Mother Ludlam's Cave, also known as Mother Ludlum's Cave or Mother Ludlum's Hole, is a small cave in the sandstone cliff of the Wey Valley at Moor Park, near Farnham, Surrey, in England. The cave is the subject of a number of local legends. A spring rising in the cave is recorded in the 13th century "Annals of Waverley Abbey" as "Ludewell"; other spellings through history include "Ludwell" and "Luddwelle". A monk named Symon is credited with identifying the spring as a suitable water supply for Waverley Abbey in 1218, after the original source had dried up. The brothers of the abbey dedicated the spring to St Mary, so it also became known as St Mary's Well. The cave has been naturally formed by the spring but may have been enlarged by the monks and was made into a grotto (possibly during the eighteenth century) and further enhanced by addition of an ironstone arched entrance, possibly during the reign of Queen Victoria.

The cave was explored and surveyed at around 200 feet long in 1945 and as 192 feet to a recent roof collapse in 1961.

Origins of the name

According to the information panel erected at the cave by Waverley Borough Council the name Ludwell can be traced back to the Celtic language, and means "bubbling spring". John Aubrey visited the area in 1673 and was informed that Ludwell was named after Lud, King of the South Saxons, who went there to bathe his wounds after a battle.  A story originating with the Norman-Welsh writer of historicised legends Geoffrey of Monmouth has Ludd, Lud or Llud as the ruler of Celtic Britain and founder of London. A modern ethnographer would identify Lud as a Celtic god: a temple dedicated to him once stood in London near eponymous Ludgate, as are numerous toponyms in England and a very few in Ireland. He is also known as the Celtic god of healing thus Celtic-speaking people must have known of the spring but whether they considered it a sacred spring long before the monks of nearby Waverley Abbey used it as a source of fresh water and rededicated it to St Mary (the Holy Mother) is unknown. The "Lud" element of the name is maintained in the latest adaptation, "Mother Ludlam". Alternatively, the name may be derived from Anglo-Saxon "hlūd well," meaning "a loud, noisy spring."

The legend of Mother Ludlam, the White Witch of Waverley

The cave has long been associated with the legend of "Mother Ludlam" who was, supposedly, a white witch who lived in the cave. The earliest versions of the legend, such as that recorded by John Aubrey in 1673 in his Natural History and Antiquities of Surrey, make no mention of a witch and it is likely that the story was originally associated with fairies.

Various versions of the legend have existed. The simplest version is that Mother Ludlam would loan utensils and that a large cauldron was borrowed but not returned; she became enraged and the borrower, scared by her anger, sought refuge in Frensham Church. The cauldron associated with this legend remains in the church to this day, but is believed by historians to have been used for brewing church ale in past times – made of hammered copper and measuring three feet in diameter and 19 inches deep, it is of the type that was commonly used in the Middle Ages for catering at parishioners' weddings and religious festivals.

As recorded in 1937 the legend is that one day the Devil, in disguise, had visited Mother Ludlam and asked to borrow the cauldron she used for mixing her potions. Recognising the Devil from his hoof-prints in the sand, she refused, so the Devil stole the cauldron, with the witch in pursuit. Making great leaps, the Devil created a series of hills where he touched the ground, these now being the sandstone hills near Churt, known as the Devil's Jumps. The Devil dropped the cauldron – or kettle – on the last of these hills, "Kettle Bury", or "Kettlebury Hill". Mother Ludlam recovered the cauldron and placed it in Frensham Church, where it would be safe from the Devil.

Another version, recorded in the 1920s, is that the cauldron could be borrowed by climbing the highest of the Devil's Jumps (known as Stony Jump), and whispering to the fairies who lived there through a hole in the rocky outcrop on the summit. A borrower failed to return it on time, so the fairies condemned the borrower to have the cauldron follow him wherever he went. Distressed by the presence of his pursuer, he sought sanctuary in Frensham Church where he collapsed and died, leaving the cauldron trapped inside.

William Cobbett

William Cobbett wrote of the cave in his Rural Rides, recounting his visit of 27 October 1825:
From Waverley we went to Moore Park, once the seat of Sir William Temple, and, when I was a very little boy, the seat of a lady or a Mrs Temple. Here I showed Richard "Mother Ludlum's Hole"; but, alas! it is not the enchanting place that I knew it, nor that which Grose describes in his Antiquities! The semicircular paling is gone; the basins to catch the never-ceasing little stream are gone; the iron cups, fastened by chains, for people to drink out of, are gone; the pavement all broken to pieces; the seats, for people to sit on, on both sides of the cave, torn up, and gone; the stream that ran down a clean paved channel, now making a dirty gutter; and the ground opposite, which was a grove, chiefly of laurels, intersected by mowed grass walks, now become a poor ragged-looking alder-coppice.

The cave is now in an even more dire state of repair following collapse of part of its roof during the drought of 1976, which also affected the floor of the cave by covering the remaining signs of habitation with a large mound of sand.

Wildlife

The cave provides a roost for a variety of bat species: Natterer's Bat (Myotis nattereri), Daubenton's Bat (M. daubentonii) and Long-eared Bat (Plecotus auritus) exist in some numbers. Conservation efforts are now encouraging a return of the Greater Horseshoe Bat (Rhinolophus ferrumequinum). The entrance to the cave has been the subject of a partnership project between Waverley Borough, English Nature, and Farnham Town Council in 2001/2002, to provide a replacement for an earlier, damaged, ornamental grille to protect the cave and the bat roost. English Nature has a design for a low cost bat grille for the hole in the cave roof. Opposite the cave entrance is the Moor Park Nature Reserve of the Surrey Wildlife Trust, which is an SSSI consisting mainly of alder carr.

Father Foote's Cave

Above Mother Ludlam's Cave is another, smaller, cave known as Father Foote's Cave, which is the subject of another story.  A man named Foote allegedly dug the cave and took shelter here, having previously stayed at the Seven Stars inn in Farnham for a while. He was found lying, unwell, one day by the stream. He was taken to Farnham workhouse, where he died the same day in 1840. His last words were "Take me to the cave again". How his name became transmuted to Father Foote is not recorded.

Footnotes

References

Caves of Surrey
British legends
Medieval legends
Surrey folklore
Farnham
Buildings and structures in Farnham

Mother Ludlam's Cave


Brassaï (; pseudonym of Gyula Halász; 9 September 1899 – 8 July 1984) was a Hungarian–French photographer, sculptor, medalist, writer, and filmmaker who rose to international fame in France in the 20th century. He was one of the numerous Hungarian artists who flourished in Paris beginning between the world wars.

In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940 to 1984 has provided scholars with material for understanding his later life and career.

Early life and education
Gyula (Julius) Halász, Brassaï (pseudonym) was born on 9 September 1899 in Brassó, Kingdom of Hungary (today Brașov, Romania) to an Armenian mother and a Hungarian father. He grew up speaking Hungarian and Romanian. When he was three his family lived in Paris for a year, while his father, a professor of French literature, taught at the Sorbonne.

As a young man, Halász studied painting and sculpture at the Hungarian Academy of Fine Arts (Magyar Képzőművészeti Egyetem) in Budapest. He joined a cavalry regiment of the Austro-Hungarian army, where he served until the end of the First World War.

He cited Henri de Toulouse-Lautrec as an artistic influence.

Career

Following WWI, his hometown of Brassó, and the rest of Transylvania, was transferred from the Kingdom of Hungary to Romania at the Treaty of Trianon. Halász left for Berlin in 1920 where he worked as a journalist for the Hungarian papers Keleti and Napkelet. He started studies at the Berlin-Charlottenburg Academy of Fine Arts (Hochschule für Bildende Künste), now Universität der Künste Berlin. There he became friends with several older Hungarian artists and writers, including the painters Lajos Tihanyi and Bertalan Pór, and the writer György Bölöni, each of whom later moved to Paris and became part of the Hungarian circle.

In 1924, Halasz moved to Paris to live, where he would stay for the rest of his life. He began teaching himself the French language by reading the works of Marcel Proust. Living among the gathering of young artists in the Montparnasse quarter, he took a job as a journalist. He soon became friends with the American writer Henry Miller, and the French writers Léon-Paul Fargue and Jacques Prévert. In the late 1920s, he lived in the same hotel as Tihanyi.

Miller later played down Brassai's claims of friendship. In 1976 he wrote of Brassai: "Fred [Perles] and I used to steer shy of him – he bored us." Miller added that the biography Brassai had written of him was typically "padded", "full of factual errors, full of suppositions, rumors, documents he filched which are largely false or give a false impression."

Halász's job and his love of the city, whose streets he often wandered late at night, led to photography. He first used it to supplement some of his articles for more money, but rapidly explored the city through this medium, in which he was tutored by his fellow Hungarian André Kertész. He later wrote that he used photography "to capture the beauty of streets and gardens in the rain and fog, and to capture Paris by night." Using the name of his birthplace, Halász went by the pseudonym "Brassaï," which means "from Brasso."

Brassaï captured the essence of the city in his photographs, published as his first collection in the 1933 book entitled Paris de nuit (Paris by Night). His book gained great success, resulting in being called "the eye of Paris" in an essay by Henry Miller. In addition to photos of the seedier side of Paris, Brassai portrayed scenes from the life of the city's high society, its intellectuals, its ballet, and the grand operas. He had been befriended by a French family who gave him access to the upper classes. Brassai photographed many of his artist friends, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, and several of the prominent writers of his time, such as Jean Genet and Henri Michaux.

Young Hungarian artists continued to arrive in Paris through the 1930s and the Hungarian circle absorbed most of them. Kertèsz immigrated to New York City in 1936. Brassai befriended many of the new arrivals, including Ervin Marton, a nephew of Tihanyi, whom he had been friends with since 1920. Marton developed his own reputation in street photography in the 1940s and 1950s.  Brassaï continued to earn a living with commercial work, also taking photographs for the U.S. magazine Harper's Bazaar.

He was a founding member of the Rapho agency, created in Paris by Charles Rado in 1933.

Brassaï's photographs brought him international fame. In 1948, he had a one-man show at the Museum of Modern Art (MoMA) in New York City, which travelled to George Eastman House in Rochester, New York; and the Art Institute of Chicago, Illinois. MoMA exhibited more of Brassai's works in 1953, 1956, and 1968.
He was presented at the Rencontres d'Arles festival in France in 1970 (screening at the Théâtre Antique, Brassaï by Jean-Marie Drot), in 1972 (screening Brassaï si, Vominino by René Burri), and in 1974 (as guest of honour).

In 1979 Brassaï was inducted into the International Photography Hall of Fame and Museum.

Marriage
In 1948, Brassaï married Gilberte Boyer, a French woman. She worked with him in supporting his photography. In 1949, he became a naturalized French citizen after years of being stateless.

Death
Brassaï died on 8 July 1984 at his home on the French Riviera near Nice. He was 84 years old.

Publications by Brassaï
 Paris de Nuit = Paris by Night. Paris: Arts et Métiers Graphiques, 1933. With text by Paul Morand.
Paris la Nuit. Paris: Flammarion, 2001. . With a preface by Morand.
 Conversations avec Picasso. Paris: Gallimard, 1964; 1997. A memoir.
 Conversations with Picasso. Chicago, IL: University of Chicago, 1999. . Translated by Jane Marie Todd.
 Henry Miller: The Paris Years. Arcade Publishing, 1975.
 The Secret Paris of the 30s. New York: Thames & Hudson, 1976. .
 Letters to My Parents. Chicago, IL: University of Chicago, 1997.

Collections
Brassaï's work is held in the following public collections:
Art Institute of Chicago, Chicago, IL: 47 prints (as of June 2020)
Museum of Modern Art, New York City: 112 prints (as of June 2018)
Rijksmuseum, Amsterdam: 9 prints (as of November 2018}
Tate, London: 30 prints (as of June 2018)
Victoria and Albert Museum, London: 383 items (as of June 2018)

References

Bibliography
Tucker, Anne Wilkes, with Richard Howard and Avis Berman. Brassaï:  The Eye of Paris. Houston, TX: Houston Museum of Fine Arts, 1997.
Marja Warehime, Brassaï: Images of Culture and the Surrealist Observer. LSU Press, 1998.

External links

"Brassaï" at Masters of Photography
Brassai: The Transylvanian Parisian at I Photo Central
Brassai's Cats

1899 births
1984 deaths
People from Brașov
Hungarian emigrants to France
Hungarian photographers
Hungarian people of Armenian descent
French people of Armenian descent
French photographers
Portrait photographers
Street photographers
Hungarian University of Fine Arts alumni
Burials at Montparnasse Cemetery

Brassaï


The March 1956 demonstrations (also known as the 1956 Tbilisi riots or 9 March massacre) in the Georgian SSR were a series of protests against Nikita Khrushchev's de-Stalinization policy, which shocked Georgian supporters of Stalinist ideology. The center of the protests was the republic's capital, Tbilisi, where spontaneous rallies to mark the third anniversary of Stalin's death and to protest Khrushchev's denunciation of Stalin quickly evolved into an uncontrollable mass demonstration and rioting which paralyzed the city. Soon, political demands such as the change of the central government in Moscow and calls for the independence of Georgia from the Soviet Union appeared.

The local Georgian authorities, confused and demoralized, passed on the responsibility to the Soviet military. Later on 9 March the troops deployed in the city opened fire upon the students picketing the government buildings in what the official Soviet version held was "an act of self-defense". The agitated crowds continued resistance on 10 March but were eventually dispersed by tanks. Estimates of the number of casualties range from several dozens to several hundred.

In spite of prompt pacification, the 1956 events marked a turning point after which Georgian loyalty to the Soviet Union was gravely compromised and the nation's consolidation intensified. In the view of the historian Ronald Grigor Suny, "the swift and brutal response from the Soviet government illustrated starkly its inability to resolve the dilemma of how much of the Soviet system to change and how much of Stalin's authoritarianism to preserve. The government's confusion in Tbilisi was a bloody sign that reform was to be limited by the party's determination to preserve its essential monopoly of power."

Background

Khrushchev's speech

On 25 February 1956, at a closed session of the 20th Congress of the Communist Party of the Soviet Union, the Soviet leader Nikita Khrushchev delivered a "secret speech" in which he criticized actions taken by the Stalin regime, particularly the purges of the military and the upper Party echelons, and the development of Stalin's cult of personality, while maintaining support for other ideals of Communism by invoking Vladimir Lenin.

Rumours that the Vozhd (Leader) and "Father of the Nations", who had been established as the principal symbol in early Soviet communism, had been denounced by his successor quickly spread throughout the Soviet Union. Although the details were unknown, it came as a real shock to the Soviet society.

Reaction in Georgia

In spite of the communist party's restriction of Georgian nationalism, Khrushchev's policy of de-Stalinization was, paradoxically, a blow to Georgian national pride. The younger generation of Georgians, not fully acquainted with the darker side of Stalin's rule and bred on the panegyrics and permanent praise of the "genius" of Stalin, was proud to consider him being a Georgian that ruled over great Russia, and, as believed widely, dominated the world. Now, Stalin's denigration was seen as a symbol for the mistreatment of Georgian national consciousness at the hands of the Russian/Soviet rulers.

Patriotic sentiment mixed with political protest was further inflamed by the sarcastic and bitter manner in which Khrushchev ascribed all horrors of the era to the "genial" leader Stalin, whom, as he ironically put it, the Georgians so much enjoyed calling "the great son of the Georgian nation". Eduard Shevardnadze, then a Komsomol leader in Kutaisi and eventually to become President of post-Soviet Georgia, later recalled that Khrushchev's ironic remark on Georgians at the end of his speech was particularly hurtful to the pride of Georgian youth.

The painful reaction caused by de-Stalinization in Georgia has been variously interpreted. It has been seen by many as a revival of Stalinism and by others as the first open expression of Georgian nationalism since the abortive revolt in 1924.  of the Russian Academy of Sciences relates:

The events in Georgia passed largely unreported in the Soviet press and became a taboo theme for several decades to come. What happened can be reconstructed on the analysis of several, though frequently conflicting, contemporary reports, eyewitnesses' accounts and a few surviving secret Soviet documents.

Demonstrations

According to the special report of Vladimir Janjgava, Georgian SSR Minister of Internal Affairs, the unrest began on 4 March 1956, when groups of students gathered to mark the third anniversary of Stalin's death at the Stalin monument at the Kura embankment in downtown Tbilisi. Indignant at Khrushchev's speech, they were aggressive towards the policemen who had thrown a cordon around the area. Georgian communist Parastishvili climbed the Stalin monument, drank some wine from a bottle, smashed the bottle and said: "Let Stalin's enemies die, like this bottle!".

The demonstration gradually grew large, attracting more and more people, who were bringing memorial wreaths to the Stalin monument. The confused local authorities did not actively oppose these activities. The demonstrations in the capital triggered similar protests in other parts of the republic such as Gori, Kutaisi, Rustavi, Sukhumi, and Batumi.

By 6 March the demonstrations in Tbilisi had become more organized and more numerous. That day a closed letter of the CPSU Central Committee, "On the Cult of Personality", a summary of the speech that the General Secretary read on the final day of the Party Congress held last February, was read loud at a special session attended by the Georgian ministers and the local media. News about the surprise session of the Georgian SSR's Ministers Council quickly spread throughout Tbilisi and the situation escalated.

Early on 7 March the students of Tbilisi State University went out onto the streets instead of attending classes, where they were joined by students from other institutes and schoolchildren. The demonstrators went down the main Tbilisi thoroughfare, Rustaveli Avenue, to Lenin Square, stopping at the House of Government and then at the City Hall, chanting the slogan "Long Live Great Stalin! Long Live the Party of Lenin and Stalin! Long Live Soviet Georgia!", accompanied by the cacophony of car sirens and horns. Having overcome the police resistance, the protesters gathered anew at the Stalin monument.

Protesters worked out their demands to authorities: an official holiday day on 18 December (Stalin's birthday), publishing of articles devoted to Stalin's life in all local newspapers, showing of films The Fall of Berlin and The Unforgettable Year 1919 by Mikheil Chiaureli (both films were typical cinematic pieces of Stalin's cult of personality) in cinemas and invitation of the Chinese marshal Zhu De, who was at that time visiting Georgia, to the meeting. By the end of day, the number of demonstrators reached 70,000. The central Soviet Ministry of Internal Affairs initially underestimated the scale of the protests, and the information based on the minister Janjghava reached the Central Committee later on 8 March.

By that time, the city had become paralyzed. The meetings were simultaneously held in several places, especially in Lenin Square and at the wreath-covered Stalin monument. The central streets were full of the demonstrators who loudly denounced Khrushchev, demanded that Stalin be rehabilitated and that his anniversary be allowed, and specifically asked Vyacheslav Molotov to defend Stalin's name. Barricades were raised, buses and cars overturned. The crowd directed traffic and in several cases even stopped it. Several clashes broke out with the drivers who resisted and with the police. When several activists were arrested, the demonstrations grew even more massive and the crowd became more aggressive. The Georgian first secretary, Vasil Mzhavanadze, addressed the protesters and the visiting Chinese marshal Zhu De greeted the crowd, but he refused to visit the Stalin monument and the demonstrations did not disperse.

As the demonstrations continued, the local government began to lose control over the situation. Paralyzed by the scale of the protests and the demonstrators' appeal to Georgian patriotism and manifested communist loyalties, the police reacted more and more sluggishly. Early on 9 March the authorities tried to defuse the tensions and allowed the celebration of the anniversary to be held. But the belated attempts at concession did not yield any result. Later that day, at the meeting near the Stalin monument, political demands were read aloud in the presence of several party officials.

According to the controversial testimony of Ruben Kipiani, later tried as an author of this petition, the demands were: first, return of the "closed letter" on Stalin to the CPSU Central Committee; second, removal of Anastas Mikoyan, Nikolai Bulganin, and Nikita Khrushchev from both party and government positions; third, creation of a new government; fourth, release of the Azerbaijan SSR first secretary Mir Jafar Baghirov from prison; fifth, promotion of the Soviet Georgian officials Akaki Mgeladze and Mzhavandze to the Central Committee Presidium; sixth, appointment of Stalin's son Vasily to the Central Committee; seven, institution of an amnesty. It was decided to send approximately ten persons to the nearby Communications Building in Rustaveli Avenue in order to send a telegram to Moscow.

A parallel rally at Kolmeurneobis Square grew increasingly anti-Soviet. People were singing the long-suppressed anthem "Dideba" and waving flags of pre-Soviet Georgia. When some persons in civilian dress interfered, fighting broke out. Leaflets appeared next. According to the eyewitness and Georgian-Jewish author Faina Baazova (daughter of David Baazov), the leaflets called for the secession of Georgia from the Soviet Union, a demand not heard previously.

The events that followed are less clear. Later that day, the decision to bring troops of the Transcaucasian Military District, then commanded by Col. Gen. Ivan Fedyuninsky, into the matter was made in Moscow. The predominantly Georgian units stationed in the area were not deployed because of suspected unreliability, however. The Soviet Interior Ministry officials reported that Tbilisi had gone out of control. They claimed that the demonstrators, many of whom were allegedly drunk and armed, were pillaging the city, contemplated the pogroms of ethnic Russians and Armenians, and planned to seize the government buildings.

The same evening, the authorities broadcast though radio an appeal calling the rallies to cease and announced that the commander of Tbilisi garrison, Major General Gladkov, was introducing a curfew beginning at midnight on 10 March. Many protesters sensed an approaching threat and began to leave the city center. Close to midnight, however, people learned that the delegation sent into the Communications Building had been detained, ostensibly for verification of identity. The crowd rushed to rescue the delegates and a clash with the soldiers guarding the building ensued. The troops started firing into the crowd to prevent the protesters from storming the building. Simultaneously, tanks moved to oust the demonstrators from Lenin Square and at the Stalin monument. The protesters tried to resume rallies on 10 March, but they were again dispersed by the troops. Several dozens, if not hundreds, died in this crackdown. As no official report exists, various estimates put the number of casualties from 106 to 800. Hundreds were wounded and injured. Over 200 were arrested in the ensuing reprisals and many were subsequently deported to labor camps in Siberia.

Consequences
The March 1956 rallies widened rifts within the Georgian Communist Party, as several officials expressed solidarity with the people. In July 1956, the Central Committee in Moscow issued a resolution critical of the Georgian Communist leadership, and in August the second secretary in Tbilisi was replaced by a Russian. Yet, Mzhavanadze was successful in pacifying Georgians by minimizing the number of victims in his interviews and sponsoring a program of lectures to spread the party's new views. For his success, Mzhavanadze was raised to candidate membership in the Central Committee Presidium in June 1957.

Although no apparent attempts at defying the Soviet rule in Georgia were to be made until April 1978, the grudges against the central government in Moscow continued to be held. Many in Georgia held Khrushchev personally responsible for ordering the army to fire on the protesters. The Tbilisi events made Georgia's deviance from the rest of the Soviet Union, with the possible exception of the Baltics, apparent. The loyalty to the Union was compromised and an anti-Soviet sentiment became an essential feature of the reemerging Georgian nationalism. As Irakli Khvadagiani, affiliated with the SovLab research laboratory, has argued, the events contributed to self-victimization and nationalism.

It was in the immediate aftermath of the 1956 event that the first Georgian underground groups calling for an outright secession from the Soviet Union appeared. They were typically small and weak and the Soviet authorities were able to quickly neutralize them. However, they gave origin to a new generation of dissidents, such as Merab Kostava and Zviad Gamsakhurdia, both teenage participants of the March 1956 rally, who would lead Georgia into its struggle for independence in the 1980s.

In Georgia, groups such as SovLab lead commemoration ceremonies for the victims of Stalinism, also in an effort to address the legacy of pro-Stalin sentiment.

See also
Cult of personality
De-Stalinization
1978 Tbilisi Demonstrations
9 April tragedy
Hungarian Revolution of 1956
Poznań 1956 protests
Prague Spring

References

Citations

Further reading

External links
 RusArchives.ru: 1956 photo of the Stalin monument (now removed) in Tbilisi.
Revolutionarydemocracy.org: Soviet journalist about the incidents in Georgia, March 1956.
Soviethistory.org: L. Piradov's Criticism of Student Behavior, 1956.

1956 in Georgia (country)
1956
Georgian Soviet Socialist Republic
Political repression in Georgia (country)
Political repression in the Soviet Union
1956 in the Soviet Union
De-Stalinization
Anti-revisionism
Protests in the Soviet Union
Massacres in the Soviet Union
Rebellions in the Soviet Union
Riots and civil disorder in the Soviet Union
Demonstrations
Conflicts in 1956
March 1956 events in Europe
1956 riots
1956 protests
1950s in Tbilisi
1956 murders in the Soviet Union

1956 Georgian demonstrations


Steve Bendelack is an English filmmaker and television director who has worked primarily on comedy programmes.

Originally an assistant to Peter Fluck and Roger Law on satirical TV puppet show Spitting Image, Bendelack went on to direct the show in later years. He also directed The Mary Whitehouse Experience, The Royle Family, The League of Gentlemen, Dark Ages, Randall and Hopkirk (Deceased), Cowards and the first series of Little Britain.  He also directed the BBC3 pilot for The Mighty Boosh, in 2003, but was replaced by Paul King for the series proper. He also produced the opening scene for the 1990s edition of Whose Line Is It Anyway? for a short period, but stopped midway through the series. Bendelack has directed the feature films The League of Gentlemen's Apocalypse, Mr. Bean's Holiday and The Harry Hill Movie. Bendelack also directed the first series of Friday Night Dinner and the miniseries Ill Behaviour.

References

External links

Living people
British film directors
British television directors
Year of birth missing (living people)

Steve Bendelack


Edmund Blampied (30 March 1886 – 26 August 1966) was one of the most eminent artists to come from the Channel Islands, yet he received no formal training in art until he was 15 years old. He was noted mostly for his etchings and drypoints published at the height of the print boom in the 1920s during the etching revival, but was also a lithographer, caricaturist, cartoonist, book illustrator and artist in oils, watercolours, silhouettes and bronze.

Early years
Edmund Blampied (in Jèrriais Edmond Bliampid) was born on a farm in the Parish of Saint Martin, Jersey in the Channel Islands on 30 March 1886, five days after the death of his father, John Blampied. He was the last of four boys and was brought up by his mother, Elizabeth, a dressmaker and shopkeeper mostly in the Parish of Trinity, Jersey. His first language was Jèrriais. He finished parochial school at the age of 14 and went to work in the office of the town architect in Saint Helier, the capital of the island. Some of his pen and ink sketches of an agricultural show in 1901 were noticed by Mlle Marie Josephine Klintz, a woman who ran a local private art school. She gave the young Blampied his first formal lessons in art and introduced him to watercolours. His caricatures of politicians such as the Constable of St. Helier, Philippe Baudains, during a local election brought Blampied to the attention of a businessman named Saumerez James Nicolle who offered to sponsor him at art school in London, provided he tried to get a scholarship.

Art school
In January 1903, aged 16 years old and barely able to speak English, Blampied left Jersey to study at the Lambeth School of Art, where he was taught by Philip Connard R.A. and Thomas McKeggie. After taking a test and submitting some drawings, in May 1904 Blampied won a £20 London County Council (LCC) Scholarship for two years to continue his studies at any LCC art school. Later that year he was selected by the head of the Art School to work part-time on the staff of a national newspaper, The Daily Chronicle, which enabled him to earn some extra money. His first published illustrations appeared in The Daily Chronicle on 13 January 1905.

In September 1905 Blampied transferred from the Lambeth School of Art to the London County Council School of Photo-engraving and Lithography at Bolt Court for the final year of his scholarship. There he became friends with the artists and illustrators Salomon van Abbe, John Nicolson and Robert Charles Peter. It is believed that, after finishing full-time studies at Bolt Court in the summer of 1906, he continued to work at The Daily Chronicle and then perhaps at other newspapers while studying in the evenings at Bolt Court, though very little is known about this period in his life.

Etching
Blampied's earliest etchings are dated December 1909, suggesting that he did not begin to learn this technique until the academic year 1909–1910; his teacher at Bolt Court was Walter Seymour. Blampied's prints were first shown at an exhibition of students' work in March 1914, where his etching of an ox cart was noted by the correspondent of The Times. The first print believed to have been published was an etching entitled At the wings (illustration removed) which was reproduced in the Annual Report of Bolt Court in 1914. Blampied later recorded his method of working on zinc for etching and copper for drypoint in Ernest Stephen Lumsden's treatise The Art of Etching, published in 1925. Blampied wrote: "I generally chose from amongst my various drawings one which would tend to produce a successful plate. I do not trace on to the copper, but copy a few important lines on to the bare metal with litho-chalk. I then sketch over this with an ordinary sewing needle and rub in a little black oil-colour. . . From the first my efforts are to improve on the sketch until I consider the plate finished. . . In very few cases do I touch a plate after the first proof, so the majority have but one state. If I am dissatisfied with either the composition or details, I prefer to start afresh upon another plate rather than make radical alterations."

Independent artist
At the end of 1911, while he was developing his skills as an etcher, Blampied decided to try his luck as an independent artist with his own studio. The rapid developments in colour printing and the advertisers of the time were creating a great deal of work for commercial artists for book and magazine publishers in London. The first recorded illustration was for a piece of sheet music entitled Glamour Valse, published in 1911 by Ascherberg, Hopwood and Crew. Blampied quickly gained commissions to provide drawings for Pearson's Magazine, The Sketch, The Sphere, The Ladies Field, The Queen and The Graphic, many of which were signed "Blam", a diminutive first recorded in The Tatler in January 1916. He used this diminutive for much of his commercial work for books and magazines, including three children's books for the Edinburgh publisher Thomas Nelson and Sons, Blam's Book of Fun, The Jolly ABC, and The Breezy Farm ABC, all published in 1921, and for much of his work for Pearson's Magazine, Hutchinson's Magazine, The Bystander, and The Sketch between 1916 and 1939.

Blampied's etchings were brought to the attention of the art dealers and publishers Ernest Brown and Phillips of the Leicester Galleries in London through an introduction from H. Granville Fell, an artist and art editor. The Leicester Galleries offered Blampied a contract and three prints were shown to the general public in February 1915 in the first of a series of exhibitions of prints called Modern Masters of Etching. Blampied's most famous print, called Driving home in the rain, which had been designed in 1913 and transferred to a zinc plate in 1914, was not shown at the Leicester Galleries until November 1916 where, according to a Jersey newspaper of that time, it received a great deal of attention and admiration.

On 5 August 1914 Edmund Blampied married Marianne van Abbe (b Amsterdam 27 August 1887, d Jersey 11 May 1986) who was the sister of Dutch-born artists Joseph and Salomon van Abbe. They had no children. Marianne had acted as his agent for several years before they married, and continued to do so until Edmund's brother John began working as an artist's agent in the 1920s. She was a great support to Blampied in his work and prompted him to travel and see the world.

Military service
When conscription was introduced in Britain in 1916, Blampied returned to Jersey in the autumn of that year to be prepared to be called up for military service. In June 1917 he was classified as not fully fit for active service and was put on guard duties in the Royal Jersey Militia. Although there was a gap in commissions for illustrations while he settled into military life, by early 1918 he had re-established his connections with the Scottish book publishers Thomas Nelson and Sons of Edinburgh, for whom he illustrated many children's books and annuals during and immediately after the war.

Blampied quickly re-established himself in London in September 1919 after his return from Jersey and his etchings were acknowledged by the Royal Society of Painter-Etchers and Engravers who elected him an Associate in March 1920 at the same time as the wood engraver Gwen Raverat. He was elevated to the full fellowship a year later. Blampied was elected at the end of what has been called the "etching revival", but there was still a strong market for prints, mainly as an inexpensive investment in art.

In October 1920 Blampied held his first solo exhibition of 28 etchings and drypoints at the Leicester Galleries, many of which were prints that had been held back because of the war. Driving home in the rain was shown but the copy had been lent, suggesting that all proofs had been sold. His first exhibition of drawings and etchings in the US was held at Kennedy and Company in New York in early 1922.

Gold medal at 1925 Paris exposition
Blampied had started to experiment with lithography in 1920, as two lithographs were shown at his first solo exhibition, but they had been transferred to a lithographers' stone from paper, and he wanted to learn how to draw directly onto the stone. Blampied turned to Archibald Hartrick, a founder member of the Senefelder Club of lithographers, who was teaching at the Central School of Arts and Crafts, and started evening classes there. His early efforts, as with etching, proved to be very successful, especially a print named Splash, splash which caught the eye of the art critic Malcolm Salaman. Salaman included it in 1923 in the first of a long-running series of annual volumes called Fine Prints of the Year, which included examples of Blampied's work each year between 1923 and 1937.

In 1925 the Central School of Arts and Crafts submitted two of Blampied's lithographs with the work of other students to the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, the exhibition that gave rise to the term "Art Deco". The School won a Grand Prix for its works on paper and Blampied was one of 12 students who were awarded a Gold Medal as a collaborateur.

In 1924, having been inspired by an exhibition at the Leicester Galleries of models in wax by Degas, Blampied produced his only bronzes: Kicking horse, in an edition of 15, and Homewards evening (edition unknown). Blampied held another major exhibition of his work, also at the Leicester Galleries, in March 1925 where he showed eight etchings, 25 paintings and 18 drawings, but his bronzes do not seem to have been shown at an exhibition until 1929.

Illustrations for books and magazines
While developing his skills as an etcher and lithographer in the early 1920s Blampied continued to work extensively for magazines and contributed hundreds of political cartoons and decorative drawings to The Bystander magazine between 1922 and 1926; he illustrated short stories by E.F. Benson and other authors in Hutchinson's Magazine, and continued to design book jackets for publishers including Hodder & Stoughton, Herbert Jenkins, T. Fisher Unwin, Eveleigh Nash, William Collins and Constable. The books for T. Fisher Unwin included dust jackets for new impressions in 1923 of eleven of E. Nesbit's famous children's novels and James Hilton's rare second novel called Storm Passage.  Blampied also illustrated a film edition of Black Beauty by Anna Sewell and a new edition of The Roadmender by Michael Fairless.

Blampied held his first exhibition of paintings and drawings, rather than prints, at the Leicester Galleries in February 1923 while continuing regularly to exhibit his prints at the annual shows of the Royal Society of Painter Etchers and Engravers and the Senefelder Club of British lithographers, named after Alois Senefelder, the inventor of the method. Blampied was a member of the Council of both societies for periods between 1924 and 1938.

Travel in Tunisia
At the end of 1926 Blampied gave up his work for books and magazines, sold his house and studio in south London, and travelled in southern France and north Africa for about 5 months. Some of his drawings from this period were bought by Martin Hardie for the Victoria and Albert Museum and for Eton College, a private school. For the next three years after his return to London in April 1927, Blampied designed many prints, mostly using drypoint, dabbled in abstract art during an illness to produce what he called his "Colour symphonies", and produced watercolours and oils for a major exhibition held in May 1929 at the galleries of Alex. Reid and Lefevre.

Blampied as humorist

When the market for etchings collapsed during the great depression in the early 1930s, Blampied reinvented himself as a cartoonist and caricaturist at an exhibition in 1931 called "Blampied's Nonsense Show". This brought out his love of the absurd and led to his only book, obscurely entitled Bottled Trout and Polo. In this period Blampied also published more than 30 humorous lithographs, many of dogs, that are not recorded in either of the catalogues raisonné (see Bibliography).

After illustrating a new edition of Travels with a Donkey in the Cévennes by Robert Louis Stevenson, Blampied returned to work for magazines in 1933 with a weekly series of illustrations of British life in ink and sepia wash for The Illustrated London News. Blampied's few published portraits are known from this time, although he did not particularly enjoy doing them. From photographs he drew small pencil portraits of authors and actors for a magazine called The Queen and an oil of Queen Mary (Mary of Teck) for the Christmas issue in 1934; he collaborated with his great friend and benefactor John St Helier Lander, a noted portrait artist and fellow-Jerseyman, on a picture of King George V; and he did an etching of the Jersey-born politician, Lord Portsea (Bertram Falle), which was shown at the Royal Academy in 1934. After finishing his work for the Illustrated London News in 1935 he continue to work for magazines until 1939, mainly doing occasional cartoons for The Sketch, often featuring two tramps called Horace and George.

Peter and Wendy

In May 1938 Blampied was elected to the Royal Society of British Artists.  Later that year he was asked to prepare some new illustrations for a lavish edition of Peter Pan, the rights to which had been bequeathed by J. M. Barrie to Great Ormond Street Hospital for Children. The Blampied Edition of Peter and Wendy was published in 1939 by Hodder & Stoughton in the UK and by Scribners in the US, and is one of the finest illustrated editions of this book.

German occupation of Jersey
By the time Peter and Wendy was published Blampied had moved from London to Jersey with the intention of settling there. Even though by June 1940 it was clear that the Channel Islands would not be defended from the Germans, Blampied and his Jewish wife had decided to remain on the island. Jersey was occupied on 1 July 1940 and Blampied was trapped there for almost five years by the German Occupation of the island until its liberation on 9 May 1945. During this period he was unable to remain in contact with publishers and art dealers, and had great trouble obtaining artists' materials. But there were two notable commissions.

The lack of currency in Jersey led to a request to design bank notes for the States of Jersey in denominations of 6 pence, 1 shilling, 2 shillings, 10 shillings and 1 pound, which were issued in April 1942. The 6d note was designed by Blampied in such a way that the word six on the reverse incorporated an outsized "X" so that when the note was folded, the result was the resistance symbol "V" for victory. A year later he was asked to design six new postage stamps for the island of ½ d to 3 d, and as a sign of resistance he cleverly incorporated the initials GR in the three penny stamp to display loyalty to King George VI.  The only exhibition of his work during the war years was held at the Cleveland Museum of Art from February 1941 which showed 187 works mostly from the collection of Harold J Baily, an American lawyer who had been a notable patron of Blampied since 1927. The etching A Jersey vraic cart, which Blampied had just managed to have printed and signed before the island was invaded, was issued by the Print Club of Cleveland to coincide with the exhibition.

Blampied did not return to London after the war but remained in Jersey, mostly working in oils and watercolours, except for a series of 12 silhouettes he published in 1950 and a few etchings in 1958, one of which he exhibited at the Royal Academy. In 1948 he designed a postage stamp to celebrate the third anniversary of the liberation of Jersey, and he designed the first Jersey regional stamp, issued in 1964. He continued to sell his watercolours and oil paintings in the UK and US, mostly at the annual exhibitions of the Royal Society of British Artists and through the dealers Annans in Glasgow and Guy Mayer in New York. A large exhibition of his work was held at the John Nelson Bergstrom Art Center and Museum, Neenah, Wisconsin in July 1954. His last exhibition was held at the Barreau Art Gallery of Jersey Museum in October 1964.

Blampied died in Jersey on 26 August 1966, aged 80 years. His ashes were scattered in St Aubin's Bay, Jersey.

Body of work
Blampied was a prolific illustrator and over 600 issues of magazines and newspapers have been recorded containing his work between 1905 and 1939. His illustrations appear in around 50 books, and he designed the dust jacket for some 150 other books, mostly novels. He also designed menu cards, loyal addresses, sheet music, Christmas cards, commercial advertising material and bookplates.

During his career Edmund Blampied produced some 200 etchings and drypoints, and more than 80 lithographs and lithographic prints, many of which depicted rural life in his beloved island of Jersey. His scenes of collecting seaweed, called vraic, from the beaches of the island using a horse and cart were, he said, his signature tune.

Besides his work in the visual arts, he also amused himself and his friends by writing poetry in Jèrriais, signing himself as Un Tout-à-travèrs. In 1933, La Chronique de Jersey, a French language newspaper, considered publishing a booklet of Blampied poems illustrated by the artist himself, but the plans came to nothing. In 1938 two of his poems were set pieces at the Jersey Eisteddfod. In 1944 he wrote words for an insulting anti-Hitler song entitled La chanson Hitleur and provided illustrations for two poems written by Winter Le Brocq.

Blampied's prints, drawings and pictures are in the collections of: Jersey Heritage, Jersey, Channel Islands; Ashmolean Museum, Oxford; British Council, London; British Museum, London; Courtauld Gallery, London; Fitzwilliam Museum, Cambridge, UK; Leeds Art Gallery, UK; Victoria and Albert Museum, London; Walker Art Gallery, Liverpool, UK; McLean Museum and Art Gallery, Greenock, Scotland; Scottish National Gallery of Modern Art, Edinburgh, Scotland; Boston Museum of Fine Arts, Massachusetts, USA; Boston Public Library, Massachusetts, USA; Bowdoin College Museum of Art, Brunswick, Maine, USA; Brooklyn Museum, New York, USA; Cincinnati Art Museum, Ohio, USA; Cleveland Museum of Art, Ohio, USA; Dallas Museum of Art, Texas, USA; Delaware Art Museum, Wilmington, Delaware, USA; Detroit Institute of Arts, USA; Fine Arts Museum of San Francisco, California, USA; Heckscher Museum of Art, New York, USA; Herbert F. Johnson Museum of Art at Cornell University, New York, USA; Indianapolis Museum of Art, Indiana, US; Lehigh University Art Gallery, Bethlehem, Pennsylvania, USA; Mead Art Museum, Amherst, Massachusetts, USA; Metropolitan Museum of Art, New York, USA; Nelson-Atkins Museum of Art, Kansas City, Missouri, USA; Saint Louis Art Museum, Missouri, USA; Saint Joseph College (Connecticut) Art Gallery, USA; Santa Barbara Museum of Art, California, USA; Yale Center for British Art, New Haven, Connecticut, USA; Art Gallery of South Australia, Adelaide, Australia; the Museum of New Zealand, Wellington, New Zealand; the Rijksmuseum, Amsterdam, Netherlands; Israel Museum, Jerusalem; and in the collections of several other British and American museums and American universities.

Illustrations and photograph reproduced by kind permission of the Estate of Edmund Blampied.

Notable books illustrated by Edmund Blampied
All published in the UK unless otherwise noted.

 1912 Me as a Model by W. R. Titterton: Frank and Cecil Palmer and Mitchell Kennerley, US
 1914 The Money Moon by Jeffery Farnol: Sampson Low, Marston.
 1915 The Chronicles of the Imp by Jeffery Farnol:  Sampson Low, Marston.
 1919 Two little scamps and a puppy by Angela Brazil: Thomas Nelson and Sons.
 1919 Terry and Starshine by Amy Whipple: Thomas Nelson and Sons.
 1920 John's visit to the Farm by Evelyn Sharp: Thomas Nelson and Sons.
 1920 At the Farm by Evelyn Hardy: Thomas Nelson and Sons.
 1921 The Jolly ABC by Blam: Thomas Nelson and Sons.
 1921 The Breezy Farm ABC by Blam: Thomas Nelson and Sons.
 1921 Blam's Book of Fun: Thomas Nelson and Sons.
 1922 Black Beauty by Anna Sewell: Jarrolds.
 1923 Untamed. The Horses of the Wild by David Grew: T. Fisher Unwin (3rd imp).
 1923 Trapping Wild Animals in Malay Jungles, by Charles Mayer: T. Fisher Unwin (4th imp).
 1924 The Zoo Book: Thomas Nelson and Sons.
 1924 The Roadmender by Michael Fairless: Duckworth and Co.
 1931 Travels with a Donkey in the Cévennes by Robert Louis Stevenson:  John Lane, The Bodley Head, UK and Dodd, Mead and Company, US.
 1934 Albert goes through by J. B. Priestley: William Heinemann.
 1936 Bottled Trout and Polo, by Blampied: George Newnes.
 1937 Hand-picked Howlers by Cecil Hunt: Methuen.
 1937 Cours de Francais I. En route by E. Saxelby: Ginn and Co.
 1938 More Hand-picked Howlers by Cecil Hunt: Methuen.
 1938 Cours de Francais II. En march by E. Saxelby: Ginn and Co.
 1939 Ripe Howlers by Cecil Hunt: Methuen.
 1939 Cours de Francais III. En France by E. Saxelby: Ginn and Co.
 1939 The Blampied edition of Peter and Wendy by J.M. Barrie: Hodder & Stoughton.
 1940 Hand-Picked Proverbs by Cecil Hunt: Methuen.
 1945 Jersey in Jail 1940 - 45 by Horace Wyatt. Jersey: Ernest Huelin.

Selected bibliography
 Campbell Dodgson (1926). A Complete Catalogue of the Etchings and Drypoints of Edmund Blampied. London: Halton and Truscott Smith.
 Malcolm Salaman (1926). Modern Masters of Etching No. 10 Edmund Blampied. London: The Studio.
 E.L. Allhusen (1926) The etchings of Edmund Blampied. Print Collector's Quarterly 13 (1): 69 - 96.
 Malcolm Salaman (1932). The lithographs of Edmund Blampied. Print Collector's Quarterly 19 (4): 298 -319.
 Harold J. Baily (1937). Blampied: artist and philosopher. Print Collector's Quarterly 24 (4): 363 - 393.
 Marguerite Syvret (1986). Edmund Blampied. London: Robin Garton.
 Jean Arnold & John Appleby (1996). A Catalogue Raisonné of Etchings, Drypoints and Lithographs of Edmund Blampied. Jersey: JAB Publishing.
 Andrew Hall (2010). Edmund Blampied. An Illustrated Life. Jersey: Jersey Heritage Trust.

References

External links
 The Fine Arts Museums of San Francisco, Imagebase
 The Central St Martins School of Art Museum
 Jersey Heritage Trust
 Bibliography of Edmund Blampied

 Jersey in Jail - Video

 Modernes artistas ingléses: Edmund Blampied (from "La Pluma : Revista Mensual de ciencias, artes y letras 12 (1929), june, pp. 52-64, in Spanish, with numerous reproductions)

1886 births
1966 deaths
British illustrators
20th-century British painters
British male painters
British etchers
British stamp designers
British currency designers
Jersey artists
People from Saint Martin, Jersey
Norman-language poets
Alumni of the Lambeth School of Art
Alumni of the Central School of Art and Design
20th-century British poets
Alumni of the City and Guilds of London Art School
20th-century British printmakers
Members of the Royal Society of British Artists
20th-century British male artists

Edmund Blampied


Enaliarctos is an extinct genus of pinnipedimorph, and may represent the ancestor to all pinnipeds. Prior to the discovery of Puijila, the five species in the genus Enaliarctos represented the oldest known pinnipedimorph fossils, having been recovered from late Oligocene and early Miocene (ca. 24–22 million years ago) strata of California and Oregon.

Description

It had a short tail and developed limbs with webbed feet. Unlike modern sea lions, it had a set of slicing carnassials; the presence of slicing teeth (rather than purely piercing teeth as in modern fish-eating pinnipeds) suggests that Enaliarctos needed to return to shore with prey items in order to masticate and ingest them. Still, Enaliarctos had some sea lion-like characteristics, such as large eyes, sensitive whiskers, and a specialized inner ear for hearing underwater.

Evolution
Enaliarctos has been heralded as the ancestor of all known pinnipeds, including the families Otariidae (fur seals and sea lions), Desmatophocidae (extinct seal convergent pinnipeds), Phocidae (true seals), and Odobenidae (walruses). Investigations of the biomechanics of Enaliarctos indicate that it used both its forelimbs and hindlimbs during swimming. Modern fur seals and sea lions only use their forelimbs, while true seals primarily use their hindlimbs for aquatic propulsion; lastly, the extant walrus uses both fore- and hindlimbs for swimming. It has been postulated that the condition in Enaliarctos is ancestral for all pinnipeds, and that forelimb swimming was lost in true seals, while hindlimb swimming was lost in fur seals and sea lions. This is significant because there has been considerable debate as to whether pinnipeds share common ancestry. Interpretation of Enaliarctos indicates that all pinnipeds share a common ancestor (which, if it was not Enaliarctos, must have been something very similar, such as the more newly discovered Puijila darwini, of controversial affinities, though).Enaliarctos emlongi is represented by fossils from coastal Oregon. It existed between 13 and 20 million years ago, during the Hemingfordian age of the Miocene epoch. It was named for renowned fossil collector Douglas Emlong in 1991 by paleontologist Annalisa Berta.

Notes

References

 Berta, A., C.E. Ray and A.R. Wyss. 1989. Skeleton of the oldest known pinniped, Enaliarctos mealsi. Science 244:60-62.
Berta, A. 1991. New Enaliarctos* (Pinnipedimorpha) from the Miocene of Oregon and the role of "Enaliarctids" in Pinniped Phylogeny. Smithsonian Contributions to Paleobiology 69.
 Dixon, D., Moody, R., Jenkins, I. and Zhuravlev, A.Y., Cassell's Atlas of Evolution. Oxford 2001
 Mitchell, E., & Tedford, R.H. 1973. The Enaliarctinae: A new group of extinct aquatic Carnivora and a consideration of the origin of the Otariidae. Bulletin of the American Museum of Natural History, 151(3), 203-284 (available online)
 Wallace, D.R. 2007. Neptune's Ark: From Ichthyosaurs to Orcas. University of California Press.

External links
Enaliarctos at The Paleobiology Database

Oligocene pinnipeds
Miocene pinnipeds
Chattian genus first appearances
Aquitanian genus extinctions
Transitional fossils
Prehistoric pinnipeds of North America
Prehistoric carnivoran genera
Fossil taxa described in 1973

Enaliarctos


Eternal Sunshine of the Spotless Mind is a 2004 American romantic drama movie set in New York. It was released on March 19, 2004. It was directed by Michel Gondry, a well-known French director of Human Nature, and the story of the movie was written by Charlie Kaufman of Being John Malkovich and Adaptation and Pierre Bismuth as well as Gondry. Jim Carrey, famous for his acting in several comedy movies such as The Mask and Bruce Almighty, and Kate Winslet, a heroine of Titanic, starred in this movie as main characters both of whom are struggling to erase their memories of love.

Story
The story of this movie is about memory erasure of a couple who once loved each other but now, suffer from the memories of their love. Joel Barish (Jim Carrey) decides to erase his memory about his girlfriend, Clementine Kruczynski (Kate Winslet), after he discovered that she had removed all of her memories about him. He goes to see Dr. Howard Mierzwiak (Tom Wilkinson) of Lacuna Inc., a firm that helps people erase their painful, heartbreaking memories with a special brain map processing, and asks the doctor to erase his memory. However, while the memory erasure is ongoing, he faces with their earlier memories that are so passionate, sweet and precious that they should never be deleted. Although Joel tries to wake up and stop getting rid of her from his mind, Dr. Mierswiak and his employees keep going on the process. Joel eventually gets to the last memory, disappearing with the last words of Clementine saying, "Meet me in Montauk." Other than the story of main characters, the staff members of Lacuna Inc. such as Mary (Kirsten Dunst), and Patrick (Elijah Wood) also have some related stories which will be a key for the ending of this movie.

Quotes
The director tells people two quotes by Mary's words in the movie. The first one is from Friedrich Nietzsche's saying, "Blessed are the forgetful, for they get the better even of their blunders." The second one is from Alexander Pope's poem, "How happy is the blameless vestal's lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each prayer accepted, and each wish resigned." The title of this movie, "Eternal Sunshine of the Spotless Mind" is from this quote.

Other websites
 Eternal Sunshine of the Spotless Mind Official site
 Eternal Sunshine of the Spotless Mind The Internet Movie Database

2004 romantic drama movies
American romantic drama movies
2000s English-language movies
Movies set in New York (state)
American independent movies
Movies directed by Michel Gondry

Eternal Sunshine of the Spotless Mind


The Bible, also known as the Holy Bible, is a group of religious texts of Judaism and Christianity, it contains both the Old Testament and The New Testament. The word Bible comes from the Greek word τὰ  (biblía) which means "books" in English, because it is many books in one book. It includes laws, stories, prayers, songs, and wise words. A number of texts are both in the Hebrew Bible, used by Jews, and this Christian one.

In considering the source and inspiration for the Bible one must see what the Bible says of itself.  Several verses  of scripture define the source, intent, and Author.  2 Peter 1:21 says this - "No prophecy was ever made by the act of human will, but men moved by the Holy Spirit spoke from God."  Isaiah 55:11 tells us that His is a word of power - "So shall My word be that goes forth from My mouth; It shall not return to Me void, But it shall accomplish what I please, And it shall prosper in the thing for which I sent it."  Hebrews 4:12 says this - "For the word of God is alive and active. Sharper than any double-edged sword, it penetrates even to dividing soul and spirit, joints and marrow; it judges the thoughts and attitudes of the heart."

When talking about the Bible, a book is used to speak about a number of texts. All the texts that make a book are believed to belong together. Most of the time, people believe they were written or collected by the same person. The Bible contains different kinds of such books. Some are history, telling the stories of the Jews, Jesus, or Jesus' followers. Some are collections of wise sayings. Some are God's commands to his people, which he expects them to obey. Some are songs of praise to God. Some are books of prophecy, messages from God that he gave through chosen people called prophets.

Different groups of Christians do not agree which texts should be included in the Bible. Christian Bibles range from the 66 books of the Protestant canon to 81 books in the Ethiopian Orthodox Bible. The oldest surviving Christian Bible is the Codex Sinaiticus, a Greek manuscript from the fourth century AD. The oldest complete Hebrew manuscripts date from the Middle Ages.

How it was written
For a long time the texts were passed on by word of mouth from generation to generation. The Bible was written long ago in Aramaic, Hebrew, and Greek. Translations were made later into Latin and some other languages. Now there are translations in English and many other languages. The books of the Hebrew Bible—what Christians call the Old Testament—were not all written at the same time. It took hundreds of years (about 1200 years). The process of putting it all together began around 400 B.C. The books of the New Testament, which was originally written in Greek, began to be collected together in about 100 A.D. It tells about events that happened between 4 B.C. and 70 A.D. These events included the birth, life, death and resurrection of Jesus.  It also tells how his followers went around spreading his message. It ends with a description of how the world will end when Jesus returns to earth. Most of the writers of the New Testament were apostles of Jesus. These were people who said they had seen Jesus alive after his crucifixion.

Translations and versions
A translation is when a scribe takes the source in one language and writes it in another language. Most texts of the Bible were written in Ancient Greek or in Aramaic or Hebrew.

The first to provide a translation into Latin was Jerome, in the 5th century. He started what is known as the Vulgate today. Wufila translated the Bible into the Gothic language. In the early Middle Ages, people such as Petrus Valdes, and Jan Hus provided translations.

The New Testament was first translated into English in 1382 by John Wycliffe, and his associates translated the Old Testament. The translation was made from the Vulgate Latin bible. Wycliffe did this so that people could see for themselves what the Bible said. The translation was completed in 1382. There were some later editions by other people to the Wycliffe bible, as it is called. It was translated into Middle English, the language of his day. Wycliffe did not have Church permission to do this, but he was protected by John of Gaunt, one of the most powerful men in the kingdom. After both Wycliffe and his protector were dead, the Church declared Wycliffe a heretic in 1415, and banned his writings. The Council of Constance decreed Wycliffe's works should be burned and his remains exhumed (dug up). Why was the Church so opposed? The translations challenged the Church's authority over the people. In church, explaining the Bible was the priest's work. Whatever he said could not be challenged. Once the ordinary people could read the Bible, they might have other opinions.

The next step in translation was done in 1525 by William Tyndale. His translation was into Early Modern English, which we can just about understand today. Tyndale also did it without Church permission. His was the first translation to be printed, and several thousand copies were made. He had no protector, and his fate was terrible. He fled to Europe, but the agents of Thomas More (Chancellor of England at the time) eventually found him. Both Tyndale and his printer were executed by burning at the stake.

Another well known translation is the 1611 King James translation (commonly known as the Authorized King James Version of the Bible).

Some texts were written by historians who tried to show what Ancient Israel was like. Other texts are poems about God and his work. And others were used to make laws. Followers of Judaism and Christianity consider the Bible sacred but they do not all agree about what belongs in the Bible. What is considered part of the Bible changed with history. Different denominations include certain parts or leave out other parts. There is not one single version of the Bible; both the content of the books and their order may change.

Languages do not match. When a translation is done, the translator has to decide between translation word for word, or capturing the sense of the text. When he decides to capture the sense, he will choose other words in the target language. This is called paraphrasing.

Today there are dozens of versions of the Bible. Some are translations and some are paraphrases. A paraphrased version is where people take a translation and put it in their own words. As the Bible has been translated into modern languages, it is also possible that there are different translations of the same texts. The Bible is the best selling book of all time. 2.5 billion to more than 6 billion copies of the Bible have been sold to date. A complete version of the Bible exists in 471 languages. Parts have been translated in 2225 languages. Most Bibles can be found in the British Museum in London.

Old Testament

The Christian Bible is a collection of 66 books. The first 39 books are the Old Testament. It is the first part of the God's story of salvation. "Salvation" is God's long work of saving us from our sins. "Sin" is what happened when people decided to live their own way instead of God's way in the world that God created. That was when God began His great work of saving us from our sins.
To prepare the way, God had to destroy the whole world by a great flood, except for the family of Noah. Then God raised up a new people for Himself. They were the ancient Hebrews. God promised the Hebrews they would bring His salvation to the whole world.
The first five books of the Old Testament are mostly the story of how God chose the ancient Hebrews and taught them his laws. Following these are the twelve books that tell the history of the Hebrews. The next five are books of poetry and wisdom. One of these five books, the "Psalms", is a book of songs showing mainly how God wants to be worshiped.
The last seventeen books of the Old Testament were written by Hebrew prophets. These books tell about God's disappointment with the ancient Hebrews and His promise to bring them back to friendship with Him. The prophets also foretell a great surprise God was planning for the world-He was going to send His very own Son, the Messiah (the "Anointed One"), the Saviour, to save us from our sins.
You can read about this Messiah in the New Testament.
In the Old Testament, Tanakh was mostly written in Hebrew; a few parts were written in Aramaic. This part of the Bible is considered to be holy by Jews as well as Christians.

There are also a few books of the Old Testament's time called Deuterocanonical by those Churches that accept them as part of the Bible, and Apocrypha by those that do not.

New Testament

The second part is called the New Testament. The main part of this book is the story of the life of Jesus Christ. The four different versions of this story in the New Testament are called the Gospels. After the Gospels, there is also the story of what happened to the Church after Jesus's death and resurrection. Part of this is told through letters by early Christian leaders, especially Saint Paul. The final book of the Bible tells about a vision that St. John, one of the disciples of Jesus, had.  In the vision John saw what would happen at the end of the world.  This included judgement for evil and happiness for the people who had followed Jesus.  One of the most quoted verses in the Bible is John 3:16: "For God so loved the world that He gave His one and only Son, that whoever believes in Him shall not perish [die] but have eternal life." NIV

Views about the Bible
People have different ideas about the Bible. Christians believe it is God's Word to people. The Jews believe that only the Old Testament is from God. Protestants and Catholics believe that the Old and New Testaments are God's Word. Catholics also believe that the books called Apocrypha or Deuterocanonical are part of the Bible. Sometimes different denominations disagree over exactly what the Bible means.

According to Islam, the Injil itself is to be followed but it is believed to have been corrupted with time. The Qur'an is believed to be the successor.

Atheists do not believe that gods exist, so the Bible is only an ancient book.

Deists believe in God, but they believe that the Bible was written by people, so they don't see it as important.

Some people in the Bible

 Abraham
 King David
 Isaac
 Jacob
 James (son of Zebedee)
 Jesus Christ
 John the Apostle
 Joseph
 Luke the Evangelist
 Mark the Evangelist
 The Virgin Mary
 Matthew the Evangelist
 Moses
 Joshua
 Noah
 Saint Peter
 Saint Paul
 Timothy
 Adam
 Eve

References

 Entre Galilée et l'Église : la Bible., Une mise au point. Étude. Joël COL. , AutoEdition Méguila, 2003.

Other websites
 The Bible Gateway: the complete Bible online
 Bible Hub: Search, Read, Study the Bible in Many Languages
 The Bible in Simple English

Bible


A cement board is a combination of cement and reinforcing fibers formed into sheets, of varying thickness that are typically used as a tile backing board. Cement board can be nailed or screwed to wood or steel studs to create a substrate for vertical tile and attached horizontally to plywood for tile floors, kitchen counters and backsplashes. It can be used on the exterior of buildings as a base for exterior plaster (stucco) systems and sometimes as the finish system itself.

Cement board adds impact resistance and strength to the wall surface as compared to water resistant gypsum boards. Cement board is also fabricated in thin sheets with polymer modified cements to allow bending for curved surfaces.

Composition

Cement boards are mainly cement bonded particle boards and Fibre cement.

Cement bonded particle boards have treated wood flakes as reinforcement, whereas in cement fibre boards have cellulose fibre, which is a plant extract as reinforcement. Cement acts as binder in both the cases. The fire resistance properties of cement bonded blue particle boards and cement fibre boards are the same. In terms of load-bearing capacity, cement-bonded particle boards have higher capacity than cement fibre boards. Cement particle boards are manufactured from  thickness making it suitable for high load bearing applications.

These boards are made of a homogeneous mixture and hence are formed as single layer for any thickness. Cement fibre boards are more used in decorative applications and can be manufactured from  thickness. Fibre boards are made in very thin layers, making it extremely difficult to manufacture high thickness boards. Many manufacturers use additives like mica, aluminium stearate and cenospheres in order to achieve certain board qualities. Typical cement fiber board is made of approximately 40-60% of cement, 20-30% of fillers, 8-10% of cellulose, 10-15% of mica. Other additives like above mentioned aluminium stearate and PVA are normally used in quantities less than 1%. Cenospheres are used only in low density boards with quantities between 10 and 15%. The actual recipe depends on available raw materials and other local factors.

Advantages
As a tile backing board, cement board has better long-term performance than paper-faced gypsum core products because it will not mildew or physically break down in the continued presence of moisture or leaks. Also cement board provides a stronger bond and support with tiles than typical gypsum board. Cement board is not waterproof. It absorbs moisture as well, but it has excellent drying properties. In areas continually exposed to water spray  (i.e., showers) a waterproofing material is usually recommended behind the boards (i.e., plastic barrier) or as a trowel-applied product to the face of the boards behind the finish system (i.e., liquid membrane).

Disadvantages
One major disadvantage of cement board is the weight per square foot. It is approximately twice that of gypsum board, making handling by one person difficult. Cutting of cement board must also be done with carbide-tipped tools and saw blades. Due to its hardness, pre-drilling of fasteners is often recommended. Finally, cement board is initially more expensive than water resistant gypsum board but may provide better long term value.

Installation
Cement board is hung with corrosion resistant screws or ring-shank nails. Cement board has very little movement under thermal stress, but the boards are usually installed with a slight gap at joints in shower pans, bathtubs, and each other. These joints are then filled with silicone sealant or the manufacturer's taping compounds before applying a finish. The filled joints are taped like conventional gypsum board, but with fiberglass tapes that provide additional water resistance. Combined with a water impermeable finish, cement board is a stable, durable backing board.

Water resistance
There is a class of cement board strictly constructed of a Portland cement based core with glass fiber mat reinforcing at both faces. These panels can be immersed in water without any degradation (excluding freeze thaw cycles). These panels do not require the sealing of edges and penetrations to maintain their structural integrity. These Portland cement based products are smaller in size compared with the gypsum core based products. Typically they range in size from  to . They are, as one would expect, considerably heavier than the gypsum core type panels.

Portland cement based panels are ideal for truly wet locations like shower surrounds and for locations where a Portland cement based thin-set material is used for bonding tile and stone surfaces to a substrate. They are also ideal for floor tile and stone installations over a structural subfloor.

Cement boards may be classified as water resistant as they are not affected by water exposure; however, they do allow penetration and passage of water and water vapor. To waterproof cement boards, a liquid or membrane waterproofing material is applied over its surface.

Cement boards should not be confused with gypsum core backer boards. Gypsum core backer boards are affected by water and should not be used on wet exposure areas.

See also
 Clay panel
 Drywall
 Fiber cement siding
 Fibre cement
 Thermasave, an insulated structural panel

References

External links
 Why is Cement Backer Board So Great? (And What to Use it For! By Lee Wallender, About.com
 iVillage Home & Garden Network, What are pro's and con's of Wonderboard vs Hardybacker
 National Gypsum PERMABASE BRAND CEMENT BOARD

Building materials
Cement
Engineered wood
Wallcoverings

Cement board


Jake Arnott (born 11 March 1961) is a British novelist and dramatist, author of The Long Firm (1999) and six other novels.

Life
Arnott was born in Buckinghamshire.  Having left Aylesbury Grammar School at 17, he had various jobs including labourer, mortuary technician, artist's model, theatrical agency assistant, actor both with the Red Ladder Theatre Company in Leeds and appearing as a mummy in the film The Mummy. He lived in squats such as Bonnington Square and came out as bisexual in his twenties. In 2005 Arnott was ranked one of Britain's 100 most influential LGBT people.

Works
All of the novels by Arnott are engaged in the excavation of secret histories in the teasing out and restoration of events that have taken place beneath the surface of society.
 The Long Firm (1999) tells of Harry Starks, a homosexual East End gangster in the 1960s. It includes references to many real life characters of the time including the Kray twins, Tom Driberg, and Judy Garland. A notable feature is that the story is told from five different points of view. It was adapted as a BBC 2 TV series starring Derek Jacobi, Phil Daniels and Mark Strong, broadcast in July 2004 and nominated for six BAFTAs, winning two.
 He Kills Coppers (2001) tells of a criminal on the run, based on real life cop killer Harry Roberts, the tale starting in 1966, the year of England's World Cup triumph, through to the Margaret Thatcher era, the Greenham Common protests of the 1980s and the Poll Tax Riots. It was later adapted for television, appearing on ITV1 in the UK in March and April 2008.
 truecrime (2003) takes up the story of a gangster found dead at Starks's Spanish villa at the end of The Long Firm. The dead man's daughter wants to flush out Harry Starks, whom she suspects of the murder. She is an actress and uses the making of a film about old time British gangsters as a means of tempting his appearance.
 Johnny Come Home (2006) shifts from a focus on the criminal underworld to the early 1970s with a plot involving The Angry Brigade and a glam rock star inspired by Gary Glitter.  Johnny Come Home had been withdrawn from sale in the UK due to the presence of a villainous former bandleader named Tony Rocco; there is a real former bandleader of that name, who objected to the character's name. The book has now been reissued with the character's name changed to Timothy Royal.
 The Devil's Paintbrush (2009) is set in Paris in 1903, and deals with an encounter between disgraced homosexual former British Army officer Sir Hector MacDonald and the occultist Aleister Crowley.
 The House of Rumour (2012) is set in London, Southern California and Munich during the Second World War and its aftermath. An American SF writer founds a new religion, a rocket scientist dabbles in the black arts and Rudolf Hess makes his dramatic night flight to Scotland after consulting astrologists. Described by the critic Mark Lawson as "A conspiracy thriller filled with bewildering connections, dark conjecture and arcane information, The House of Rumour perhaps most resembles The Da Vinci Code, rewritten by an author with the gifts of characterisation, wit and literacy."
 Doctor Who: A Handful of Stardust (2014) features the sixth incarnation of the Doctor from the popular TV Sci-Fi Series. It was released as part of the "Time Trips" range, which featured works by authors who have never written for the character before.
 The Visa Affair (2016), commissioned radio play for BBC Radio 3 in October 2016. The story of how Joe Orton struggled to get a US Visa to visit the Broadway production of Entertaining Mr Sloane in 1965.
 The Fatal Tree (2017) is set in 18th-century London and follows stories that relate to "The Fatal Tree" i.e. the gallows at Tyburn. The Guardian called it a "Colourful descent into the underworld...absolutely gripping". According to an interview in the Scottish Sunday Herald, "Arnott originally pitched the book as 'Moll Flanders meets A Clockwork Orange', owing to its significant use of 18th-century London street slang. The London Evening Standard described it as "a phantasmagoric walk on the Wild side".

References

External links
 Biography
 article on Arnott– Big Gay Read
 Arnott swaps slammer for glamour – BBC News, 4 August 2006
 Review of The Long Firm and interview with Jake Arnott on Keeper of the Snails, October 2005

1961 births
Living people
Writers from Buckinghamshire
People educated at Aylesbury Grammar School
21st-century English novelists
English crime fiction writers
Bisexual male writers
Bisexual novelists
English bisexual people
English LGBT novelists
English male novelists
21st-century English male writers
20th-century squatters

Jake Arnott


In the United States, the inauguration of the president is the day after an election when a new president-elect is made President. The person has to take an official oath to try to be a good leader. Up until 1933, this day was March 4, but now it is January 20.

United States presidential inauguration


A chaplain is typically a priest, pastor, ordained deacon or other member of the clergy. They usually serve a group of people who are not organized as a mission or church, or who are unable to attend church for many reasons, such as poor health, confinement, or military or civil duties.

Chaplains may be members of a Christian church, or followers of Judaism, Islam or humanism. Schools, colleges, prisons, hospitals, and the armed forces commonly provide the services of chaplains.

Religious occupations

Chaplain


Gatcombe Park is the private country home of Anne, Princess Royal. It is in England between the Gloucestershire villages of Minchinhampton (to which it belongs) and Avening. It is five miles (8 km) south of Stroud and around six miles (10 km) north of Highgrove, the country residence of Prince Charles.

Royal residences in the United Kingdom

Gatcombe Park


Charles Square () is a city square in the New Town of Prague, Czech Republic. At roughly 80,550 m² it is one of the largest squares in the world and was the largest town square of the medieval Europe. Founded in 1348 as the main square of the New Town by Charles IV, it was known as Dobytčí trh (Cattle Market) from the 15th century and finally named after its founder in 1848. The central portion of the square was turned into a park in the 1860s.

The square is now one of the main transport hubs of the city centre with Karlovo náměstí metro station and numerous tram lines and busy roads crossing it in all directions.

History

Charles Square originated as a part of the New Town of Prague founded in 1348 by emperor Charles IV. With Wenceslas Square (Horse Market) and Senovážné náměstí (Hay Market) it became one of three main squares of the newly founded town. These squares were connected with one street (today streets Vodičkova and Jindřišská). Charles Square was supposed to be the most important square of the New Town of Prague and probably of the whole of Prague, therefore the Town Hall of the New Town was built there. Despite these plans the most important square later became Wenceslas Square.

In the late 14th century the Corpus Christi Chapel was built in the middle of the square. It was closed in 1784 and demolished a few years later. This chapel was a very important place of pilgrimage in the late 14th and early 15th century, because the holy relics and crown jewels of the Holy Roman Empire were shown there to thousands of pilgrims.

On 30 July 1419 the Hussite Wars broke out in this square, when Hussites led by priest Jan Želivský threw some Catholic councilors from windows of the New Town Hall. This event is called "the First Defenestration of Prague".

In the 17th century the Jesuits started to build their New Town residence on Charles Square. They also founded a new church dedicated to their patron saint and founder of the Jesuit Order, St. Ignatius of Loyola. This church was designed by Carlo Lurago and built in 1655-1677 in the early Baroque style.

On the south side of the square there is a gate to the Church of St. John of Nepomuk "on the Rock" which was built in the high Baroque style in 1730s by Kilian Ignac Dientzenhofer.

Important buildings
New Town Hall (Prague)
Church of St. Ignatius
former Jesuit school
Church of St. John of Nepomuk "on the Rock"
neo-renaissance building of the Czech Technical University in Prague

See also

 Statue of Saint Joseph, Charles Square

References

Literature
 Rygl, Tomáš. Prague: Detailed Picture Guide. Prague: ATP publishing, 2007.

External links

Google Earth of Charles Square
 Charles Square on Prague-wiki

Charles IV, Holy Roman Emperor
Squares in Prague
New Town, Prague
Prague 2

Charles Square


Lothier refers to the territory within the Duchy of Lower Lotharingia, governed by the dukes of Brabant and their successors after 1190 until the end of the Ancien Régime in 1796.

In 1190, at the Diet of Hall in the abbey of Comburg, the Roman Emperor Henry VI decided that the duke of Lower Lotharingia, at that moment Henry I of Brabant, would only have ducal authority within his own Lotharingian territories (the county of Leuven) and his imperial fiefs (the Margraviate of Antwerp, the Landgraviate of Brabant and the domain of the abbey of Nivelles).  The title of duke of Lothier became purely honorific and had no further territorial or judicial authority. A few legal courts of Lothier remained in existence, but they only decided in feudal matters.

Lothier should not be confused with the far greater Lower Lotharingia. It is only applicable to:

 The county of Leuven and Brussels, although the Dukes of Brabant assumed this Carolingian heritage to be allodial.
 The landgraviate, from 1183/1184 Duchy of Brabant, an imperial fief lifted out of the duchy of Lower Lotharingia from about 1085/1086. It included also the advocacy of all ecclesiastic institutions within the landgraviate.
 The Margraviate of Antwerp, a traditional administrative fief of the former Dukes of Lower Lotharingia.
 The advocacy over the abbey of Nivelles, an imperial fief.
 The advocacy over the abbey of Gembloux.

References

Lothier, Duchy
Lothier, Duchy

Dukes of Lower Lorraine
States and territories established in 1190
States and territories disestablished in 1796
1796 disestablishments
Henry VI, Holy Roman Emperor

Duke of Lothier


The Brahmajala Sutta is the first of 34 suttas in the Digha Nikaya (the Long Discourses of the Buddha). The name comes from 'brahma' (perfect wisdom) and 'jala' (net-which-embraced-all-views). The sutta is also called 'Atthajala' (Net of Essence), Dhammajala, (Net of the Dhamma), Ditthijala (Net of Views), Anuttarasangama Vijaya (Incomparable Victory in Battle).

The sutta discusses two main topics: the elaboration of the Ten Precepts (Cula-sila), the Middle Precepts (Majjhima-sila), and the Great Precepts (Maha-sila). Cula-sila deals with the Ten Precepts to be practised by devout buddhists, while Majjhima-sila gives a detailed description of the practice of the sixth, seventh, eighth, and ninth precepts, together with the practise of plant conservation and speech etiquette.

The second and third parts of the sutta discuss the 62 beliefs (ditthi) or "views" held by ascetics in the Ganges plains ( in what is now India) during the life of the Buddha. These are divided into: 18 beliefs related to the past (pubbantanuditthino), and 44 beliefs about the future (aparantakappika).

Many of these beliefs are still relevant in the modern world and thus the sutta provides Buddhist scholars with much information to ponder about the Buddha's teachings.

The elaboration of these beliefs is very detailed, focusing on how the beliefs (faiths) come to be and the way they are described and declared. The elaboration ends with the Buddha's statement about the danger of clinging to these beliefs, as they are still influenced by desire (lobha), hatred (dosa), and ignorance (moha) that its faithful followers will not end in the final liberation but still in the cycle of samsara. Believers of these faiths are compared to small fish in a pond which will be captured by a fine net no matter how much they want to escape, while those who see reality as it is are beyond the net of samsara.

Related pages

Milinda Panha
Aggañña Sutta
Soul
Vipassana jhanas
God in Buddhism
Twelve Nidanas

Other websites
Brahmajala Sutta Translation from UK

Buddhist texts

Brahmajala Sutta (Theravada)


Anusvara (Sanskrit:  )is the diacritic used to mark a type of nasal sound used in a number of Indic scripts.
Depending on the location of the anusvara in the word and the language in which it is used, its exact pronunciation can vary greatly.

In the context of Sanskrit, anusvara may also refer also to the nasal sound itself.

 Bengali: may written as Onushshar, Onushshor, Anusbar, Onusbar, Onuswar

অনুস্বার onushshar in Bengali is written as a circle above a slanted line (ং), and represents /ŋ/. It is used in the name of the Bengali language বাংলা [baŋla]. It has merged in pronunciation with the letter ঙ ungô in Bengali. Although the onushshar is a consonant in Bengali phonology, it is nevertheless treated in the written system as a diacritic in that it is always directly adjacent to the preceding consonant, even when consonants are spaced, apart in titles or banners: বাং-লা-দে-শ bang-la-de-sh, not বা-ং-লা-দে-শ ba-ng-la-de-sh for বাংলাদেশ Bangladesh It is never pronounced with the inherent vowel "ô", and it cannot take a vowel sign (instead, the consonant ঙ ungô is used pre-vocalically).

Devanagari script, anusvara is represented with a dot (bindu) above the letter (e.g. मं).

Writing systems

Anusvara


Dough is a thick, malleable and sometimes elastic paste made out of flour by mixing it with a small amount of water. Dough can be used to make bread, pastries, cookies, muffins, and other foods.

In many parts of central India, people use the quick method of making an instant roasted dough ball or baati. Flat, unleavened breads known as roti, lavash, yufka, matzo, and tortilla are used in many parts of the world today.

Leavened dough, made from dry, ground grains mixed with water and yeast, is used all over the world. It includes all kinds of breads made from wheat, maize, rice and other grains or similar crops used today in the world.

Fried dough foods are common in many cultures. In the United States, "elephant ears" is a common name for fried dough.

In slang, dough is money.

Slang

Dough


Leroy Smart (born 1952), is a reggae singer-songwriter and record producer from Kingston, Jamaica.He met the Playboy Alan Proctor in Benidorm and forged a strong friendship

Biography
Smart was born in 1952 and orphaned at the age of two. He was raised at Maxfield Park Children's Home and educated at Alpha Boys School, where he studied singing, drums, and dancing.

Smart recorded his first single, "It Pains Me", in 1969 for a producer called Mr. Caribbean.   In 1970, he recorded "Ethiopia" for Joe Gibbs and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke. His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977.  Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters.

Smart appeared in the film Rockers along with contemporaries such as Gregory Isaacs and Jacob Miller.

Albums
 Ballistic Affair (1977) Conflict/Channel One (aka The Very Best of Leroy Smart)
 Dread Hot In Africa (1977) Burning Sounds
 Impressions of Leroy Smart (1977) Burning Sounds
 Superstar (1977) Third World/Jackpot
 In London Clinker (1978) Attack
 Jah Loves Everyone (1978) Burning Sounds
 Propaganda (1978) Burning Rockers/Burning Sounds
 Let Everyman Survive (1979) GG's
 Showcase Rub A Dub (1979) GG's
 Disco Showcase (1979) Gussie
 Harder Than The Rest (197?) Tad's
 Reggae Showcase Vol 1 (197?) Imperial
 Too Much Grudgefulness (1981) Jah Life
 She Just a Draw Card (1982) Worldwide Success
 On Top (1983) Live & Learn
 She Love It In The Morning (1983) GG's
 Style and Fashion (1983) Nura
 Exclusive (1984) Dynamite
 Live Up Roots Children (1984) Sunset
 Rockers Award Winners (1985) Greensleeves (with Sugar Minott)
 Back To Back (1985) Volcano (with Junior Reid)
 Bank Account (1985) Powerhouse
 Showcase (1985) Fatman
 We Rule Everytime (1985) Jammy's
 Face To Face Clash (1985) Sunset (with Junior Reid)
 Prophecy a Go Hold Dem (1986) Jah Life/WWS
 Music in the Dancehall (198?), Zion Music Workshop
 Musical Don (1988) Skengdon
 Don of Class (1988) WWS
 Talk About Friends (1993)
 Let Everyman Survive (1993), Jamaican Gold
 Everytime! (1994), RAS
 Leroy Smart Meets Sister Levi (2003), Budgie Entertainments
 Mr. Smart in Dub (2005), Jamaican Recordings
 Private Message (2005), Grapevine
 Jah Loves Everyone + Impressions - CD Album double disc 2019 Burning Sounds
 Propaganda album - 180 gram Vinyl reissue  Burning Sounds
 Impressions - 180 gram Vinyl reissue 2020  Burning Sounds

References

External links
 Discography at Roots Archives.

Jamaican record producers
1952 births
Living people
Musicians from Kingston, Jamaica
Jamaican reggae musicians
People educated at Alpha Boys School

Leroy Smart


In political economy and international relations, conditionality is the use of conditions attached to the provision of benefits such as a loan, debt relief or bilateral aid. These conditions are typically imposed by international financial institutions or regional organizations and are intended to improve economic conditions within the recipient country.

International financial institutions
Conditionality is typically employed by the International Monetary Fund, the World Bank or a donor country with respect to loans, debt relief and financial aid. Conditionalities may involve relatively uncontroversial requirements to enhance aid effectiveness, such as anti-corruption measures, but they may involve highly controversial ones, such as austerity or the privatization of key public services, which may provoke strong political opposition in the recipient country. These conditionalities are often grouped under the label structural adjustment as they were prominent in the structural adjustment programs following the debt crisis of the 1980s.

Ex-ante vs. ex-post
Much debate in types of conditionality centers around ex-ante versus ex-post conditionality. In ex-post conditionality, the country receiving aid agrees to conditions set by the donor or lender that they will carry out after they receive the aid. Later follow-ups determine whether they might receive more aid.
Ex-ante conditionality requires a country to meet certain conditions and prove it can maintain them before it will receive any aid.

Traditionally, the IMF lends funds based on ex-post criteria, which might induce moral hazard behavior by the borrowing country. The moral hazard problem appears when a government behaves in a risky manner in the anticipation that it can turn to the IMF in the case of a crisis. Institutional reforms of the International Monetary Fund, such as the Flexible Credit Line (FCL) in 1999, attempt to reduce moral hazard by relying more on pre-set qualification criteria (i.e. ex-ante).

'Tied' aid
Other types of conditionality that often occur are aid which is tied to be used in a specific way. For example, many countries tie aid to the purchasing of domestic products, although this practice has drastically decreased over the past 15 years. The United Nations Human Development Report in 2005 estimated that only about 8 per cent of bilateral aid is 'tied', down from 27 per cent in 1990. This however varies from country to country with the United Kingdom, Ireland and Norway giving 100 per cent of their aid untied, and Canada, Austria and Spain giving less than 60 per cent.

European Union
The European Union also employs conditionality with respect to enlargement, with membership conditional on candidate countries meeting the Copenhagen criteria and adopting the acquis communautaire.

See also
 Consideration
 Development aid
 Heavily Indebted Poor Countries
 Structural adjustment

References

External links
 World Bank conditionality
 Conditionality in IMF-supported programs - overview
 David Hall and Robin de la Motte, Dogmatic Development: Privatisation and conditionalities in six countries, War on Want
 "The Future of Aid Conditionality", Globalization Institute
 Big Picture TV  Free video clip of Martin Khor (Director, Third World Network) speaking about structural adjustment
 ActionAid, April 2004, "Money talks: How aid conditions continue to drive utility privatisation in poor countries"
 Eurodad, November 2007,  Untying the knots - How the World Bank is failing to deliver real change on conditionality
 European Network on Debt and Development reports, news and links on conditionality.

International development
Anti-corruption measures

Conditionality


Ralph Eleaser Whiteside Earl (born 1785–1788; died Nashville, Tennessee September 16, 1838), was an American painter known as the "court painter" to President Andrew Jackson. He also painted the portrait of Rachel Jackson.

Biography
Earl was the son of portrait painter Ralph Earl and his second wife Ann Whiteside, and thus a member of the prominent Earle family.  He was born c. 1785–1788, probably in New York City, and likely received his early training in portraiture from his father, whose naive style is reflected in the younger Earl's earliest works.  He traveled to London in 1809, where he studied for a year with John Trumbull and was advised by Benjamin West to learn perspective, anatomy, and three-dimensional illusion. He remained in England until 1814, living with his maternal grandfather and uncle in Norwich and executing portrait commissions. He then traveled to Paris before returning to the United States in December 1815 to create grand-scale history paintings on the European model.

As preparation for a planned project depicting the Battle of New Orleans, Earl met General Andrew Jackson and visited him at his Tennessee home, The Hermitage, in January 1817. Earl painted portraits of Jackson and his family and married Mrs. Jackson's niece Jane Caffery on May 19, 1819.  She died in childbirth in 1820, as did their son.

After his wife's death, Earl became Jackson's close friend and lived with him at The Hermitage. When Jackson became President in 1829, Earl accompanied him to the White House, painting so many portraits of Jackson that he became known as the "Court Painter" and "the King's painter". Earl returned to Tennessee with Jackson after his second term of office and died at The Hermitage on September 16, 1838.

Works

References

1780s births
1838 deaths
19th-century American painters
American male painters
American portrait painters
Painters from New York City
19th-century American male artists

Ralph Eleaser Whiteside Earl


Bughouse chess (also known as transfer chess or exchanged chess) is a version of the game chess. It is played by four people in two teams. Each team has two players. Teammates sit next to each other, and use opposite colored pieces. (This means that one player on a team will have white pieces and the other will have black pieces.) The game is played on two chess boards. Two chess clocks can also be used. Two games of chess are played in at the same time. If a player one game captures a piece, following the regular rules of chess, they give that piece to their partner to use in the other game. The partner can put the piece on the board instead of making a normal move. Pawns can not be placed in the first or last row but other pieces can be placed in any empty space.

If one player wins, that team wins the match.

The game is usually played with a clock, which is often set from as short as one minute (usually when played online) to five minutes or longer. If a player runs out of time, that player's team loses.

There are many variations in how to play bughouse; most of these variations have to do with pawns.

Chess variants

Bughouse chess