Fakahatchee. The logs were sent to the massive sawmill complex in Perry, Florida, four hundred miles north. The last steam locomotive used to carry timber is on display at the Collier County Museum in Naples. Copeland's population dwindled quickly in the late Fifties as the timber industry concluded its operations in 1957.
The population was estimated at 275 people in 2006. Copeland also lies within a Florida panther habitat.
Copeland is part of the Naples–Marco Island Metropolitan Statistical Area.
Copeland was also the location of the low-budget, 1976 horror movie, Blood Stalkers.
References
Unincorporated communities in Collier County, Florida
Unincorporated communities in Florida |
The Kunwar family () was a noble Khas-Chhetri family in the Gorkha Kingdom and the Kingdom of Nepal. Kunwars were linked to the Thapa dynasty and family of Amar Singh Thapa by marital lineages and, thus, to Pande dynasty through the Thapa dynasty. Three branches of the Kunwars; Ramakrishna, Jayakrishna and Amar Singh Kunwar were formed with opposite political aspirations. Bal Narsingh Kunwar (of Ramkrishna section) supported Mukhtiyar Bhimsen Thapa while Chandrabir Kunwar (of Jayakrishna section) supported Bada Kaji Amar Singh Thapa due to their marital relations with those families. Later, the Ramakrishna section of the family including Amarsingh established the Rana dynasty of Nepal and styled themselves as Rana Rajputs while Jayakrishna most section remained as Kunwars.
Origins
Genealogy
The Kunwars of Nepal claim descent from a Rajput man named Ram Singh, who was said to belong to Kshatriya Varna. He was considered to have settled in Bhirkot, Nepal in 1404 A.D. The chronicler Daniel Wright has published a genealogy of the Kunwar family. The genealogy begins with Tattā Rāṇā as the Raja (King) of Chittaurgarh. His nephew, Fakht Siṃha Rāṇā, had a son named Rāma Siṃha Rāṇā who came to hills with four followers after the siege of Chittaurgarh. He and his four followers joined the services of a hill Raja for ten or twelve months. The Raja learned the art of fencing from Rāma Siṃha and made him a personal tutor. He wanted to retain Rāma Siṃha in his country. Thus, the hill Raja asked for the daughter of Raja (King) of Bīnātī, a Bagāle Kṣetrī and married her to Rāma Siṃha. They had six sons over 10 –12 years, one of whom was given the title of Kum̐vara Khaḍkā for bravery displayed in the battle against Raja of Satān Koṭ. The title passed down to his descendants. Rāma Siṃha suddenly met his younger brother who requested him to return to Chittaur for once and Rāma Siṃha died on the way there. The hill Raja made Rāma Siṃha's son, Rāut Kunwar, was a nobleman (Sardār) and commander of the army. Ahirāma Kunwar, the son of Rāut Kunwar, was invited by the King of Kaski and was ennobled with a birta or jagir of Dhuage Saghu village. The King of Kaski asked the hand of Ahirāma's daughter, who was a great beauty, through only Kalas Puja to which Ahirāma replied to give his daughter only through a legal marriage. The king brought his troops and tried to take over the village by force. Ahirāma was supported by the village inhabitants belonging to the Parājulī Thāpā caste and a war was broke out. On the same day, Ahirāma took his immediate family including three sons, Ram Krishna Kunwar ,Jaya Krishna Kunwar and Amar Singh Kunwar, to the King of Gorkha, Prithvi Narayan Shah, where the lands of Kunwar-Khola were given to them as birta.
John Whelpton opines that the legend of the Kunwar family's origins, which says their progenitor to have entered hill and married a daughter of Bagale Kshetri, might have linked their family to the Bagale Thapa, a clan of Mukhtiyar Bhimsen Thapa.
Caste Background
This family was a minor section of the Khas-Chhetri aristocratic families of Gorkha under King Prithvi Narayan Shah. Kunwar was historically a Chhetri and a Khadka clan. The Kunwar family genealogy also states the title of 'Kunwar Khadka' taken by the ancestors of the Kunwar family. The Kunwars did not claim superior caste status than other nobility of Gorkha before the premiership of Jung Bahadur Kunwar. After his premiership, Kunwars through a royal order took up the title of Rana and claimed themselves as Rajput family of Chittor in India. According to writer Purushottama Śamaśera Ja Ba Rāṇā, the Kunwar family belonged to the House of "Gehlauta Chhettriya" which was one of the 36 Raj Bamshis (royal caste). The cadet branch of the Kunwars, the Rana dynasty, claimed to be Rajputs of western Indian origin, rather than the native Khas Kshatriyas despite they spoke Khas language and attempted to disassociate from their Khas past. According to some historians, Nepalese ruling families have claimed Indian Rajput descent for political purposes.
Historicity
Ahiram (Ashiram) Kunwar was a nobleman of the Kingdom of Kaski. Later, he went to the Kingdom of Gorkha and joined service to King Prithvi Narayan Shah. Ahiram Kunwar had three sons: Ram Krishna Kunwar, Jaya Krishna Kunwar and Amar Singh Kunwar. Ram Krishna was a prominent military general of King Prithvi Narayan Shah. In a letter to Ramkrishna, King Prithvi Narayan Shah was unhappy about the death of Kaji Kalu Pande and thought it was impossible to conquer Kathmandu valley after the death of Kalu Pande. After the annexation of Kathmandu valley, in his letter King Prithvi Narayan Shah praised the valour and wisdom of Ramkrishna in annexation of Kathmandu, Lalitpur and Bhaktapur (i.e. a Nepal valley at the time) in 1768-69 A.D. The Gorkhali monarch also expresses condolence in that letter over the death of one of the brothers of Ram Krishna in the battle of Timal. Another index letter sent by King Rana Bahadur Shah to Jaya Krishna Kunwar in 1843 Vikram Samvat (i.e. 1786 A.D.) confirms that Jaya Krishna did not die in the battle of Timal, which could point to the death of his youngest brother, Amar Singh Kunwar, in the battle. When Ram Krishna was conferred the confiscated properties (including the residence) of former Kathmandu King Jaya Prakash Malla, he donated the properties to "Guthi" for supplying foods to pilgrims in the Shivaratri festival. King Prithvi Narayan Shah had deployed Sardar Ram Krishna to the invasion of Kirant regional areas comprising; Pallo Kirant, Wallo Kirant and Majh Kirant. In 13th of Bhadra 1829 Vikram Samvat (i.e. 29 August 1772), Ram Krishna crossed Dudhkoshi river to invade King Karna Sen of Kirant and Saptari region with fellow commander Abhiman Singh Basnyat. He crossed Arun River to reach Chainpur. Later, he achieved victory over the Kirant region. King Prithvi Narayan Shah bestowed 22 pairs of Shirpau (special headgear) in appreciation to Ram Krishna Kunwar after his victory over the Kirant region.
Ram Krishna family/Rana Kunwars
Ram Krishna had only one son named Ranajit Kunwar. Ranajit Kunwar was a Subah (governor) of the Jumla province in the Kingdom of Nepal. The people of Jumla had rebelled against Ranajit Kunwar in 1849 V.S. Ranajit participated in the famed battle of Khadbuda on Magh 20, 1860 V.S. (January 1804) where the Gorkhalis under Amar Singh Thapa defeated King Pradyumna Shah of Garhwal under his Gujjar commander Ram Dayal Singh who led 12,000 soldiers of Ramghads, Pundirs, Gujjars and Rajputs. Ranajit had three sons: Bal Narsingh Kunwar, Balram Kunwar and Rewant Kunwar. Bal Narsingh was initially a follower of the renounced King Rana Bahadur Shah and Kaji Bhimsen Thapa, and followed the King in his exile to Banaras on 1 May 1800. On the night of 25 April 1806, King Rana Bahadur was murdered by his step-brother Sher Bahadur in desperation after which Bal Narsingh immediately killed the King's assassin. He was a close ally of the influential minister Bhimsen Thapa, who initiated a great massacre at the Bhandarkhal garden following the chaos from the King's murder. Following closeness to Mukhtiyar Bhimsen, he became the son-in-law of Bhimsen's brother Kaji Nain Singh Thapa of Thapa dynasty. The close relatives and supporters of the Thapa faction replaced the old courtiers and administrators. The Kunwar family (of Bal Narsingh) came to power being relatives of powerful Mukhtiyar Bhimsen Thapa. Sons of Bal Narsingh were related to the Pande dynasty by their maternal grandmother Rana Kumari Pande who was the daughter of Mulkaji Ranajit Pande. Bal Narsingh retired as Kaji in 1838 AD. Balram Kunwar, the middle brother of Bal Narsingh, spent ten years as a captain. Rewanta Kunwar, the youngest brother of Bal Narsingh, was Kaji until 1830 AD. Rewant was appointed as the mission head to resolve grievances of the people of Kumaon. Rewanta was involved in the Anglo-Nepalese war as reinforcement and took a position in Jayantgadh with cousin Balbhadra Kunwar.
Jang Bahadur Kunwar, the son of Bal Narsingh, consolidated the position of Prime Minister of Nepal after having initiated the Kot massacre (Kot Parva) and the Bhandarkhal Parva (massacre). This fraction became known as the Rana dynasty after styling themselves as Kunwar Ranaji after having claimed descent from Ranas of Mewar on May 15, 1848 and ultimately became royal after declaration of Jang as Maharaja (Great King) of Kaski and Lamjung on August 6, 1856,.
Jaya Krishna family
Jaya Krishna Kunwar had a son named Chandrabir Kunwar. Chandra Bir was the Subah (governor) of one-third of the Garhwal province in the Kingdom of Nepal. He replaced Hasti Dal Shah as the Subba of Garhwal. Chandrabir was a resident of Bhanwarkot. He married the sister of Kaji Ranajor Thapa and was a son-in-law of Bada Amar Singh Thapa He had three sons: Bira Bhadra Kunwar, Bir Bhadra Kunwar and Balbhadra Kunwar. Birabhadra Kunwar was the Sardar until 1818 AD, when he was appointed Captain and remained in office until 1838 AD. A royal order by the government of Bhimsen Thapa was issued in 1887 Vikram Samvat Chaitra Badi 6, to Captain Birabhadra to resolve the irrigation dispute in Mahottari Another was issued in 1887 Vikram Samvat Chaitra Badi 8, to collect taxes at the fixed rate and refund the excess collection. Similarly, Birabhadra had ample instructions directed to him for running the administration of Saptari and Mahottari around 1887 V.S.
Balbhadra Kunwar fought as a significant commander in the Anglo-Nepalese War and rose to heroics. When Major-General Rollo Gillespie's division penetrated Nepal's frontier to initiate Anglo-Nepalese war, Captain Balbhadra Kunwar was tasked with the fortification of the region as the Nepalese had anticipated that Dehra Dun would be the first place of assault. He withdrew from Dehradun and moved his force of about 600, including dependants, to the small fort of Nalapani, Khalanga. A letter was sent by the British to Balbhadra, summoning him to surrender the fort to which Balbhadra responded by tearing it up. The letter was delivered to him at midnight, he observed that "it was not customary to receive or answer letters at such unreasonable hours". The first British attack on Nalapani took place on October 31, the day before the official declaration of war. Maj-Gen. Rollo Gillespie died on that day and the British ceased the battle. The second attack resumed on November 25, and for three days the fort was bombarded until at noon on November 27, a large section of the northern wall finally gave away. However, the day ended with the British assault force withdrawing after having spent two hours pinned outside the wall, exposed to heavy fire from the garrison, and having suffered significant losses. After two failed attempts to capture the fort by straightforward attacks, the British resorted to attrition tactics. On November 28, instead of launching another infantry assault, the fort was encircled from all sides and placed under siege which prevented the Nepalese reinforcements from entering the fort. Mawbey then instructed his scouts to locate and cut off the fort's external water source. The water situation was made worse for the defenders when about a hundred earthen vessels stocked with water, stored in a portico, were destroyed in the bombardment. Thus, after days of thirst and continuous bombardment, the Nepalese were forced to evacuate the fort on November 30. Balbhadra refused to surrender and, with about 70 of his surviving men, he was able to fight his way through the besieging force for the hills. General Gillespie had been killed and Balbhadra and his 600 men had held the might of the British and their Indian troops for a month.
In Nepal, the story of the battle at Nalapani has gained legendary status and has become an important part of the nation's historical narrative, while Balbhadra himself has become one of the national heroes of Nepal. In the years following of the battle, the British constructed a small obelisk that was dedicated with the inscription "Our brave adversary Bul Buddur and his gallant men".Full inscription is as follows:
Kunwar family tree
Gallery
References
Footnotes
Notes
Bibliography
Nepalese noble families
Chhetri noble families |
In Ancient Roman religious tradition, Actia (Greek: ) was a festival of Apollo, celebrated at Nicopolis in Epirus, with wrestling, musical contests, horse racing, and sea battles. It was reestablished by Augustus, in commemoration of his victory over Mark Antony off Actium in 31 BC; that it was probably the revival of an ancient festival is suggested by the celebrated temple of Apollo at Actium, which is mentioned by Thucydides, and Strabo, and which was enlarged by Augustus. The games instituted by Augustus were celebrated every five years (, ludi quinquennales); they received the title of a sacred agon and were also called Olympia.
Stadium of Nikopolis
This ancient stadium was located in the so-called 'Proasteion' (sacred grove) of the Graeco-Roman city of Nikopolis. Together with the nearby gymnasium, theatre and hippodrome it was the location of the famous Actian Games. These games, which featured athletic, equestrian and musical events, were first held in 27 BCE to celebrate the victory of the first Roman emperor Augustus over his adversaries, Marc Antony and his Egyptian wife Cleopatra. They were held every four years up to the mid-3rd century CE. Dating from just after the city's foundation, the ancient stadium of Nikopolis has two semicircular ends (sphendones), typical of the amphitheatre type that was in use during the first 200 years of the principate. The stadiums of ancient Laodikeia (near Pamukkale, Turkey) and Aphrodisias (Geyre, Turkey) have a similar architecture.
The north side of the stadium, which must have held a capacity of at least 10,000 spectators, was built on the side of a hill, while artificial deposits were used for the other sides. The walls were made of a rubble core faced with several courses of bricks. On the west side of the stadium were three apsidal entrances leading to the gymnasium, the central one larger than the others. The entrances in the sphendone at the east led to the theatre nearby. On the sphendone at the south side there were residential rooms and facilities for athletes and spectators (inns, shops, lodgings etc.)
Locals call this stadium to karavi, meaning 'the ship', which of course relates to the structure's shape. Archaeological investigations are still regularly undertaken in and around the stadium today.
Notes
References
Ancient Roman festivals
Roman Epirus
Ancient Greek athletic festivals
Festivals of Apollo
Ancient Roman leisure |
Njabulo Blom (born 11 December 1999) is a South African professional soccer player who plays as a central midfielder for Major League Soccer club St. Louis City SC and the South African national team.
Club career
Born in Dobsonville, Blom started his career at Kaizer Chiefs, and made his debut on 1 October 2019, starting against Lamontville Golden Arrows, before appearing again for the club on 27 October 2019 against Mamelodi Sundowns.
International career
Blom appeared for the South Africa national under-20 soccer team at the 2019 FIFA U-20 World Cup and the 2019 Africa U-20 Cup of Nations.
He made his debut for the South Africa national soccer team on 6 September 2021 in a World Cup qualifier against Ghana, a 1–0 home victory. He substituted Percy Tau in the 77th minute.
Career statistics
References
1999 births
Living people
Soccer players from Soweto
South African men's soccer players
South Africa men's international soccer players
South Africa men's under-20 international soccer players
Men's association football defenders
Kaizer Chiefs F.C. players
Major League Soccer players
South African Premier Division players
St. Louis City SC players
South African expatriate men's soccer players
Expatriate men's soccer players in the United States |
Armstrong Creek is a tributary of the Susquehanna River in Pennsylvania in the United States.
The creek rises on Berry Mountain east of Elizabethville and flows generally southwest.
Armstrong Creek joins the Susquehanna River on the north side of Halifax.
Armstong Creek was named for John Armstrong, Sr., who led the Kittanning Expedition in the French and Indian War.
See also
List of Pennsylvania rivers
References
Rivers of Pennsylvania
Tributaries of the Susquehanna River
Rivers of Dauphin County, Pennsylvania |
Warner Bros. Animation Inc. is an American animation studio which is part of the Warner Bros. Television Studios division of Warner Bros., a flagship of Warner Bros. Discovery. As the successor to Warner Bros. Cartoons, which was active from 1933 to 1969, the studio is closely associated with the Looney Tunes and Merrie Melodies characters, among others. Warner Bros. re-established its animation division in 1980 to produce Looney Tunes–related works, and Turner Broadcasting System merged with WBD predecessor Time Warner in 1996. In March 2001, Hanna-Barbera was absorbed into the studio, and in 1996, Ruby-Spears was as well.
In recent years, Warner Bros. Animation has specialized in producing television and direct-to-video animation featuring characters from other properties owned by Warner Bros. Discovery, including Turner Entertainment (which owns the rights to properties originally created by the MGM cartoon studio), Hanna-Barbera, Ruby-Spears, and DC Entertainment.
History
1970–1986: Restarting the studio
The original Warner Bros. Cartoons studio, as well as all of Warner Bros.'s short subject production divisions, closed its doors on October 10, 1969, due to the rising costs and declining returns of short subject production. Outside animation companies were hired to produce new Looney Tunes-related animation for TV specials and commercials at irregular intervals. In 1975, Warner Bros. Cartoon alumnus Chuck Jones began producing a series of Looney Tunes specials at his Chuck Jones Productions animation studio, the first of which was Carnival of the Animals. These specials, and a 1975 Looney Tunes retrospective feature film titled Bugs Bunny: Superstar (distributed by United Artists, the previous owner of the pre-1950 Warner Bros. library), led Jones to produce The Bugs Bunny/Road Runner Movie for Warner Bros. in 1979. This film blended classic Looney Tunes/Merrie Melodies shorts with newly produced wraparounds of Bugs Bunny introducing each cartoon. Warner Bros. responded to the success of this film by reestablishing its own cartoon studio.
Warner Bros. Animation opened its doors on March 15, 1980, to produce compilation films and television specials starring the Looney Tunes characters. The studio's initial head was Hal Geer, who had been the original studio's sound effects editor during its final days, and he was soon joined by Friz Freleng, who left DePatie–Freleng (which became Marvel Productions after being sold to Marvel Comics), and returned to Warner as executive producer. The new wraparounds for The Looney Looney Looney Bugs Bunny Movie (1981), Bugs Bunny's 3rd Movie: 1001 Rabbit Tales (1982) and Daffy Duck's Fantastic Island (1983) featured footage by a new Warner Bros. Animation staff, composed mainly of veterans from the golden age of WB cartoons, including writers John Dunn and Dave Detiege.
By 1986, Freleng had departed, and Hal Geer also stepped down the following year. Geer was briefly replaced by Steven S. Greene, who in turn was replaced by Freleng's former secretary Kathleen Helppie-Shipley, who would spearhead a major revival of the Looney Tunes brand in the years that followed. The studio continued production on special projects starring the Looney Tunes characters, sporadically producing new Looney Tunes/Merrie Melodies shorts for theaters such as The Duxorcist (1987), Night of the Living Duck (1988), Box-Office Bunny (1990), and Carrotblanca (1995). Many of these shorts, as well as the new footage in the compilation film Daffy Duck's Quackbusters (which includes The Duxorcist), were directed by Greg Ford and Terry Lennon, as well as Darrell Van Citters.
1986–1996: Moving into television animation
Beginning in 1986, Warner Bros. moved into regular television animation production. Warners' television division was established by WB Animation President Jean MacCurdy, who brought in producer Tom Ruegger and much of his staff from Hanna-Barbera Productions' A Pup Named Scooby-Doo series (1988–1991). A studio for the television unit was set up in the office tower of the Imperial Bank Building adjacent to the Sherman Oaks Galleria northwest of Los Angeles. Darrell Van Citters, who used to work at Disney, would work at Warner Bros. on the newer Bugs Bunny shorts, before leaving to form Renegade Animation in 1992. The first Warner Bros. original animated TV series Tiny Toon Adventures (1990–1995) was produced in conjunction with Amblin Entertainment, and featured young cartoon characters based upon specific Looney Tunes stars, and was a success. Later Amblin/Warner Bros. television shows, including Animaniacs (1993–1998), its spin-off Pinky and the Brain (1995–1998), and Freakazoid! (1995–1997) followed in continuing the Looney Tunes tradition of cartoon humor.
Warner Bros. Animation also began developing shows based upon comic book characters owned by sister company DC Comics. These programs, including Batman: The Animated Series (1992–1995), Superman: The Animated Series (1996–2000), The New Batman Adventures (1997–1999), Batman Beyond (1999–2001), and Justice League/Justice League Unlimited (2001–2006) proved popular among both children and adults. These shows were part of the DC animated universe. A Batman spin-off feature, Mask of the Phantasm, was produced in 1993 and bumped up to theatrical release. The film was near universally-well received by critics but performed poorly at the box-office, though it eventually became a commercial success through its subsequent home video releases. In 2003, Warner Bros. Television Animation was folded and was subsequently merged with Warner Bros. Animation.
1990–2004: Warner Bros. Feature Animation
During the rise of the animation renaissance in the early 1990s, Warner Bros. distributed its first animated films: The Nutcracker Prince in 1990, which is a Canadian-produced feature film based on E. T. A. Hoffmann's classic holiday tale The Nutcracker and the Mouse King; and Rover Dangerfield in 1991, whose title character is a dog whose look and mannerisms are inspired by his voice actor Rodney Dangerfield. Both films received negative and mixed reviews respectively and under-performed at the box office due to lack of promotion. Three years later after the release of Rover Dangerfield, Warner distributed Don Bluth's Thumbelina, which also received mixed reviews from critics and under-performed at the box office.
That same year, Warner Bros., as well as several other Hollywood studios, moved into feature animation following the success of Walt Disney Feature Animation's The Lion King. Max Howard, a Disney alumnus, was brought in to head the new division, which was set up in Sherman Oaks near the television studio in nearby Glendale. Turner Feature Animation, later merged and named Warner Bros. Feature Animation, like all of the in-house feature animation studios, proved an unsuccessful venture, as five of the six films, under-performed during its original theatrical releases (due to lack of promotion).
The first of Warner's animated features was Space Jam (1996), a live-action/animated hybrid which starred NBA star Michael Jordan and Bugs Bunny (Jordan had previously appeared with the Looney Tunes in a number of Nike commercials). The film featured live-action sequences directed by Joe Pytka and animated sequences directed by Bruce W. Smith and Tony Cervone. Space Jam received mixed reviews from critics but proved to be a success at the box office. Animation production for Space Jam was primarily done at the new Sherman Oaks studio, although much of the work was outsourced to animation studios around the world.
Before the success of Space Jam, a Turner Entertainment-run studio that spun off from Hanna-Barbera were already producing animated features following the success of the Disney features. The first was The Pagemaster, a fantasy adventure directed by Joe Johnston (live-action) and Maurice Hunt (animation) that starred the performances of Macaulay Culkin and Christopher Lloyd with the live-action segments serving as bookends for the film's story. Released by 20th Century Fox, the film under-performed and received negative reviews from critics during its holiday release of 1994. After the merger with Turner and Warner Bros.'s parent company Time Warner in 1996, Turner Feature Animation completed its second and last feature, Cats Don't Dance (1997), directed by Mark Dindal, which was met with warm critical and audience reception but under-performed due to little marketing and fanfare. By the time of the film's release, however, Turner Feature Animation had merged with Warner Bros. Feature Animation and transferred a majority of its staff from said studio, making Cats Don't Dance the second film from Warner Bros. Feature Animation.
The following year, its third film, Frederik Du Chau's Quest for Camelot (1998), underwent production difficulties and also received mixed reviews from critics. However, its soundtrack (such as one of the songs, "The Prayer") received some praise and accolades, including an Oscar nomination and a Golden Globe win.
The fourth animated feature from Warner Bros. Feature Animation, Brad Bird's The Iron Giant (1999), received widespread acclaimed reception from critics and audiences. However, the studio decided to rush its release to the end of the summer with a rushed marketing push.
The studio's next film, Osmosis Jones (2001), was another animated/live-action mix that suffered through another troubled production. This time, the animation sequences, directed by Piet Kroon and Tom Sito, were completed long before the live-action parts were filmed, eventually directed by Bobby and Peter Farrelly and starring Bill Murray. The resulting film received mixed reviews and underperformed, although it was successful enough on home video for Warner's Television Animation department to produce a related Saturday morning cartoon, Ozzy & Drix (2002–2004) for its WB broadcast network.
Following the releases of The Iron Giant and Osmosis Jones, the feature animation staff was scaled back, and the entire animation staff – feature and television – were moved to the larger Sherman Oaks facility.
Warner Bros. Feature Animation's sixth and final project, Looney Tunes: Back in Action was released in 2003. It was intended to be the starting point for a reestablishment of the classic cartoons brands, including a planned series of new Looney Tunes theatrical shorts, produced by Back in Action writer and producer Larry Doyle. After Back in Action, directed by Joe Dante (live-action) and Eric Goldberg (animation), received mixed reviews from critics and under-performed at the box office, production was shut down on the new shorts, and, in 2004, Warner Bros. Feature Animation was folded and merged into Warner Bros. Animation, and Looney Tunes has been mostly relegated on television until 2021's Space Jam: A New Legacy.
Combines live-action with animation.
1996–2019: Acquisitions of libraries
Warners' parent company Time Warner merged with Turner Broadcasting System in 1996, not only regaining the rights to the previously sold Looney Tunes and Merrie Melodies shorts but also taking on two more animation studios: Turner Feature Animation and Hanna-Barbera Productions. Turner Feature was immediately folded into Warner Bros. Feature Animation, while Hanna-Barbera merged with Warner Bros. Animation itself. Until 1998, Hanna-Barbera operated on its original lot at 3400 Cahuenga Boulevard in Hollywood, California, one of the last "big name" studios with a Hollywood zip code. Studio operations, archives, and its extensive animation art collection were then moved northwest to Sherman Oaks. Hanna-Barbera occupied space in the office tower adjacent to the Sherman Oaks Galleria along with Warner Bros. Animation.
Following the death of William Hanna in 2001, Warner fully took over production of H-B related properties such as Scooby-Doo, producing a steady stream of Scooby direct-to-video films and two new series, What's New, Scooby-Doo? (2002–2006) and Shaggy & Scooby-Doo Get a Clue! (2006–2008). The Turner merger also gave WB access to the pre-May 1986 Metro-Goldwyn-Mayer library, which included its classic cartoon library (including such characters as Tom and Jerry (originally created by the H-B duo), Droopy, Barney Bear, Screwy Squirrel, and George and Junior). WBA has since co-produced a series of direct-to-video films with Turner which starred Tom and Jerry. Besides producing content for the daytime market, Warner Bros. Animation also produced Baby Blues with sister company Warner Bros. Television and 3 South with MTV Animation for primetime.
The series which Hanna-Barbera had been producing for Turner's Cartoon Network before and during the Time Warner/Turner merger were shifted to production at Cartoon Network Studios, a sister company to Warner Bros. Animation. WBA is today exclusively involved in the production of animated television programming and direct-to-video features. It produced many of the shows airing on the Kids' WB Saturday morning programming block of The CW until May 24, 2008. These programs included Shaggy & Scooby-Doo Get a Clue!, Krypto the Superdog, Xiaolin Showdown, The Batman, and the aforementioned Loonatics Unleashed and Tom and Jerry Tales. By 2007, the studio had downsized significantly from its size during the late 1990s. Warner Bros. downsized the studio further in June, shut down the Sherman Oaks studio, and had Warner Bros. Animation moved to the Warner Bros. Ranch in Burbank, California. In early 2008 after the demise of Kids' WB!, Warner Bros. Animation became almost dormant with only Batman: The Brave and the Bold in production at the time.
To expand the company's online content presence, Warner Bros. Animation launched the new KidsWB.com (announced as T-Works) on April 28, 2008. The website gathers its core animation properties in a single online environment that is interactive and customizable for site visitors. The Kids WB offers both originally produced content along with classic animated episodes, games, and exploration of virtual worlds. Some of the characters to be used in the project from the Warner libraries include those of Looney Tunes, Hanna-Barbera, pre-1986 MGM animated characters and DC Comics.
In 2009, sister network Cartoon Network announced Scooby-Doo! Mystery Incorporated in the Fall 2009–2010 season by Warner Bros. Animation. Warner Bros. Animation recently announced several new projects, such as The Looney Tunes Show (formerly called Laff Riot); a reboot of ThunderCats, and several series based on DC Comics properties such as MAD, Green Lantern, and Young Justice.
Warner Bros. Animation is also producing DC Showcase, a series of short subjects featuring lesser-known comic book superheroes, to be released in tandem with direct-to-video films based on DC Comics properties.
On July 30, 2010, Coyote Falls, a 3D cartoon featuring Wile E. Coyote and the Road Runner was released, being the first time WB Animation produced theatrically released content since The Karate Guard (the last Tom and Jerry short) in 2005, and the first time the animation studio used full CGI and stereoscopic 3D. Two more theatrical Road Runner cartoons have followed during the year (Fur of Flying and Rabid Rider). On June 8, 2011, three more shorts were announced: I Tawt I Taw a Puddy Tat with Sylvester, Tweety, and Granny, which was released with Happy Feet Two; Daffy's Rhapsody with Daffy Duck and Elmer Fudd, which was released with Journey 2: The Mysterious Island; and Flash in the Pain starring Wile E. Coyote and the Road Runner. All of these 6 shorts, directed by Matthew O'Callaghan and produced by Reel FX Creative Studios are available on the official Warner Bros. Animation YouTube channel.
On October 27, 2014, Warner Bros. Animation collaborated with sister studio Williams Street for the first time for its first production for Adult Swim, Mike Tyson Mysteries, which satirizes the style and conventions of cartoons from the 1970s (such as Scooby-Doo) and celebrity-driven series such as Mister T. Warner Bros. Animation also produced Elf: Buddy's Musical Christmas—a stop-motion animated adaptation of the New Line Cinema film Elf and its musical adaptation—as a Christmas special for NBC, starring Jim Parsons.
2019–present: Reconstruction with animation
On June 11, 2018, a new series of shorts, Looney Tunes Cartoons, was announced by Warner Bros. Animation. Set for release in 2019 on both linear and streaming television platforms, its first "season" would feature 1,000 minutes (or 16 hours and 40 minutes) of new one-to-six minute cartoons featuring the brand's marquee characters, voiced by their current voice actors in "simple, gag-driven and visually vibrant stories" that are rendered by multiple artists employing "a visual style that will resonate with fans." Sam Register, president of Warner Bros. Animation, and Peter Browngardt, creator of Secret Mountain Fort Awesome and Uncle Grandpa, would serve as executive producers.
In August 2021, it was announced that Jason DeMarco had been named SVP Anime & Action Series/Longform for Warner Bros. Animation and Cartoon Network Studios.
On May 11, 2022, Warner Bros. Animation was moved under Warner Bros. Television after the dissolution of the Warner Bros. Global Kids, Young Adults and Classics division by new owner Warner Bros. Discovery.
On October 11, 2022, Warner Bros. Animation merged its development and production teams with Cartoon Network Studios as part of a further restructuring by Warner Bros. Discovery; the merger will not affect the studios' output or branding.
Filmography
See also
Cartoon Network Studios
Warner Bros. Family Entertainment
Warner Bros. Pictures Animation
Williams Street
Turner Entertainment Co.
DC Entertainment
List of Warner Bros. theatrical animated feature films
List of unproduced Warner Bros. Animation projects
List of animation studios owned by Warner Bros. Discovery
Notes
References
Bibliography
External links
1980 establishments in California
American companies established in 1980
Animation
Film production companies of the United States
Companies based in Burbank, California
Mass media companies established in 1980
American animation studios
Adult animation studios
Warner Bros. Television Studios
Animation |
Boban "Bobi" Mitev (; born 7 August 1972) is a Macedonian professional basketball coach currently serving as head coach for Sabah of the Azerbaijan Basketball League.
References
1972 births
Living people
Macedonian expatriate basketball people in Serbia
Macedonian basketball coaches
Sportspeople from Skopje |
Municipal elections were held in Finland on 20 October 1996. The election had to be renewed in Keminmaa on 8 June because of uncertainties with advance voting.
National results
References
Municipal elections in Finland
Municipal
Finland |
Amidostomum is a genus of nematodes belonging to the family Amidostomatidae.
The genus has cosmopolitan distribution.
Species:
Amidostomum acutum
Amidostomum anseris
Amidostomum cygni
Amidostomum fulicae
Amidostomum henryi
Amidostomum spatulatum
References
Nematodes |
The American integral philosopher Ken Wilber uses the term worldcentric to describe an advanced stage of ethical development. This involves a broadening of the spiritual horizon through the formulation of a transpersonal ethic in which we do not only desire the best for all people but for all living beings. It is this aspect where worldcentrism is viewed as an expansion of sociocentrism where one focuses beyond self-needs to also extend care about the group, community, and society. The idea is that worldcentrism situates the positive aspects of egocentrism and sociocentrism in a larger context of concern so that consideration does not only include one's self or one's people but all peoples and all beings. Synonyms of worldcentric include global and planetary.
There are also worldcentrists who maintain that living beings engage in autopoiesis (self-making, self-producing, and self-repairing), which renders these beings as ends-in-themselves and of equal ground value, in addition to whatever extrinsic or intrinsic value they possess.
Wilber also sometimes refers to an ethical stage that is beyond the worldcentric, which he calls kosmocentric. In a kosmocentric awareness, one experiences a release of attachments of the gross realm and a radical recognition of evolutionary processes so that an individual is compassionately called to action and becomes capable of letting the gravity of outcomes go. Wilber used to associate these advanced ethical stages with mystical states, but since 2002 he has associated these advanced ethical stages with the development of complexity in the self-related lines of identity, studied by Susanne Cook-Greuter. (See "Integral Spirituality," Ken Wilber; See also "Transcendence and Mature Thought in Adulthood," Susanne Cook-Greuter.)
Related concepts
Anationalism
Anti-nationalism
Biocentrism (ethics)
Cosmopolitanism
Cosmopolitan democracy
Democratic mundialization
Global citizenship
Global Citizens Movement
Global justice
Mundialization
Postnationalism
Transnationalism
World city
World government
References
Integral theory (Ken Wilber) |
Dammer may refer to:
Carl Lebrecht Udo Dammer (1860–1920), a German botanist
Ober Dammer, the German name for Dąbrowa_Górna,_Lower_Silesian_Voivodeship, a village in the administrative district of Gmina Lubin, within Lubin County, Lower Silesian Voivodeship, in south-western Poland
Dammer, the German name for Dąbrowa, a village in Namysłów County, Opole Voivodeship, in south-western Poland
See also
Dammers (disambiguation)
Dahmer (disambiguation) |
The Cottage is the oldest home in Thorpe, Surrey, and dates from 1490 when Henry VII was king of England. Built when there was a plentiful supply of timber, it is a substantial timber-framed house with brick panels and during the last 500 years it has evolved and grown to what is now a quintessential English Chocolate Box Cottage.
Elevated above the surrounding fields, bounded by rich woodlands and close to the river, the site of the Cottage is a perfect location for a nobleman of 1490 and the Cottage is the heart of the village. It had the village forge and blacksmiths in its garden, next door is The Red Lion Inn and opposite is the old post office.
History
The original house
In 1490 the left hand side of the house was built using timber framing, brick panels and strong diagonal braces. A similar type of construction was used in one of the houses at the Weald and Downland Museum, Sussex. Because bricks were a relatively new way of building they were not yet trusted to take the whole weight of the house; this is why timber was used for the main strength of the house.
The original timbers are thought to come from an earlier house on the site. The same type of carpenters' marks are on the rear timber frame and one of the main cross braces, suggesting that they were crafted by the same carpenter.
The original front door led into a large open room with a fire in the centre for cooking. This was open all the way to the roof. There is evidence of soot covering some of the timbers on the first floor. To the left were two domestic rooms and a room above.
North extension
About 50 to 100 years later came the extension on the right hand side of the house. To the right of the porch is a double timber post - the left part of the post is the original Cottage, and the right part of the post marks where another whole house was added as the extension.
This second building was dismantled from elsewhere and rebuilt onto the Cottage as its extension. It is built in an earlier style - no cross bracing, just simple squares created from timber. This is likely to have been built much earlier before it was brought to the Cottage.
The original layout of this smaller house can be guessed from marks on the timbers - a two bay farmer's cottage with an internal jetty (overhanging first floor). In the corner would have been a ladder to get to the first floor, which had a single bedroom with a crown post roof. Another timber-framed house from the Weald and Downland museum has a similar construction with little or no diagonal bracing.
Looking at the Cottage from the front shows clearly the two different construction methods - bracing on the left, no bracing on the right.
Improvements added in the 1500s
More improvements were added in the 1500s. Two fireplaces were built around a central chimney, providing one fire for the kitchen and one for a snug. Around this time, a staircase was at the back and floors were built to give more bedrooms upstairs.
Improvements added in the 1800s
Later the front porch was added. A 19th-century sales particular mentions that the front porch could easily be converted into an entrance hall. This added symmetry to the building and improved the layout.
Improvements added in the 1900s
A bathroom was created inside. This may have been earlier but it is shown on early plans with Runnymede Council Planning Portal. A rear extension was made to the ground floor kitchen, with catslide roof. The roof space was converted, and a conservatory was added.
English Heritage listing
In 1951 the Cottage was entered into the English Heritage list as a Grade II* listed building. The entry is:
Cottage. C16 with C18 additions. Timber framed hipped tiled roof. Two chimney stacks. Brick panels white painted. Two storeys. Projecting two storey gabled porch in centre. Double timber post to right. Large panels and braces. Plain boarded door. To left, three-light, 6-pane casement and two-light casement. To right, two 2-light casements. Above - 4-pane casement, to right and left two 3-light casements. Catslide roof at rear.
Thorpe Village
Thorpe is a village in Surrey, England, between Egham and Chertsey and has been settled since the Bronze and Iron Ages. It has 28 listed buildings with three being of particular interest: St Mary's Church, Thorpe House and the Cottage are designated Grade II*.
References
. THORPE. A Surrey Village in Maps. Egham-by-Runnymede Historical Society. Front page shows the Cottage
. The Thorpe Picture Book. Jill Williams in collaboration with Mercer Bolds. Page 5 shows the Cottage.
Grade II* listed buildings in Surrey
Houses in Surrey |
Margaret Beauchamp ( – before 3 June 1482) was the oldest daughter of Sir John Beauchamp of Bletsoe, and his second wife, Edith Stourton. She was the maternal grandmother of Henry VII.
Biography
Margaret Beauchamp, born about 1410, was the daughter of Sir John Beauchamp of Bletsoe, Bedfordshire, and his second wife, Edith Stourton (d. 13 June 1441), daughter of Sir John Stourton of Stourton, Wiltshire.
In 1421, she became heiress to her only brother, John Beauchamp, who died young and unmarried, from whom she inherited the manors of Lydiard Tregoze in Wiltshire, Ashmore in Dorset, and Bletsoe and Keysoe in Bedfordshire, and, according to modern doctrine, the right to any barony of Beauchamp created by summons to Parliament directed to her great-great-grandfather, Roger Beauchamp, 1st Baron Beauchamp (d. 3 January 1380) of Bletsoe.
Marriages and children
She married firstly Sir Oliver St John (d. 1437), son and heir of Sir John St John and Isabel Paveley, daughter and heiress of Sir John Paveley, by whom she had two sons and five daughters:
Sir John St John (d. 1513/14) of Bletsoe, who married Alice Bradshagh, daughter of Sir Thomas Bradshagh, of Haigh, Lancashire. They were great-grandparents of Thomas FitzGerald, 10th Earl of Kildare and also George Boleyn's wife, Jane Boleyn, Viscountess Rochford; her mother was their granddaughter, Alice, daughter of John St John and Sybil Verch Morgan.
Oliver St John (d. 1497), esquire, of Lydiard Tregoze, Wiltshire, who married Elizabeth Scrope, widow successively of Sir John Bigod (d. 1461) of Settrington, Yorkshire, and Henry Rochford (d. 25 October 1470), esquire, of Stoke Rochford, Lincolnshire, and daughter of Henry Scrope, 4th Baron Scrope of Bolton, and Elizabeth le Scrope, daughter of John Scrope, 4th Baron Scrope of Masham.
Edith St John, who married Geoffrey Pole esquire. Their son, Richard Pole, was an ardent supporter of his maternal first cousin Henry VII of England. He was created a Knight of the Garter and was married to Margaret Pole, Countess of Salisbury, a member of the House of Plantagenet, which helped to reinforce the Tudor alliance between the houses of Lancaster and York.
Mary St John, who married Sir Richard Frogenall.
Elizabeth St John (d. before 3 July 1494) who married firstly, before 2 April 1450, as his second wife, William la Zouche, 5th Baron Zouche (d. 25 December 1462) of Harringworth, and secondly, before 10 December 1471, as his second wife, John Scrope, 5th Baron Scrope of Bolton (d. 17 August 1498).
Agnes St John, who married David Malpas.
Margaret St John, Abbess of Shaftesbury.
She married secondly, after 2 August 1441, John Beaufort, 1st Duke of Somerset, by whom she had one daughter:
Lady Margaret Beaufort, Countess of Richmond and Derby, who married Edmund Tudor, 1st Earl of Richmond, by whom she was the mother of Henry VII of the House of Tudor.
She married thirdly, by licence dated 14 April 1447, as his second wife, Lionel de Welles, 6th Baron Welles, by whom she had one son:
John Welles, 1st Viscount Welles, who married Cecily of York, the daughter of Edward IV of England.
She is buried with her second husband at Wimborne Minster in Dorset.
Fictional portrayals
Margaret Beauchamp figures prominently in the 2010 Philippa Gregory novel The Red Queen, and was played by Frances Tomelty in the 2013 television adaptation The White Queen. Gregory also includes Beauchamp in her 2011 prequel novel The Lady of the Rivers.
Notes
References
External links
Margaret St John profile. Retrieved 10 October 2013
1410 births
1482 deaths
Year of birth uncertain
Burials at Wimborne Minster (church)
15th-century English people
15th-century English women
English duchesses
English baronesses
Wives of knights
Daughters of barons |
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There are many mobile movie screening clubs that are generally based around a different nationality or film genre that will take over venues in LA in their off hours to stage screening-based events often with live music or speakers. They will do morning matinees or midnight movie marathons which draw crowds to venues with already booked schedules.
The predominant venues that host these events are The Vintage Vista Theater, Bob Baker Marionette Theater, and the Cinefamily theater (before it was shut down). Specific clubs will operate out of other venues like the Zebulon Cafe Concert, The Downtown Independent, Aero Theater, Los Feliz 3, Egyptian Theatre, and Bearded Lady’s Mystic Museum. The wide range of venues speaks to the fact that the mobile movie screening clubs are pervasive throughout Los Angeles. Highly successful clubs, like Secret Movie Club have even built their own viewing spaces.
List of screening clubs
Secret Movie Club
Dedicated to screening films on celluloid
La Collectionneuse
A franco-centric screening series
El Cine
A non profit dedicated to promoting Latinx culture through movie screenings and events
Acropolis Cinema
A non profit screening series dedicated to bringing classic and contemporary experimental, international, and undistributed films
Cinematic Void
Screening series focuses on cult films and oddball gems of all genres
Friday Night Frights
Bi-weekly midnight screenings of horror and genre films
References
External links
https://www.cinematicvoid.com/
https://www.somoselcine.org/
https://www.acropoliscinema.com/manifesto
https://lacollects.com/
Cinemas and movie theaters in Los Angeles County, California |
As of 26 June 2017, a total of 165 players uncapped players have made an appearance for the British and Irish Lions, a rugby union team selected from players eligible for any of the Home Nations – the national sides of England, Ireland, Scotland and Wales. The Lions generally select international players, but they can pick uncapped players available to any one of the four unions.
The 165 uncapped players represent approximately 20% of the 835 players who have made an appearance for the Lions. Of the 165 players these 41 were later capped by their national side while 124 were never capped. The most recent uncapped player was Will Greenwood who toured South Africa with the Lions in 1997 before getting his first cap for England later that year. The most recent uncapped player for the Lions who was never capped for his national team was Alun Lewis, who featured on the 1977 Lions tour to New Zealand.
The following is a list of rugby union players who have played for the British and Irish Lions but were never capped for their own countries or adopted countries. Where the country of origin of the player is not known, he is identified by the country of his club. By far the majority of the players on this list seem to originate from England. Players who took part in tours to Argentina are italicised.
Sources
Bath, Richard (ed.) The Scotland Rugby Miscellany (Vision Sports Publishing Ltd, 2007 )
Godwin, Terry Complete Who's Who of International Rugby (Cassell, 1987, )
espnscrum.com
References
Lists of British & Irish Lions rugby union players |
WAFX (106.9 FM, "106.9 The Fox") is a commercial radio station licensed to Suffolk, Virginia. It serves the Hampton Roads (Norfolk-Virginia Beach-Newport News) radio market. WAFX is owned and operated by Saga Communications. It airs a classic rock radio format.
WAFX broadcasts in the HD Radio (hybrid) format. Studios and offices are on Greenbrier Circle in Chesapeake. Most FM stations in the market are powered at 50,000 watts or less, but WAFX runs at 100,000 watts. It is a Class C FM station, with its transmitter off U.S. Route 258 in Windsor, Virginia, just far enough west to be in the Class C zone. Eastern Virginia is in the Class B zone, which limits the effective radiated power of FM stations closer to the Atlantic coast. WAFX's signal covers most of Southeastern Virginia and Northeastern North Carolina, and is audible from the suburbs of Richmond, Virginia, to Elizabeth City, North Carolina.
History
In 1981, Voice of The People, Inc., received a construction permit from the Federal Communications Commission to construct and operate a new FM broadcast station at Suffolk, Virginia, on the frequency 106.9 MHz. Voice of The People chose WTID for the call sign, which stood for the Tidewater region of Virginia. The station signed on the air in November 1982. WTID aired a Christian radio format. In April 1985, the station was sold to Southern Starr Broadcasting Group, Inc., of Altamonte Springs, Florida.
In 1987, Downs Radio, Inc., acquired WTID. Its call letters were changed to WSKX and it aired a country music format. The KX in the call sign stood for "Kicks." The station struggled against the market's long-time country leader, 100.5 WCMS-FM (now urban adult contemporary WVBW-FM). WSKX left the country format in 1989, becoming classic rock WAFX "The Fox."
Radio Ventures, Inc., acquired the station for $10 million in 1990. In 1994, Saga Communications bought WAFX for $4 million. Saga, which already owned album rock WNOR, continued WAFX's classic rock format, while moving WNOR-FM to a more current-based, harder-edged active rock format. As of today, WAFX's playlist has expanded to playing popular and historic 1990s alternative and grunge into their playlist, while WNOR has since moved all their classic and harder songs from the 1970s and 1980s to WAFX.
References
External links
106.9 The Fox Online
1983 establishments in Virginia
Classic rock radio stations in the United States
Radio stations established in 1983
AFX
AFX |
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``` |
FAILE (Pronounced "fail") is a Brooklyn-based artistic collaboration between Patrick McNeil (born 1975) and Patrick Miller (born 1976). Since its inception in 1999, FAILE has been known for a wide-ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage.
While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture-driven iconography to an array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels. FAILE's work is constructed from found visual imagery, and blurs the line between "high" and "low" culture, but recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research into their work.
Biographical
McNeil was born in 1975 in Edmonton, Alberta; Miller was born in 1976 in Minneapolis, Minnesota. McNeil and Miller met during their youth in Arizona. Separated in 1996 when Miller remained in art school in Minneapolis and McNeil continued to New York, by the end of the decade, the duo reconnected and, with the addition of then artist Aiko Nakagawa (born 1975, Tokyo, JP), "A Life" was conceived. By early 2000, the trio contributed to the emergence of a nascent street art culture by circulating their screenprinted and painted work on city streets, usually using the subversive processes of wheatpasting and stenciling. During the ensuing years McNeil, Miller, and Nakagawa solidified both their omnivorous style of pop-cultural collage, and changed their name to FAILE (an anagram of A Life). Nakagawa left FAILE in 2006, gaining success in her own right as AIKO aka Lady Aiko, while McNeil and Miller continued on to increased commercial and institutional visibility.
Career
Early years: 2000-2005
If FAILE's career can be viewed on a spectrum of "street art" and DIY-products to gallery-ready "fine art," then the first half of the aughts tilts more fully towards street practice. Although FAILE has always shown in galleries in one form or another, and still puts work on the street, these early years were spent deploying work in cities around the world and honing a distinctive style of wheatpasted and stenciled work that recalls both the shredded commodity collage of midcentury décollagistes Mimmo Rotella and Jacques Villeglé, and the pulp-cultural appropriations and comic books sensibilities of sixties "pop" artists such as Richard Hamilton, Andy Warhol, and Roy Lichtenstein. These influences were intensified in FAILE's work by the rapid fire splicing and re-assemblage of sampling, and the direct-to-audience urban raids specific to the golden age of graffiti.
Although FAILE's style can be located in these art historical legacies, their style and idiosyncratic vernacular make FAILE's work distinct and recognizable. During the early years of their career, influenced by contemporaries Shepard Fairey, BAST, and WK Interact, FAILE generated both a process of assemblage and urban circulation, and consistent visual cues and themes. One such example is the Challenger space shuttle, which crashed shortly after its launch in 1986. Not only does the shuttle appear in various forms in much of FAILE's work, the year "1986" is appended to their pieces as a signature that both invokes their specific use of the shuttle image, and also a reminder to their audience of the event itself, of its role in their personal history. "1986" is both indicative of a populist or dialogic impulse in much of FAILE's work, and also an example of the characteristic ambivalence or dualism in their practice. Recurring themes of binaries such as love/hate, peace/war, triumph/calamity, satiation/desire are all prevalent in work that seems to assimilate the global urban landscape but tenders only oblique opinions about that landscape.
During this period, FAILE produced several books in limited edition, including, by 2004, Orange, Death, Boredom, and Lavender. The overlap between FAILE's art practice and design background was pronounced during this early period, and found them collaborating on clothing and shoe lines (including Paper Denim, Comme des Garcons, and Pro-Keds), and music projects, as well as work on the street. In 2004 McNeil reflected, "A lot of what inspires us and excites us is the opportunity to work with talented people and to work on projects that are a challenge. Having the chance to work on things of all different disciplines whether it is fashion, painting, shoe design, or making a toy. The ideas of getting locked in and known for one thing and having to repeat. It sounds like a dreadful situation to be in. Recently we got the opportunity to work on the new Duran Duran album with John Warwicker for Tomato."
This first phase of FAILE's career was markedly experimental and varied—constant travel, a lack of studio space, and a rapidly evolving process meant that work was made for (and usually at) specific sites, from Manhattan to London and Tokyo. Commercial projects helped to finance this period of dissemination and revision. By 2005, however, FAILE acquired a permanent studio space, and were able to commit fully to a more studio-driven practice that both adapted the entropic street aesthetic of FAILE's and others' work, and permitted FAILE to apply their practice to a wider array of media and socio-political themes.
Spank the Monkey (2006)
From 27 September 2006 to 7 January 2007, independent curator Pedro Alonszo's Spank the Monkey ran at the BALTIC Centre for Contemporary Art in Gateshead, UK. The exhibition brought together twenty two internationally recognized street artists and investigated street art's growing artistic quality and popular appeal (particularly in the United Kingdom) and its rootedness in the realms of graphic design and global youth culture. The exhibition included celebrated "fine artists" such as Barry McGee, Takashi Murakami, and Ryan McGinness alongside noted graffiti, street, and design artists such as Os Gemeos, Shepard Fairey, Banksy, and FAILE. Spank the Monkey was the first exhibition of its kind, and followed closely behind the commercial success of Fairey's Obey line, and Banksy's "Barely Legal" sale of his own work in Los Angeles.
The exhibition, which positioned works both inside the gallery and throughout Newcastle, received favorable reviews. Speaking of the show, critic Guy Bird noted that "when the gallery takes the art seriously, avoiding condescension, or over-glamorisation, and the artists avoid 'sell-out' accusations by keeping control of their message...the results can be spectacular." Spank the Monkey marked both the gradual institutional acceptance of street art, and FAILE’s regular display in high-profile fine-art institutions. Indeed, FAILE used the venue to display some of their most somber work to date, in a series of twelve paintings titled "War Profitees," that incorporated harrowing photographs, newspaper text, and a dark color palette to bring to life the tragic 2006 Lebanon War, which killed 1,500 people, most of whom were civilians. The invocation of political violence, and references to Israel and Hezbollah indicated an intensification of FAILE's work, and demonstrated how their technique could be brought to bear on the precarious global order of the 21st century. The integration of form and content in the work, and sustained, critical attention to a political theme evident in FAILE's Spank the Monkey contribution was a harbinger.
Tate Modern (2008)
In response to the growing popularity—and commercial viability—of street art, the Tate Modern, located in London's Southwark, organized a show simply titled Street Art, that took place from 23 May to 25 August 2008, one week after Banksy's Cans show in a London railway tunnel. The exhibition, organized by curator Cedar Lewisohn, displayed work by six artists or collaborative projects in massive relief on the riverfront-facing wall of the museum's turbine room. Street Art included Nunca and Os Gemeos from Brazil, [[
Blu (artist)|Blu]] from Italy, Sixeart from Spain, and JR from France. FAILE was the only group to participate in both the Cans and the Tate shows, contributing to the latter a massive image of a Native American in full regalia amidst a shredded collage of pulp images and found signage typical of FAILE's work in 2008, and constructed in pieces in the studio before being affixed to the Tate's exterior. Of the exhibition and the institutionalization of their work, FAILE argued "At least it’s no longer undermined as something on the street, something without value. Money fuels interest—it’s an injection in the butt that fires people up and makes them realise they should pay attention."
While street art was, by 2008, an increasingly accepted and popular form overseas, in New York, graffiti's traditional home, street art was embraced by only a handful of galleries, such as Deitch Projects, an early champion of sometimes FAILE collaborator Swoon. As FAILE noted at the time, "New York has such a history of this art, but institutions are waiting to see what happens before they open the doors to it. The art is starting to surface in New York Sotheby's and Christie's, but it wouldn’t be if not for the excitement [in the UK]." Inclusion in the Tate show, which received widespread media attention and reached a large public, brought FAILE more fully into the international spotlight and further established them as one of the most recognizable names in an increasingly globalized and multi-platform art world.
Lost in Glimmering Shadows (2008)
On the heels of work in England for the Baltic Gallery and the Tate Modern, FAILE displayed a series of new work in November 2008 titled Lost in Glimmering Shadows, and thematically unified exploration of tension between consumer culture and spiritual fulfillment and the contradiction between America's sometimes bloody history and its democratic ideals.
Housed in the Lilian-Baylis Old School in conjunction with Lazarides Gallery in London, Lost in Glimmering Shadows occupied an ambiently lit circular gallery space in which large-scale prints and paintings surrounded sculptural elements in the interior ring. While the temple-like lighting and installation, life-size cast of a boy with rabbit, and large-scale painted work were familiar formal carryovers from earlier exhibitions (such as 2007's commercially successful From Brooklyn With Love at Lazarides, and Nothing Lasts Forever in New York's Chinatown) Lost in Glimmering Shadows notably introduced freestanding, functional prayer wheels, circular disc paintings, and stacks of multifaceted apple boxes, all emblazoned with brightly hued text and found imagery. Moreover, the show introduced a leitmotif of heroic Native American figures in conflict with a consumption-mad America, their world "lost in glimmering shadows."
The work within the exhibition derived much of its force from ironic juxtapositions, such as a reworking of the American flag in the style of a Navajo ceramic in the acrylic on canvas Star Spangled Shadows, and the textual interplay on the prayer wheels of phrases like "In search of sacred" and roadside advertisements for "cold beer" and "snacks." This irony is redoubled by the construction here of functional religious devices (the prayer wheel) overlaid by FAILE's own international brand. At other times, the work is more explicit, depicting a suit-wearing kachina figure amidst the backdrop of a pulp serial promising "A Betrayal Story," in the painting of the same name, or implying an alternate America in It Could be Beautiful. Consistent FAILE themes such as the Challenger shuttle and urban signage were featured alongside new figures and decorative elements derived from traditional figurines and baskets, as well as appropriated 20th-century imagery and pictures from the American southwest.
Deluxx Fluxx (2010)
From 12 February to 27 March on Greek Street in London, and again from 30 April to 27 May 2010, on artist BAST to produce an installation dubbed Deluxx Fluxx, comprising custom-made, operational arcade games and a foosball table. The entire salon at 158 Allen St. and the arcade cabinets therein were wheatpasted by FAILE and BAST, and blurred the line between the traditional "white cube" method of art display and the commercial operation of a gaming parlor. While audiences were invited to play the games for free, the works themselves were part canvas, part sculptural object, and part cabinet for interactive video art. The content of the cabinets, video work modeled on classic "games," were executed in collaboration with Adapted Studio and Seth Jabour of the band Les Savy Fav.
This New York installation updated an earlier version of the show with the Lazarides Gallery in London from earlier that spring, and featured recurring FAILE and BAST images, such as kissing women, Popeye, old time boxers, a barking dog, and commercial logos and signage for, among others, Chapstick and former airline TWA. Most of the images, such as they were derived from threads within FAILE's visual archive no longer for sale as prints in their own right, while others, such as the "Fashion Chimp," may appear in future projects. While the London show provided the blueprint for the New York iteration, the latter featured new games and images, and employed neon and blacklighting to generate a fully immersive experience. The aim of Deluxx Fluxx was to bridge the DIY-sensibility and popular accessibility of street practice with the more permanent, gallery-style emphasis of FAILE's more recent work. According to the artists, "After doing the show in London, we learned a lot and had so much of the groundwork built to do the show again. There was a real sense of joy in seeing people interact with the work in this way and that was the whole point of the show from the beginning. We wanted to bring it to NYC and it was something we wanted to do on our own. Just to make it happen, much like our street art. We knew we wanted to create new machines here, to make it a new experience but the same style show."
In so doing, Deluxx Fluxx obscured the lines between artist and consumer, and viewer and participant in an attempt to recapture the recent history of the Lower East Side as a haven for anti-elitist art practices such as graffiti and punk rock. While not reviewed heavily in art publications, Deluxx Fluxx received favorable reviews, with Stephen Heyman of the New York Times arguing that "art can be diverting, but people sometimes need winners and losers to get in the game."
In 2014 Deluxx Fluxx was also exhibited at Edinburgh, Scotland's Summerhall as part of the Edinburgh Festival - alongside the Vestige Board paintings; large canvases created initially in the studio from the artists and assistants cleaning their screens and brushes on the surfaces and then later completed by Faile with the addition of recognisable "Faile" iconography on the surface. The exhibitions were a critical and popular success.
Temple (2010)
From 16 July to 5 August 2010, FAILE displayed Temple a full-scale church in ruins in Praça dos Restauradores Square in Lisbon, Portugal. The installation was made in conjunction with the Portugal Arte 10 Festival and is slated for touring abroad. Temple brought together a variety of earlier motifs—street art vernacular, prayer wheels, and a dualistic interest in the globalization of commerce and new forms of spiritual immanence—with the site specific concerns of working in an historically Catholic country. The piece itself is a building in ruins fabricated with components, such as iron gating, ceramic relief work, and painted ceramic tiles from local and foreign manufacturers. Familiar FAILE images appear in relief (an update on 15th-century Florentine sculptor Luca Della Robia), the previously 2-D "Scuba Horse" was realized as a sculptural fountain, and the white, blue, and gold color palette was a nod towards the Portuguese landscape. Temple marked FAILE's first contribution to the international festival circuit, and brought their practice full circle, taking high concept studio art back to an accessible, urban setting.
Temple received strong critical and viewer attention, and was successful at blending seamlessly into its temporary environment even as it expanded and augmented FAILE's idiosyncratic leitmotifs. According to Interview, "Faile's site-specific work seems to be the hit of the biennial. It's a shining ruin, an open-air dialogue between the sacred past and the secular present. And it's an easy match for the historical architecture encircling the busy Praça dos Restauradores, which is probably why your average cab driver likes it–and why foreign tourists passing by have been trying to look it up in their guidebooks." In its ability to blur the boundaries between art and architecture, object and display environment, Temple further amplified underlying currents in FAILE's work, such as an emphasis on openness and participation, the porousness of cultural and institutional boundaries, and the fluid integration of visual culture and the built environment.
Bedtime Stories (2010)
This exhibition of works on wood was something of a return to fundamentals, clearly emphasizing form and process, and ran From 4 November to 23 December 2010 at the Perry Rubenstein gallery in New York. Each of the twelve works' compositions were created from individually painted wooden blocks that came together in "puzzle-box" format as unified paintings. According to the text accompanying the show, the paintings on wood "reveal FAILE’s relentless assimilation and refinement of the vast visual vocabularies of both the urban environment and their own decade-long practice. The grids of these paintings are at once modular and fixed, tactile and graphic. On their surfaces, iconoclastic characters fluidly intermingle with adroit deconstructions of commodity culture. The re-combinations of carefully constructed texts and images provide a glimpse into FAILE’s rigorous and organic process, and draw attention to painting’s inherent materiality."
Fragments of FAILE (2011)
For the late fall of 2011, FAILE made a series of new paintings for a solo show at the Lazarides Gallery in London. The new work marked a period of experimentation and a pronounced return to painting and folk tradition. While all of the pieces for Fragments of FAILE were built from existing FAILE motifs, images, and text, their formats referenced a wide array of new formal approaches, including monochromatic abstraction, figuration and portraiture, American quilting, Native American textiles, and Tibetan Mandalas. Fragments of FAILE showcased work made during an intensive phase of studio work between larger outdoor commissions. Some elements, such as the use of wood and a modular or "quilted" structure would factor prominently into subsequent installations.
The Wolf Within (2012)
In the fall of 2012, FAILE worked with the Tiger Translate program to construct a massive (15 ft. high) public sculpture at the National Garden Park complex on the outskirts of Ulaanbaatar, the capitol of Mongolia. For the commission, FAILE selected a figure drawn from their Lost in Glimmering Shadows show, a corporate-styled man seemingly in transition to a wolf-like form. Constructed at twice human scale, the original image (Eat With the Wolf)—conceived on the brink of the 2008 financial crisis—was given a new context and new associations. Wolf Within can, for example, be read as a cautionary tale for a nation in the midst of a massive mineral resource boom and in the process of rapid urbanization. It is also a reminder of the delicate balance between progress and tradition, and the persistence and resilience of the natural world. Wolf Within is a permanent installation, rather than a gallery or museum show, and marked FAILE's increasing engagement with commissioned, large-scale outdoor projects.
Les Ballets de FAILE (2013)
FAILE was commissioned by the New York City Ballet to build a new installation in the five-story atrium space of the David H. Koch Theater at the Lincoln Center for the Performing Arts on New York's Upper West Side, to be displayed during the winter and spring of 2013. In addition to a series of new paintings, FAILE also produced hundreds of individually painted wooden blocks to be given to audience members at two of the NYCB's performances. The centerpiece of the project, however, was a forty foot high tower dubbed Tower of FAILE, constructed using wooden boxes atop a wooden plinth to form an obelisk screen printed and painted with familiar FAILE imagery, and new materials drawn from research in the NYCB's archives. This tower was an outgrowth of FAILE's longer-term experimentation with wood and hybrid-sculptural forms, but was FAILE's largest constructed object to date. It took advantage of the Theater's multiple vantages and high ceilings in order to create encounters with the work that go beyond the single-perspective of a wall-mounted or wheatpasted work. In this way, the tower arguably built on earlier theories of minimalism in artmaking, and contemporary installation formats, such as Maurizio Cattelan's 2012 retrospective at the Guggenheim in New York. Of the installation, the Village Voice argued that the project signaled the emergence of the internet generation into a bastion of elite culture, and that it effectively connected "relatable populist imagery with the most rigid of bourgeois arts." In May 2013, FAILE reprised their collaboration with the NYCB, installing twenty one of their signature prayer wheels in the Koch atrium space. This installation also featured a performance by the ballet that was developed in dialogue with the art.
Where Wild Won't Break (2013)
In 2013, FAILE's first solo American museum show was held from 21 September to 22 December at Dallas Contemporary. The show featured a suite of paintings on wood with metal armatures, and a range of mixed-media works drawing on classic Americana, such as T-shirts and racing coveralls. For Where Wild Won't Break FAILE incorporated a range of imagery associated with the American west, including cowboys, bandana clad outlaws. horses, eagles, and desert landscapes. Another motif within the show was muscle car racing and associated iconography, such as patches and decals, all reworked with FAILE's by-then signature approaches of digital decollage and multimedia assemblage. The publication Artnews argued that "the adventurous, impulsive nature of the West lent itself well to FAILE’s artwork because, as their name suggests, the duo embraces fallibility and spontaneity. [Citing Miller] "No matter how well you try to tame something wild, chaos will always be a part of it." While installing the Dallas Contemporary show, FAILE completed a large mural on the city's Singleton Boulevard, which reflected imagery from FAILE's archive, including the wolf man and bunny boy, juxtaposed with newer material made for the exhibition, including a bandit driving a hot rod.
Savage/Sacred Young Minds (2015)
FAILE's work returned to New York for a major retrospective at the Brooklyn Museum, running from 10 July to 4 October. The exhibition, organized by curator Sharon Matt Atkins, featured a return of the Temple, which first appeared outdoors in Lisbon, Portugal. Here, it was reconstituted in an interior gallery of the museum amid two large-scale, hand-carved sculptures, and more recent paintings and works on wood. FAILE also prepared a new arcade for the occasion, drawing on the black-lit, all-over aesthetic of its earlier pop-up Deluxx Fluxx installations with Bäst. At the Brooklyn Museum, signature arcade cabinets were complemented by new FAILE-designed pinball machines that were (like their digital counterparts) fully interactive and cultivated a sense of play and leisure within the otherwise "white cube" space of the gallery. Reviews for the show were mixed, with the Huffington Post's Jaime Rojo and Steven Harrington noting the punk rock and Dada motifs within the arcade, and praising the democratic sensibility of the installation. They argued that Savage/Sacred Young Minds offered "a full immersion and opportunity for titillating interaction, this show provides an unambiguous sense of the industry that is backing the FAILE fantasy. Throughout their work and your imagination and assumed role, you may be villain, distressed damsel, wolfman, fairey, vandal, wrestler, hot-rodder, madonna, whore, supplicant, avenger, surfing horse or simply an arcade hero who is whiling away windowless hours punching buttons, popping flippers and pumping FAILE tokens into tantalizing art machines." Others, such as Ken Johnson of the New York Times, did not see the broader implications of the show, finding it instead unfocused. He noted that, "while some other parts of the temple are amusing, intense vibes of savagery, sacredness or insanity are absent. How those psychic states might be related is obscured by Faile’s bewilderingly overwrought and unfocused magpie appropriation of graphic signifiers from many times and places, from ancient Egypt to 20th-century comic books." Time Out New York, in turn, marked FAILE's movement into the museum context, and their connection to an earlier legacy in the New York avant-garde. They suggested that, "as the careers of Keith Haring and Jean-Michel Basquiat show, the street can often be an avenue into the art world, something certainly true for Patrick McNeil and Patrick Miller. Two Brooklyn artists collaborating under the all-caps name of FAILE, they’ve jumped from plastering walls around Williamsburg to exhibiting in galleries and museums."
Wishing on You (2015)
Throughout the summer of 2015, visitors to New York's Times Square encountered a large-scale FAILE installation titled Wishing on You. This seven-foot-high kinetic sculpture expanded on the prayer wheels that FAILE placed both inside and outside the gallery in earlier years. Wishing on You blended old and new FAILE motifs, and was built into a flat-roofed, pagoda-like shelter. Audiences climbed two steps and passed through green and red columns bearing seemingly south Asian decorative motifs. The vividly chromatic and textured wheel not only turned, but also powered neon lights in the ceiling of the structure. In this way Wishing on You paid homage not only to the traditional larger prayer wheels of Bhutan, but also the public square's history of arcades, nickelodeons, and garish advertising. Of the installation, FAILE noted that "while Wishing on You really builds on Times Square’s storied past...we are also aware of how it has served for so long as a truly American place of celebration and commemoration." For his part, Times Square Alliance president Tim Tompkins remarked of Wishing on You that, "rituals that wish for hope are central to the character of our city, but especially to the character of Times Square."
Strong Currents (2016) and Meet Me Halfway (2017)
2016 marked the first FAILE show with Gordon Gallery, a contemporary art space in Tel Aviv. Hung salon style, Strong Currents brought together a range of studio-based works, and featured familiar motifs such as the reclining "wolf man" and the geometric American flag from the Lost in Glimmering Shadows era. On the whole, the show was notable for its spare compositions and looser handling. In contrast to the intricacy of the wood-block assemblages that preceded them, the works in Strong Currents had a notably graphic feel. In them, FAILE emphasized vibrant color, broad expanses, and more evident brushwork, as in a multihued bouquet of flowers on a white background, or the show's centerpiece, a woman and her horse at rest in an open field.
This line of inquiry continued into 2017 with the Paris exhibition of Meet Me Halfway. As in previous FAILE work, the process of layering and bricolage was fundamental to the multimedia works on display. But here, FAILE pressed the color-blocked sensibility of Strong Currents further, building up figural shapes using cut paper, then overpainting a neutral tone to create negative space or a ground for the composition. This process lent the figures an abstract quality reminiscent of early-20th century posters, and modernist painters like Henri Matisse. The cut paper works were displayed with a survey of recent studio-based works, including assemblages of wood blocks, copper plates, and mosaic or tile-styled arrays of smaller modules. In conjunction with this show, FAILE translated one of the smaller works into a ten-story mural on the side of a building in the city's 13th arrondissement, with a text in French that translates to "and I held my breath."
Stages (2018)
From its inception, FAILE has worked on a range of surfaces, from canvases and wood blocks to city walls. Since at least the Lost in Glimmering Shadows show, they have also attempted to turn galleries into immersive environments, building platforms, painting on display spaces, and encouraging audience participation. In 2010, they turned their attention more fully to questions of sound and lighting as well. The Stages show in Berlin brought many of these elements together, showcasing a broad spectrum of approaches to painting from the previous decade (e.g. gestural abstraction, interlocking "blocks", and fragmented collage). For this exhibition, FAILE also applied black-and-white pieces directly to the walls of the Springmann Gallery, and created a literal stage marked off by a diamond-shaped portal that framed a woman in a bandanna strumming a guitar. During the show's run, the space was carefully lighted in purples and blue and used by a variety of performers. This "environment" seemed to build on earlier experiments, and set the tone for later versions of the Deluxx Fluxx project.
From the Air We Share (2018–19)
In 2018, FAILE took on several large-scale commissions in the city of Strasbourg in northeastern France. Each of these was public facing, and focussed on a more sequential or narrative quality. In 2017, FAILE visited Strasbourg and studied its local lore, ultimately writing a poem to be illustrated by a series of massive black-and-white panels on the exterior of the Musée d’Art moderne et contemporain. The museum's site notes that text and images are epic in tone and rich in metaphor but connect to local luminaries from Marie-Antoinette to Hans Arp, as well as important geographical features like the Rhine River. Relatedly, FAILE also created a massive color mural, "Little by Little", spanning several thousand feet of the central train station overlooking the Place de la Gare. Decorative and representational fragments of FAILE paintings (e.g. the race-car driving cowboy, the surf horse, and women as both damsel and cat burglar) appear in the commission in a monumental format. As part of this project, FAILE also painted a streetcar in bright pastel tones (again, both abstract and figurative). Although the station commission ends in 2019, the "FAILE Train" will be in service for several years.
Public Tile Installations (Ongoing)
2010's Temple project in Portugal found FAILE working in ceramic on a large scale, developing cast sculptural forms and drawing inspiration from accretions of urban tiling. This process complemented FAILE's interest in vernacular architecture and American textile traditions and opened on to a new way of working in the city using ceramics. The first example of this type of work was the 104 North 7th Street project in Williamsburg, Brooklyn. For this "Casa de los Azulejos", FAILE designed an array of signature tiles in striking patterns that were then handmade and fired in a wood-burning kiln. The building, formerly a nondescript light industrial space, was clad by hand over the course of several days. According to FAILE, North 7th was a natural extension of their earlier street-based projects. Miller noted that, in creating the mosaic, "we see almost the process of how graffiti gets built up, the way it gets buffed, these sort of geometric colorfield, abstract paintings."
FAILE's work with tile murals is ongoing, and they have executed a range of custom projects in Southern California, including a home in Venice (2017) and a low-slung building in the downtown Arts District, Los Angeles (2018). This and other work in the city responds in a site-specific fashion to the local context. For example, for a public installation in Orange County's Playa District (2018), FAILE created a slate of bespoke patterns suited to the area, tessellated layouts derived from film reels, the coastal landscape, deco design, and indigenous craft. Similarly, a 2019 commission in Culver City plays on the Lantana flower and local institutions such as the Gemological Institute of America and the famed Rollerdrome.
Deluxx Fluxx Detroit (Ongoing)
The Deluxx Fluxx collaboration with Bäst is a pop-up arcade space that has appeared in multiple locations since 2010. In the summer of 2018 FAILE opened a more permanent version of the project in downtown Detroit near the "Belt", an alley between Library and Broadway Streets. The corridor features an exhibition space and is centered on a series of public arts interventions by contemporaries like Nina Chanel Abney, Carlos Rolón, and Shepard Fairey. FAILE had already shown work the year before in this area with Library Street Collective. That show, The Size of the Fight, assembled many instances of FAILE's practice, including pinball machines, works on wood, and mandala-like paintings. Many of these featured Detroit-specific motifs, as in a "Detroit Tiger" and racing logos that call out to the city. The title of the exhibition references the Mark Twain adage about the "size of the fight in the dog", and Detroit's simultaneous status as an underdog, and place of resilience and rebirth. Overall, FAILE was inspired by the energy of Detroit, and made plans for a more permanent project there.
Like earlier versions, the Detroit Deluxx Fluxx blends elements from the golden age of arcades, 80s-era basements, and the visual culture of nightclubs. It features the arcade's signature day-glo palette and ten custom video game installations. Made in collaboration with Matthew Cooley, the latter are based on Detroit-specific themes, including Robocop and the city's Eastern Market. Built out from a raw space, FAILE lined the walls with their own poster-inspired work and developed a lighting system with Andi Watson, a designer best known as creative director for the band Radiohead. According to the Detroit Free Press, "the result is a venue that’s intimate (240-person capacity) and loaded with details. Its elements will be adjusted over time to create a sense of constant evolution."
In this sense, Deluxx Fluxx is simultaneously an interactive art project and an active performance venue, the space hosts DJ nights focused on Detroit genres (soul, techno) and national acts (e.g. Avey Tare, Chromeo).
Process
Although FAILE's completed works are iconographically and stylistically distinctive, their process of creation owes much to chance, improvisation, and openness to outside source material. This is true of both FAILE's relationship to form and content—the visual elements of their work is continuously adapted to heterogeneous materials, from grocery store sign paper to wooden boxes and painted ceramics. During the early years of their career, FAILE's primary laboratories were urban streets. On the one hand, their practice, at its most basic, consisted of painting with stencils on the built environment. On the other, from the outset FAILE developed work in the studio that drew from a wide array of international cultural influences, both sacred and profane, that were then wheatpasted in the outside world. These latter works demanded reproducibility and rapid availability for circulation, and were thus well suited to the printmaking process. After experimenting with more graphically centered black and white images, and the intensive process of layer-by-layer color transfer, FAILE introduced an element of immediacy to these prints by painting the paper prior to printing, yielding prints that were loose and chromatically expressive.
Each of these tendencies were amplified by FAILE's consistent travel and limited permanent studio space. By necessity, work was adapted to its location of display, by virtue of its inherent "site specificity," as well as the group's absorption of forms, imagery, and usable materials wherever they happened to be. Once those materials were exhausted, stencils could be used to provide a constant template in lieu of prints. This early phase was one of dynamism and experimentation, and much of FAILE's early work was left to deteriorate and interact with its environment. By 2005, when FAILE established a larger studio space, this ad hoc approach was supplemented with a more traditional approach to painting and print editions that drew on these earlier priorities (inter-cultural permutation, use of found images and signifiers, and an expressive, playful approach to execution), while taking the entropy and dynamism of the street as an object of investigation.
Although street art is a consistent aspect of FAILE's practice (in concrete terms and as a source of inspiration), the post-2005 period has permitted them to work more slowly, generating thematically driven suites (War Profitees; Lost in Glimmering Shadows), small print runs, and increasingly three-dimensional media, from arcade cabinets, salvaged wood, and large-scale casting. Each of FAILE's projects is unified, however, by a consistent openness to chance, external cultural influences, audience interactivity, and the organic rhythms of the street.
More recently, found wood and apple boxes figured into FAILE's development in their studio practice of hybrid forms of painting that blur the boundaries between religious, folk, artisanal, and sculptural forms. The histories of abstraction and quilting, as well as the modular form of the puzzle box, for example, were foundational for the suites of paintings in 2010's Bedtime Stories and 2011's Fragments of FAILE. At the same time, architectural forms and Iberian ornamental tradition were essential in constructing 2010's Temple project, a ruin featuring prayer wheels and cast relief work in Lisbon. Both elements—projects in wood, and building environments—were fused in producing an "obelisk" of printed/painted boxes in the atrium of the Koch Auditorium in New York's Lincoln Center in 2013. For much of the past decade, FAILE's work has been iterative, with outdoor and public installations informing studio-based work in an apparently dialogic way. Many of their gallery shows, for example, draw on the technical procedures developed for site-specific commissions and vice versa. While FAILE's projects are known for their high degree of finish, many seem to suggest the artistic process itself as a kind of content. As of 2019, FAILE consistently worked in a wide variety of formats, from European streetcars to tile-clad buildings in California.
FAILE has also consistently produced artist's books (typically in partnership with German publisher Gestalten Verlag) including FAILE: Prints + Originals, 1999–2009 (2010), FAILE Temple (2012), and FAILE: Works on Wood: Process, Paintings, and Sculpture (2014).
Cultural impact
FAILE, like many of their contemporaries in the street art community, emphasize art making over indirect political statements or sloganeering, but their work often contains both passive and overt messages, usually cloaked in ambivalence. On the one hand, FAILE emerged from a graphic design sensibility and historically functions as a recognizable graphic presence as well as an artistic identity. Similarly, graffiti and street art have typically operated as a counterpublic artistic practice and means of garnering fame or status for "writers" and artmakers. While there is not an explicitly partisan or anti-capitalist edge to this type of work, it is structurally a political act in its flouting of laws, embrace of punk-rock and hip-hop aesthetics, and function as a means of populist or direct to the masses expression. There also exists in graffiti and street art a deeper anti-establishment trend in its attempt to beautify and reclaim the urban environment, and blur the line between the elite art gallery systems and the "outside" world of the streets.
FAILE certainly works in this tradition. Although they are not graffiti writers as such, their work originated in the streets, and their studio work bears the stylistic hallmarks of both wheatpasting/stenciling and the vernacular of the global urban environment. FAILE argues that, "our process has always resembled this loose and fast critique on society, whether it be literal or figurative. Our image-making has at times been very methodical and researched, other times it's been experimental and dirty. Street art at its roots is 'punk.' It set out to critique and comment on a world it felt outside of." Such a critique is sometimes ambivalent, as FAILE’s work is marked by the consistent juxtaposition of dualities. Other times, it is more direct, as in the seemingly explicit pictures in the Lost in Glimmering Shadows exhibition, or in the public wheatpasting in 2010 of images of kissing women amid the text "No Change Will My Heart Fear." The latter echoes the ambivalent prompting of Banksy's noted "Kissing Coppers" wall painting, and is indicative of FAILE's consistent prioritization of ambivalence and open-endedness over more explicitly prescriptiveness.
There are both socially and institution-critical strands in FAILE's work and its public or alternative-space staging and execution. FAILE's work is overarchingly characterized by an open approach that allows the interpretation and meaning of their work to ramify once it enters the public sphere. Of their outdoor work, FAILE argues that "it gives a person the sense that it is there just for them. That they've stumbled across this great little gem amidst the chaos of daily life that can really speak to them. We try to build in a certain ambiguity that leaves the door open for the viewer to find themselves within the story." The openness of meaning and emphasis on the experience of the viewer marks a shared affinity with both the anti-elitist impulses of recent street art, and the more institutional ideas of site specificity and relational aesthetics. In 2010, FAILE expanded their painting and printing into the realm of reconstructed sculptural and architectural elements, religious artifacts (such as prayer wheels) and the 2010 Temple project in Lisbon. These projects reflect FAILE's concern that "everything that requires skill is disappearing from the world," and that the Temple is "an expression of the crumbling beauty of this disappearing world." This focus on public works was further developed in 2012 with the Eat With the Wolf sculpture in Ulaanbaatar; on the streets of Brooklyn and Los Angeles with the 104 N. 7th and other tile-based projects; in Times Square, Manhattan, with the large-scale, interactive prayer wheel (Wishing on You); and in a series interactive arcades that became a music venue in Detroit.
Solo exhibitions
City Lights Millennium Iconoclast Museum of Art Belgium (2021)
From the Air We Share, Musée d’Art moderne et contemporain, Strasbourg, FR (2019)
Where the Ends Meet, Gordon Gallery, Tel Aviv, IL (2019)
Stages, Galerie Henrik Springmann, Berlin, Germany (2017)
The Size of the Fight, Library Street Collective, Detroit, MI (2017)
Meet Me Halfway, Magda Danysz Gallery, Paris, FR (2017)
Strong Currents, Gordon Gallery, Tel Aviv, IL (2016)
Wishing on You, Times Square (Public Installation), New York, NY (2015)
Savage/Sacred Young Minds, The Brooklyn Museum, New York, NY (2015)
Where Wild Won't Break, Dallas Contemporary, Dallas, TX (2013)
Les Ballets de Faile, New York City Ballet Art Series, David H. Koch Theater at Lincoln Center, New York, NY (2013)
The Wolf Within, Commissioned Public Sculpture by Mongolian Arts Council, UlaanBaatar, MN (2012)
104 N. 7th Mural, Brooklyn, NY (2012)
Fragments of Faile, Lazarides Gallery, London, UK (2011)
Faile: "A Decade of Prints and Originals", Post No Bills, Venice Beach, CA (2011)
Bedtime Stories, Perry Rubenstein Gallery, New York, NY (2010)
Lost in Glimmering Shadows, Lilian Baylis School-Lazarides Gallery, London, UK (2008)
From Brooklyn with Love, Lazarides Gallery, London, UK (2007)
Nothing Lasts Forever, 201 Chrystie Street, New York, NY (2007)
Faile Prints, Fifty24, Portland, OR (2006)
The Room NYC, New York, NY (2005)
Selected group exhibition history
2018
Beyond the Streets, Los Angeles, CA
Art From the Streets, Art Science Museum, Singapore, SG
2017
Eastern Skies, Condition Publique, Roubaix, FR
2016
Love Me, Love Me Not, NYC Parks Department, Transmitter Park, Brooklyn, NY
City Lights, MIMA Museum, Brussels, BE
Street Art: A Global View, Central Academy of Fine Art Museum, Beijing, CN
Commission Art Fair, Bronx, NY
Et J'ai Retenu Mon Souffle, Street Art 13, Paris, FR
2014
Inaugural Exhibition, Allouche Gallery, New York, NY
FAILE & BÄST, Deluxx Fluxx Arcade Edinburgh, Summerhall Museum, Scotland, UK
The Provocateurs, Art Alliance, Chicago, IL
RE:DEFINE: MTV's Staying Alive Foundation Art Benefit, Dallas, TX
Juxtapoz 20th Anniversary Show, Jonathan Levine Gallery, New York, NY
Darren Aronofsky's Foundations of the Deep: Visions of Noah and the Flood, New York, NY
Cat Art Show, 101/Exhibit, Los Angeles, CA
2013
FAILE & BÄST, Deluxx Fluxx Arcade Miami Beach, Miami, FL
Ten Years of Wooster Collective, Jonathan LeVine Gallery, New York, NY
Cash, Cans & Candy, Galerie Ernst Hilger, Vienna, AU
2012
Damien Hirst's Murderme Private Collection, Pinacoteca Giovanni e Marella Agnelli, Turin, IT
The Boneyard Project, Pima Air and Space Museum, Tucson, AZ
Sotheby's Sick Children's Trust Benefit Sale, London, UK
Tonight We Won't Be Bored, V1 Gallery, Copenhagen, DE
2011
Underbelly Show, Art Basel Miami, Miami, FL
On Every Street, Samuel Owen Gallery, Greenwich, CT
T&J Artwalk for Human Rights Watch, Oslo, NO
RE:DEFINE MTV's Staying Alive Foundation Art Benefit, Dallas, TX
Art Mère / Art Père Auction LIVESTRONG Benefit, Los Angeles, CA
2010
FAILE & BÄST, Deluxx Fluxx Arcade, Allen Street, New York, NY; Greek Street, London, UK
Temple, Portugal Arte 10, Lisbon, PT
Meet Me Inside, Gagosian Gallery, Los Angeles, CA
Viva La Revolucion: A Dialogue with the Urban Landscape, Museum of Contemporary Art, San Diego, CA
Underbelly Project, Brooklyn, NY
2008
Poster Resistance 2, New Image Art Gallery, Los Angeles, CA
Street Art, Tate Modern, London, UK
Outsiders, The New Art Gallery Walsall, Walsall, UK; Houston and Bowery, Lazarides, New York, NY
2007
The Burning House (Faile, Dave Ellis, and Swoon), Museum Hetdomein, Sittard, ND; New Image Art Gallery, Los Angeles, CA
2006
Spank the Monkey, Baltic Centre for Contemporary Arts, Newcastle-Gateshead, UK
Tiger Translate, Shanghai Sculpture Space, Shanghai, CN
Animalia, Irvine Contemporary, Washington, DC
Mural Commission, Weiden+Kennedy, Portland, OR
Wall Snatchers, Washington Project for the Arts, Washington, DC
Swish, Lazarides Gallery, London, UK
2005
Untitled, Fifty24SF, San Francisco, CA
Ridiculousnessofitallshow, New Image Art Gallery, Los Angeles, CA
Design Edge, IdN, Singapore, SG
Denver Show, Andenken Gallery, Denver, CO
The Pony Show, New York, NY
ROJO Golden, Stay Gold Gallery, Brooklyn, NY; Urbis Artium Gallery, San Francisco, CA
The First LA Weekly Biennial, Track 16 Gallery, Los Angeles, CA
Supreme Trading N8 Gallery, Brooklyn, NY
2004
Weiden + Kennedy, Amsterdam, ND
Espai Pupu, Barcelona, SP
Lab 101, Los Angeles, CA
Break Beat Science Showroom, Tokyo, JP
X-Girl, New York, NY
Les Complices, Zurich, CH
One Eye Space, Los Angeles, CA
Lavender, Transplant Gallery, New York, NY
Mural, Diesel Store, Austin, TX
Pictures on Walls, Diesel Denim Gallery, New York, NY
2003
Battle Graphics, McCaig-Welles, New York, NY
Secret Party, Bob's, New York, NY
Hasta Pronto, Centre Cultural Es Jonquet, Majorca, SP
Back Jumps Live Issue, Bethanien Kreuzberg, Berlin, DE
Jungle LP Show, Rocket Gallery, Tokyo, JP
Broken Sunshine (curated by FAILE), Firehouse 87 Lafayette Street, New York, NY
Fancy Faile and Bast, Neurotitam Haus Schwarzenberg, Berlin, DE
Transplant Gallery, New York, NY
M3projects, New York, NY
2002
The Big Group Show, M3Projects, New York, NY
Faile Presents Boredom Project, V1 Gallery, Copenhagen, DE
Surface 2 Air, Paris, FR
Dragon Bar, London, UK
Max Fish Gallery, New York, NY
Gas Experiment, Tokyo, JP
Supersonic & Alien, Galleria S.A.L.E.S., Rome, IT
References
Further reading
Official Site: FAILE
Gallery Site: Opera
Google Cultural Institute/ Brooklyn Museum Online Exhibition: "A Summer of FAILE in New York City"
Examples of Faile Art: Cinque Collective
American graffiti artists
American printmakers
Canadian printmakers
American poster artists
Canadian poster artists
American artist groups and collectives
Canadian artist groups and collectives |
Mihai Beniuc (; 20 November 1907 – 24 June 1988) was a Romanian socialist realist poet, dramatist, and novelist.
He was born in 1907 in Sebiș, Arad County (at the time in Austria-Hungary), and attended the Moise Nicoară High School in Arad. In 1931 he graduated from the University of Cluj, majoring in psychology, philosophy and sociology. This was reflected in his writing, particularly in his novels. At the end of World War II, he joined the Faculty of Psychology at the University of Cluj.
Beniuc was the President of the Writers' Union of Romania and, from 1955, a titular member of the Romanian Academy. After 1965 he became a professor at the University of Bucharest.
He died in 1988 in Bucharest, and is buried at the city's Evangelical Lutheran Cemetery.
Selected works
Plays
Cântece de pierzanie, 1938
Cântece noi, 1943
Orașul pierdut, 1943
Un om așteaptă răsăritul, 1946
Mărul de lângă drum, 1954
Steaguri, 1951
Cântec pentru tovarășul Gheorghiu-Dej, 1951
Partidul m-a învățat, 1954
Trăinicie, 1956
Azimă, 1956
Inima bătrînului Vezuv, 1957
Cu un ceas mai devreme, 1959
Novels
Pe muche de cuțit, 1959
Dispariția unui om de rând, 1963
Explozie înăbușită, 1971
External links
Mihai Beniuc
Cercul poeţilor dispăruţi – Mihai Beniuc
Biography of Mihai Beniuc
Romanian male poets
Romanian dramatists and playwrights
People from Arad County
1907 births
1988 deaths
20th-century Romanian poets
20th-century Romanian dramatists and playwrights
Romanian-language poets
Male dramatists and playwrights
Recipients of the Order of the Star of the Romanian Socialist Republic
Titular members of the Romanian Academy
20th-century Romanian male writers
Babeș-Bolyai University alumni
Romanian propagandists
Academic staff of the University of Bucharest
Academic staff of Babeș-Bolyai University |
Kalkadoon may refer to:
Kalkadoon, Queensland, a suburb of Mount Isa, north-west Queensland, Australia
Kalkatungu people, also known as the Kalkadoon people, an indigenous Australian tribe of the Mount Isa region
Kalkatungu language, also known as the Kalkadoon language, now extinct
Kalkadoon Wars, a series of late 19th century hostile encounters between the Kalkadoon people and European settlers
Kalkadoon grasswren (Amytornis ballarae), a species of small bird endemic to north-west Queensland
Language and nationality disambiguation pages |
Igor Semyonovich Kon (; 21 May 1928 – 27 April 2011) was a Soviet and Russian philosopher, psychologist, and sexologist. His scientific publications have been translated into many languages, such as English, German, and French.
Biography
Kon was born in Leningrad (now St. Petersburg). He was evacuated during the Siege of Leningrad and returned after the lifting of the blockade in 1944. He graduated from Herzen State Pedagogical University with a degree in history in 1947 and was awarded a candidate of sciences degree by the same university in 1950. He was awarded the doctor of sciences degree by Leningrad State University in 1959.
Kon worked at a variety of academic institutions between 1950 and 1974, holding positions at the Vologda Pedagogical Institute in 1950-52, the Leningrad Chemical-Pharmaceutical Institute (now St. Petersburg State Chemical-Pharmaceutical Academy) in 1953-56, Leningrad State University (now St. Petersburg State University) in 1956-67, the Institute of Philosophy of the Academy of Sciences of the USSR in 1967-68, the Institute of Concrete Social Research of the Academy of Sciences of the USSR (now Institute of Sociology of the Russian Academy of Sciences) in 1968-72, and the Institute of Social Sciences in 1972-74. He has been chief researcher of the Institute of Ethnology and Anthropology at the Russian Academy of Sciences since 1974.
Kon was one of the first Soviet scholars to write textbooks on sociology. He is most famous as an expert on sexology and sexual health. He started studying these matters in the middle of the 1960s. His Vvedeniye v seksologiyu (Introduction to Sexology; 1988, 2005) was written as a textbook for universities.
He believed that sexology cannot be confined to the bounds of medical problems, but rather is an independent interdisciplinary science rather than a branch of medicine. Interviewed by Sarah Keller for his profile in a 1989 issue of the American magazine Mother Jones, Kon stated: Kon was a member of numerous scientific societies, including the International Academy of Sex Research, the European Association of Experimental Social Psychology, the International Sociological Association, the Polish Academy of Sex Research, and the European Association for Adolescent Psychology. He was a member of the International Advisory Board of the German Society for Social-Scientific Sexuality Research.
Death
Igor Kon died in Moscow, aged 82, in 2011, from cancer.
Honors
Kon was awarded an honorary professorship from Cornell University in 1989 and received a doctor honoris causa degree from the University of Surrey in 1992.
In 2005, the World Association for Sexual Health awarded Kon its Gold Medal for outstanding contributions to sexology.
Publications
Kon, Igor & James Riordan (Eds.) (1993). Sex and Russian Society. Bloomington, Indiana: Indiana University Press; .
Kon, I. (1989) A History of Classical Sociology. Trans. H. Campbell Creighton. Moscow: Progress Publishers. .
Kon, I. (1995) Sexual Revolution in Russia: From the Age of the Czars to Today. Trans. James Riordan. New York: Free Press; .
Kon, I. S. and Guseinov, S. N. (editors). A dictionary of ethics. Moscow : Progress Publishers. 1990. 455 p.
Kon, I. S. (editor). A history of classical sociology. Moscow : Progress Publishers. 1989. 376 p. Series title: Student's library. Translated by H. Campbell Creighton.
Alexandrov, Vladimir. * Volkov, F. M., Gubsky, Ye. F., Afanasyev, V. G., Ibrahim, Taufic, Imam, Zafar, Kon, I. S., Krivoguz, I. M., Petrovsky, A. V., Popov, Yu. N., Reza, Munis, Romanovsky, N. V., Tumanov, V. A., Vereshchetin, V. S., Zdravomyslov, A. G., and Zotov, V. D. (editors). Essays in contemporary history : 1946 - 1990. Moscow : Progress Publishers. 1990. [371] p. Series title: Student's library. Translated by Lev Bobrov.
Anderson, K. M., Bogina, Sh. A., Falkovich, S. M., Guseva, N. M., Islamov, T. M., Kovalskaya, M. I., Krivoguz, I. M., Lebedev, I. A., Losev, Yu. G., Mikhailov, M. I., Obolenskaya, S. V., Pavlova, T. A., Pritsker, D. P., Roginsky, V. V., Slezkin, L. Yu., Yurovskaya, Ye. Ye., and Zverev, A. M. * Yurovskaya, Ye., Volkov, F. M., Gubsky, Ye. F., Afanasyev, V. G., Ibrahim, Taufic, Imam, Zafar, Kon, I. S., Krivoguz, I. M., Petrovsky, A. V., Popov, Yu. N., Reza, Munis, Romanovsky, N. V., Tumanov, V. A., Vereshchetin, V. S., Zdravomyslov, A. G., and Zotov, V. D. (editors). Modern history : 1640 - 1870. Moscow : Progress Publishers. 1990. [351] p. Series title: Student's library. Translated by Barry Jones.
Chuvilkin, O. D., Lomakin, V. K., Proshunin, N. N., and Vishnyakova, I. V. * Volkov, F. M., Gubsky, Ye. F., Afanasyev, V. G., Ibrahim, Taufic, Imam, Zafar, Kon, I. S., Krivoguz, I. M., Petrovsky, A. V., Popov, Yu. N., Reza, Munis, Romanovsky, N. V., Tumanov, V. A., Vereshchetin, V. S., Zdravomyslov, A. G., and Zotov, V. D. (editors). The political map of the world. Moscow : Progress Publishers. 1990. [244] p. Series title: Student's library. Translated by Patty Beriozkina.
Getmanova, Alexandra. * Volkov, F. M., Gubsky, Ye. F., Afanasyev, V. G., Ibrahim, Taufic, Imam, Zafar, Kon, I. S., Krivoguz, I. M., Petrovsky, A. V., Popov, Yu. N., Reza, Munis, Romanovsky, N. V., Tumanov, V. A., Zdravomyslov, A. G., and Zotov, V. D. (editors). Logic. Moscow : Progress Publishers. 1989. [358] p. Series title: Student's library. Translated by Stephen Smith.
Rakitov, Anatoly. * Volkov, F. M., Gubsky, Ye. F., Afanasyev, V. G., Kon, I. S., Krivoguz, I. M., Munis, Reza, Petrovsky, A. V., Popov, Yu. N., Romanovsky, N. V., Shuare, Marta, Taufik, Ibrahim, Tumanov, V. A., Zafar, Imam, Zdravomyslov, A. G., and Zotov, V. D. (editors). The principles of philosophy. Moscow : Progress Publishers. 1989. [366] p. Series title: Student's library. Translated by H. Campbell Creighton.
References
External links
Igor Kon's personal website (Curriculum vitae).
1928 births
2011 deaths
Russian LGBT rights activists
Russian non-fiction writers
Russian sociologists
Russian health professionals
Sexologists
Academic staff of the Higher School of Economics
Herzen University alumni |
Vijaypal Singh Tomar is an Indian politician and Member of Parliament in Rajya Sabha from Uttar Pradesh. He was former president of the BJP Kisan Morcha.
References
Living people
Rajya Sabha members from Uttar Pradesh
Politicians from Meerut
Bharatiya Janata Party politicians from Uttar Pradesh
Year of birth missing (living people) |
The 1974–75 UEFA Cup was won by Borussia Mönchengladbach over Twente on aggregate.
The third club was revoked to Scotland and Belgium, and it was assigned to the Netherlands and Austria.
First round
|}
First leg
Second leg
Lyon won 11–1 on aggregate.
Portadown won 2–1 on aggregate.
Derby County won 6–2 on aggregate.
3–3 on aggregate, Twente won on away goals rule.
1–1 on aggregate, Ajax won on away goals rule.
RWD Molenbeek won 5–2 on aggregate.
Hibernian won 12–3 on aggregate.
Porto won 5–4 on aggregate.
Inter Milan won 3–0 on aggregate.
Partizan won 5–2 on aggregate.
Djurgården won 7–1 on aggregate.
Dinamo București won 4–0 on aggregate.
3–3 on aggregate, Velež Mostar won on away goals rule.
Steagul Roșu Brașov won 3–2 on aggregate.
Borussia Mönchengladbach won 4–2 on aggregate.
2–2 on aggregate, Royal Antwerp won on away goal rules.
1–1 on aggregate, Dynamo Dresden won on away goal rules.
Hamburg won 4–0 on aggregate.
Rapid Wien won 3–2 on aggregate.
Baník Ostrava won 5–0 on aggregate.
4–4 on aggregate, Raba ETO Győr won 5–4 in penalty shoot-out.
4–4 on aggregate, Dynamo Moscow won on away goals rule.
Nantes won 3–2 on aggregate.
Napoli won 3–1 on aggregate.
Juventus won 4–2 on aggregate.
Grasshopper won 3–2 on aggregate.
Fortuna Düsseldorf won 4–2 on aggregate.
Köln won 9–2 on aggregate.
Both legs were played in Amsterdam, the second leg was formally a 'home' game for Hibernians. Amsterdam won 12–0 on aggregate.
Atlético Madrid won 6–3 on aggregate.
Real Zaragoza won 5–1 on aggregate.
Second round
|}
First leg
Second leg
4–4 on aggregate, Derby County won 7–6 in penalty shoot-out.
Juventus won 8–2 on aggregate.
Partizan won 6–1 on aggregate.
Baník Ostrava won 2–1 on aggregate.
Köln won 4–3 on aggregate.
Fortuna Düsseldorf won 3–2 on aggregate.
Velež Mostar won 2–1 on aggregate.
1–1 on aggregate, Dynamo Dresden won 4–3 in penalty shoot-out.
Real Zaragoza won 6–2 on aggregate.
Borussia Mönchengladbach won 6–2 on aggregate.
Hamburg won 10–1 on aggregate.
Twente won 3–1 on aggregate.
Dukla Prague won 5–1 on aggregate.
Amsterdam won 2–1 on aggregate.
Napoli won 2–0 on aggregate.
2–2 on aggregate, Ajax won on away goals rule.
Third round
|}
First leg
Second leg
Baník Ostrava won 3–1 on aggregate.
Hamburg won 6–3 on aggregate.
Twente won 6–3 on aggregate.
Köln won 5–2 on aggregate.
Borussia Mönchengladbach won 9–2 on aggregate.
Amsterdam won 5–1 on aggregate.
2–2 on aggregate; Juventus won on away goals.
Velež Mostar won 5–4 on aggregate.
Quarter-finals
|}
First leg
Second leg
Juventus won 2–0 on aggregate.
Köln won 8–3 on aggregate.
Twente won 2–1 on aggregate.
Borussia Mönchengladbach won 4–1 on aggregate.
Semi-finals
|}
First leg
Second leg
Twente won 4–1 on aggregate.
Borussia Mönchengladbach won 4–1 on aggregate.
Final
First leg
Second leg
Borussia Mönchengladbach won 5–1 on aggregate.
External links
1974/75 Season at UEFA.com
UEFA Cup 1974-75 at RSSSF.com
UEFA Cup seasons
2 |
The 2022 Oklahoma Sooners football team represented the University of Oklahoma during the 2022 NCAA Division I FBS football season, the 128th season for the Oklahoma Sooners. They played their home games at Gaylord Family Oklahoma Memorial Stadium in Norman, Oklahoma. They are a charter member of the Big 12 Conference. 2022 marked the first time the Sooners finished with a losing record since 1998. Despite this, the Sooners continued the streak of participating a bowl game every season since 1999. They were led by first-year head coach Brent Venables.
Offseason
Position key
Offseason departures
Outgoing transfers
The Sooners lost thirteen players via transfer portal for the 2022 season.
Additions
Incoming transfers
Recruiting class
*= 247Sports Composite rating; ratings are out of 1.00. (five stars= 1.00–.98, four stars= .97–.90, three stars= .80–.89, two stars= .79–.70, no stars= <70)
†= Despite being rated as a four and five star recruit by ESPN, On3.com, Rivals.com and 247Sports.com, TBD received a four star 247Sports Composite rating.
Δ= Left the Oklahoma program following signing but prior to the 2022 season.
Overall class rankings
Returning starters
Offense
Defense
Special teams
† Indicates player was a starter in 2021 but missed all of 2022 due to injury.
Preseason
Award watch lists
Listed in the order that they were released
Big 12 media poll
The preseason poll was released on July 7, 2022.
First place votes in ()
Preseason Big-12 awards
2022 Preseason All-Big 12 teams
Source:
Schedule
Oklahoma and the Big 12 announced the 2022 football schedule on December 1, 2021. The 2022 schedule consists of 6 home games, 5 away games and 1 neutral-site game in the regular season. The Sooners will host 2 non-conference games against UTEP and Kent State and will travel to Nebraska. Oklahoma will host Kansas, Kansas State, Baylor and Oklahoma State, and travel to TCU, Iowa State, West Virginia, and Texas Tech in regular-season conference play. Oklahoma will play Texas in Dallas, Texas at the Cotton Bowl Stadium in the Red River Showdown, the 118th game played in the series.
Personnel
Roster
Coaching staff
Depth chart
True Freshman
Game summaries
Vs. UTEP
Vs. Kent State
At Nebraska
vs Kansas State
At TCU
Vs. Texas
Vs. No. 19 Kansas
At Iowa State
vs Baylor
At West Virginia
vs No. 22 Oklahoma State
At Texas Tech
Vs. No.13 Florida State (2022 Cheez-It Bowl)
Statistics
Team
Individual Leaders
Defense
Key: POS: Position, SOLO: Solo Tackles, AST: Assisted Tackles, TOT: Total Tackles, TFL: Tackles-for-loss, SACK: Quarterback Sacks, INT: Interceptions, BU: Passes Broken Up, PD: Passes Defended, QBH: Quarterback Hits, FR: Fumbles Recovered, FF: Forced Fumbles, BLK: Kicks or Punts Blocked, SAF: Safeties, TD : Touchdown
Special teams
Scoring
Oklahoma vs Non-Conference Opponents
Oklahoma vs Big 12 Opponents
Oklahoma vs All Opponents
Rankings
NFL draft
The NFL Draft was held at Arrowhead Stadium in Kansas City, MO on April 27–29, 2023.
Sooners who were picked in the 2023 NFL Draft:
References
Oklahoma
Oklahoma Sooners football seasons
Oklahoma Sooners football |
Lucas Fernand Christophe Prudhomme (born 31 May 1999) is a footballer who plays as a midfielder, winger or striker for Knokke. Born in Belgium, he is a Luxembourg youth international.
Early life
As a youth player, Prudhomme joined the youth academy of Belgian side Virton and was after being promoted to the senior team regarded as one of the youngest players on the squad.
Club career
Prudhomme started his career with Belgian side Virton but left after the club was denied a license for the Belgian second tier.
In 2021, he signed for Belgian side RFC Liège. He was described as a "great offensive asset" for the club.
International career
In 2017, Prudhomme was first called up to the Luxembourg national under-21 football team.
Style of play
Prudhomme can operate as a midfielder, winger, or striker, and is known for his "ability with the ball".
Personal life
Prudhomme studied tourism in Libremont.
References
External links
1999 births
Living people
Belgian people of Luxembourgian descent
Belgian men's footballers
Luxembourgian men's footballers
Luxembourg men's under-21 international footballers
Luxembourg men's youth international footballers
Men's association football forwards
Men's association football midfielders
Men's association football wingers
FC Differdange 03 players
Gimnàstic de Tarragona footballers
R.E. Virton players
RFC Liège players
Royal Knokke F.C. players
Luxembourg National Division players
Luxembourgian expatriate men's footballers
Belgian expatriate men's footballers
Luxembourgian expatriate sportspeople in Spain
Belgian expatriate sportspeople in Spain
Expatriate men's footballers in Spain |
Tanjong Sepat is a state constituency in Selangor, Malaysia, that has been represented in the Selangor State Legislative Assembly since 2004.
The state constituency was created in the 2003 redistribution and is mandated to return a single member to the Selangor State Legislative Assembly under the first past the post voting system.
Demographics
History
Polling districts
According to the federal gazette issued on 30 March 2018, the Tanjong Sepat constituency is divided into 14 polling districts.
Representation history
Election results
References
Selangor state constituencies |
The meridian 10° west of Greenwich is a line of longitude that extends from the North Pole across the Arctic Ocean, the Atlantic Ocean, Ireland, Africa, the Southern Ocean, and Antarctica to the South Pole.
The 10th meridian west forms a great circle with the 170th meridian east.
The meridian defines the western limit of the New Swabia area in Queen Maud Land, Antarctica.
From Pole to Pole
Starting at the North Pole and heading south to the South Pole, the 10th meridian west passes through:
{| class="wikitable plainrowheaders"
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! scope="col" | Country, territory or sea
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| style="background:#b0e0e6;" |
! scope="row" style="background:#b0e0e6;" | Arctic Ocean
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! scope="row" style="background:#b0e0e6;" | Atlantic Ocean
| style="background:#b0e0e6;" |
|-valign="top"
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! scope="row" |
| Mullet Peninsula, Achill Island, Clare Island and Connemara
|-
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! scope="row" style="background:#b0e0e6;" | Atlantic Ocean
| style="background:#b0e0e6;" |
|-
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! scope="row" |
| Dingle, Iveragh and Beara Peninsulas
|-
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! scope="row" style="background:#b0e0e6;" | Atlantic Ocean
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|-
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! scope="row" | Western Sahara
| Claimed by
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| style="background:#b0e0e6;" |
! scope="row" style="background:#b0e0e6;" | Atlantic Ocean
| style="background:#b0e0e6;" |
|-valign="top"
|
! scope="row" |
| Gough Island
|-
| style="background:#b0e0e6;" |
! scope="row" style="background:#b0e0e6;" | Atlantic Ocean
| style="background:#b0e0e6;" |
|-
| style="background:#b0e0e6;" |
! scope="row" style="background:#b0e0e6;" | Southern Ocean
| style="background:#b0e0e6;" |
|-
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! scope="row" | Antarctica
| Queen Maud Land, claimed by
|-
|}
See also
9th meridian west
11th meridian west
w010 meridian west |
Michał Lewandowski (born 2 August 1996) is a Polish professional footballer who plays as a goalkeeper for IV liga club Sokół Kolbuszowa Dolna.
Club career
Lewandowski started his football with polish club Stal Mielec before moving to Italy and signing with second division side Crotone. He played for the club in the youth Campionato Nazionale Primavera before leaving the start of the 2016–17 season due to needing to have surgery on his wrist.
In 2016, he started his senior career with Avezzano in the Italian fourth division where he would play in 33 matches, keeping 10 clean sheets. Lewandowski then went on to sign with Italian third division club Teramo who he played for, for four years making 69 appearances in the championship and the cup, keeping 24 clean sheets. His time at the club also included a brief spell at Monopoli.
On 3 August 2021, he signed a two-year contract for Messina.
On 6 November 2022, he scored the second goal in a 3–2 home Serie C league win against Monterosi by means of a free kick from his own half.
On 9 September 2023, after spending the summer training with Stal Mielec's reserve team, Lewandowski joined IV liga club Sokół Kolbuszowa Dolna.
References
External links
1996 births
Living people
People from Mielec
Polish men's footballers
Poland men's youth international footballers
Men's association football goalkeepers
Serie C players
Serie D players
IV liga players
FC Crotone players
Avezzano Calcio players
SSD Città di Teramo players
SS Monopoli 1966 players
ACR Messina players
Polish expatriate men's footballers
Polish expatriate sportspeople in Italy
Expatriate men's footballers in Italy
Footballers from Podkarpackie Voivodeship |
The 1968 Democratic National Convention protests were a series of protests against Democratic presidential nominee Hubert Humphrey and the United States' involvement in the Vietnam War that took place prior to and during the 1968 Democratic National Convention in Chicago, Illinois. The protests lasted approximately seven days, from August 23 to August 29, 1968.
Many left-wing counterculture and anti-Vietnam War groups, as well as supporters of anti-war Democratic candidate Eugene McCarthy began planning protests, marches, and demonstrations in response to the convention. There were several attempts by local Chicago authorities to prevent the protests from occurring, however, they ensued anyway. Thus, the city promised "law and order" in order to submit the protesters. As a result, many protesters, reporters, and bystanders were met with unprecedented levels of police brutality and police violence by the Chicago Police Department, particularly in Grant Park and Michigan Avenue in Chicago during the convention. The actions by Chicago police, the Illinois National Guard, and other law enforcement agencies were later described by the National Commission on the Causes and Prevention of Violence as a "police riot".
During the evening of August 28, 1968, with the police riot in full swing on Michigan Avenue in front of the Democratic party's convention headquarters, the Conrad Hilton hotel, television networks broadcast live as the anti-war protesters began the now-iconic chant "The whole world is watching".
Planning
National Mobilization Committee to End the War in Vietnam
In the fall of 1967, members of the National Mobilization Committee to End the War in Vietnam (often referred to as "MOBE"), which was directed by David Dellinger, proposed a massive anti-war demonstration to coincide with the 1968 Democratic National Convention. In early 1968, the National Mobilization Committee opened a Chicago office directed by Rennie Davis and Tom Hayden, who were leading political organizers at the time and former leaders of Students for a Democratic Society.
MOBE was an umbrella organization that included groups who were opposed to American participation in the Vietnam War. MOBE was run by a small executive board that set up a general framework for mass demonstrations, sent out invitations to the over 500 groups on its mailing lists, and coordinated activities between the groups.
MOBE recognized and supported all tactics from marching to civil disobedience. MOBE's main aim was to get the largest turnouts at its functions. David Dellinger, MOBE chairman, believed that "The tendency to intensify militancy without organizing wide political support [was] self-defeating. But so [was] the tendency to draw way from militancy into milder and more conventional forms of protest."
For Chicago, MOBE originally planned for two large-scale marches and an end of convention rally at Soldier Field. The goal was originally a massive show of force outside the International Amphitheatre. MOBE also planned to have workshops and movement centers distributed in 10 parks throughout the city, many in predominantly black areas, to allow demonstrators and participating groups to follow their particular focuses.
Youth International Party
The Youth International Party was one of the major groups in the organization of the protests. Abbie Hoffman, Jerry Rubin, and a few friends engaged in conversation at Hoffman's apartment on New Year's Eve, 1967. They discussed the events of the year, such as the Summer of Love and the Pentagon demonstration. The idea of having a free music festival in Chicago was suggested to defuse political tension. Over the next week, the Youth International Party took shape. Its members, known as "Yippies" politicized hippie ideology and used street theater and other tactics to critique the culture of the United States and induce change.
In preparation for the Chicago convention, the Yippies held the "Yip-In", and the "Yip-Out" at Grand Central Station in New York City. Both events were planned simply as "be-ins", with live music. The event was used to promote peace, love and harmony, and as a trial run for Chicago. The black banner of an anarchist group was hung on the wall, bearing the words, "Up Against the Wall Mother Fucker" in red. Police stood by watching the crowds. As the "Yip-In" progressed, relations between the police and Yippies became strained. Two people climbed a large clock and removed the hands; the police responded by clearing the station. They formed a skirmish line, ordered the people to disperse, and then started forcing their way through the crowd.
The "Yip-Out" was similar in purpose but held in Central Park. To obtain the permits and aid from New York City officials necessary for the event, Yippies performed a sit-in at the mayor's office until the Mayor would negotiate on permits. In the end, an agreement was made on staging, electricity, police presence, bathrooms, and other necessities for running a music festival. Police milled in the crowd giving considerable leeway to the proceedings which led to a peaceable day.
The Yippies took a radical approach to the Democratic National Convention. They wrote articles, published fliers, made speeches and held rallies and demonstrations, to announce that they were coming to Chicago. Threats were made that nails would be thrown from overpasses to block roads; cars would be used to block intersections, main streets, police stations and National Guard armories; LSD would be dumped in the city's water supply and the convention would be stormed. However, none of these threats came to fruition. Nonetheless, city officials in Chicago prepared for all possible threats. A vilification campaign led by Chicago authorities worked in favor of the Yippies' plan.
One of the Yippies' main tactics was to use street theatre to create an experience that drew the attention of mainstream America. Yippie activities were used to put across the message that the average American didn't have control over the political process. They tried to show this by purposefully participating in non-traditional activities that would not conceivably affect the decision-making process in the convention hall, unlike a "straight" protest with picket lines, marches, and rallies which could conceivably convince delegates of mass support for a program. On a Wednesday night, networks moved their coverage away from the Amphitheater where the delegates were voting on the nomination, to a "pitched battle" in front of the Conrad Hilton hotel.
Prelude
Official responses
In the buildup to the Convention, Chicago mayor Richard J. Daley repeatedly denounced the various anti-Vietnam War protest groups mobilizing for protest and announced "Law and order will be maintained".
Chicago's security forces prepared for the protests during the convention. Besides the standard gun and billy club, Chicago Police Department officers had mace and riot helmets. For the convention, the CPD borrowed a new portable communications system from the military, thus increasing communication between field officers and command posts. All summer long, police officers had received refresher training on crowd control and riot techniques. During the convention itself, Police Academy instructors were with the reserve forces, giving last-minute reminders.
Mayor Daley, citing intelligence reports of potential violence, put the 12,000 members of the Chicago Police Department on twelve-hour shifts, while the U.S. Army placed 6,000 troops in position to protect the city during the convention and nearly 6,000 members of the National Guard were sent to the city, with an additional 5,000 National Guard on alert, bolstered by up to 1,000 FBI and military intelligence officers, and 1,000 Secret Service agents.
To satisfy manpower requirements, the City put the force on 12-hour shifts, instead of the normal 8-hour shifts. This gave police commanders approximately 50% more field officers to deal with disturbances. Two-thirds of the officers would continue with the normal police duties with the remaining third available for special assignment. In the Amphitheatre, the City concentrated 500 officers filling various roles. In Lincoln Park, the number of officers patrolling during the daytime was doubled, but the majority of the officers assigned to the Lincoln Park area were held in reserve, ready to respond to any disturbance.
In suspected trouble areas, police patrols were heavy. Further away from the center patrols were less frequent. This allowed the police to shift easily and quickly to control a problem without leaving an area unguarded. While maintaining a public image of total enforcement of all city, state, and federal laws, the Narcotics division was quietly reassigned to regular fieldwork, curtailing anti-drug operations during the DNC.
Police officials and Mayor Daley had worked with the National Guard to create a plan to effectively use the Guard. It would be called up at the beginning of the convention, but held in reserve at strategically placed armories or collection points such as Soldier Field. With the Guard in place at their armories, the CPD could request and receive assistance quickly.
Permits
Both MOBE and Yippie needed permits from the city in order to hold their respective events. The City had several reasons for denying permits to MOBE and Yippie and thus stalled issuing permits. The City was worried about a black rebellion, independent of the white protesters, during the convention. To avoid trouble, the City used its influence with black community organizations such as The Woodlawn Organization, the Black Consortium, and Operation Breadbasket to try to keep their constituents calm and peaceful. Some of the militant black leaders were encouraged to leave town during the convention to avoid being implicated in any violence.
The City also believed that having large numbers of white protesters marching through the black ghettos with a heavy police or National Guard escort would inflame the ghettos and set off rioting. Therefore, the City categorically denied any permit that included parks in or march routes through black areas.
Another argument the City used to deny permits was that the permits asked the City to set aside local and state ordinances. A city ordinance closed the city parks at 11 pm, although this was not strictly enforced. In a letter to Yippie, Deputy Mayor David Stahl gave eight rules for Yippie to follow, including submitting detailed plans and requirements, following all city, state, and federal ordinances, and toning down the rhetoric. The Yippies refused, so the City felt justified in denying Yippie their permits.
In a last-ditch effort, MOBE filed a lawsuit in federal court seeking it to force Chicago to issue permits for a rally in Soldier Field or Grant Park. Judge Lynch, Daley's former law partner, heard the case, and summarily dismissed the request, citing that the city could deny permits on the basis of protecting "public comfort, convenience, and welfare".
Protests
August 22: Shooting of Dean Johnson
The start of the convention week's violence is sometimes traced to the shooting of Dean Johnson by Chicago police officers. Dean Johnson, age 17, and another boy were stopped on the sidewalk by the officers for a curfew violation early on the morning of Thursday, August 22. When Johnson drew and fired a pistol at police (the gun misfired), police officers returned fire, hitting Johnson three times. The Yippies and SDS hastily organized a memorial service for Johnson, but as one observer noted, due to poor planning "it turned out that no one had made any plans to actually do anything. We just milled around and began to fill up the intersection. Two squad cars pulled up and the cops got out and told us to keep moving ... but they were pretty gentle about it".
August 23: Planned protests
On Friday, August 23, Jerry Rubin and other Yippies attempted to formally nominate the Yippie candidate for president, Pigasus, a pig. By the time Rubin arrived with Pigasus, several hundred spectators and reporters had gathered on the Civic Center plaza. Police officers were waiting, and after the pig was released, Rubin, folk singer Phil Ochs, and five other Yippies were arrested.
August 24: Marches
At 6 a.m. on Saturday, August 24, continuous surveillance began in Lincoln Park. For the previous several nights, the police had cleared Lincoln Park at 11 p.m. and maintained a significant presence during the day. Women Strike for Peace attempted to hold a women-only picket at the Hilton Hotel, the main delegate hotel. Despite plans for buses from around the country to bring hundreds of picketers, only 60 or so women showed up.
It was generally agreed upon to not attempt to stay in Lincoln Park after the curfew, but to rather take the protest to the streets. At exactly 11 p.m., poet Allen Ginsberg led protesters out of the park into the streets. SDS leaders organized several hundred protesters to march through the streets chanting things such as 'Peace Now' while the police simply guarded Lincoln Park. When the crowd stopped at Wells and North Avenue, blocking the intersection, a police contingent arrived and cleared the crowd. Eleven people were arrested and several police cars were stoned before the crowd dispersed into the normal Saturday nightlife.
August 25: Protests and music
On Sunday, MOBE had scheduled a 'Meet the Delegates' march and picket. At 2 p.m. there were between 200 and 300 picketers marching across the street from the Conrad Hilton, and another 500 marching south through the Loop chanting, "Hey, Hey LBJ, how many kids did you kill today". After the police arrival, those who were picketing moved into nearby Grant Park to avoid a mass arrest situation. Once the marchers had reached Grant Park, there was a brief rally where Davis and Hayden claimed the day a success, and then went to Lincoln Park where the Festival of Life music festival was beginning.
At 4 pm, the Festival started with proto-punk band MC5, the only band who showed up for the festival. The police did not allow a flatbed truck to be brought in as a stage, fearing Yippies would use it to incite the crowd. When the concession stand owner insisted that Yippie stop using his electrical outlets to run the amplification equipment, confusion ensued. While Rubin and other Yippies tried to make frantic deals to get the sound back on, Hoffman used the confusion to try to bring in the flatbed truck. A deal was struck allowing the truck to be parked nearby, but not in, the park. The crowd that had gathered around and on the truck did not realize an agreement had been reached and thought the truck was being sent away. The crowd surged around the truck, pinning in the police officers.
Hoffman declared that the police had stopped the music festival, and proceeded to conduct a workshop on dispersal tactics to avoid arrest by police. As the next police shift came on duty, they were informed of the tense situation in the park. Due to the number, frequency, diverseness, and exposure of the threats made by the protesters, the police were concerned about facing protesters armed with unknown weapons and unknown intentions.
At 9 pm, police formed a skirmish line around the park bathrooms. This drew a crowd of spectators who heckled the police. The crowd rapidly grew until the police charged into the crowd swinging their batons, scattering the crowd. At 11 pm the police pushed the protesters out of the park. Most protesters left the park and congregated nearby, taunting the police.
Initially when the police reached the edge of the park, they maintained their skirmish line, however when a squad was ordered to 'clear' Clark Street to keep traffic flowing the police lost control. A running battle began. Yippie Jerry Rubin told a friend "This is fantastic and it's only Sunday night. They might declare martial law in this town." Protesters, journalists, photographers, and bystanders were clubbed and beaten by the police. Order was not restored in Old Town until early Monday morning.
August 26: Grant Park
On Monday, August 26, demonstrators climbed on a statue of General Logan on a horse, leading to violent skirmishes with police in Grant Park. Police hauled a young man down and arrested him, breaking his arm in the process.
August 28: The Battle for Michigan Avenue
Protestors were joined on 28 August by the Poor People's Campaign, now led by the Southern Christian Leadership Conference's Ralph Abernathy. This group had a permit and was split off from other demonstrators before being allowed to proceed to the amphitheater.
"The Battle of Michigan Avenue", described by Neil Steinberg of The Chicago Sun-Times as "a 17-minute melee in front of the Conrad Hilton", was broadcast on television, along with footage from the floor of the convention. The police violence extended to protesters, bystanders, reporters and photographers, while tear gas reached Hubert Humphrey in his hotel suite. Police pushed protesters through plate-glass windows, then pursued them inside and beat them as they sprawled on the broken glass. 100 protesters and 119 police officers were treated for injuries, and 600 protesters were arrested. Television cameras recorded the police brutality while demonstrators chanted "The whole world is watching".
At the convention several delegates made statements against Mayor Daley and the CPD, like Senator Abraham Ribicoff who, speaking from the podium, denounced the use of "Gestapo tactics on the streets of Chicago" in his speech nominating George McGovern. The hard line taken by the City was also seen on the convention floor itself. In 1968, Terry Southern described the convention hall as "exactly like approaching a military installation; barbed-wire, checkpoints, the whole bit". Inside the convention, journalists such as Mike Wallace and Dan Rather were roughed up by security; both these events were broadcast live on television.
Humphrey won the presidential nomination that night.
August 29: Ain't Marchin' Any More
Paul Cowan of The Village Voice reports that after a speech by Eugene McCarthy in Grant Park that afternoon, a march was joined by delegates and McCarthy supporters but was stopped at 18th Street and Michigan Avenue by the National Guard. Arrests were followed by tear gas and mace, while marchers chanted "The whole world is watching" and retreated to Grant Park. In the park, demonstrators sang "God Bless America", "This Land Is My Land", and "The Star Spangled Banner", and waved "V" symbols above their heads, asking soldiers to join in. They never did. Phil Ochs sang "I Ain’t Marchin’ Any More", and demonstrators chanted "join us" softly. Five hours later, police officers raided a party organized by McCarthy workers in the Hilton hotel, and beat them viciously. According to the McCarthy workers, all telephones on their floor had been disconnected a half hour before, and they had no way to call for help.
Investigations
The city of Chicago, the U.S. Department of Justice, the House Committee on Un-American Activities, and the presidentially appointed National Commission on the Causes and Prevention of Violence all responded with investigations of the violence. Within days, the Daley administration issued the first report, blaming the violence on "outside agitators", described as "revolutionaries" who came to Chicago "for the avowed purpose of a hostile confrontation with law enforcement". The Department of Justice report, however, found no grounds for prosecution of demonstrators, and Attorney General Ramsey Clark asked the U.S. attorney in Chicago to investigate possible civil rights violations by Chicago police.
In Mayor Daley's report, a list of 152 officers wounded in Wednesday's melee was presented. Their wounds ranged from an officer's split fingernail to an officer's infra-orbital fracture of the left eye. Although the precise number of injured protesters is unknown, Dr. Quentin Young of the Medical Committee for Human Rights (MCHR) stated that most of the approximately 500 people treated in the streets suffered from minor injuries and the effects of tear gas. During the entirety of convention week, 101 civilians were treated for undisclosed injuries, by area hospitals, 45 of those on Wednesday night.
On September 4, 1968, Milton Eisenhower, chair of the National Commission on the Causes and Prevention of Violence, announced that the commission would investigate the violence at the Chicago convention and report its findings to President Lyndon Johnson. A Chicago lawyer, Daniel Walker, headed the team of over 200 members, who interviewed more than 1,400 witnesses and studied FBI reports and film of the confrontations. The report was released on December 1, 1968, characterized the convention violence as a "police riot" and recommended prosecution of police who used indiscriminate violence; the report made clear that the vast majority of police had behaved responsibly, but also said that a failure to prosecute would further damage public confidence in law enforcement. The commission’s Walker Report, named after its chair Daniel Walker, acknowledged that demonstrators had provoked the police and responded with violence of their own, but found that the "vast majority of the demonstrators were intent on expressing by peaceful means their dissent".
Aftermath
Public response
The American national news media, whose correspondents had been among the victims of police brutality at the convention, were at the forefront of criticism of the Chicago police. According to journalist Barbara Ehrenreich: "In a rare moment of collective courage, the editors of all the nation's major newspapers telegrammed a strong protest to Mayor Daley." National NBC newscaster Chet Huntley announced to the nation on the evening news that "'the news profession in this city is now under assault by the Chicago police'."
However, to the surprise of the news media, and many of the people who had witness the Chicago "police riot", the general public did not take their side. "Polls taken immediately after the convention showed that the majority of Americans — 56 percent — sympathized with the police, not with the bloodied demonstrators or the press." A poll taken for the New York Times "showed an “overwhelming” majority respondents supported the police in Chicago. "CBS reported that 10 times as many people had written to them disapproving of their coverage of the events as had written in approval." Dailey himself received "scores of letters", praising him and especially attacking the press and demonstrators.
One aftereffect of this "backlash", was soul-searching by the "media class" who "spent the next few years" in "almost reverent" examination of the white working class/middle class, mostly non-coastal strata of population dubbed "the silent majority" (by soon-to-be-president Richard Nixon) and "Middle America".
Chicago 7 trial
On March 20, 1969, several months after the convention (and after a new more conservative president, Richard Nixon was in office), a federal grand jury announced the indictments of eight demonstrators—Rennie Davis, David Dellinger, John Froines, Tom Hayden, Abbie Hoffman, Jerry Rubin, and Lee Weiner (plus Bobby Seale who was tried separately) — and eight police officers. The jury delivered a verdict on February 18, 1970.
The trial "illuminated the deepening schisms in a country torn apart by the Vietnam War, tectonic cultural shifts and attempts by the Nixon Administration to quash peaceful antiwar dissent and protest". The trial, the defendants, and their attorneys gained much publicity and were depicted during and after the trial in a variety of art forms, including film, music, and theater. Indignity, theater and hijinks during the event included presiding Judge Julius Hoffman ordering Bobby Seale to be bound, gagged, and chained to a chair, for refusing to obey the Judge's contempt citations. Abbie Hoffman standing up and blowing the jury a kiss after his name was mentioned, and later wrestling with a deputy marshal who was trying to remove a Viet Cong flag Hoffman had brought into the courtroom; Abbie Hoffman and Rubin wearing judicial robes to court, and removing them on the judge’s orders to reveal blue policeman’s uniforms underneath, then throwing the robes on the ground and stepping on them.
Over 100 witnesses were called by the defense, including singers Phil Ochs, Judy Collins, Arlo Guthrie, and Country Joe McDonald; comedian Dick Gregory; writers Norman Mailer and Allen Ginsberg; and activists Timothy Leary and Jesse Jackson.
All of the defendants were charged with and acquitted of conspiracy; Davis, Dellinger, Hayden, Hoffman, and Rubin were charged with and convicted of crossing state lines with intent to incite a riot; Froines and Weiner were charged with teaching demonstrators how to construct incendiary devices and acquitted of those charges
While the jury deliberated on the verdict for the remaining defendants, Judge Hoffman convicted all the defendants—and their attorneys William Kunstler and Leonard Weinglass—on a total of 159 counts of criminal contempt, and sentenced them to jail sentences ranging from less than three months to more than four years.
On May 11, 1972, the panel dismissed some contempt charges against the lawyers, and reversed all of the other contempt convictions for retrial with a different judge. On November 21, 1972, all of the criminal convictions were reversed by a United States Court of Appeals for the Seventh Circuit panel.
Seven police officers were charged with assault and one police officer was charged with perjury, all were acquitted or had their case dismissed.
Gallery
See also
"The whole world is watching"
Medium Cool, a 1969 fictional movie using real footage of the Chicago Convention demonstrations as backdrop
Protests of 1968
List of incidents of civil unrest in the United States
Songs of Innocence and Experience, a 1970 album recorded by Allen Ginsberg, inspired in part by his witness of the protest
Chicago Seven
References
Further reading
Miami and the Siege of Chicago: An Informal History of the Republican and Democratic Conventions of 1968. Norman Mailer, New York: New American Library, 1968.
External links
An excerpt from Chicago '68 by David Farber.
An excerpt from No One Was Killed: The Democratic National Convention, August 1968 by John Schultz.
An excerpt from Battleground Chicago: The Police and the 1968 Democratic National Convention by Frank Kusch.
Art and Social Issues Offers a description of Bernard Perlin's Mayor Daley which depicts protests during the 1968 Democratic National Convention.
August 27, 1968 recording of speeches and interviews broadcast by Bob Fass on WBAI, now hosted at the Internet Archive
1968 Democratic National Convention
1968 Democratic Party (United States) presidential campaigns
1968 United States presidential election
1968 in Illinois
1968 protests
Democratic National Conventions
20th century in Chicago
Articles containing video clips
August 1968 events in the United States
Chicago Police Department
Political riots in the United States
Protest marches in Chicago
Protests against results of elections
Protests against the Vietnam War
Richard J. Daley
Riots and civil disorder in Chicago
Yippies
20th-century political riots
1960s political events |
Pseudo-Marius (also referred to as Amatius, Herophilus, Chamates, or the false Marius; died 13 April 44 BC) was a man who claimed to be the son of Gaius Marius the Younger, and therefore the grandson of the famous Roman general Gaius Marius. He was murdered on the orders of Mark Antony following the assassination of Julius Caesar.
Biography
Pseudo-Marius, calling himself Gaius Marius, first appeared in Rome in 45 BC, where he presented himself as the patron of the towns founded by Marius's grandfather and populated by the descendants of the legionary veterans who were established there. Taking advantage of the Roman Dictator Julius Caesar's absence in Spain, he cultivated the support of the various plebeian collegia, and became enormously popular in the process. He was apparently wealthy enough to open up his gardens in order to entertain the people of Rome. Around the time Caesar returned to Rome in May 45 BC, Pseudo-Marius contacted the former Roman consul Cicero, asking for his help as a defender, presumably concerning a legal case. Cicero, writing to Titus Pomponius Atticus on 20 May 45 BC, says he refused, citing Marius' close familial links with Julius Caesar as the reason (Marius' supposed grandmother Julia was an aunt of Julius Caesar). It is uncertain whether the two events were linked, but in the autumn of 45 BC, Caesar expelled Pseudo-Marius from the city.
With Julius Caesar's assassination on 15 March 44 BC, Pseudo-Marius returned from exile and attempted to set himself up as leader of the city's plebeian masses. Assuming the role of Caesar's avenger, in early April 44 BC he erected an altar to Caesar on the spot where the dictator's body had been burnt. Once again his popularity skyrocketed, causing the consul Mark Antony some concern, as he was expecting the plebs or Rome to rally around him. Hearing news that self-proclaimed Marius had gathered together a street gang and was planning to capture and kill two of Caesar's assassins (Gaius Cassius Longinus and Marcus Junius Brutus), Mark Antony ordered his capture and put him to death without a trial on April 13. Although an illegal act, the Senate approved of it, as they were concerned about Cassius and Brutus' safety. Pseudo-Marius' body was dragged around the city and eventually thrown into the Tiber river. His followers gathered at the Roman Forum and demanded that the altar he had erected be dedicated to Marius, but Antony sent in soldiers to disperse the mob and kill the principal ringleaders.
Identity of Pseudo-Marius
It remains unclear who this Pseudo-Marius was. According to Valerius Maximus, he was a former eye doctor called Herophilus, while Livy said he was a low born individual named Chamates. Finally, Appian called him Amatius or simply Pseudo-Marius. Modern scholarly opinion has largely followed the imperial historians' opinion, and declared that Pseudo-Marius was not the grandson of Gaius Marius, with suggestions including a runaway slave, or a freedman, or an illegitimate son of Gaius Marius the Younger. However, the only extant eyewitness, Cicero, has provided two very different accounts a year apart. In the first account, in the letter to Atticus in 45 BC, he casts no doubt on the identity of the so-called Marius - he explicitly names him as Gaius Marius, son of Gaius and grandson of Gaius. Then, in April 44 BC, when he hears of Pseudo-Marius' activities in Rome, he still refers to him as Marius, and on hearing of his death on April 13, explicitly names him the grandson of Lucius Licinius Crassus - the father-in-law of Gaius Marius the Younger.
However, by September 44 BC, Cicero's opinion had changed. In the 1st Philippic, delivered on 2 September 44 BC, Cicero declares that Marius was an impostor, an (unnamed) runaway slave who had assumed the name of Gaius Marius and had contemplated a massacre of the Senate. It is this assertion of being an impostor that the later Roman historians followed when providing the identity of Pseudo-Marius. However, the political environment in Rome when Cicero delivered his 1st Philippic may have required Cicero to possibly manufacture an alternate identity for Marius, given the longstanding political and friendship ties between the Marii and the Tullii Cicerones, and Cicero's desire not to be tainted by Pseudo-Marius' subversive activities in April.
The families of the Nobiles were a small elite aristocratic group in ancient Rome, and well known to each other. It is unlikely that Cicero would have been taken in by an impostor in 45 BC, especially as the two families came from the same town of Arpinum. Further, when Julius Caesar was confronted by Pseudo-Marius, he was silent on the matter of Pseudo-Marius' identity, and rather than having the impostor killed, he had Pseudo-Marius banished from Rome. Caesar would have known from his aunt (Julia, the wife of the famous Gaius Marius, and who died in 68 BC) whether she had a grandson or not, and his hesitancy in getting rid of Pseudo-Marius permanently, as well as his not denouncing the supposed impostor, speaks volumes. This theory is supported by a passage in Nicolaus of Damascus', Life of Augustus, where he relates that Pseudo-Marius approached the young Gaius Octavius who was accompanied by a number of women from his family. While some of the women acknowledged his paternity as the grandson of Gaius Marius, both Atia (Augustus' mother and Julius Caesar's niece) and her younger sister refused to confirm or deny his paternity.
Finally, the fact that the veterans in the Italic towns founded by Gaius Marius all acknowledged Pseudo-Marius as their patron. If he was not a member of the Marii, both the elite families of Rome and the clients of the Marii, both in Rome and across the towns in Italy, would never have acknowledged an impostor as their equal or their patron. Nevertheless the majority scholarly consensus, based upon the primary sources, remains that Pseudo-Marius was not the grandson of Gaius Marius. Some see his execution by Mark Antony without trial as evidence of his non-citizen status, that he was quite likely a wealthy freedman, and that his influence was achieved solely through the use of Marius' name.
See also
Clemens (impostor)
References
Sources
Ancient
Cicero, Letters to Atticus xii. 49, xiv. 6—8
Cicero, Philippicae i. 2
Valerius Maximus, ix. 15. § 2
Appian, Civil Wars iii. 2, 3
Livy, Epit. 116
Nicolaus of Damascus, Life of Augustus c. 14. p. 258, ed. Coraes
Modern
Seidl Steed, Kathryn L., Memory and Leadership in the Late Roman Republic (2008), University of Michigan, pages 121–123
Sumi, Geoffrey S., Ceremony and Power: Performing Politics in Rome Between Republic and Empire (2005), University of Michigan, pages 112–115
Year of birth unknown
44 BC deaths
Impostors
Executed ancient Roman people
People executed by the Roman Republic
1st-century BC Romans
1st-century BC executions
Marii |
ZETA, short for Zero Energy Thermonuclear Assembly, was a major experiment in the early history of fusion power research. Based on the pinch plasma confinement technique, and built at the Atomic Energy Research Establishment in the United Kingdom, ZETA was larger and more powerful than any fusion machine in the world at that time. Its goal was to produce large numbers of fusion reactions, although it was not large enough to produce net energy.
ZETA went into operation in August 1957 and by the end of the month it was giving off bursts of about a million neutrons per pulse. Measurements suggested the fuel was reaching between 1 and 5 million kelvins, a temperature that would produce nuclear fusion reactions, explaining the quantities of neutrons being seen. Early results were leaked to the press in September 1957, and the following January an extensive review was released. Front-page articles in newspapers around the world announced it as a breakthrough towards unlimited energy, a scientific advance for Britain greater than the recently launched Sputnik had been for the Soviet Union.
US and Soviet experiments had also given off similar neutron bursts at temperatures that were not high enough for fusion. This led Lyman Spitzer to express his scepticism of the results, but his comments were dismissed by UK observers as jingoism. Further experiments on ZETA showed that the original temperature measurements were misleading; the bulk temperature was too low for fusion reactions to create the number of neutrons being seen. The claim that ZETA had produced fusion had to be publicly withdrawn, an embarrassing event that cast a chill over the entire fusion establishment. The neutrons were later explained as being the product of instabilities in the fuel. These instabilities appeared inherent to any similar design, and work on the basic pinch concept as a road to fusion power ended by 1961.
In spite of ZETA's failure to achieve fusion, the device went on to have a long experimental lifetime and produced numerous important advances in the field. In one line of development, the use of lasers to more accurately measure the temperature was tested on ZETA, and was later used to confirm the results of the Soviet tokamak approach. In another, while examining ZETA test runs it was noticed that the plasma self-stabilised after the power was turned off. This has led to the modern reversed field pinch concept. More generally, studies of the instabilities in ZETA have led to several important theoretical advances that form the basis of modern plasma theory.
Conceptual development
The basic understanding of nuclear fusion was developed during the 1920s as physicists explored the new science of quantum mechanics. George Gamow's 1928 exploration of quantum tunnelling demonstrated that nuclear reactions could take place at lower energies than classical theory predicted. Using this theory, in 1929 Fritz Houtermans and Robert Atkinson demonstrated that expected reaction rates in the core of the Sun supported Arthur Eddington's 1920 suggestion that the Sun is powered by fusion.
In 1934, Mark Oliphant, Paul Harteck and Ernest Rutherford were the first to achieve fusion on Earth, using a particle accelerator to shoot deuterium nuclei into a metal foil containing deuterium, lithium or other elements. This allowed them to measure the nuclear cross section of various fusion reactions, and determined that the deuterium-deuterium reaction occurred at a lower energy than other reactions, peaking at about 100,000 electronvolts (100 keV).
This energy corresponds to the average energy of particles in a gas heated to thousands of millions of kelvins. Materials heated beyond a few tens of thousands of kelvins dissociate into their electrons and nuclei, producing a gas-like state of matter known as plasma. In any gas the particles have a wide range of energies, normally following the Maxwell–Boltzmann statistics. In such a mixture, a small number of particles will have much higher energy than the bulk.
This leads to an interesting possibility; even at temperatures well below 100,000 eV, some particles will randomly have enough energy to undergo fusion. Those reactions release huge amounts of energy. If that energy can be captured back into the plasma, it can heat other particles to that energy as well, making the reaction self-sustaining. In 1944, Enrico Fermi calculated this would occur at about 50,000,000 K.
Confinement
Taking advantage of this possibility requires the fuel plasma to be held together long enough that these random reactions have time to occur. Like any hot gas, the plasma has an internal pressure and thus tends to expand according to the ideal gas law. For a fusion reactor, the problem is keeping the plasma contained against this pressure; any known physical container would melt at these temperatures.
A plasma is electrically conductive, and is subject to electric and magnetic fields. In a magnetic field, the electrons and nuclei orbit the magnetic field lines. A simple confinement system is a plasma-filled tube placed inside the open core of a solenoid. The plasma naturally wants to expand outwards to the walls of the tube, as well as move along it, towards the ends. The solenoid creates a magnetic field running down the centre of the tube, which the particles will orbit, preventing their motion towards the sides. Unfortunately, this arrangement does not confine the plasma along the length of the tube, and the plasma is free to flow out the ends.
The obvious solution to this problem is to bend the tube around into a torus (a ring or doughnut shape). Motion towards the sides remains constrained as before, and while the particles remain free to move along the lines, in this case, they will simply circulate around the long axis of the tube. But, as Fermi pointed out, when the solenoid is bent into a ring, the electrical windings would be closer together on the inside than the outside. This would lead to an uneven field across the tube, and the fuel will slowly drift out of the centre. Some additional force needs to counteract this drift, providing long-term confinement.
Pinch concept
A potential solution to the confinement problem had been detailed in 1934 by Willard Harrison Bennett. Any electric current creates a magnetic field, and due to the Lorentz force, this causes an inward directed force. This was first noticed in lightning rods. Bennett showed that the same effect would cause a current to "self-focus" a plasma into a thin column. A second paper by Lewi Tonks in 1937 considered the issue again, introducing the name "pinch effect". It was followed by a paper by Tonks and William Allis.
Applying a pinch current in a plasma can be used to counteract expansion and confine the plasma. A simple way to do this is to put the plasma in a linear tube and pass a current through it using electrodes at either end, like a fluorescent lamp. This arrangement still produces no confinement along the length of the tube, so the plasma flows onto the electrodes, rapidly eroding them. This is not a problem for a purely experimental machine, and there are ways to reduce the rate. Another solution is to place a magnet next to the tube; when the magnetic field changes, the fluctuations cause an electric current to be induced in the plasma. The major advantage of this arrangement is that there are no physical objects within the tube, so it can be formed into a torus and allow the plasma to circulate freely.
The toroidal pinch concept as a route to fusion was explored in the UK during the mid-1940s, especially by George Paget Thomson of Imperial College London. With the formation of the Atomic Energy Research Establishment (AERE) at Harwell, Oxfordshire, in 1945, Thomson repeatedly petitioned the director, John Cockcroft, for funds to develop an experimental machine. These requests were turned down. At the time there was no obvious military use, so the concept was left unclassified. This allowed Thomson and Moses Blackman to file a patent on the idea in 1946, describing a device using just enough pinch current to ionise and briefly confine the plasma while being heated by a microwave source that would also continually drive the current.
As a practical device there is an additional requirement, that the reaction conditions last long enough to burn a reasonable amount of the fuel. In the original Thomson and Blackman design, it was the job of the microwave injection to drive the electrons to maintain the current and produce pinches that lasted on the order of one minute, allowing the plasma to reach 500 million K. The current in the plasma also heated it; if the current was also used as the heat source, the only limit to the heating was the power of the pulse. This led to a new reactor design where the system operated in brief but very powerful pulses. Such a machine would demand a very large power supply.
First machines
In 1947, Cockcroft arranged a meeting of several Harwell physicists to study Thomson's latest concepts, including Harwell's director of theoretical physics, Klaus Fuchs. Thomson's concepts were poorly received, especially by Fuchs. When this presentation also failed to gain funding, Thomson passed along his concepts to two graduate students at Imperial, Stanley (Stan) W. Cousins and Alan Alfred Ware (1924-2010). He added a report on a type of toroidal particle accelerator known as the "Wirbelrohr" ("whirl tube"), designed in Germany by Max Steenbeck. The Wirbelrohr consisted of a transformer with a torus-shaped vacuum tube as its secondary coil, similar in concept to the toroidal pinch devices.
Later that year, Ware built a small machine out of old radar equipment and was able to induce powerful currents. When they did, the plasma gave off flashes of light, but he could not devise a way to measure the temperature of the plasma. Thomson continued to pressure the government to allow him to build a full-scale device, using his considerable political currency to argue for the creation of a dedicated experimental station at the Associated Electrical Industries (AEI) lab that had recently been constructed at Aldermaston.
Ware discussed the experiments with anyone who was interested, including Jim Tuck of Clarendon Laboratory at Oxford University. While working at Los Alamos during the war, Tuck and Stanislaw Ulam had built an unsuccessful fusion system using shaped charge explosives, but it did not work. Tuck was joined by Australian Peter Thonemann, who had worked on fusion theory, and the two arranged funding through Clarendon to build a small device like the one at Imperial. But before this work started, Tuck was offered a job in the US, eventually returning to Los Alamos.
Thonemann continued working on the idea and began a rigorous programme to explore the basic physics of plasmas in a magnetic field. Starting with linear tubes and mercury gas, he found that the current tended to expand outward through the plasma until it touched the walls of the container (see skin effect). He countered this with the addition of small electromagnets outside the tube, which pushed back against the current and kept it centred. By 1949, he had moved on from the glass tubes to a larger copper torus, in which he was able to demonstrate a stable pinched plasma. Frederick Lindemann and Cockcroft visited and were duly impressed.
Cockcroft asked Herbert Skinner to review the concepts, which he did in April 1948. He was sceptical of Thomson's ideas for creating a current in the plasma and thought Thonemann's ideas seemed more likely to work. He also pointed out that the behaviour of plasmas in a magnetic field was not well understood, and that "it is useless to do much further planning before this doubt is resolved."
Meanwhile, at Los Alamos, Tuck acquainted the US researchers with the British efforts. In early 1951, Lyman Spitzer introduced his stellarator concept and was shopping the idea around the nuclear establishment looking for funding. Tuck was sceptical of Spitzer's enthusiasm and felt his development programme was "incredibly ambitious". He proposed a much less aggressive programme based on pinch. Both men presented their ideas in Washington in May 1951, which resulted in the Atomic Energy Commission giving Spitzer US$50,000. Tuck convinced Norris Bradbury, the director of Los Alamos, to give him US$50,000 from the discretionary budget, using it to build the Perhapsatron.
Early results
In 1950 Fuchs admitted to passing UK and US atomic secrets to the USSR. As fusion devices generated high energy neutrons, which could be used to enrich nuclear fuel for bombs, the UK immediately classified all their fusion research. This meant the teams could no longer work in the open environment of the universities. The Imperial team under Ware moved to the AEI labs at Aldermaston and the Oxford team under Thonemann moved to Harwell.
By early 1952 there were numerous pinch devices in operation; Cousins and Ware had built several follow-on machines under the name Sceptre, and the Harwell team had built a series of ever-larger machines known as Mark I through Mark IV. In the US, Tuck built his Perhapsatron in January 1952. It was later learned that Fuchs had passed the UK work to the Soviets, and that they had started a fusion programme as well.
It was clear to all of these groups that something was seriously wrong in the pinch machines. As the current was applied, the plasma column inside the vacuum tube would become unstable and break up, ruining the compression. Further work identified two types of instabilities, nicknamed "kink" and "sausage". In the kink, the normally toroidal plasma would bend to the sides, eventually touching the edges of the vessel. In the sausage, the plasma would neck down at locations along the plasma column to form a pattern similar to a link of sausages.
Investigations demonstrated both were caused by the same underlying mechanism. When the pinch current was applied, any area of the gas that had a slightly higher density would create a slightly stronger magnetic field and collapse faster than the surrounding gas. This caused the localised area to have higher density, which created an even stronger pinch, and a runaway reaction would follow. The quick collapse in a single area would cause the whole column to break up.
Stabilised pinch
Early studies of the phenomenon suggested one solution to the problem was to increase the compression rate. In this approach, the compression would be started and stopped so rapidly that the bulk of the plasma would not have time to move; instead, a shock wave created by this rapid compression would be responsible for compressing the majority of the plasma. This approach became known as fast pinch. The Los Alamos team working on the Columbus linear machine designed an updated version to test this theory.
Others started looking for ways to stabilise the plasma during compression, and by 1953 two concepts had come to the fore. One solution was to wrap the vacuum tube in a sheet of thin but highly conductive metal. If the plasma column began to move, the current in the plasma would induce a magnetic field in the sheet, one that, due to Lenz's law, would push back against the plasma. This was most effective against large, slow movements, like the entire plasma torus drifting within the chamber.
The second solution used additional electromagnets wrapped around the vacuum tube. The magnetic fields from these magnets mixed with the pinch field created by the current in the plasma. The result was that the paths of the particles within the plasma tube were no longer purely circular around the torus, but twisted like the stripes on a barber's pole. In the US, this concept was known as giving the plasma a "backbone", suppressing small-scale, localised instabilities. Calculations showed that this stabilised pinch would dramatically improve confinement times, and the older concepts "suddenly seemed obsolete".
Marshall Rosenbluth, recently arrived at Los Alamos, began a detailed theoretical study of the pinch concept. With his wife Arianna W. Rosenbluth and Richard Garwin, he developed "motor theory", or "M-theory", published in 1954. The theory predicted that the heating effect of the electric current was greatly increased with the power of the electric field. This suggested that the fast pinch concept would be more likely to succeed, as it was easier to produce larger currents in these devices. When he incorporated the idea of stabilising magnets into the theory a second phenomenon appeared; for a particular, and narrow, set of conditions based on the physical size of the reactor, the power of the stabilising magnets and the amount of pinch, toroidal machines appeared to be naturally stable.
ZETA begins construction
US researchers planned to test both fast pinch and stabilised pinch by modifying their existing small-scale machines. In the UK, Thomson once again pressed for funding for a larger machine. This time he was much more warmly received, and initial funding of £200,000 was provided in late 1954. Design work continued during 1955, and in July the project was named ZETA. The term "zero energy" was a phrase used in the nuclear industry to refer to small research reactors, like ZEEP, which had a role similar to ZETA's goal of producing reactions while releasing no net energy.
The ZETA design was finalised in early 1956. Metropolitan-Vickers was hired to build the machine, which included a 150 tonne pulse transformer, the largest built in Britain to that point. A serious issue arose when the required high-strength steels needed for the electrical components were in short supply, but a strike in the US electrical industry caused a sudden glut of material, resolving the problem.
ZETA was the largest and most powerful fusion device in the world at the time of its construction. Its aluminium torus had an internal bore of and a major radius of , over three times the size of any machine built to date. It was also the most powerful design, incorporating an induction magnet that was designed to induce currents up to 100,000 amperes (amps) into the plasma. Later amendments to the design increased this to 200,000 amps. It included both types of stabilisation; its aluminium walls acted as the metal shield, and a series of secondary magnets ringed the torus. Windows placed in the gaps between the toroidal magnets allowed direct inspection of the plasma.
In July 1954, the AERE was reorganised into the United Kingdom Atomic Energy Authority (UKAEA). Modifications to Harwell's Hangar 7 in order to house the machine began that year. Despite its advanced design, the price tag was modest: about US$1 million. By late 1956 it was clear that ZETA was going to come online in mid-1957, beating the Model C stellarator and the newest versions of the Perhapsatron and Columbus. Because these projects were secret, based on the little information available the press concluded they were versions of the same conceptual device, and that the British were far ahead in the race to produce a working machine.
Soviet visit and the push to declassify
From 1953 the US had increasingly concentrated on the fast pinch concept. Some of these machines had produced neutrons, and these were initially associated with fusion. There was so much excitement that several other researchers quickly entered the field as well. Among these was Stirling Colgate, but his experiments quickly led him to conclude that fusion was not taking place. According to Spitzer resistivity, the temperature of the plasma could be determined from the current flowing through it. When Colgate performed the calculation, the temperatures in the plasma were far below the requirements for fusion.
This being the case, some other effect had to be creating the neutrons. Further work demonstrated that these were the result of instabilities in the fuel. The localised areas of high magnetic field acted as tiny particle accelerators, causing reactions that ejected neutrons. Modifications attempting to reduce these instabilities failed to improve the situation and by 1956 the fast pinch concept had largely been abandoned. The US labs began turning their attention to the stabilised pinch concept, but by this time ZETA was almost complete and the US was well behind.
In 1956, while planning a well publicised state visit by Nikita Khrushchev and Nikolai Bulganin to the UK, the Harwell researchers received an offer from Soviet scientist Igor Kurchatov to give a talk. They were surprised when he began his talk on "the possibility of producing thermonuclear reactions in a gaseous discharge". Kurchatov's speech revealed the Soviet efforts to produce fast pinch devices similar to the American designs, and their problems with instabilities in the plasmas. Kurchatov noted that they had also seen neutrons being released, and had initially believed them to be from fusion. But as they examined the numbers, it became clear the plasma was not hot enough and they concluded the neutrons were from other interactions.
Kurchatov's speech made it apparent that the three countries were all working on the same basic concepts and had all encountered the same sorts of problems. Cockcroft missed Kurchatov's visit because he had left for the US to press for declassification of the fusion work to avoid this duplication of effort. There was a widespread belief on both sides of the Atlantic that sharing their findings would greatly improve progress. Now that it was known the Soviets were at the same basic development level, and that they were interested in talking about it publicly, the US and UK began considering releasing much of their information as well. This developed into a wider effort to release all fusion research at the second Atoms for Peace conference in Geneva in September 1958.
In June 1957 the UK and US finalised their agreement to release data to each other sometime prior to the conference, which both the UK and the US planned on attending "in force". The final terms were reached on 27 November 1957, opening the projects to mutual inspection, and calling for a wide public release of all the data in January 1958.
Promising results
ZETA started operation in mid-August 1957, initially with hydrogen. These runs demonstrated that ZETA was not suffering from the same stability problems that earlier pinch machines had seen and their plasmas were lasting for milliseconds, up from microseconds, a full three orders of magnitude improvement. The length of the pulses allowed the plasma temperature to be measured using spectrographic means; although the light emitted was broadband, the Doppler shifting of the spectral lines of slight impurities in the gas (oxygen in particular) led to calculable temperatures.
Even in early experimental runs, the team started introducing deuterium gas into the mix and began increasing the current to 200,000 amps. On the evening of 30 August the machine produced huge numbers of neutrons, on the order of one million per experimental pulse, or "shot". An effort to duplicate the results and eliminate possible measurement failure followed.
Much depended on the temperature of the plasma; if the temperature was low, the neutrons would not be fusion related. Spectrographic measurements suggested plasma temperatures between 1 and 5 million K; at those temperatures the predicted rate of fusion was within a factor of two of the number of neutrons being seen. It appeared that ZETA had reached the long-sought goal of producing small numbers of fusion reactions, as it was designed to do.
US efforts had suffered a string of minor technical setbacks that delayed their experiments by about a year; both the new Perhapsatron S-3 and Columbus II did not start operating until around the same time as ZETA in spite of being much smaller experiments. Nevertheless, as these experiments came online in mid-1957, they too began generating neutrons. By September, both these machines and a new design, DCX at Oak Ridge National Laboratory, appeared so promising that Edward Gardner reported that:
Prestige politics
The news was too good to keep bottled up. Tantalising leaks started appearing in September. In October, Thonemann, Cockcroft and William P. Thompson hinted that interesting results would be following. In November a UKAEA spokesman noted "The indications are that fusion has been achieved". Based on these hints, the Financial Times dedicated an entire two-column article to the issue. Between then and early 1958, the British press published an average of two articles a week on ZETA. Even the US papers picked up the story; on 17 November The New York Times reported on the hints of success.
Although the British and US had agreed to release their data in full, at this point the overall director of the US program, Lewis Strauss, decided to hold back the release. Tuck argued that the field looked so promising that it would be premature to release any data before the researchers knew that fusion was definitely taking place. Strauss agreed, and announced that they would withhold their data for a period to check their results.
As the matter became better known in the press, on 26 November the publication issue was raised in House of Commons. Responding to a question by the opposition, the leader of the house announced the results publicly while explaining the delay in publication due to the UK–US agreement. The UK press interpreted this differently, claiming that the US was dragging its feet because it was unable to replicate the British results.
Things came to a head on 12 December when a former member of parliament, Anthony Nutting, wrote a New York Herald Tribune article claiming:
The article resulted in a flurry of activity in the Macmillan administration. Having originally planned to release their results at a scheduled meeting of the Royal Society, there was great concern over whether to invite the Americans and Soviets, especially as they believed the Americans would be greatly upset if the Soviets arrived, but just as upset if they were not invited and the event was all-British. The affair eventually led to the UKAEA making a public announcement that the US was not holding back the ZETA results, but this infuriated the local press, which continued to claim the US was delaying to allow them to catch up.
Early concerns
When the information-sharing agreement was signed in November a further benefit was realised: teams from the various labs were allowed to visit each other. The US team, including Stirling Colgate, Lyman Spitzer, Jim Tuck and Arthur Edward Ruark, all visited ZETA and concluded there was a "major probability" the neutrons were from fusion.
On his return to the US, Spitzer calculated that something was wrong with the ZETA results. He noticed that the apparent temperature, 5 million K, would not have time to develop during the short firing times. ZETA did not discharge enough energy into the plasma to heat it to those temperatures so quickly. If the temperature was increasing at the relatively slow rate his calculations suggested, fusion would not be taking place early in the reaction, and could not be adding energy that might make up the difference. Spitzer suspected the temperature reading was not accurate. Since it was the temperature reading that suggested the neutrons were from fusion, if the temperature was lower, it implied the neutrons were non-fusion in origin.
Colgate had reached similar conclusions. In early 1958, he, Harold Furth and John Ferguson started an extensive study of the results from all known pinch machines. Instead of inferring temperature from neutron energy, they used the conductivity of the plasma itself, based on the well-understood relationships between temperature and conductivity. They concluded that the machines were producing temperatures perhaps what the neutrons were suggesting, nowhere near hot enough to explain the number of neutrons being produced, regardless of their energy.
By this time the latest versions of the US pinch devices, Perhapsatron S-3 and Columbus S-4, were producing neutrons of their own. The fusion research world reached a high point. In January, results from pinch experiments in the US and UK both announced that neutrons were being released, and that fusion had apparently been achieved. The misgivings of Spitzer and Colgate were ignored.
Public release, worldwide interest
The long-planned release of fusion data was announced to the public in mid-January. Considerable material from the UK's ZETA and Sceptre devices was released in depth in the 25 January 1958 edition of Nature, which also included results from Los Alamos' Perhapsatron S-3, Columbus II and Columbus S-2. The UK press was livid. The Observer wrote that "Admiral Strauss' tactics have soured what should be an exciting announcement of scientific progress so that it has become a sordid episode of prestige politics."
The results were typical of the normally sober scientific language, and although the neutrons were noted, there were no strong claims as to their source. The day before the release, Cockcroft, the overall director at Harwell, called a press conference to introduce the British press to the results. Some indication of the importance of the event can be seen in the presence of a BBC television field crew, a rare occurrence at that time. He began by introducing the fusion programme and the ZETA machine, and then noted:
The reporters at the meeting were not satisfied with this assessment and continued to press Cockcroft on the neutron issue. After being asked several times, he eventually stated that in his opinion, he was "90 percent certain" they were from fusion. This was unwise; a statement of opinion from a Nobel prize winner was taken as a statement of fact. The next day, the Sunday newspapers were covered with the news that fusion had been achieved in ZETA, often with claims about how the UK was now far in the lead in fusion research. Cockcroft further hyped the results on television following the release, stating: "To Britain this discovery is greater than the Russian Sputnik."
As planned, the US also released a large batch of results from their smaller pinch machines. Many of them were also giving off neutrons, although ZETA was stabilised for much longer periods and generating more neutrons, by a factor of about 1000. When questioned about the success in the UK, Strauss denied that the US was behind in the fusion race. When reporting on the topic, The New York Times chose to focus on Los Alamos' Columbus II, only mentioning ZETA later in the article, and then concluded the two countries were "neck and neck." Other reports from the US generally gave equal support to both programmes. Newspapers from the rest of the world were more favourable to the UK; Radio Moscow went so far to publicly congratulate the UK while failing to mention the US results at all.
As ZETA continued to generate positive results, plans were made to build a follow-on machine. The new design was announced in May; ZETA II would be a significantly larger US$14 million machine whose explicit goal would be to reach 100 million K, and generate net power. This announcement gathered praise even in the US; The New York Times ran a story about the new version. Machines similar to ZETA were being announced around the world; Osaka University announced their pinch machine was even more successful than ZETA, the Aldermaston team announced positive results from their Sceptre machine costing only US$28,000, and a new reactor was built in Uppsala University that was presented publicly later that year. The Efremov Institute in Leningrad began construction of a smaller version of ZETA, although still larger than most, known as Alpha.
Further scepticism, retraction of claims
Spitzer had already concluded that known theory suggested that the ZETA was nowhere near the temperatures the team was claiming, and during the publicity surrounding the release of the work, he suggested that "Some unknown mechanism would appear to be involved". Other researchers in the US, notably Furth and Colgate, were far more critical, telling anyone who would listen that the results were bunk. In the Soviet Union, Lev Artsimovich rushed to have the Nature article translated, and after reading it, declared "Chush sobachi!" (bullshit).
Cockcroft had stated that they were receiving too few neutrons from the device to measure their spectrum or their direction. Failing to do so meant they could not eliminate the possibility that the neutrons were being released due to electrical effects in the plasma, the sorts of reactions that Kurchatov had pointed out earlier.
In fact, such measurements would have been easy to make. In the same converted hangar that housed ZETA was the Harwell Synchrocyclotron effort run by Basil Rose. This project had built a sensitive high-pressure diffusion cloud chamber as the cyclotron's main detector. Rose was convinced it would be able to directly measure the neutron energies and trajectories.
In a series of experiments in February and March 1958, he showed that the neutrons had a high directionality, at odds with a fusion origin which would be expected to be randomly directed. To further demonstrate this he had the machine run with the current in the discharge current running "backwards". Had the neutrons been from fusion, the net velocity should have been zero, that is, they should have been travelling in random directions. The measurements showed this was not the case, not only was there a clear directionality to their release, it reversed when the current was reversed. This suggested the neutrons were a result of the electric current itself, not fusion reactions inside the plasma. They also noted that the energy of the neutrons was extremely close to that of a D-D fusion reaction, which suggested that the source was D particles colliding with a solid in the reactor.
This was followed by similar experiments on Perhapsatron and Columbus, demonstrating the same problems. The issue was a new form of instability, the "microinstabilities" or MHD instabilities, that were caused by wave-like signals in the plasma. These had been predicted, but whereas the kink was on the scale of the entire plasma and could be easily seen in photographs, these microinstabilities were too small and rapidly moving to easily detect, and had simply not been noticed before. But like the kink, when these instabilities developed, areas of enormous electrical potential developed, rapidly accelerating protons in the area. These sometimes collided with neutrons in the plasma or the container walls, ejecting them through neutron spallation. This is the same physical process that had been creating neutrons in earlier designs, the problem Cockcroft had mentioned during the press releases, but their underlying cause was more difficult to see and in ZETA they were much more powerful. The promise of stabilised pinch disappeared.
Cockcroft was forced to publish a humiliating retraction on 16 May 1958, claiming "It is doing exactly the job we expected it would do and is functioning exactly the way we hoped it would." Le Monde raised the issue to a front-page headline in June, noting "Contrary to what was announced six months ago at Harwell – British experts confirm that thermonuclear energy has not been 'domesticated. The event cast a chill over the entire field; it was not only the British who looked foolish, every other country involved in fusion research had been quick to jump on the bandwagon.
Harwell in turmoil, ZETA soldiers on
Beginning in 1955, Cockcroft had pressed for the establishment of a new site for the construction of multiple prototype power-producing fission reactors. This was strongly opposed by Christopher Hinton, and a furious debate broke out within the UKAEA over the issue. Cockcroft eventually won the debate, and in late 1958 the UKAEA formed AEE Winfrith in Dorset, where they eventually built several experimental reactor designs.
Cockcroft had also pressed for the ZETA II reactor to be housed at the new site. He argued that Winfrith would be better suited to build the large reactor, and the unclassified site would better suit the now-unclassified research. This led to what has been described as "as close to a rebellion that the individualistic scientists at Harwell could possibly mount". Thonemann made it clear he was not interested in moving to Dorset and suggested that several other high-ranking members would also quit rather than move. He then went on sabbatical to Princeton University for a year. The entire affair was a major strain on Basil Schonland, who took over the Research division when Cockcroft left in October 1959 to become the Master of the newly formed Churchill College, Cambridge.
While this was taking place, the original ZETA II proposal had been growing ever-larger, eventually specifying currents as powerful as the Joint European Torus that was built years later. As it seemed this was beyond the state-of-the-art, the project was eventually cancelled in February 1959. A new proposal soon took its place, the Intermediate-Current Stability Experiment (ICSE). ICSE was designed to take advantage of further stabilising effects noticed in M-theory, which suggested that very fast pinches would cause the current to flow only in the outer layer of the plasma, which should be much more stable. Over time, this machine grew to be about the same size as ZETA; ICSE had a 6 m major diameter and 1 m minor diameter, powered by a bank of capacitors storing 10 MJ at 100 kV.
Harwell was as unsuited to ICSE as it was for ZETA II, so Schonland approached the government with the idea of a new site for fusion research located close to Harwell. He was surprised to find they were happy with the idea, as this would limit employment at Harwell, whose payroll roster was becoming too complex to manage. Further study demonstrated that the cost of building a new site would be offset by the savings in keeping the site near Harwell; if ICSE was built at Winfrith, the travel costs between the sites would be considerable. In May 1959, the UKAEA purchased RNAS Culham, about from Harwell. ICSE construction began later that year, starting with a one-acre building to house it, known as "D-1".
Meanwhile, work continued on ZETA to better understand what was causing the new forms of instabilities. New diagnostic techniques demonstrated that the electron energies were very low, on the order of 10 eV (approximately 100,000 K) while ion temperatures were somewhat higher at 100 eV. Both of these pointed to a rapid loss of energy in the plasma, which in turn suggested the fuel was turbulent and escaping confinement to hit the walls of the chamber where it rapidly cooled. A full presentation of the results was made at the Salzburg Conference in 1961, where the Soviet delegation presented very similar results on their ZETA-clone, Alpha.
The source of this turbulence was not clearly identified at that time, but the team suggested it was due to current-driven resistive modes; if one did not use the simplifying assumption that the plasma had no macroscopic resistance, new instabilities would naturally appear. When the new head of the UKAEA, William Penney, heard that the ICSE design was also based on the resistance-free assumption, he cancelled the project in August 1960. Parts for the partially-assembled reactor were scavenged by other teams.
Thonemann had returned by this point and found much to disagree with on ICSE. He demanded to be allowed to set up a new fusion group to remain at Harwell on ZETA. ZETA remained the largest toroidal machine in the world for some time, and went on to have a productive career for just over a decade, but in spite of its later successes ZETA was always known as an example of British folly.
Thomson scattering and tokamaks
ZETA's failure was due to limited information; using the best available measurements, ZETA was returning several signals that suggested the neutrons were due to fusion. The original temperature measures were made by examining the Doppler shifting of the spectral lines of the atoms in the plasma. The inaccuracy of the measurement and spurious results caused by electron impacts with the container led to misleading measurements based on the impurities, not the plasma itself. Over the next decade, ZETA was used continuously in an effort to develop better diagnostic tools to resolve these problems.
This work eventually developed a method that is used to this day. The introduction of lasers provided a new solution through a British discovery known as Thomson scattering. Lasers have extremely accurate and stable frequency control, and the light they emit interacts strongly with free electrons. A laser shone into the plasma will be reflected off the electrons, and during this process will be Doppler shifted by the electrons' movement. The speed of the electrons is a function of their temperature, so by comparing the frequency before and after collisions, the temperature of the electrons could be measured with an extremely high degree of accuracy. By "reversing" the system, the temperature of the ions could also be directly measured.
Through the 1960s ZETA was not the only experiment to suffer from unexpected performance problems. Problems with plasma diffusion across the magnetic fields plagued both the magnetic mirror and stellarator programs, at rates that classical theory could not explain. Adding more fields did not appear to correct the problems in any of the existing designs. Work slowed dramatically as teams around the world tried to better understand the physics of the plasmas in their devices. Pfirsch and Schluter were the first to make a significant advance, suggesting that much larger and more powerful machines would be needed to correct these problems. An attitude of pessimism took root across the entire field.
In 1968 a meeting of fusion researchers took place in Novosibirsk, where, to everyone's astonishment, the Soviet hosts introduced their work on their tokamak designs which had performance numbers that no other experiment was even close to matching. The latest of their designs, the T-3, was producing electron energies of 1000 eV, compared to about 10 eV in ZETA. This corresponded to a plasma temperature of about 10 million K. Although the Soviet team was highly respected, the results were so good that there was serious concern their indirect temperature measurements might be unreliable and they had fallen prey to a measurement problem like the one that had occurred with ZETA. Spitzer, once again, expressed his scepticism rather strongly, sparking off an acrimonious debate with Artsimovich.
The Soviets were equally concerned about this, and even though it was the height of the Cold War, Artsimovich invited UKAEA to bring their laser system to the Kurchatov Institute and independently measure the performance. Artsimovich had previously called their system "brilliant." The team became known as "the Culham five", performing a series of measurements in late 1968 and early 1969. The resulting paper was published in November 1969 and convinced the fusion research field that the tokamak was indeed reaching the levels of performance the Soviets claimed. The result was a "veritable stampede" of tokamak construction around the world, and it remains the most studied device in the fusion field.
Tokamaks are toroidal pinch machines. The key difference is the relative strengths of the fields. In the stabilised pinch machines, most of the magnetic field in the plasma was generated by the current induced in it. The strength of the external stabilisation fields was much lower and only penetrated into the outer layers of the plasma mass. The tokamak reversed this; the external magnets were much more powerful and the plasma current greatly reduced in comparison. Artsimovich put it this way:
This difference is today part of a general concept known as the safety factor, denoted q. It has to be greater than one to maintain stability during a discharge; in ZETA it was about . A ZETA-type machine could reach this q, but would require enormously powerful external magnets to match the equally large fields being generated by the current. The tokamak approach resolved this by using less pinch current; this made the system stable but meant the current could no longer be used to heat the plasma. Tokamak designs require some form of external heating.
Reversed field pinch
In 1965, the newly opened Culham laboratory hosted what had become a periodic meeting of international fusion researchers. Of all the work presented, only two papers on stabilised pinch were present, both on ZETA. Spitzer did not mention them during the opening comments.
Normally, the pulse of electricity sent into ZETA formed a current pulse with a shape similar to a Poisson distribution, ramping up quickly then trailing off. One of the papers noted that the plasma stability reached a maximum just after the current began to taper off, and then lasted longer than the current pulse itself. Given that the current was there to provide confinement, that the plasma would actually increase in confinement as the current was reduced was entirely unexpected. This phenomenon was dubbed "quiescence".
Three years later, at the same meeting where Soviet results with the T-3 tokamak were first released, a paper by Robinson and King examined the quiescence period. They determined it was due to the original toroidal magnetic field reversing itself, creating a more stable configuration. At the time, the enormity of the T-3 results overshadowed this result.
John Bryan Taylor took up the issue and began a detailed theoretical study of the concept, publishing a groundbreaking 1974 article on the topic. He demonstrated that as the magnetic field that generated the pinch was relaxing, it interacted with the pre-existing stabilising fields, creating a self-stable magnetic field. The phenomenon was driven by the system's desire to preserve magnetic helicity, which suggested a number of ways to improve the confinement time.
Although the stabilising force was lower than the force available in the pinch, it lasted considerably longer. It appeared that a reactor could be built that would approach the Lawson criterion from a different direction, using extended confinement times rather than increased density. This was similar to the stellarator approach in concept, and although it would have lower field strength than those machines, the energy needed to maintain the confinement was much lower. Today this approach is known as the reversed field pinch (RFP) and has been a field of continued study.
Taylor's study of the relaxation into the reversed state led to his development of a broader theoretical understanding of the role of magnetic helicity and minimum energy states, greatly advancing the understanding of plasma dynamics. The minimum-energy state, known as the "Taylor state", is particularly important in the understanding of new fusion approaches in the compact toroid class. Taylor went on to study the ballooning transformation, a problem that was occurring in the latest high-performance toroidal machines as large-scale waveforms formed in the plasma. His work in fusion research won him the 1999 James Clerk Maxwell Prize for Plasma Physics.
Demolition
Culham officially opened in 1965, and various teams began leaving the former sites through this period. A team kept ZETA operational until September 1968. Hangar 7, which housed ZETA and other machines, was demolished during financial year 2005/2006.
Notes
References
Citations
Bibliography
External links
Britain's Sputnik – BBC Radio 4 programme on ZETA first broadcast on 16 January 2008
ZETA – Peace Atoms, contemporary newsreel story on the reactor.
Magnetic confinement fusion devices
Nuclear power in the United Kingdom
Nuclear research institutes in the United Kingdom
Nuclear research reactors
Nuclear technology in the United Kingdom
Research institutes in Oxfordshire
Vale of White Horse |
Zhao Zhentang (; born May 1961) is a Chinese engineer and currently vice-president of the Shanghai Advanced Research Institute, Chinese Academy of Sciences. He is a member of the Chinese Nuclear Society (CNS) and the Chinese Physical Society (CPS).
Biography
Zhao was born in May 1961. After the resumption of National College Entrance Examination, he enrolled at Tsinghua University. He carried out postdoctoral research at the Institute of High Energy Physics in 1990. For the next few years he continued his laboratory work at the institute, where he took part in the research of Beijing Electron Positron Collider (BEPC). He was a visiting scholar at the European Organization for Nuclear Research (CERN). In 1998 he moved to Shanghai to participate in the construction of Shanghai light source accelerator. He served as deputy director of the Shanghai Institute of Applied Physics in June 2001, and nine years later promoted to the director position. In December 2018 he joined the Shanghai Advanced Research Institute and was appointed as vice-president. He has been director of the Shanghai Synchrotron Radiation Facility since 2019. He is a researcher at the Shanghai Key Laboratory of Cryogenic & Superconducting RF Technology.
Honours and awards
2013 State Science and Technology Progress Award (First Class)
November 22, 2019 Member of the Chinese Academy of Engineering (CAE)
References
External links
Zhao Zhentang on the Shanghai Advanced Research Institute, Chinese Academy of Sciences
1961 births
Living people
Chinese physicists
Members of the Chinese Academy of Engineering |
Étienne Lenoir (1744–1832) was a French scientific instrument maker and inventor of the repeating circle.
When hired by Jean-Charles de Borda around 1772 to work on the reflecting circle, he was about thirty years old and nearly illiterate. However, his intelligence and mechanical genius allowed him to perform work that few others could perform. He played a significant role in the improvements to the reflecting circle and later used this experience in inventing the repeating circle. As a result of this work, he became known as the pre-eminent maker of instruments for astronomy, navigation and surveying in France.
In 1787, the king of France appointed him certificated engineer to the king. He created the instruments used on all the major French geodetic surveying projects and major naval expeditions of the time.
He worked primarily for the Commission des Poids et Mesures (Weights and Measures Commission) after 1792 and for the Commission du Metre (Metre Commission - for the determination of the metric unit of length, the metre). For these commissions, he produced the instruments used to measure the meridian arc and created the platinum rules for baseline measurements. In 1793, he made and signed the provisional standard brass metre. He also invented a comparator for the measurement of the definitive standard metre.
Lenoir was also a member of the Commission temporaire des Arts (1793–1794). He was made a member of the Bureau des Longitudes in 1814 and received the Legion of Honour.
His son, Paul-Etienne Lenoir, followed in his footsteps, taking over his workshop around 1815 and continuing his work after Lenoir senior's death.
Honours
Lenoir Rock in Antarctica is named after Étienne Lenoir.
References
Daumas Maurice, Scientific Instruments of the Seventeenth and Eighteenth Centuries and Their Makers, Portman Books, London 1989
French scientific instrument makers
1744 births
1832 deaths |
Afte is a river of North Rhine-Westphalia, Germany. It is a tributary of the river Alme, into which it flows in Büren.
See also
List of rivers of North Rhine-Westphalia
References
Rivers of North Rhine-Westphalia
Rivers of Germany |
Charles Sanford Burk (April 22, 1887 – October 11, 1934) was a pitcher in Major League Baseball. He pitched from 1910 to 1915.
External links
1887 births
1934 deaths
Baseball players from Columbus, Ohio
Major League Baseball pitchers
Pittsburgh Rebels players
Brooklyn Superbas players
Brooklyn Dodgers players
St. Louis Cardinals players
Marion Moguls players
Marion Diggers players
Fort Worth Panthers players
Indianapolis Indians players
Minneapolis Millers (baseball) players
Burials at Cypress Hills National Cemetery
United States Army personnel of World War I |
is a logic puzzle developed by publisher Nikoli.
Rules
Shakashaka is played on a rectangular grid of white and black squares. Some black cells may contain a number.
The objective of the puzzle is to place triangles in some of the white cells. There are four kinds of triangles which can be put in squares:
In the resulting grid,
The white parts of the grid (uncovered by black triangles) must form a rectangle or a square.
Black cells with a number must be orthogonally adjacent to the specified number of black triangles.
Computational complexity
It is NP-complete to decide whether a given Shakashaka puzzle has a solution.
Furthermore, counting the number of solutions to a given Shakashaka puzzle is #P-complete.
References
Logic puzzles
NP-complete problems |
Justin Barnett Christian (born April 3, 1980) is an American former professional baseball outfielder. He played in Major League Baseball for the New York Yankees in 2008 and the San Francisco Giants in 2011 and 2012.
Career
Amateur career
Christian attended Borel Middle School in San Mateo and then attended Aragon High School in San Mateo, California from 1995–98, where he played varsity baseball all four years for John Arents and later Mike Trimble.
He began his college baseball career with two years at Skyline College where he was All-Conference for both years. He took the scholarship he had earned to Auburn University in Auburn, Alabama, but transferred after missing most of the 2002 season with a torn labrum to Southeast Missouri State University, where he became an All-American and was voted "Newcomer of the Year." At Skyline he was a shortstop, but was moved to second base at Auburn. He was mostly an infielder at SEMO as well.
River City Rascals
After going undrafted in the 2003 Major League Baseball Draft, he signed with the River City Rascals of the Frontier League, winning the starting second base job and playing 30 games during the 2003 season.
In the fall of 2003, he went back to Auburn as a student assistant coach while trying to set up scout workouts; he set up several of these but was unsuccessful in getting signed.
He returned to the Rascals for the 2004 season, where he hit .450 with 26 steals in 30 games.
New York Yankees
The New York Yankees signed him sight unseen. In 2004, he played on the GCL Yankees and the Staten Island Yankees.
He started the 2005 season with the Charleston RiverDogs, where he hit .290 and was promoted to the Tampa Yankees, where he hit .306. He ended the season with a combined 55 stolen bases.
In , Christian hit .276 with six home runs, 43 RBI and 68 stolen bases, third in all of the minor leagues. He started the season with the Double-A Trenton Thunder, batting .235 with three home runs, 32 RBI and 18 stolen bases. On June 22, 2007, he was called up to Triple-A Scranton/Wilkes-Barre where he hit .325, and .271 overall, for the year.
On June 24, , he was promoted to the Yankees' major league roster preceding their interleague series with the Pittsburgh Pirates. He started the same day, going 2-for-4 with a double and two RBI in his major league debut.
On July 8, 2008, he stole his first base in the major leagues, stealing third base off Tampa Bay Rays relief pitcher Grant Balfour and catcher Dioner Navarro. The only two times he was caught stealing, he had fallen down between first and second base or had been leading far off first.
Following the 2008 season, Christian was non-tendered by the Yankees, making him a free agent.
Baltimore Orioles
He was signed to a minor league contract by the Baltimore Orioles on January 13, .
Second Stint with Yankees
On May 7, 2010, he was re-signed by the Yankees while playing for the Southern Maryland Blue Crabs in the independent Atlantic League, and was assigned to the Double-A Trenton Thunder, where he broke Kevin Thompson's franchise record for stolen bases and was re-promoted to Triple-A Scranton/Wilkes-Barre on September 6.
San Francisco Giants
On February 5, 2011, Christian signed a minor league contract with the reigning World Series champion San Francisco Giants. On September 6, 2011, the Giants purchased his contract and he was called up to the major league squad. Christian started 2012 with Triple-A Fresno, and ended up splitting the season with them and the Giants. With Fresno, he hit .343/.409/.508 with seven home runs, 35 RBI and 12 stolen bases. With San Francisco, he hit .125/.197/.143 with 2 RBI and two stolen bases. Christian won a World Series ring as a member of the 2012 Giants.
St. Louis Cardinals
On November 26, 2012, Christian signed a minor league deal with the St. Louis Cardinals with an invitation to spring training. He was projected to be starting outfielder for the Cardinals Triple-A Memphis Redbirds affiliate.
Tampa Bay Rays
Christian signed a minor league deal with the Tampa Bay Rays on January 14, 2014.
Quintana Roo Tigres
Christian also played with Tigres baseball team in Cancun, Mexico.
Life after baseball
Christian is currently a Deputy Sheriff with the Santa Clara County Sheriff's Office in San Jose, California.
References
External links
1980 births
Living people
American expatriate baseball players in Mexico
Auburn Tigers baseball players
Baseball players from Nebraska
Cañeros de Los Mochis players
Charleston RiverDogs players
Columbus Clippers players
Diablos Rojos del México players
Durham Bulls players
Fresno Grizzlies players
Gulf Coast Yankees players
Major League Baseball outfielders
Memphis Redbirds players
Mexican League baseball center fielders
Mexican League baseball left fielders
New York Yankees players
Norfolk Tides players
Richmond Flying Squirrels players
River City Rascals players
San Francisco Giants players
Scranton/Wilkes-Barre Yankees players
Southern Maryland Blue Crabs players
Sportspeople from Lincoln, Nebraska
Staten Island Yankees players
Tampa Yankees players
Tigres de Quintana Roo players
Trenton Thunder players
Yaquis de Obregón players |
Golf Digest is a monthly golf magazine published by Warner Bros. Discovery through its sports unit. It is a generalist golf publication covering recreational golf and men's and women's competitive golf. The magazine started by John F. Barnett in 1950 in Chicago, moved to Connecticut in 1964 and was sold to The New York Times Company in 1969. The Times company sold their magazine division to Condé Nast in 2001. The headquarters of Golf Digest is in New York City relocated from Connecticut. On May 13, 2019, Discovery, Inc. acquired Golf Digest from Condé Nast, in order to integrate with GolfTV.
Course rankings
Golf Digest produces a biennial ranking of the world's best golf courses.
Since 1965, Golf Digest has produced biennial rankings of "America's 100 Greatest Golf Courses". The courses are voted on by a panel of several hundred golf experts. The magazine also produces lists of the best new courses, the best golf resorts, the best courses in each U.S. state and best American golf courses for women. Before the "Greatest" rankings were introduced in 1985, Golf Digest produced lists called at different times America's 100 Most Testing Courses and America's 100 Greatest Tests of Golf. Alongside the "100 Greatest Courses" ranking, and using the same methodology, Golf Digest publishes a list of "America's 100 Greatest Public Golf Courses". In this context, "public" means a golf course that is open to play by the public, as opposed to a private club—not necessarily a course operated by a governmental entity. In addition to its national rankings, Golf Digest also ranks courses at a state level.
The magazine also compiles a list of the leading courses outside the United States. This is created using information from national golf associations, plus votes by the same panelists supplemented by some additional ones with international knowledge.
In 2010, Golf Digest produced its inaugural ranking of "America's Top 50 Courses for Women". In creating the ranking, the magazine used nominations and evaluations by its panel of over 100 female raters as well as the woman-friendly criteria established by the editors. Those criteria included: at least one tee less than 5,300 yards; at least two sets of tees with USGA slope and course ratings for women; run-up areas to most or all greens and minimal forced carries for those playing from the forward tees.
Recognition
In 2009, Golf Digest was nominated for a National Magazine Awards by the American Society of Magazine Editors in the Magazine Section in recognition of the excellence of a regular section of a magazine based on voice, originality and unified presentation.
Female representation
In April 2014, Golf Digest was widely criticized when, after neglecting to picture a female golfer on their cover for six years, they chose to picture model Paulina Gretzky in a revealing outfit as their May 2014 cover. The move was "particularly frustrating" to LPGA golfers. LPGA Tour Commissioner Mike Whan issued a statement echoing the concerns expressed by LPGA players. In the October 2014 edition, U.S. Women's Open winner Michelle Wie appeared on the cover.
In May 2016, the magazine again featured a female celebrity in the cover, Paige Spiranac (who was, at the time, a professional golfer), which was criticized by veteran golfer Juli Inkster.
See also
Kingdom magazine
References
External links
Official site
Composite of all U.S. courses ever ranked
Official site for Golf Digest Golf Schools
1950 establishments in the United States
Warner Bros. Discovery brands
Digest
Magazines formerly owned by Condé Nast
Magazines established in 1950
Magazines published in Connecticut
Magazines published in New York City
Sports magazines published in the United States
Turner Sports |
```xml
//
//
// Microsoft Bot Framework: path_to_url
//
// Bot Framework Emulator Github:
// path_to_url
//
// All rights reserved.
//
// Permission is hereby granted, free of charge, to any person obtaining
// a copy of this software and associated documentation files (the
// "Software"), to deal in the Software without restriction, including
// without limitation the rights to use, copy, modify, merge, publish,
// distribute, sublicense, and/or sell copies of the Software, and to
// permit persons to whom the Software is furnished to do so, subject to
// the following conditions:
//
// The above copyright notice and this permission notice shall be
// included in all copies or substantial portions of the Software.
//
// THE SOFTWARE IS PROVIDED ""AS IS"", WITHOUT WARRANTY OF ANY KIND,
// EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
// MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
// NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE
// LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION
// OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION
// WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
//
import {
updateNewTunnelInfo,
updateTunnelError,
updateTunnelStatus,
NgrokTunnelActions,
TunnelInfo,
TunnelError,
TunnelStatus,
checkOnTunnel,
setTimeIntervalSinceLastPing,
TunnelCheckTimeInterval,
clearAllNotifications,
addNotification,
} from './ngrokTunnelActions';
describe('Ngrok Tunnel Actions', () => {
it('should create an update tunnel info action', () => {
const payload: TunnelInfo = {
publicUrl: 'path_to_url
inspectUrl: 'path_to_url
logPath: 'ngrok.log',
postmanCollectionPath: 'postman.json',
};
const action = updateNewTunnelInfo(payload);
expect(action.type).toBe(NgrokTunnelActions.setDetails);
expect(action.payload).toEqual(payload);
});
it('should create a update tunnel error action', () => {
const payload: TunnelError = {
statusCode: 402,
errorMessage: 'Tunnel has expired',
};
const action = updateTunnelError(payload);
expect(action.type).toBe(NgrokTunnelActions.updateOnError);
expect(action.payload).toEqual(payload);
});
it('should create a tunnel status update action', () => {
const mockDate = new Date(1466424490000);
jest.spyOn(global, 'Date').mockImplementation(() => mockDate as any);
const expectedStatus: TunnelStatus = TunnelStatus.Active;
const action = updateTunnelStatus({
tunnelStatus: expectedStatus,
});
expect(action.type).toBe(NgrokTunnelActions.setStatus);
expect(action.payload.timestamp).toBe(new Date().getTime());
expect(action.payload.status).toBe(expectedStatus);
});
it('should create a tunnel status update action on TunnelError', () => {
const mockDate = new Date(1466424490000);
jest.spyOn(global, 'Date').mockImplementation(() => mockDate as any);
const expectedStatus: TunnelStatus = TunnelStatus.Error;
const action = updateTunnelStatus({
tunnelStatus: expectedStatus,
});
expect(action.type).toBe(NgrokTunnelActions.setStatus);
expect(action.payload.timestamp).toBe(new Date().getTime());
expect(action.payload.status).toBe(expectedStatus);
});
it('should create a checkOnTunnel action', () => {
const action = checkOnTunnel({
onTunnelPingError: jest.fn(),
onTunnelPingSuccess: jest.fn(),
});
expect(action.type).toBe(NgrokTunnelActions.checkOnTunnel);
});
it('should create a setTimeIntervalSinceLastPing action', () => {
const action = setTimeIntervalSinceLastPing(TunnelCheckTimeInterval.SecondInterval);
expect(action.type).toBe(NgrokTunnelActions.setTimeIntervalSinceLastPing);
expect(action.payload).toBe(TunnelCheckTimeInterval.SecondInterval);
});
it('should create a clear notifications action', () => {
const action = clearAllNotifications();
expect(action.type).toBe(NgrokTunnelActions.clearAllNotifications);
expect(action.payload).toBeNull;
});
it('should create add notification action', () => {
const notificationId = 'notification-1';
const action = addNotification(notificationId);
expect(action.type).toBe(NgrokTunnelActions.addNotification);
expect(action.payload).toBe(notificationId);
});
});
``` |
Yerkes Observatory ( ) is an astronomical observatory located in Williams Bay, Wisconsin, United States. The observatory was operated by the University of Chicago Department of Astronomy and Astrophysics from its founding in 1897 to 2018. Ownership was transferred to the non-profit Yerkes Future Foundation (YFF) in May 2020, which began restoration and renovation of the historic building and grounds. Re-opening for public tours and programming began May 27, 2022.
The observatory, often called "the birthplace of modern astrophysics," was founded in 1892 by astronomer George Ellery Hale and financed by businessman Charles T. Yerkes. It represented a shift in the thinking about observatories, from their being mere housing for telescopes and observers, to the early-20th-century concept of observation equipment integrated with laboratory space for physics and chemistry analysis.
The observatory's main dome houses a doublet lens refracting telescope, the largest refractor ever successfully used for astronomy. Two smaller domes house 40-inch (102 cm) and 24-inch (61 cm) reflecting telescopes. There are several smaller telescopes – some permanently mounted – that are primarily used for educational purposes. The observatory also holds a collection of over 170,000 photographic plates.
The Yerkes 40-inch was the largest refracting-type telescope in the world when it was dedicated in 1897, although there had been several larger reflecting telescopes. During this time, there were many questions about the merits of the various materials used to construct and design telescopes. Another large telescope of this period was the Great Melbourne Telescope, which was a reflector. In the United States, the Lick refractor had just a few years earlier come online in 1888 in California with a 91 cm lens.
Prior to its installation, the telescope on its enormous German equatorial mount was shown at the World's Columbian Exhibition in Chicago during the time the observatory was under construction.
The observatory was a center for serious astronomical research for more than 100 years. By the 21st century, however, it had reached the end of its research life. The University of Chicago closed the observatory to the public in October 2018. In November 2019, "an agreement in principle" was announced that the university would transfer Yerkes Observatory to the non-profit Yerkes Future Foundation (YFF). The transfer of ownership took place on May 1, 2020.
Telescopes
In the 1860s Chicago became home of the largest telescope in America, the Dearborn refractor. It was later surpassed by the U.S. Naval Observatory's 26 inch, which would go on to discover the moons of Mars in 1877. There was an extraordinary increase of larger telescopes in finely furnished observatories in the late 1800s. In the 1890s various forces came together to establish an observatory of art, science, and superlative instruments in Williams Bay, Wisconsin.
The telescope was surpassed by the Harvard College Observatory, reflector less than ten years later, although it remained a center for research for decades afterwards. In addition to the large refractor, Yerkes also conducted a great amount of Solar observations.
Background
Yerkes Observatory's 40-inch (102 cm) refracting telescope has a doublet lens produced by the optical firm Alvan Clark & Sons and a mounting by the Warner & Swasey Company. It was the largest refracting telescope used for astronomical research. In the years following its establishment, the bar was set and tried to be exceeded; an even larger demonstration refractor, the Great Paris Exhibition Telescope of 1900, was exhibited at the Paris Universal Exhibition of 1900.
However, this was not much of a success, was dismantled, and did not become part of an active University observatory. The mounting and tube for the 40-inch telescope was exhibited at the 1893 World's Columbian Exposition in Chicago before being installed in the observatory. The grinding of the lens was completed later.
40-inch aperture refractor
The glass blanks for what would become Yerkes Great Refractor were made in Paris, France by Mantois and delivered to Alvan Clark & Sons in Massachusetts where they were completed. Clark then made what would be the largest telescope lens ever crafted and this was mounted to an Equatorial mount made by Warner & Swasey for the observatory. The telescope had an aperture of 40 inches (~102 cm) and focal length of 19.3 meters, giving it a focal ratio of f/19.
The lens, an achromatic doublet which has two sections to reduce chromatic aberration, weighed 225 kilograms, and was the last big lens made by Clark before he died in 1897. Glass lens telescopes had a good reputation compared to speculum metal and silver on glass mirror telescopes, which had not quite proven themselves in the 1890s. For example, the Leviathan of Parsonstown was a 1.8 meter telescope with a speculum metal mirror, but getting good astronomical results from this technology could be difficult. Another large telescope of this period was the Great Melbourne Telescope in Australia, also a metal mirror telescope.
Some of the instruments for the 40-inch refractor (circa 1890s) were:
Filar Micrometer
Solar spectrograph
Spectroheliograph
Stellar spectrograph
Photoheliograph
The 40-inch refractor was modernized in the late 1960s with electronics of the period. The telescope was painted, the manual controls were removed, and electric operations were added at that time. This included nixie tube displays for its operation.
41-inch reflector
In the late 1960s a 40-inch reflecting telescope was added. The 41 inch was finished by 1968, with overall installation completed by December 1967 and the optics in 1968. While the telescope has a clear aperture of 40-inches, the mirror's physical diameter measures 41-inches leading to the telescope usually being called the "41 inch" to avoid confusion with the 40 inch refractor. The mirror is made from low-expansion glass. The glass used was CER-VII−R.
The launch instruments for the 41 inch reflector included:
Image tube spectrograph
photoelectric photometer
photoelectric spectrophotometer
The 40-inch reflector is of the Ritchey-Chretien optical design. The 41-inch helped pioneer the field of adaptive optics.
Additional instruments and equipment
A 12-inch refractor was moved to Yerkes from Kenwood Observatory in the 1890s. Two other telescopes planned for the observatory in the 1890s were a 12-inch aperture refractor and a 24-inch reflecting telescope. There was a heliostat mirror and a meridian room for a transit instrument.
A two-foot aperture reflecting telescope was manufactured at the observatory itself. The clear aperture of the telescope was actually 23.5 inches. The glass blanks were cast in France by Saint Gobain Glass Works, and then were figured (polished into telescopic shape) at the Yerkes Observatory. The 'Two foot telescope' used a roughly seven foot long skeleton truss made of aluminum.
At one point the Observatory had an IBM 1620 computer, which it used for three years. This was replaced with an IBM 1130 computer in the 1960s.
A Microphotometer was built by Gaertner Scientific Corporation, which was delivered in February 1968 to the observatory.
Later, there was another 24-inch reflecting telescope by Boller & Chivens. This was contracted in the early 1960s under direction of observatory director W. Albert Hiltner. This telescope was installed in one of the smaller Yerkes domes, and it is known to have been used for visitor programs. This was a design by Boller & Chivens with Cassegrain optical setup, with a 24-inch (61 cm) clear aperture and is on an off-axis equatorial mount.
A 7-inch (18 cm) diameter aperture Schmidt camera was also at Yerkes Observatory.
The Snow Solar Telescope was first established at Yerkes Observatory, and then later moved in 1904 to California. A major difficulty of these telescopes was dealing with heat from the Sun, and it was built horizontally, but led to a vertical solar tower design afterwards. Solar tower telescopes would be a popular style for solar observatories in the 20th century, and are still used in the 21st century to observe the Sun.
Another instrument was the Bruce photographic telescope. The telescope had two objective lens for photography, one doublet of 10 inches aperture and another of 6.5 inches; in addition there is a 5-inch guide scope for visual viewing. The telescope was constructed from funds donated in 1897. The telescope was mounted on custom designed equatorial, the result of collaboration between Yerkes and Warner & Swasey, especially designed to offer an uninterrupted tracking for long image exposures. The images were taken on glass plates about a foot on each side.
The Bruce astrograph lenses were made by Brashear with Mantois of Paris glass blanks, and the lenses were completed by the year 1900. The overall telescope was not completed until 1904, where it was installed in its own dome at Yerkes.
The astronomer Edward Emerson Barnard's work with the Bruce telescope, with his niece Mary R. Calvert who worked as his assistant and computer, lead to the publication of a sky atlas using images taken with the instrument, and also a catalog of dark nebulae known as the Barnard catalog.
Dedication
The Observatory was dedicated on October 21, 1897, and there was a large party with university, astronomers, and scientists.
Before the dedication a conference of astronomers and astrophysicists was hosted at Yerkes Observatory, and took place on October 18–20, 1897. This is noted as a precursor to the founding of the American Astronomical Society.
Although dedicated in 1897, it was founded in 1892. Also, astronomical observations had started in the summer of 1897 before the dedication.
Research and observations
Research conducted at Yerkes in the last decade includes work on the interstellar medium, globular cluster formation, infrared astronomy, and near-Earth objects. Until recently the University of Chicago also maintained an engineering center in the observatory, dedicated to building and maintaining scientific instruments. In 2012 the engineers completed work on the High-resolution Airborne Wideband Camera (HAWC), part of the Stratospheric Observatory for Infrared Astronomy (SOFIA). Researchers also use the Yerkes collection of over 170,000 archival photographic plates that date to the 1890s. The past few years have seen astronomical research largely replaced by educational outreach and astronomical tourism activities.
In June 1967, Yerkes Observatory hosted the to-date largest meeting of the American Astronomical Society, with talks on over 200 papers.
The Yerkes spectral classification (aka MKK system) was a system of stellar spectral classification introduced in 1943 by William Wilson Morgan, Philip C. Keenan, and Edith Kellman from Yerkes Observatory. This two-dimensional (temperature and luminosity) classification scheme is based on spectral lines sensitive to stellar temperature and surface gravity, which are related to luminosity (the Harvard classification is based on surface temperature). Later, in 1953, after some revisions of lists of standard stars and classification criteria, the scheme was named the Morgan–Keenan classification, or MK.
Research work of the Yerkes Observatory has been cited over 10,000 times.
In 1899, observations of Neptune's moon Triton were published, with data recorded using the Warner & Swasey micrometer. In 1898 and 1899, Neptune was at opposition.
In 1906, a star catalog of over 13,600 stars was published. Also, there was some important work on Solar research in the early years, which was of interest to Hale. He went on to the Snow Solar Telescope at Mount Wilson in California. This was first operated at Yerkes and then moved to California.
An example of an asteroid discovered at Yerkes is 1024 Hale, provisional designation , a carbonaceous background asteroid from the outer regions of the asteroid belt, approximately in diameter. The asteroid was discovered on 2 December 1923 by Belgian–American astronomer George Van Biesbroeck at Yerkes Observatory, and it was named for astronomer George Ellery Hale of Yerkes Observatory fame. Some additional examples include 990 Yerkes, 991 McDonalda, and 992 Swasey around this time; many more minor planets would be discovered at the observatory in the following decades.
Notable staff and visitors
Notable astronomers who conducted research at Yerkes include Albert Michelson, Edwin Hubble (who did his graduate work at Yerkes and for whom the Hubble Space Telescope was named), Subrahmanyan Chandrasekhar (for whom the Chandra Space Telescope was named), Ukrainian-American astronomer Otto Struve, Dutch-American astronomer Gerard Kuiper (noted for theorizing the Kuiper belt, home to dwarf planet Pluto), Nancy Grace Roman, NASA's first Chief of Astronomy (who did her graduate work at Yerkes), and the twentieth-century popularizer of astronomy Carl Sagan.
In May 1921, Albert Einstein visited Yerkes Observatory.
Directors of Yerkes Observatory:
2021–curr – Dennis Kois
2012–2018 – Doyal Al Harper (2nd time)
2001–2012 – Kyle M. Cudworth
1989–2001 – Richard G. Kron
1982–1989 – Doyal Al Harper
1974–1982 – Lewis M. Hobbs
1972–1974 – William Van Altena
1966–1972 – Charles Robert O'Dell
1963–1966 – William Hiltner
1960–1963 – William W. Morgan
1957–1960 – Gerard P. Kuiper (2nd time)
1950–1957 – Bengt Strömgren
1947–1950 – Gerard P. Kuiper
1932–1947 – Otto Struve
1903–1932 – Edwin B. Frost
1897–1903 – George Ellery Hale
The 2005 proposed development and preservation initiative
In March 2005, the University of Chicago announced plans to sell the observatory and its land on the shore of Geneva Lake. Two purchasers had expressed an interest: Mirbeau, an East Coast developer that wanted to build luxury homes, and Aurora University, which has a campus straddling the Williams Bay property. The Geneva Lake Conservancy, a regional conservation and land trust organization, maintained that it was critical to save the historic Yerkes Observatory structures and telescopes for education and research, as well as to conserve the rare undeveloped, wooded lakefront and deep forest sections of the site. On June 7, 2006, the university announced it would sell the facility to Mirbeau for US$8 million with stipulations to preserve the observatory, the surrounding , and the entire shoreline of the site.
Under the Mirbeau plan, a 100-room resort with a large spa operation and attendant parking and support facilities was to be located on the virgin wooded Yerkes land on the lakeshore—the last such undeveloped, natural site on Geneva Lake's shoreline. About 70 homes were to be developed on the upper Yerkes property surrounding the historic observatory. These grounds had been designed more than 100 years previously by John Charles Olmsted, the nephew and adopted son of famed landscape architect Frederick Law Olmsted. Ultimately, Williams Bay's refusal to change the zoning from education to residential caused Mirbeau to abandon its development plans.
In view of the public controversy surrounding the development proposals, the university suspended these plans in January 2007. The university's department of astronomy and astrophysics then formed a study group, including representatives from the faculty and observatory and a wide range of other involved parties, to plan for the operation of a regional center for science education at the observatory. The study group began its work in February 2007 and issued its final report November 30, 2007.
The report recommended creating a formal business plan to ensure the financial viability of the proposed science education center, establishing ownership of the proposed center before initiating plans for creating it, and forming a partnership between the University of Chicago and local interests to plan for the center. It also suggested that some lakefront and woods parcels could be sold for residential development.
Current status
In March 2018, the University of Chicago announced that it would no longer operate the observatory after October 1, 2018, and would be seeking a new owner. In May 2018, the Yerkes Future Foundation, a group of local residents, submitted an expression of interest to the University of Chicago with a proposal that would seek to maintain public access to the site and continuation of the educational programs. Transfer of operation to a successor operator was not arranged by the end of August, and the facility was closed to the general public on October 1. Some research activities continued at the Observatory, including access and use of the extensive historical glass plate archives at the site. Yerkes education and outreach staff formed a nonprofit organization – GLAS – to continue their programs at another site after the closing.
In May 2019, the university continued to negotiate with interested parties on Yerkes's future, primarily with the Yerkes Future Foundation. It was announced in November 2018 that a sticking point has been the need to include the Yerkes family in the discussions. Mr. Yerkes's agreement in making his donation to the university transfers ownership "To have and to hold unto the said Trustees [of the University of Chicago] and their successors so long as they shall use the same for the purpose of astronomical investigation, but upon their failure to do so, the property hereby conveyed shall revert to the said Charles T. Yerkes or his heirs at law, the same as if this conveyance had never been made." For the closing, there was a new gate with a sign that read "Facilities Closed To The Public" starting October 1, 2018.
In 2022, the site was re-opened to visitors.
In 2023, Amanda Bauer was interviewed and demonstrates the use of the telescope, partly restored. Full restoration was expected to take 10 more years.
Gargoyle sculptures, location, and landscaping
The Observatory grounds and buildings are renowned for more than the Great Refractor, but also sculptures and architecture. In addition, the landscaping is also famed for its design work by Olmsted. The observatory building was designed by architect Henry Ives Cobb, and has been referred to as being in the Beaux Arts style. The building is noted for its blend of styles and rich ornamentation featuring a variety of animal and mythological designs.
On the building there are various carvings including Lion gargoyle designs. There are also sculptures to represent various people that oversaw or supported construction of the telescope and the facility. The location is noted for a good and pleasant location by Lake Geneva. Although it does not have a high-altitude as preferred by modern observatories, it does have good weather, and was a considerable distance from the light and pollution of Chicago.
In 1888, Williams Bay had a railway terminal added by Chicago & North Western Railroad; this provided access from Chicago, and is one factor that increased the site's development in the following decades.
The editorial offices for The Astrophysical Journal were located at Yerkes Observatory until the 1960s.
The landscape was designed by the same firm that designed New York Central park, the firm of Frederick Law Olmsted, and the grounds were noted at one point for having multiple state record trees. The tree plan design was developed in the 1910s under design from the Olmsted firm and with support of the observatory Director; the grounds included the following types of trees at that time: white fir, yellowwood tree, golden rain tree, European beech, fernleaf beech, Japanese pagoda tree, littleleaf linden, Kentucky coffeetree, ginkgo, cut-leaf beeches, and chestnut trees.
The original landscape plan was not completed by the 1897 dedication, and there was grading and construction of gravel roads under direction of the Olmsted design as late as 1908.
Contemporaries on debut of the Great Yerkes Refractor
A major contemporary for the Yerkes was the well-regarded 36-inch Lick refractor near San Jose, California. The Yerkes, although just 4 inches in aperture larger, meant an increase of 23% in light-gathering ability. Both telescopes had achromatic doublets by Alvan Clark.
The 19th century saw a transition in large telescope construction from refractor type to reflector type, with metal-film-coated glass mirrors tending to be used instead of difficult, older-style metal mirrors. The Yerkes was perhaps the greatest of the great refractors, the largest astronomical instrument in the traditional style of the 19th century refractor-based observatories.
The Yerkes was not only the largest refractor, but was tied for being the largest telescope in the world with Paris Observatory reflector (48 inch, 122 cm) when it became operational in 1896.
*Note the Leviathan of Parsonstown was not used after 1890
Understanding atmosphere and trends of telescope building of the late 19th century puts the choice of a large refactor in perspective. Although there were some very large reflectors, the speculum mirrors they relied on reflected about 2/3 of the light and had high upkeep. A major breakthrough came in the middle of the 19th century with a technique for coating glass with a metal film. This process (silver on glass) eventually lead to some bigger glass reflectors. Silvering has its own issues, in that coating must be reapplied usually every 2 years or so depending on conditions, and also it must be done very thinly so as to not affect the optical properties of the mirror.
A large glass reflector (122 cm diameter glass mirror) was established in Paris by 1876, but problems with figuring of that mirror meant that the Paris Observatory's 122 cm telescope was not used and did not have a good reputation for viewing. The potential of metal coated glass became more apparent A.A. Common's 36 inch reflecting telescope by 1878. (this won an astrophotography award)
The Warner and Swasey equatorial mount was shown in Chicago at the 1893 Colombia Exhibition, before it was moved to the Observatory.
Largest telescopes (all types) in 1910
Legacy
By 1905, the largest telescope in the World was the Harvard 60-inch Reflector ( 1.524 m 60″) at Harvard College Observatory, USA. Then in 1908, Mount Wilson Observatory matched that size with a 60-inch reflector of their own, and throughout the 20th century, increasingly larger reflectors would be established, aided also by refinements to mirror technology vapor-deposited aluminum on low-thermal expansion glass, pioneered for the 200 inch (5 meter) Hale telescope of 1948.
In the latter years of the 20th century, space observatories also marked a major advance, and somewhat less than a century after Yerkes, the Hubble Space Telescope, with a 2.4 meter reflector, was launched. Small refractors remain popular for astronomical photography, although issues with chromatic aberration were never really entirely solved for the lens. (Isaac Newton had solved this with the reflecting design, although the refractors are not without their merits.)
Great advancements such as astrophotography and the discovery of nebulas and different types of stars provided a major advance in this period. The importance of finely crafted mounts matched to a large aperture, harnessing the power of the basic equations of the telescopes design to bring the heavens into closer, brighter examination increased humankind's understanding of space and Earth's place in the Galaxy. Among the accomplishments, Kuiper discovered that Saturn's moon Titan has an atmosphere.
See also
List of largest optical refracting telescopes
List of astronomical observatories
List of largest optical telescopes in the 20th century
List of largest optical telescopes in the 19th century
List of telescope types
Yerkes 41-inch reflector
References
External links
Official website
Description and history from the National Park Service, archived at .
Save Yerkes
Yerkes Study Group
Geneva Lake Conservancy
GLAS
Guide to the University of Chicago Yerkes Observatory Logbooks and Notebooks 1892–1988 at the University of Chicago Special Collections Research Center
Guide to the University of Chicago, Yerkes Observatory, Office of the Director Records 1891–1946 at the University of Chicago Special Collections Research Center
Astronomical observatories in Wisconsin
Research institutes of the University of Chicago
Buildings and structures in Walworth County, Wisconsin |
Leyla Qasim (; 1952 – 12 May 1974) was a Feyli Kurdish activist against the Iraqi Ba'ath regime who was executed in Baghdad. She is known as a national martyr among the Kurds.
Birth and childhood
She was the third out of five children born to a Kurdish farmer, Dalaho Qasim, and his wife Kanî. She was born in Xaneqîn but was relocated to Erbil when she was four years old.
Education
Leyla and her brother Çiyako were taught Arabic and agriculture by their mother when they were aged six and eight. In 1958 she entered elementary and later finished secondary school in Khanaqin. In 1971 she moved to Baghdad to study sociology at the University of Baghdad.
Political activism
Leyla Qasim was sixteen years old as Abdul Rahman Arif was overthrown by Ba'ath party leader, General Ahmed Hassan al-Bakr in 1968. Leyla was disturbed by the violent takeover in the capital. During the late 1960s, Leyla and Çiyako wrote pamphlets on the horrors of the Ba'ath party including the new leader, Saddam Hussein, whom they described as being against Kurdish independence.
Leyla spoke to several Kurds in the Kurdistan Region about the Ba'ath regime and the loose morals of the members. Leyla was told that her words were inspiring sedition.
In 1970 she joined the Kurdistan Students Union and the Kurdistan Democratic Party.
On 28 April 1974 she was detained together with four others and accused of attempting to hijack a plane. She was arrested, tortured and, in Baghdad on 12 May 1974, ultimately hanged after a show trial, broadcast throughout Iraq. She was accused of having planned to kill Saddam Hussein. She was the first woman to be hanged by the Iraqi Ba'ath party. Executed along with Qasim were also Jawad Hamawandi, Nariman Fuad Masti, Hassan Hama Rashid and Azad Sleman Miran.
Remembrance
Many Kurdish families named their children Leyla after her. Every year the anniversary of her death is remembered by many Kurds. In Kelar there exists a Leyla Qasim Park and a statue of her in Xaneqîn.
References
1952 births
1974 deaths
Iraqi Kurdish women
Kurdish women in politics
People from Khanaqin
Executed Kurdish people
Executed Iraqi women
People executed by Iraq by hanging
20th-century executions by Iraq
Executed activists
University of Baghdad alumni
20th-century Iraqi women politicians
20th-century Iraqi politicians |
J’Kerian Morgan (born March 22, 1989), known professionally as Lotic, is an American electronic musician based in Berlin. Lotic rose to prominence through her involvement with the Janus Collective in the early 2010s as well as with a string of EPs released during this time. She was invited by Björk to produce two official Vulnicura remixes in 2016. Her full-length debut, Power, was released in 2018.
Early life
Morgan was born and raised in southwest Houston, in what Mix magazine describes as a "strong black community". She began learning the alto saxophone at the age of 12 and played the instrument in marching band as a high school student. She earned her bachelor's degree at the University of Texas at Austin. Hoping to compose music for film, she started her studies as a film production major and switched to a film major after two years. During her time at UT Austin, she was involved in the university's Experimental and Electronic Music Studios as well as the Intellectual Entrepreneurship program, where she served as an Electronic Music Composition pre-grad intern.
Career
2009-2014: Early DJ career in Austin and Berlin
Morgan first became interested in DJing in 2009 after seeing a Kingdom set while still a student at UT Austin. Her involvement with the KVRX student radio station marked the beginning of her own electronic music career as she frequently performed live DJ sets at station showcases and events around Austin. She released music during this time under Ben Aqua's #FEELINGS label.
After graduating college in 2012, Morgan moved to Berlin with her boyfriend to pursue a career in music while working for Ableton. Later that year, she became affiliated with the Janus Collective, a group described in The New York Times as part of an enclave of American expatriates “taking over sleepy venues, creating their own parties and leaving a significant imprint on the city’s musical program.” Morgan became affiliated with Janus after meeting founders Dan D’Norch and Michael Ladner. The next year, she released the mixtape Fallout, which she followed with the Damsel in Distress mixtape in 2014.
2015-2017: Heterocetera, Agitations, collaborations
Morgan released two EPs in 2015: Heterocetera and Agitations.
In 2016, she was commissioned by Björk to produce two official remixes of "Notget" from Vulnicura; she also served as an opening act on the Berlin date of the Vulnicura Tour. That fall, she scored a promotional video for fashion brand ifeoma’s spring/summer 2017 collection. She also soundtracked the autumn/winter 2017 Julius Society show at Paris Fashion Week.
2018-2019: Power
Her full-length debut, Power, was released in 2018. Accompanying this release was "Endless Power", an audio-visual production created in collaboration with lighting designer Emmanuel Biard. "Endless Power" was performed at Berlin's CTM Festival and Sónar in Barcelona. That year, she also performed in and scored "Embryogenesis" and "Fleshless Beast", dance pieces choreographed by Roderick George.
Along with Floating Points and Raven, Morgan scored the 2019 KDV Dance Ensemble performance piece "Las Casas Invisibles" choreographed by Kianí del Valle. She also contributed to a remix compilation of tracks from Polish cellist Resina's 2018 album Traces.
2020-present: Water
In May 2020, Morgan announced a deal with Houndstooth Records after Tri Angle records shut down the previous month. Her release of the single "Burn a Print" coincided with the signing announcement. The following single, "Cocky", was released that August.
Lotic released the single “Come Unto Me” on August 17, 2021. That same day, she announced that her second studio album, Water, was to be released on October 29 of that year. The second single from Water, "Emergency", was released on September 21, 2021. Both singles were accompanied by music videos directed by Matt Lambert and Lil Internet, respectively.
Sparkling Water, an EP of four remixed tracks from Water accompanied by original brass arrangements, was announced in June 2022 with a release date set for the following month. "Always You (Sparkling)" was released as a single alongside this announcement.
Musical style
Morgan's work as Lotic often addresses social and political issues. Although she now lives in Berlin, her work draws from the African American experience; her sound pays homage to ball culture and drumlines and the album Power was inspired in part by Between the World and Me by Ta-Nehisi Coates. She also explores gender in her music, naming an EP Heterocetera after encountering the term in the work of Audre Lorde. Pitchfork locates Lotic within the broader trend of "conceptronica" that arose in the 2010s, comparing her to artists like Elysia Crampton and Chino Amobi.
Stylistically, critics note the tension between softness and aggression in Lotic's music. Morgan herself considers her sound to have a more sensual edge than her "techno-centric" Berlin contemporaries. 2018's Power marked a stylistic shift for Lotic. Not only was it the first release incorporating Morgan's vocals, but critics noted a "gentler" musical approach compared to her previous, club-oriented releases.
Morgan cites Venus X of GHE20G0TH1K fame and Kingdom as influences.
Personal life
Morgan is transgender, first announcing her transition in 2018. She has criticized the exclusive, "male-centric" nature of Berlin's queer scene and is vocal about racism and homophobia in the broader world of electronic music.
In 2017, Morgan was evicted from her apartment after the individual she subleased from did not pay the full rent. She worked on Power sporadically over the subsequent two-year period while experiencing homelessness.
Discography
Studio albums
Extended plays
Singles
Remixes
References
American electronic musicians
Musicians from Houston
African-American musicians
American LGBT singers
African-American LGBT people
LGBT people from Texas
University of Texas at Austin alumni
LGBT DJs
1989 births
Living people
21st-century African-American people
20th-century African-American people
American expatriates in Germany
Music in Berlin
Transgender women musicians
American transgender musicians |
Vrigne-Meuse () is a commune in the Ardennes department in northern France.
Population
See also
Communes of the Ardennes department
References
Communes of Ardennes (department)
Ardennes communes articles needing translation from French Wikipedia |
Admiral Colpoys was a vessel built in South America in 1792 that the British captured circa 1800. Her new name refers to Admiral John Colpoys. She first traded between London and the Caribbean. Between 1802 and 1807 she made three voyages as a slave ship in the triangular trade in enslaved people. After the abolition of the British slave trade in 1807 she became a merchant vessel. Then in 1813 new owners turned her towards seal hunting. She made four complete voyages to South Georgia before she was wrecked in 1817 during her fifth seal hunting voyage.
Merchantman
Admiral Colpoys first appears in Lloyd's Register for 1801 with Disney, master, Atkins & Co. as owners, and London-Bermuda as trade. The same entry shows her master as changing to G. Musson, and her trade to London-Jamaica. Lloyd's Register for 1802 continues to show Musson and Jamaica.
Enslaving
Owners Thomas King & Co. deployed Admiral Colpoys on three enslaving voyages. For each of her voyages Admiral Colpoys went to the Gold Coast to gather her human cargo.
1st enslaving voyage (1801–1802): under George Adams, master, Admiral Colpoys left London on 17 November 1801. In 1801, 147 vessels left English ports, bound on voyages to transport enslaved people; 23 sailed from London.
Admiral Colpoys delivered 287 enslaved people to Havana in September 1802. She left Havana on 14 November and arrived back at Portsmouth on 22 December after a voyage of five weeks and three days.
2nd enslaving voyage (1804–1805): under Henry Coley, master, Admiral Colpoys left London on 2 October 1804, bound for the Gold Coast. In 1804, 147 vessels left English ports, bound on voyages to transport enslaved people; 18 sailed from London.
Admiral Colpoys started acquiring captives at Cape Coast Castle and then Accra, beginning on 7 February 1805. She delivered 303 captives to Demerara on 10 June. She left Demerara on 26 July and arrived back at London on 30 September.
3rd enslaving voyage (1807–1808): on 20 January 1807 Richard Coaley received a letter of marque for Admiral Colpoys. She sailed from London on 9 February 1807, bound for the Gold Coast. She acquired captives at Cape Coast Castle, Lagos, and Tantumquerry. She arrived at Demerara on 30 September with 293 captives.
The Essequebo and Demarary Royal Gazette for 3 October 1807 had two items concerning Admiral Colpoys.
"The Subscribers inform their Friends who Commissioned them to Purchase Negroes in Barbados, that they have received by the Ship Admiral Colpoys, Capt. Coley, 200 Very Prime Gold-Coast Slaves, which they will be ready to deliver on Saturday the 10th of October, at 12 o'Clock. William King & Co., Cumingsburg, 30th September 1807."
"The Subscribers beg leave to inform such of their Friends as Commissioned them to import Negroes, that they have just received 90 Prime Young Gold-Coast Slaves, being part of the Cargo of the Ship Admiral Colpoys from cape coast, last from Barbados, which will be ready for delivery on Saturday the 10th Instant, at the Store of John Madden, Esq. Colin Macrae, & Underwood, Johnson & Co.. Demerary, 3d October 1807."
Admiral Colpoys arrived back at London 24 April 1808.
Merchantman
In 1807 the British Parliament passed an Act for the abolition of the slave trade. However this act merely imposed fines that were insufficient to deter entrepreneurs from engaging in such a profitable business. A number of Liverpool slave traders continued the trade via various subterfuges (see, for example, the case of Donna Marianna).
Lloyd's Register for 1808 still shows Admiral Colpoys with R. Cooly, master, King & Co., owners, and trade London-Africa. So does Lloyd's Register for 1809; it also shows a new master, Venables, replacing Cooly. However, Lloyd's Register was only as accurate as the owners of the vessels chose to make it by updating their information. It is therefore not clear whether Thomas King & Co. continued enslaving or not. Given that she retained her name and all subsequent merchant voyages had her sailing to British Guiana, she most probably did not.
Lloyd's Register for 1810 shows Admiral Colpoys with Venables, master, King & Co., owners, and trade London-Demerara.
The Slave Trade Felony Act 1811 was passed to stiffen the legal sanctions against those engaged in the slave trade. Transgression became a felony with a punishment that could involve imprisonment or transportation.
Seal hunting
Lloyd's Register for 1813 continues the entries from 1810, but shows a new master, Toderage, replacing Venables. Toderage appears to be a misspelling for Todrig. All of Admiral Colpoyss sealing voyages saw her sailing to South Georgia while under the command of James Todrig, and under the ownership of "Todrig", or James and Francis Todrig.
On her first whaling voyage, Admiral Colpoys left England on 2 July 1813, and returned on 31 May 1814.
On her second, she left on 21 July 1814, and returned on 9 May 1815.
On her third, she left in 1815, and returned on 23 March 1816 with 400 casks and 12 skins (presumably seal). She had left St Helena on 5 March 1815 in company with and , both trading with India under a license from the EIC.
On her fourth voyage, she left in 1816 and returned on 27 January 1817.
Fate
On her fifth whaling voyage, Admiral Colpoys sailed to South Georgia via Santiago, Cape Verde. She was lost on 28 November 1817 when an iceberg floated into the bay in which she was anchored and pushed her onshore. Her crew was saved.
The crew was able to save 700 barrels of elephant oil that were transshipped to England. However, 800 barrels of elephant oil were lost. Another account reports that the iceberg severed Admiral Colpoyss cable; attempts to break up the iceberg using cannon fire were unable to prevent Admiral Colpoys from drifting on to the rocks. Francis Todrig, in King George, retrieved the crew.
Notes
Citations
References
1792 ships
Captured ships
Age of Sail merchant ships
Merchant ships of the United Kingdom
London slave ships
Sealing ships
Seal hunting
Maritime incidents in 1817 |
The Little Lion Hunter is a Warner Bros. Merrie Melodies cartoon released to theaters on October 7, 1939. This short was the first of a series of five films featuring the Inki and mynah bird characters.
Plot
Little African boy Inki is out hunting in the jungle with his spear, but has some difficulty in capturing any animals. He is also oblivious to the fact that a ferocious lion has selected him as prey and is sneaking up on him.
Home media
The Little Lion Hunter is available in an unrestored version on both the VHS tape The Best of Bugs Bunny and Friends and the laserdisc The Golden Age of Looney Tunes Volume 2 (side 4).
Voice cast
Mel Blanc as the Lion (uncredited)
References
External links
1939 films
1939 animated films
Merrie Melodies short films
Warner Bros. Cartoons animated short films
Short films directed by Chuck Jones
Animated films about birds
Animated films about lions
Animated films without speech
Films about race and ethnicity
Films scored by Carl Stalling
1930s Warner Bros. animated short films |
Stade Bergeyre is a former sports stadium in northeast of Paris, France, located in 19th district of the French capital. Built in August 1918, with financial support of Jacques Sigrand. Its capacity was approximately 15,000, and the name comes from the name of a French rugby player, who died in First World War.
Bergeyre stadium was mainly used for football games, and was home of the Olympique Paris team. Also, rugby, track and field and various other activities (e.g. circus) took place there. In 1924, several football and rugby games of the Olympic Games took place here. However, just two years later, it was demolished because the city of Paris, which was quickly growing, needed space for housing.
References
1924 Summer Olympics official report. pp. 318, 320.
Venues of the 1924 Summer Olympics
Defunct sports venues in France
Demolished buildings and structures in France
Olympic football venues
Multi-purpose stadiums in France
Sports venues completed in 1918 |
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