Chris Johns (born 14 March 1964) is an Australian former rugby league footballer who played in the 1980s and 1990s.  He played in the centres, achieving representative honors for Australia and New South Wales. His club football career was spent with the St. George Dragons and Brisbane Broncos, as well as two spells in England, first with Castleford (Heritage No. 653) in 1986-87 and then Barrow in 1989–90. After retiring from the playing field, Johns worked in the administration of the Brisbane Broncos and Melbourne Storm clubs.

Playing career
Although born in Queensland, Johns was raised in the St George District of Sydney. Johns played his junior rugby league for Penshurst RSL.

Johns made his first grade début for St. George during the 1984 NSWRL season and the following year played as a reserve back for St. George in their 6–7 loss to Canterbury in the Grand Final after earlier playing in the Dragons winning reserve grade grand final side.

Johns played left-, i.e. number 4, in the 31–24 victory over Hull F.C. in Castleford's 1986 Yorkshire County Cup Final during the 1986–87 season at Headingley Rugby Stadium, Leeds, on Saturday 11 October 1986. Johns then moved to the New South Wales Rugby Football League premiership's newly created Brisbane Broncos in 1988.

In 1989 Chris Johns (despite being born in Queensland) became the first Queensland based player to play State of Origin for New South Wales when he made his début for the Blues on the wing for Game 1 of the 1989 State of Origin series at Lang Park, the home of the Broncos. Johns was the top try-scorer of the 1989 Brisbane Broncos season

Johns went on to play 10 games for NSW between 1989 and 1994, scoring 3 tries. Although a centre at club level, Johns pace saw him play mainly on the wing or from the bench in representative sides with Australia blessed with top class centres in Mal Meninga, Laurie Daley, Dale Shearer, Andrew Ettingshausen and Brad Fittler.

At the end of the 1990 NSWRL season, and despite not playing for NSW in the 1990 State of Origin series, Johns was selected for the 1990 Kangaroo tour of Great Britain and France where he played in 11 tour games and scored 4 tries on tour. Chris Johns made his test début for Australia as a reserve back in the final game of the tour against France at the Stade Gilbert Brutus in Perpignan.

During 1991 Johns played in NSW 1–2 series loss to Queensland in the 1991 Origin series and was then chosen for all three mis-season Trans-Tasman Tests against New Zealand, making his run on début for Australia in the 1st Test loss to the Kiwis at Olympic Park Stadium in Melbourne. Following the end of the 1991 season, Johns was part of the Australian touring side to Papua New Guinea, playing in both tests against the Kumuls.

Johns continued good form saw him play on the wing during Game 3 of NSW's 2-1 1992 State of Origin series win over Qld. That year saw the 1992 Great Britain Lions tour of Australia and New Zealand with Johns selected as a reserve for the 2nd Test against the Lions at Melbourne's Princes Park where he scored his 1st test try in Australia's shock 10–33 loss. After being overlooked for the opening test, Johns was called into the side to replace Brad Fittler who was given leave from the team following the death of his Penrith teammate Ben Alexander. Johns retained his spot for the 3rd test in Brisbane and helped Australia retain The Ashes which they have held since 1973. Following this Johns was selected for what would be his last test for Australia as a reserve back, scoring his 2nd test try in the 36–14 win over Papua New Guinea in Townsville.

In the weeks following the Broncos maiden Grand Final over St. George in 1992, Johns travelled with the Broncos to England, where he played at centre in the 1992 World Club Challenge against British champions Wigan at Wigan's famous Central Park, helping Brisbane become the first Australian club to win the match in Britain. A week earlier he was a non-playing reserve in Australia's 10–6 win over Great Britain in the World Cup final at Wembley Stadium, London in front of a World Record rugby league test crowd of 73,631 fans (Johns was the only Australian selected in the 17 not to get any game time in the final).

Chris Johns was overlooked for both Origin and Test selection in 1993 but went on to play 24 games and score 9 tries in the 1993 NSWRL season for the Broncos, helping them to a second straight Grand Final win over St. George.

Johns continued to play well for the Broncos in 1994, form which saw him selected for games 2 and 3 for NSW in their 2-1 Origin series win over Qld. Mid-way through the season he was also part of Brisbane's 14–20 loss to Wigan in the 1994 World Club Challenge at Brisbane's ANZ Stadium in front of a still WCC record crowd of 54,220.

Johns had an injury interrupted season for the Broncos in 1995, playing just nine games and scoring 2 tries. His final season before announcing his retirement was the 1996 ARL season, where he played 21 games but surprisingly failed to score a try.

From his début with St. George in 1984 until his retirement following 1996, Chris Johns played in 223 games (52 for St. George, 171 for Brisbane) and scored 57 tries (7 and 50), winning two premierships and one World Club Challenge for the Broncos. He represented NSW on 10 occasions, scoring 3 tries and played in 9 tests for Australia, scoring 2 tries. He also played for Castleford and Barrow in England and represented NSW City Origin on 4 occasions between 1989 and 1994.

Career stats

NSWRL/ARL

Representative

Post-playing
Following retirement Johns worked in the Brisbane Broncos administration before moving south with John Ribot to help set up the new Melbourne Storm club. He was responsible for signing the key players that allowed Melbourne to win the premiership in only their second season. He left the post at the end of 2002.

In 2000 Johns was awarded the Australian Sports Medal for his contribution to Australia's international standing in the sport of rugby league.

In 2005 Johns became the 6th former player inducted into the Broncos official Hall of Fame.

During the 2007 season at the Broncos' 20-year anniversary celebration, the club announced a list of the 20 best players to play for them to date which included Johns.

References

External links
Chris Johns at thecastlefordtigers.co.uk
Chris Johns at yesterdayshero.com.au
Chris Johns at nrlstats.com

1964 births
Living people
Australia national rugby league team players
Australian rugby league administrators
Australian rugby league players
Barrow Raiders players
Brisbane Broncos players
Castleford Tigers players
New South Wales City Origin rugby league team players
New South Wales Rugby League State of Origin players
Rugby league centres
St. George Dragons players
Rugby league players from Sydney

Chris Johns (rugby league)


Fabien Galthié (; born 20 March 1969) is a French rugby union coach and former player, currently the head coach of the France national team.

His usual position was at scrum-half. He played much of his club rugby for Colomiers, and later on in his career, Stade Français. Galthié won 64 caps for France, including playing in four Rugby World Cups, as well as captaining the side at the 2003 World Cup. Former France national coach Bernard Laporte has described him as the greatest scrum-half in French history. He was the IRB International Player of the Year in 2002.

Since retiring as a player, Galthié has coached Stade Français, Montpellier and Toulon in the French Top 14 competition. In 2019 he became an assistant coach of the France national team, and became head coach in 2020. In 2022 he led France to a Six Nations Grand Slam.

Playing career
Born in Cahors, Galthié began his career at a club in Tournefeuille, before joining Colomiers. He made his international debut for France against Romania in June 1991. He was called into France's 1991 Rugby World Cup squad, replacing the injured Pierre Berbizier. At the 1995 Rugby World Cup he played in the semifinal defeat to South Africa.

Galthié was a crucial member of the French team that upset New Zealand in the semifinal of the 1999 Rugby World Cup at Twickenham. In 2000, Colomiers reached the French championship final, but Galthié had to watch from the stands due to a knee injury. The club lost 28–23 to Stade Français, whom he joined the following season. In 2001 Galthié was appointed captain of France. A successful year in 2002, including a Six Nations Grand Slam, saw France dominate the 2002 IRB Awards, with Galthié named Player of the Year, as well as French coach Bernard Laporte being named Coach of the Year.

Galthié captained France at the 2003 Rugby World Cup in Australia, and secured France's bonus point against Scotland in their third game, scoring the fourth try in the game. He did not play in France's final pool game against the United States. Galthié returned for the next game, the quarterfinal against Ireland which they won convincingly, but in the semi-final they lost to England 24–7. Following their semi-final defeat, France contested the third place play-off with New Zealand. Afterwards Galthié announced his retirement from international rugby.

Galthié won his only club trophy on his last competitive match, the French championship final with Stade Français against Toulouse on 7 June 2003 at Stade de France (32–18).

Coaching career
Galthié became the coach of Stade Français in 2004 after head coach Nick Mallet departed the Paris club. Galthié was contacted by Max Guazzini to take up the coaching job. In the first season, Stade Français made it to the final of both the Top 14 and Heineken Cup finals, but were beaten by Biarritz Olympique and Toulouse respectively. The following season Stade Français were beaten by Toulouse in the Top 14 semi-final, and they were knocked out of the Heineken Cup by Leicester. He eventually won the Top 14 by beating Clermont 23–18 in 2007. He left Stade Français in 2008.

He became a TV pundit with the French public national channel France 2 and private radio Europe 1. He joined the Argentina coaching staff during their end-of-the-year tour of Europe in November and December 2008.

Galthié signed a three-year coaching contract with Montpellier in 2010. Galthié led Montpellier to a Top 14 final in his first year. His stint as coach came to an abrupt end at the end of 2014 due to poor relations with the President of Montpellier Rugby Club. In 2017–2018 he coached Toulon.

France
In 2019 Galthié was appointed as vice-head coach of the French national team, having been scheduled to succeed Jacques Brunel as head coach in 2020.

Honours
Six Nations Championship
Winner: 2022
Runner-up: 2020, 2021, 2023
Grand Slam
Winner: 2022
Autumn Nations Cup
Runner-up: 2020
Giuseppe Garibaldi Trophy
Winner: 2020, 2021, 2022, 2023
Dave Gallaher Trophy
Winner: 2021
Auld Alliance Trophy
Winner: 2022, 2023
Trophée des Bicentenaires
Winner: 2022, 2023

References

1969 births
Living people
People from Cahors
French rugby union coaches
French rugby union players
World Rugby Players of the Year
Rugby union scrum-halves
Western Province (rugby union) players
Colomiers Rugby players
Stade Français Paris players
Stade Français Paris coaches
France international rugby union players
France national rugby union team coaches
Montpellier Hérault Rugby
Sportspeople from Lot (department)
Rugby union players from Occitania (administrative region)
Expatriate rugby union players in South Africa
French expatriate rugby union players
French expatriate sportspeople in South Africa
Knights of the Legion of Honour
1991 Rugby World Cup players
1995 Rugby World Cup players
1999 Rugby World Cup players
2003 Rugby World Cup players

Fabien Galthié


The Dinner Detective Murder Mystery Company is a nationwide theatrical production company based within the United States. The Dinner Detective Murder Mystery Company specializes in interactive murder mystery dinner theater entertainment in both public and private show environments.  Created in 2004 by Scott and Kelly O'Brien in Culver City, CA, The Dinner Detective employs actors from The Second City, Improv Olympic, Upright Citizens Brigade and many other improvisational theater schools across the country. They perform original scripts that involve heavy audience interaction as well as a four-course sit down dinner.

History
In 2004, Scott O'Brien, the company's founder and Executive Producer, along with his wife Kelly, started a company based around the idea of forming an improvisational and updated version of the old and dated murder mystery genre.  Assembling a small group of improv actors and rewriting their own original scripts based on actual cold cases, The Dinner Detective began performing their shows in 2004 at San Gennaro Restaurant in Culver City, CA.  In 2006, with the demand for their performances growing and in an effort to promote shows outside of Culver City, the Dinner Detective Murder Mystery opened its second location in Orange County, CA.  In 2007, The Dinner Detective opened its third location in Long Beach, CA.  In January 2008 the first franchise was opened in Boulder, CO.  Since 2009 over 80 locations have been opened nationwide.

Framework
The Dinner Detective has its corporate offices located in Colorado.  All of the individual locations hire and train local actors to perform in their public/private performances.  Through its original and proprietary franchised system, The Dinner Detective has established offices in over 80 cities throughout the United States.

Public shows
Public shows are mainly held inside hotels, but they can also take place in a variety of other venues including restaurants, banquet/conference facilities, and theatres. Shows last about 3 hours during which the audience experiences a multi-act interactive murder mystery while being served a plated three to four-course meal.

Private shows
The Dinner Detective also offers customized private parties for both large and small groups. Private shows are held at an establishment of the customer's choice or at one of the 80+ locations nationwide.  Typical events are corporate awards banquets, team building, employee recognition, birthdays, engagement parties, and family reunions.

See also
 List of dinner theaters

References

Dinner theatre
Companies based in Colorado
Theatre in the United States

The Dinner Detective


Michael John Earl (born 1 November 1944) is a British academic, Formerly Dean of Templeton College, Oxford, Pro-Vice-Chancellor of Oxford University, and Professor of Information Management in the University of Oxford, known for his work on strategic information systems planning.

Biography
Earl was educated at the University of Newcastle upon Tyne (BA) and the University of Warwick (MSc). He is also a Master of Arts of the University of Oxford.

From 1974 until 1976 he was Lecturer in Management Control at Manchester Business School. From 1976 until 1990 he was a Fellow of Templeton College, Oxford, and founding Director of the Oxford Institute of Information Management. He then spent eleven years at London Business School, where he held positions including Professor of Information Management,  Director of the Centre for Network Economy, Deputy Dean, and Acting Dean. During this time he remained an Associate Fellow of Templeton College.

In 2002 he became Dean of Templeton and Professor of Information Management in the University of Oxford. Until 2004 the President of the College was both Chairman of the Governing Body and Head of House. From 2004 Earl was Head of House. On 9 February 2005 his position was approved by The Queen-in-Council. He was also University's Chairman of Executive Education.
As Dean of Templeton, he led a major restructuring of business and management studies in Oxford and then led the merger between Templeton College and Green College. In 2008 he became Pro-Vice-Chancellor (Development and External Affairs) of the university and oversaw most of the active phase of Oxford's £1.3bn fundraising campaign. He retired in 2010 and is now Emeritus Professor of Information Management at Oxford.
He is one of the founders of the annual Emerging Markets Symposium at Green Templeton College. His current research is on IT in mergers and acquisitions and on information strategy. He is a trustee of the Oxford Philharmonic (symphony orchestra), serves on the Finance Board of  the Diocese of Gloucester, and is involved with other voluntary and charitable organisations.

Selected publications
Books
 Earl, Michael J. Management strategies for information technology. Prentice-Hall, Inc., 1989.
 Earl, Michael J. " Perspectives on Management" Oxford University Press, 1983 (and others)

Articles, a selection
Earl, Michael J., Sampler, J. L., and J. E. Short "Strategies for Business Process Reengineering ", Journal of Management Information Systems: Evidence from Field Studies, Journal of Management Information Systems, Vol 12 No 1, Summer 1995
 Earl, M. J. and Bensaou, M. "The Right Mindset for Managing Information Technology", Harvard Business Review, Sept- Oct 1998
Cash, J. I., Earl, M. J. and R. Morison "Teaming Up to Crack Innovation and Enterprise Integration", Harvard Business Review, Nov 2008
Earl, Michael J. "Knowledge Management Strategies: Toward a Taxonomy", Journal of Management Information Systems, Summer 2001
Earl, Michael J. and D. Feeny, "is your CIO Adding Value?" Sloan Management Review, Vol 35, No 3, Spring 1994
 Earl, Michael J. "The new and the old of business process redesign." The Journal of Strategic Information Systems 3.1 (1994): 5-22.
 Earl, Michael J. "Experiences in strategic information systems planning." MIS Quarterly 17.1 (1993): 1-24.
 Rockart, John F., Michael J. Earl, and Jeanne W. Ross. "Eight imperatives for the new IT organization." Sloan management review 38.1 (1996): 43-55.
 Earl, Michael J., and Ian A. Scott. "What is a chief knowledge officer." Sloan management review 40.2 (1999): 29-38.
 Earl, Michael J. "The risks of outsourcing IT." Sloan management review 37.3 (2012).

References

External links
 Debrett's People of Today
 Michael Earl at Formicio

1944 births
Living people
Information systems researchers
Alumni of Newcastle University
Alumni of the University of Warwick
Presidents of Templeton College, Oxford
Fellows of Green Templeton College, Oxford
Academics of the Victoria University of Manchester
Academics of London Business School
Alumni of the Manchester Business School

Michael Earl (academic)


William Joseph Buckner (December 14, 1949 – May 27, 2019) was an American first baseman and left fielder in Major League Baseball (MLB) who played for five teams from  through , most notably the Chicago Cubs, Los Angeles Dodgers and Boston Red Sox. Beginning his career as an outfielder with the Dodgers, Buckner helped the team to the  pennant with a .314 batting average, but a serious ankle injury the next year led to his trade to the Cubs before the  season. The Cubs moved him to first base, and he won the National League (NL) batting title with a .324 mark in 1980. He was named to the All-Star team the following year as he led the major leagues in doubles. After setting a major league record for first basemen with 159 assists in , Buckner surpassed that total with 161 in  while again leading the NL in doubles. Feuds with team management over a loss of playing time resulted in his being traded to the Red Sox in the middle of the  season.

During the  season, Buckner started all 162 games and shattered his own record with 184 assists. Toward the end of the  season, he was hobbled by leg injuries and struggled throughout the playoffs. His tenth-inning error in Game 6 of the 1986 World Series against the New York Mets remains one of the most memorable plays in baseball history; it was long considered part of a curse on the Red Sox that kept them from winning the World Series, and led to years of fan anger and public mockery that Buckner handled graciously before being embraced by Red Sox fans again after their 2004 World Series victory.

After spending his last few seasons with the California Angels, Kansas City Royals, and Red Sox, Buckner became the 21st player in major league history to play in four decades. He ended his career with 2,715 hits and 498 doubles, having batted over .300 seven times with three seasons of 100 runs batted in (RBI). Buckner led his league in assists four times, with his 1985 mark remaining the American League (AL) record. He retired with the fourth-most assists by a first baseman (1,351) in major league history despite not playing the position regularly until he was 27 years old. After retiring as a player, Buckner became a real estate developer in Idaho. He coached a number of Minor League Baseball (MiLB) teams before leaving baseball in 2014.

Early years
Buckner was born in Vallejo, California, and grew up in nearby American Canyon. He and his brothers Bob and Jim, and Jim's twin sister Jan, were raised by their parents, Leonard and Marie Katherine Buckner; his father died in 1966, when Bill was a teenager. His mother was a stenographer for the California Highway Patrol.

He graduated from Napa High School in 1968 after playing on the school's baseball and football teams. While playing football, he was a two-time All-State receiver and also achieved All-America honors twice.

As a baseball player at Napa High School, Buckner hit .667 in 1967 and .529 in 1968 under coach Dale Fisher. As a football player, Buckner is still in the Napa record lists for reception yards in a season (579), career reception yards (963), and career receptions (61). At first, Buckner contemplated attending Stanford or USC, but he eventually chose professional baseball instead.

Buckner was selected by the Los Angeles Dodgers in the second round of the 1968 Major League Baseball draft; his friend Bobby Valentine was the Dodgers' first-round pick. Upon signing with the Dodgers, Buckner was assigned to the Ogden Dodgers of the Pioneer League. He also briefly attended Los Angeles Valley College, USC and Arizona State University. He became a member of the Sigma Chi fraternity while a farmhand with the Dodgers, and roomed with Valentine while attending USC after his first professional season.

Career

Minor leagues (1968–1970)
At age 18, Buckner made his professional debut playing with the Ogden Dodgers of the Rookie Pioneer league in 1968, hitting .344 with 4 home runs and 44 RBI in 64 games. He was teammates with Valentine and Steve Garvey, who also were playing in their first professional seasons. The manager at Ogden was Tommy Lasorda.

In 1969, Buckner played with four Dodger teams, as he advanced quickly in the Dodgers' farm system. He hit .350 with 6 home runs and 36 RBI in 46 games with the Dodgers team in the Arizona Instructional League. He then batted .307 with 7 home runs and 50 RBI with the Class AA Albuquerque Dodgers, and .315 with 2 home runs and 27 RBI in 36 games with the Class AAA Spokane Indians of the Pacific Coast League. While at Spokane, Buckner's manager was once again Lasorda. Buckner was called up to the Dodgers late in the season at age 19, popping up to second base as a pinch hitter for Jim Brewer in the 9th inning of a 4-3 road loss to the San Francisco Giants on September 21 in his only appearance.

Buckner spent April  with the Dodgers, picking up his first hit in a 5-2 loss to the Cincinnati Reds on April 8, but after batting .121 with no home runs or RBI, he was returned to Triple-A Spokane, where he played 111 games under Lasorda after he was given leave to complete finals at USC. He hit .335 with 3 home runs and 74 RBI, playing alongside Garvey, Valentine, Davey Lopes, Tom Paciorek, Bill Russell, Charlie Hough, and Doyle Alexander, among others. Buckner played most of the 1970 season with a broken jaw and with his jaw wired shut. Spokane finished 94–52, and Buckner was again called up to the Dodgers in September. He batted .257 in the final month, with 4 RBI and 5 runs scored.

Los Angeles Dodgers (1971–1976)
Buckner earned a starting job with the Dodgers in  as their opening-day right fielder, and hit his first career home run off Don Wilson of the Houston Astros on April 6, providing the only scoring in a 2-0 road win. Buckner also played some first base with the Dodgers, making 87 starts at first in . However, when Steve Garvey emerged as a Gold Glove first baseman and the National League's Most Valuable Player the following season, Buckner was shifted to left field permanently. Buckner played a supporting role in a baseball milestone on April 8, . Playing left field, he climbed the fence in an attempt to catch Hank Aaron's record 715th home run. He also played in his first World Series that year, which the Dodgers lost to the Oakland Athletics in five games; Buckner hit .250 in the Series, including a home run off Catfish Hunter in Game 3, a 3-2 road loss.

In his Dodgers career, Buckner batted .289 with 38 home runs and 277 runs batted in in 773 games.

Chicago Cubs (1977–1984)

Following the 1976 season, Buckner was traded with Iván DeJesús and Jeff Albert to the Chicago Cubs for Rick Monday and Mike Garman. He had suffered a staph infection in his ankle in 1976, so the Cubs shifted him to first base, the playing position where he remained for the final 14 years of his career.

Whereas early indications seemed to lean toward the Dodgers getting the better end of this deal – with Monday becoming one of the key centerpieces of the Dodgers clubs that went to the  and 1978 World Series – Buckner soon emerged as something of a star for the beleaguered Cubs. On May 17, 1979, in a famous slugfest at Wrigley Field in which the Cubs lost 23-22 to the Philadelphia Phillies, with three homers by Dave Kingman and two by Mike Schmidt, Buckner went 4–for–7 with a grand slam off Tug McGraw and a career-high seven RBI. But when manager Herman Franks resigned late in the season, he made negative comments about several players, including calling Buckner "nuts".

In 1980 Buckner won the NL batting title with a .324 average. He also struck out only 18 times – once every 32 at bats – batting in front of Kingman. Keith Hernandez (.321) and Garry Templeton (.319) finished just behind Buckner in the race for the NL batting title. In the strike-interrupted 1981 season, he batted .311 while tying Cecil Cooper for the major league lead with 35 doubles; he was the Cubs' sole representative at the All-Star Game, where he grounded out to first base pinch hitting for Manny Trillo in the 9th inning of a 5-4 NL victory, their 10th consecutive All-Star win. In 1982 Buckner batted over .300 for the fourth time in Chicago, picked up a career-high 201 hits, drove in 105 runs – the first time he had topped 75 – and recorded 159 assists at first base, breaking Mickey Vernon's 1949 major league record of 155. In 1983 he again led the NL with 38 doubles, but saw his batting average drop to .280, his lowest mark in eight years.

During the  season, Buckner saw a loss of playing time at first base to Leon Durham. Because of his lack of playing time, Buckner was at odds with the Cubs management; in protest, he vowed not to shave until he played two games in a row at first base. Buckner finally shaved between games of a doubleheader on May 24, because he found out he was going to be traded the next day to the Boston Red Sox; the Cubs went on to win their division, reaching the postseason for the first time in 39 years. In eight seasons with the Cubs, Buckner hit .300 with 81 home runs, 235 doubles, and 516 RBI in 974 games.

Boston Red Sox (1984–1987)
Early in the  season, the Red Sox were in the market for an upgrade at first base. On May 25, they acquired Buckner from the Cubs for Dennis Eckersley and Mike Brumley. The Red Sox were 19–25 and in sixth place in the American League East at the time of the trade, but improved to 67–51 the rest of the way to finish the season in fourth place. On September 21, Buckner enjoyed the first five-hit game of his career in an 8–0 road win over the Baltimore Orioles.

Buckner appeared in all 162 games for the Red Sox in , and batted .299 with 16 home runs while posting career highs with 110 RBI, 201 hits and 46 doubles. He was a prototypical contact hitter, and struck out just 36 times in 719 plate appearances to lead the American League in that category in 1985. (He also led the NL in most at bats per strikeout in ,  and , and placed second in , , , and .) In 1985 he also extended his own major league record for assists in a season with 184. The record stood for almost 25 years until the St. Louis Cardinals' Albert Pujols broke Buckner's record with 185 assists in .

On June 5, 1986, Buckner picked up his 1,000th career RBI on a ground out in a 7–5 road loss to the Milwaukee Brewers. On August 21, he again had five hits in a blowout 24–5 road win over the Cleveland Indians. In September, he hit .340 with 8 home runs and 22 RBI, while missing just 3 games in spite of chronic ankle soreness. Dave Stapleton, the Red Sox first baseman before the acquisition of Buckner, began seeing more playing time as a late-inning defensive replacement in September and October. Meanwhile, Buckner became the first major league player to wear Nike high-top baseball cleats professionally in an effort to relieve pressure on his ankles. That season, Buckner hit a career-high 18 home runs, drove in more than 100 runs for the second season in a row, and was a key member of the team that won the American League East by 5-1/2 games. He entered Game 5 of the 1986 American League Championship Series batting just .111 in the Series, and was 0–for–3 in the game when he singled to start a ninth-inning rally which was capped off by Dave Henderson's famous home run. He went 3–for–6 in the final 2 games as the Red Sox came back from the brink of elimination to defeat the California Angels and win the American League pennant.

1986 World Series

The 1986 Red Sox were leading the heavily favored New York Mets 3 games to 2 in the 1986 World Series when Game 6 went into extra innings. For his part, Buckner was batting just .143 against Mets pitching, and he was 0–for–5 in Game 6. When the Red Sox scored 2 runs in the top of the tenth, Boston manager John McNamara chose to have Buckner take the field in the bottom of the inning instead of bringing Stapleton in as a defensive replacement for the ailing Buckner, as he had in Games 1, 2, and 5.

With two outs and no one on base, New York struck back with three straight singles off Calvin Schiraldi, and tied the game on a wild pitch by Bob Stanley. Mookie Wilson fouled off several pitches before hitting a slow roller to Buckner at first base. Aware of Wilson's speed, Buckner tried to rush the play. As a result, the ball rolled to the left side of his glove, through his legs, and into shallow right field, allowing Ray Knight to score the winning run from second base. Had Buckner fielded the ball with Wilson safe at first, the score would have remained tied for the next Mets batter. Had Buckner put out Wilson at first base, Game 6 would have gone to an 11th inning.

Boston led Game 7 by a 3–0 score heading into the bottom of the sixth inning when New York rallied again, scoring 3 runs off Bruce Hurst to tie the game, and 3 more off of Schiraldi in the seventh to take a 6–3 lead. Buckner was 2–for–4 in the game, and scored 1 of Boston's 2 runs in the eighth. However, the Mets also scored twice in the eighth and won 8–5, for their second and most recent World Series championship.

Fallout
Regardless of any of the other perceived shortcomings that led to Boston's loss in the 1986 World Series, Buckner's error epitomized the "Curse of the Bambino" in the minds of Red Sox fans, and he soon became the scapegoat for a frustrated fan base. Buckner began receiving death threats and was heckled and booed by some of his own home fans, often with the false belief or implication that his play alone could have instantly won the series for the Red Sox. Meanwhile, he was the focal point of derision from the fans of opposing teams on the road—especially when he faced the Mets in spring training of 1987—and during his first regular-season at bat at Yankee Stadium. He made his 2,500th career hit on May 19, an RBI single in a 4–1 road loss to the Kansas City Royals, but the Red Sox released Buckner on July 23 after he recorded a .273 batting average, 2 home runs, and 42 RBI in 75 games.

California Angels (1987–1988)
Upon his release from the Red Sox, Buckner signed with the California Angels. For the remainder of the 1987 season, Buckner batted .306 and drove in 32 runs in 57 games. In 76 total games with the Angels, Buckner hit .288 with 3 home runs and 41 RBI.

Kansas City Royals (1988–1989)
At 38 years old, Buckner was released by the Angels on May 9, , just before a road trip that would have brought him to the east coast to face the Yankees and Red Sox. He signed with the Royals shortly after his release and walked into Fenway Park as a player for the opposing team for the first time on July 15. He went 1–for–2 off Roger Clemens with a walk.

In 168 games with the Royals, Buckner hit .239 with 4 home runs and 50 RBI.

Second Red Sox stint (1990)
Buckner returned to the Red Sox in  as a free agent and received a standing ovation from the crowd during player introductions at the home opener on April 9.

Buckner's last home run was against Kirk McCaskill on April 25, 1990 at Fenway Park, the only inside-the-park home run of his career. Despite being one of the slowest runners in baseball, the 40-year-old Buckner circled the bases in the fourth inning when Angels outfielder Claudell Washington crashed into Fenway's 3-foot high right-field wall and somersaulted into the front row of seats.

His return was short-lived; he retired on June 5 with a .186 batting average, 1 home run, and 3 RBI that season. In 526 career games with Boston, Buckner hit .279 with 48 home runs, 112 doubles, and 324 RBI.

Career stats
Buckner was a speedy baserunner until his ankle surgeries in 1975 and 1976 for a severe ankle sprain and bone chips, respectively. He twice finished in the top 10 in the league in stolen bases ( and 1976) and twice led the league in doubles (1981 and 1983). After moving to first base, he played 1,555 regular-season games and made only 128 errors in 13,901 chances.

In 2,517 games over 22 seasons, Buckner batted .289 (2,715–for–9,397) with 1,077 runs scored, 498 doubles, 49 triples, 174 home runs, 1,208 RBI, 183 stolen bases, 450 walks, an on-base percentage of .321, and a slugging percentage of .408. Defensively, he recorded a .991 fielding percentage at first base and at left and right field.

Post-playing career
After Buckner retired from baseball, he moved his family to Idaho where he invested in real estate in the Boise area. One of the housing subdivisions that he developed is named "Fenway Park". He lent his name to and was a minority owner of a local car dealership, Bill Buckner Motors in Emmett, which was in business from 2006 to 2008.

On April 8, , Buckner threw out the first pitch to former teammate Dwight Evans at the Red Sox home opener as they unfurled their 2007 World Series championship banner. He received a two-minute standing ovation from the sell-out crowd. After the game, when asked if he had any second thoughts about appearing at the game, he said, "I really had to forgive, not the fans of Boston, per se, but I would have to say in my heart I had to forgive the media for what they put me and my family through. So, you know, I've done that and I'm over that."

On January 4, 2011, Buckner was named the manager of the Brockton Rox of the Can-Am League. The Rox posted a 51–42 record in 2011, but after the season, the Rox dropped the professional format to join the Futures Collegiate Baseball League. In December, Buckner became the hitting instructor for the Boise Hawks for the 2012 season. The Hawks were the Chicago Cubs affiliate in the Class A-Short Season Northwest League. Buckner announced his retirement from baseball on March 3, 2014. Buckner was inducted into the Napa High School Hall Of Fame in 1997 and the CIF Sac-Joaquin Section Hall of Fame in 2010.

Buckner was inducted into the Baseball Reliquary's Shrine of the Eternals in 2008.

Personal life
Buckner and his wife Jody had two daughters, Brittany and Christen, and a son, Bobby. Bobby was a member of the Texas A&M–Corpus Christi Islanders baseball team.

Death
Buckner died on May 27, 2019, of Lewy body dementia at the age of 69. He was surrounded by his wife Jody and three children at the time of his death.

In a statement, Buckner's family said, "Bill fought with courage and grit as he did all things in life. Our hearts are broken but we are at peace knowing he is in the arms of his Lord and Savior Jesus Christ." Buckner's funeral service was held at Calvary Chapel in Boise, Idaho.

References in popular culture
In the 1974 episode of the TV series ''Emergency!'' entitled "Nagging Suspicion," Buckner is mentioned as "batting .300" by one of the fire fighters reading the newspaper. The series is set in Los Angeles and at the time Buckner was playing for the Dodgers. Charlie Sheen purchased the "Buckner Ball" at auction in  for $93,000, and for a long time, it resided in the collection of songwriter and Mets fan Seth Swirsky, who refers to it as the "Mookie Ball". The ball was on loan for a time from Swirsky to the Mets to display in their Hall of Fame and Museum, and it was among the most popular artifacts for fans to see. On May 3, 2012, Swirsky sold the ball through Heritage Auctions for $418,250.

Buckner made a cameo appearance at the beginning of the sports parody film The Comebacks and was featured in an episode of the HBO series Curb Your Enthusiasm. He also made a cameo appearance in the pilot episode of the short-lived sitcom Inside Schwartz, advising the title character to "just let it go". In 1995, Buckner appeared along with Michael Jordan, Stan Musial, Willie Mays and Ken Griffey Jr. in a commercial for the shoemaker Nike in which Spike Lee, in character as Mars Blackmon, compares Jordan's baseball skills to Musial, Mays, Griffey and Buckner. The punch line is a visual reference to Buckner's 1986 World Series error. His famous 1986 World Series miscue is also referenced in the films Celtic Pride, Rounders, and Fever Pitch. The play is also referenced in an episode of The Simpsons titled "Brother's Little Helper" and in the musical Johnny Baseball. On October 23, 2008, during former Federal Reserve chairman Alan Greenspan's testimony in House hearings on the economic crisis of 2008, Representative John Yarmuth referred to Greenspan as one of "three Bill Buckners". Buckner and Mookie Wilson appeared in an MLB Network commercial for the 2016 postseason, "Catching Up", marking the 30th anniversary of the 1986 World Series and their roles in it.

Buckner is mentioned in The Areas of My Expertise in a series of New England sports references. In the book, John Hodgman describes a (fictional) radio personality and recounts the premonition she had regarding Buckner's infamous error in Game 6 of the 1986 World Series.

The Leonard P. Zakim Bunker Hill Memorial Bridge, in Boston, is colloquially referred to by locals as the Bill Buckner Bridge because traffic goes between the "legs" of the bridge, like Buckner's 1986 World Series fielding error.  The nickname is now spoken fondly, since Buckner and Sox fans thought fondly of each other after the 2004 World Series win.

In the season 2, episode 16 episode of Boston Legal, Tom Selleck's fiancé needs to be reminded of a tragedy to break out of uncontrolled laughter. The first time this has to be done he reminds her that Bambi's mother was shot. The second time Selleck simply says, "Bill Buckner."

See also

List of Major League Baseball career hits leaders
List of Major League Baseball career doubles leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball career runs scored leaders
List of Major League Baseball batting champions
List of Major League Baseball annual doubles leaders
List of Major League Baseball players who played in four decades

References

Further reading
 Bill Buckner's 1986 World Series error

External links

Bill Buckner at Baseball Almanac
Bill Buckner
Bill Buckner at The Baseball Page (via archive.today)

1949 births
2019 deaths
Major League Baseball first basemen
Major League Baseball left fielders
Chicago Cubs players
Boston Red Sox players
Los Angeles Dodgers players
California Angels players
Kansas City Royals players
National League All-Stars
National League batting champions
Albuquerque Dodgers players
Ogden Dodgers players
Spokane Indians players
Arizona Instructional League Dodgers players
Tiburones de La Guaira players
American expatriate baseball players in Venezuela
Chicago White Sox coaches
Minor league baseball managers
Baseball players from Vallejo, California
Baseball players from Boise, Idaho
University of Southern California alumni
Deaths from dementia in Idaho
Deaths from Lewy body dementia
Napa High School alumni

Bill Buckner


"The Origin of the Work of Art" () is an essay by the German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960. Heidegger based his essay on a series of lectures he had previously delivered in Zurich and Frankfurt during the 1930s, first on the essence of the work of art and then on the question of the meaning of a "thing", marking the philosopher's first lectures on the notion of art.

Content
In "The Origin of the Work of Art" Heidegger explains the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

Heidegger begins his essay with the question of what the source of a work of art is. The artwork and the artist, he explains, exist in a dynamic where each appears to be a provider of the other. "Neither is without the other. Nevertheless, neither is the sole support of the other." Art, a concept separate from both work and creator, thus exists as the source for them both. Rather than control lying with the artist, art becomes a force that uses the creator for art's own purposes. Likewise, the resulting work must be considered in the context of the world in which it exists, not that of its artist. In discovering the essence, however, the problem of the hermeneutic circle arises. In sum, the hermeneutic circle raises the paradox that, in any work, without understanding the whole, you can't fully comprehend the individual parts, but without understanding the parts, you cannot comprehend the whole. Applied to art and artwork, we find that without knowledge of the essence of art, we cannot grasp the essence of the artwork, but without knowledge of the artwork, we cannot find the essence of art. Heidegger concludes that to take hold of this circle you either have to define the essence of art or of the artwork, and, as the artwork is simpler, we should start there.

Artworks, Heidegger contends, are things, a definition that raises the question of the meaning of a "thing", such that works have a thingly character. This is a broad concept, so Heidegger chooses to focus on three dominant interpretations of things:
 Things as substances with properties, or as bearers of traits.
 Things as the manifold of sense perceptions.
 Things as formed matter.

The third interpretation is the most dominant (extended to all beings), but is derived from equipment: "This long familiar mode of thought preconceives all immediate experience of beings. The preconception shackles reflection on the Being of any given being." The reason Heidegger selects a pair of peasant shoes painted by Vincent van Gogh is to establish a distinction between artwork and other "things", such as pieces of equipment, as well as to open up experience through phenomenological description. This was actually typical of Heidegger as he often chose to study shoes and shoe maker shops as an example for the analysis of a culture. Heidegger explains the viewer's responsibility to consider the variety of questions about the shoes, asking not only about form and matter—what are the shoes made of?—but bestowing the piece with life by asking of purpose—what are the shoes for? What world do they open up and belong to? In this way we can get beyond correspondence theories of truth which posit truth as the correspondence of representations (form) to reality (matter).

Next, Heidegger writes of art's ability to set up an active struggle between "Earth" and "World". "World" represents meaning which is disclosed, not merely the sum of all that is ready-to-hand for one being but rather the web of significant relations in which Dasein, or human being(s), exist (a table, for example, as part of the web of signification, points to those who customarily sit at it, the conversations once had around it, the carpenter who made it, and so on - all of which point to further and further things). So a family unit could be a world, or a career path could be a world, or even a large community or nation. "Earth" means something like the background against which every meaningful "worlding" emerges. It is outside (unintelligible to) the ready-to-hand.  Both are necessary components for an artwork to function, each serving unique purposes. The artwork is inherently an object of "world", as it creates a world of its own; it opens up for us other worlds and cultures, such as worlds from the past like the ancient Greek or medieval worlds, or different social worlds, like the world of the peasant, or of the aristocrat. However, the very nature of art itself appeals to "Earth", as a function of art is to highlight the natural materials used to create it, such as the colors of the paint, the density of the language, or the texture of the stone, as well as the fact that everywhere an implicit background is necessary for every significant explicit representation.  In this way, "World" is revealing the unintelligibility of "Earth", and so admits its dependence on the natural "Earth". This reminds us that concealment (hiddenness) is the necessary precondition for unconcealment (aletheia), i.e. truth. The existence of truth is a product of this struggle—the process of art—taking place within the artwork.

Heidegger uses the example of a Greek temple to illustrate his conception of world and earth. Such works as the temple help in capturing this essence of art as they go through a transition from artworks to art objects depending on the status of their world. Once the culture has changed, the temple no longer is able to actively engage with its surroundings and becomes passive—an art object. He holds that a working artwork is crucial to a community and so must be able to be understood. Yet, as soon as meaning is pinned down and the work no longer offers resistance to rationalization, the engagement is over and it is no longer active. While the notion appears contradictory, Heidegger is the first to admit that he was confronting a riddle—one that he did not intend to answer as much as to describe in regard to the meaning of art.

Influence and criticism
The main influence on Heidegger's conception of art was Friedrich Nietzsche. In Nietzsche's The Will to Power, Heidegger struggled with his notions about the dynamic of truth and art. Nietzsche contends that art is superior to truth, something Heidegger eventually disagrees with not because of the ordered relationship Nietzsche puts forth but because of the philosopher's definition of truth itself, one he claims is overly traditional. Heidegger, instead, questioned traditional artistic methods. His criticism of museums, for instance, has been widely noted. Critics of Heidegger claim that he employs circuitous arguments and often avoids logical reasoning under the ploy that this is better for finding truth. (In fact, Heidegger is employing a revised version of the phenomenological method; see the hermeneutic circle). Meyer Schapiro argued that the Van Gogh boots discussed are not really peasant boots but those of Van Gogh himself, a detail that would undermine Heidegger's reading. During the 1930s mentions of soil carried connotations which are lost for later readers (see Blood and Soil). Problems with both Heidegger and Schapiro's texts are further discussed in Jacques Derrida's Restitutions - On Truth to Size and in the writing of Babette Babich. A recent refutation of Schapiro's critique has been given by Iain Thomson (2011). Heidegger's notions about art have made a relevant contribution to discussions on artistic truth. Heidegger's reflections in this regard also affected architectural thinking, especially in terms of reflections on the question of dwelling. Refer to the influential work in architectural phenomenology of: Christian Norberg-Schulz, Genius Loci, Towards a Phenomenology of Architecture (New York: Rizzoli, 1980); and see also a recent treatment of the question of dwelling in: Nader El-Bizri, 'On Dwelling: Heideggerian Allusions to Architectural Phenomenology', Studia UBB. Philosophia, Vol. 60, No. 1 (2015): 5-30.

Historian and political scientist Richard Wolin engaged with Heidegger's "ever-mounting respect and critical engagement" with "absolute idealism," particularly in the context of the Heideggerian revival of a pre-Socratic unity of opposites, artist "state founding," poet-legislators, the Herrenvolk as metaphysical peoples, and concealment vis-à-vis "truth in its nature is untruth" in Heidegger in Ruins: Between Philosophy and Ideology (2023).

Editions
Heidegger, Martin. Off the Beaten Track (Cambridge: Cambridge University Press, 2002). Translation of Holzwege (Frankfurt: Vittorio Klostermann, 1950), volume 5 in Heidegger's Gesamtausgabe.

See also
 Being and Time
 Contributions to Philosophy
 Deconstruction
 Hermeneutics
 Postmodernism

Notes

References

Further reading
Renate Maas, Diaphan und gedichtet. Der künstlerische Raum bei Martin Heidegger und Hans Jantzen, Kassel 2015, 432 S., .
Harries, Karsten. "Art Matters: A Critical Commentary on Heidegger's Origin of the Work of Art", Springer Science and Business Media, 2009
Babich, Babette E. "The Work of Art and the Museum: Heidegger, Schapiro, Gadamer", in Babich, 'Words In Blood, Like Flowers. Philosophy and Poetry, Music and Eros in Hoelderlin, Nietzsche and Heidegger' (SUNY Press, 2006)
González Ruibal, Alfredo. "Heideggerian Technematology". All Things Archaeological. Archaeolog, November 25, 2005.
Inwood, Michael. A Heidegger Dictionary. Malden, Massachusetts: Blackwell Publishers Inc., 1999.
Haar, Michel. "Critical Remarks on the Heideggarian reading of Nietzsche". Critical Heidegger. London and New York: Routledge, 1996.
Dahlstrom, Daniel O. "Heidegger's Artworld". Martin Heidegger: Politics, Art, and Technology. New York: Holmes & Meier Publishers, Inc., 1995.
Van Buren, John. The Young Heidegger. Indianapolis, Indiana: Indiana University Press, 1994
Guignon, Charles. The Cambridge Companion to Heidegger. New York, New York: Cambridge University Press, 1993.
Bruin, John. "Heidegger and the World of the Work of Art". The Journal of Aesthetics and Art Criticism, Vol. 50, No. 1. (Winter, 1992): 55-56.
Lacoue-Labarthe, Philippe. Heidegger, Art and Politics: The Fiction of the Political. Oxford: Blackwell Publishing, 1990.
Derrida, Jacques. Restitutions of the Truth in Pointing ['Pointure']. Trans. Geoffrey Bennington & Ian McLeod, Chicago & London: Chicago University Press, 1987.
Stulberg, Robert B. "Heidegger and the Origin of the Work of Art: An Explication". The Journal of Aesthetics and Art Criticism, Vol. 32, No.2. (Winter, 1973): 257-265.
Pöggeler, Otto. "Heidegger on Art". Martin Heidegger: Politics, Art, and Technology. New York: Holmes
Schapiro, Meyer. 1994. "The Still Life as a Personal Object - A Note on Heidegger and van Gogh", "Further Notes on Heidegger and van Gogh", in: Theory and Philosophy of Art: Style, Artist, and Society, Selected papers 4, New York: George Braziller, 135-142; 143-151.

Zaccaria, Gino. "The Enigma of Art. On the Provenance of Artistic Creation". Leiden & Boston: Brill, 2021.(https://brill.com/view/title/59609)

External links
Thomson, Iain, "Heidegger's Aesthetics" The Stanford Encyclopedia of Philosophy (Summer 2011 Edition), Edward N. Zalta (ed.)

1950 non-fiction books
20th century in philosophy
Aesthetics books
Books by Martin Heidegger
German non-fiction books
Books of lectures
1930s in philosophy
Philosophy lectures

The Origin of the Work of Art


Mustard seeds are the small round seeds of various mustard plants. The seeds are usually about  in diameter and may be colored from yellowish white to black. They are an important spice in many regional foods and may come from one of three different plants: black mustard (Brassica nigra), brown mustard (B. juncea), or white mustard (Sinapis alba).

Grinding and mixing the seeds with water, vinegar or other liquids creates the yellow condiment known as prepared mustard.

Regional use
Mustard seeds are used as a spice in South Asia. The seeds are usually fried until they pop.  The leaves are also stir-fried and eaten as a vegetable. Mustard oil is used for body massage during extreme winters, as it is thought to keep the body warm. In South Asian cuisine mustard oil or shorsher tel is the predominant cooking medium. Mustard seeds are also essential ingredients in spicy fish dishes like jhaal and paturi. A variety of pickles consisting mainly of mangoes, red chili powder, and powdered mustard seed preserved in mustard oil are popular.

In North America, mustard seeds are used in spices and condiments. Yellow mustard is popular in the United States and is often used as a condiment in sandwiches and other dishes. Mustard seeds are first ground into a powder and then mixed with other ingredients to create this condiment. Roughly 1,000 seeds are used in manufacturing just 8oz of mustard.

Cultivation
Mustard seeds generally take eight to ten days to germinate if placed under the proper conditions, which include a cold atmosphere and relatively moist soil. Mature mustard plants grow into shrubs.

Yellow mustard has a plant maturity of 85 to 90 days; whereas, brown and oriental mustard have a plant maturity of 90 to 95 days. If the temperature conditions are conducive to growth, a mustard plant will begin to bud five weeks after the seedlings have appeared. The plant will reach full bloom 7 to 10 days later. Brown or oriental varieties of mustard tend to have higher yields compared to yellow mustard. Seed yield is also related to the bloom period. In other words, the longer the bloom period, the greater the seed yield.

Mustard grows well in temperate regions. Major producers of mustard seeds include India, Pakistan, Canada, Nepal, Hungary, Great Britain and the United States. Brown and black mustard seeds return higher yields than their yellow counterparts.

In Pakistan, rapeseed-mustard is the second most important source of oil, after cotton. It is cultivated over an area of 307,000 hectares with an annual production of 233,000 tonnes and contributes about 17% to the domestic production of edible oil.

Mustard seeds are a rich source of oil and protein. The seed has oil as high as 46-48%, and whole seed meal has 43.6% protein.

Production
In 2021, Nepal ranked the highest in mustard seed production, followed by Russia and Canada.

In North America, mustard is produced as a specialty crop. The majority of production is found in upper Midwest United States and Canada. In 2020, the total production of mustard in the United States was .

Other uses
Ground mustard seed meal is used as a natural soil amendment for soil borne disease management in other crops.

Diseases
Mustard seeds carry seed borne pathogens which affect germination rate, as any other seed. Latif et al., 2006 isolate Alternaria, Aspergillus, Chaetomium, Curvularia, Fusarium, Penicillium, and Rhizopus in Bangladesh.

Cultural references

The mustard seed is frequently referenced in world literature, including in religious texts, as a metaphor for something small or insignificant.

In the Bible, Jesus tells the Parable of the Mustard Seed referring to faith and the Kingdom of God. There, Jesus says, "The kingdom of heaven is like to a grain of mustard seed, which is the smallest of all seeds on earth. Yet when planted, it grows and becomes the largest of all garden plants, with such big branches that the birds can perch in its shade''."

There are references to mustard seeds in India from a story of Gautama Buddha in the fifth century BC. Gautama Buddha told the story of the grieving mother (Kisa Gotami) and the mustard seed. When a mother loses her only son, she takes his body to the Buddha to find a cure. The Buddha asks her to bring a handful of mustard seeds from a family that has never lost a child, husband, parent, or friend. When the mother is unable to find such a house in her village, she realizes death is common to all, and she cannot be selfish in her grief.

Jewish texts compare the knowable universe to the size of a mustard seed to demonstrate the world's insignificance and to teach humility.

The mustard seed is mentioned in the Quran: "And We place the scales of justice for the Day of Resurrection, so no soul will be treated unjustly at all. And if there is [even] the weight of a mustard seed, We will bring it forth. And sufficient are We as accountant (21:47)", and according to the Hadith, Muhammad said that he who has in his heart the weight of a mustard seed of pride would not enter Paradise.

See also

 List of mustard brands

References

External links

 The Spruce Eats The History of Mustard as Food
 McCormick.com.au A Keen Mustard History
 Secret Indian Recipe About mustard seed

Spices
Edible nuts and seeds
Indian spices
Brassicaceae

Mustard seed


was a province of Japan in the area of modern Chiba Prefecture.  It lies on the tip of the Bōsō Peninsula (房総半島), whose name takes its first kanji from the name of Awa Province and its second from Kazusa and Shimōsa Provinces. Its abbreviated form name was  or . Awa Province in Shikoku phonetically has the same name, but is written with different kanji (阿波国).
Awa is classified as one of the provinces of the Tōkaidō.  Under the Engishiki classification system, Awa was ranked as a "middle country" (中国) and a "far country" (遠国).

History
Awa was originally one of four districts of Kazusa Province. It was well-known to the Imperial Court in Nara period Japan for its bountiful seafoods, and is mentioned in Nara period records as having supplied fish to the Court as early as the reign of the semi-legendary Emperor Keikō. On May 2, 718 the district of Awa was elevated into status to a full province. On December 10, 741 it was merged back into Kazusa, but regained its independent status in 757. The exact location of the capital of the new province is not known, but is believed to have been somewhere within the borders of the modern city of Minamibōsō, Chiba; however, the Kokubun-ji was located in what is now the city of Tateyama, Chiba as is the Ichinomiya (Awa Shrine) of the province.

During the Heian period, the province was divided into numerous shōen controlled by local samurai clans. These clans sided with Minamoto no Yoritomo in the Genpei War. The history of the province in the Kamakura period is uncertain, but it came under the control of the Yūki clan and the Uesugi clan in the early Muromachi period. However, by the Sengoku period, the Satomi clan had gained control over much of Awa, Kazusa and Shimōsa provinces. The Satomi sided with Tokugawa Ieyasu in the Battle of Sekigahara, but after being implicated in the political intrigues of Ōkubo Tadachika in 1614, were forced to surrender their domains for Kurayoshi Domain in Hōki Province, Awa became tenryō territory administered by various  aside from five small domains created at various times in the Edo period (three of which survived to the Meiji Restoration), with an additional two domains created at the start of the Meiji period. The entire province had an assessed revenue of 95,736 koku.

The various domains and tenryo territories were transformed into short-lived prefectures in July 1871 by the abolition of the han system, and the entire territory of Awa Province became part of the new Chiba Prefecture on June 15, 1873.

Historical districts
Asai District (朝夷郡) – merged into Awa District (along with Hei and Nagasa Districts) on April 1, 1897
Awa District (安房郡) – absorbed Asai, Hei and Nagasa Districts on April 1, 1897
Heguri District (平群郡) – merged into Awa District (along with Asai and Nagasa Districts) on April 1, 1897
Nagasa District (長狭郡) – merged into Awa District (along with Asai and Hei Districts) on April 1, 1897

Domains in Awa Province

Notes

References
 Nussbaum, Louis-Frédéric and Käthe Roth. (2005).  Japan encyclopedia. Cambridge: Harvard University Press. ;  OCLC 58053128
 Papinot, Edmond. (1910). Historical and Geographic Dictionary of Japan. Tokyo: Librarie Sansaisha. OCLC 77691250

External links

  Murdoch's map of provinces, 1903

History of Chiba Prefecture
Former provinces of Japan
States and territories established in the 710s
1868 disestablishments in Japan
States and territories disestablished in 1868
718 establishments

Awa Province (Chiba)


The Idea () is a 1932 French animated film by Austro-Hungarian filmmaker Berthold Bartosch (1893–1968), based on the 1920 wordless novel of the same name by Flemish artist Frans Masereel (1889–1972).  The protagonist is a naked woman who represents a thinker's idea; as she goes out into the world, the frightened authorities unsuccessfully try to cover up her nudity.  A man who stands up for her is executed, and violent suppression by big business greets a workers' revolution she inspires.

Bartosch spent two years animating the film, initially in collaboration with Masereel.  Bartosch used complicated techniques with multiple layers of superimposed animation to create the intricately detailed film.  The film features an electronic music score by Swiss composer Arthur Honegger (1892–1955), possibly the earliest in film history.

Synopsis

A thinker sits by a window, and an idea comes to him in the form of a doll-sized naked woman.  The thinker puts the woman in an envelope and sends her out into the world.  She finds herself in an office building, where the frightened authorities attempt to clothe her, but she soon sheds the clothing.  She becomes involved with a young working class man, and he appeals to the people on her behalf; he is captured and executed, and his coffin is carried through the streets by the people.  Another man presses her into a book, and delivers handbills of her to the frightened people.  She is captured by a businessman, and armed soldiers are sent to put down a revolution of the people; the people are suppressed, and the woman, now white-haired, becomes a star and drifts into the cosmos.

Background

Belgian artist Frans Masereel had had success in Europe in the 1920s with his wordless novels made from woodcuts; he pioneered the genre in 1918 25 Images of a Man's Passion.  Passionate Journey followed the next year and caught the eye of German publisher Kurt Wolff, whose republication of it topped sales of 100,000 throughout Europe.  In late 1929 filmmaker Janine Bouissounouse put Masereel in contact with the Surrealist painter Salvador Dalí, who was interested in including an animated sequence in a proposed film, which was never made.

Berthold Bartosch, born in Austria-Hungary, began his animation career in the Soviet Union and Germany.  He participated in such works as Lotte Reiniger's The Adventures of Prince Achmed (1926) before emigrating to France.  Wolff encouraged Masereel and Bartosch to collaborate on a film adaptation of one of Masereel's wordless novels.  They agreed in 1930 to collaborate on an adaptation of The Idea (1920).

Production

Production took years in a space over the Théâtre du Vieux-Colombier.  The film required 45,000 frames of up to four levels of animation each on layers of glass plate, and up to eighteen camera superimpositions.  Bartosch combined drawings with hinged cardboard cutout characters.  The layered approach exposures took considerable time with Bartosch's limited resources—the room was lit only with a few 100-watt bulbs.

At first the two artists attempted an "animated woodcut" approach, but by March 1931 had rejected it in favour of a "more pictorial" one.  Masereel found animation work tedious and backed out partway through; Bartosch finished the production in mid-1932.  He combined and synthesized various animation techniques he had learned over his career and developed new ones such as blurring back-lit images with soap.  Richard Neupert called Bartosch's methods "a very personal mode of production".  Bartosch was handicapped from birth so that he had great difficulty walking; Richard Neupert speculates this may have accustomed the animator to long, solitary hours of work.

Score

Masereel considered Georges Auric for the score, but found the composer's music "soppy" and a poor match for the work.  Masereel had long been acquainted with the Swiss composer Arthur Honegger via the avant-garde theatre groupe .  Honegger had previously composed film scores only twice, for Abel Gance's La Roue (1923) and Napoléon (1927).  Masereel convinced him to produce a score for The Idea, which Honegger finished by spring 1934.

The sound version of the film appeared in 1934.  Honegger used an ondes Martenot in what is likely the first instance of electronic music in film.  The score is in ten parts:

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Analysis

The film diverges from its source: In the end of Masereel's book, the woman returns to the thinker, while the film ends with the defeat of the woman.  The film blends objective and subjective modes—at times realistic, at others characters can seem indistinct and changeable: the protagonist towers over others in one scene while in another is so small she slips into an envelope.

The art style draws heavily from the German Expressionist-inflected artwork of the book and displays such influences as of Russian Constructivism poster art.  The eerie atmosphere recalls German Expressionist films such as Lang's Metropolis (1927) Ruttmann's Berlin (1927).  The narrative style cuts from scene to scene quickly and employs many superimpositions

Reception and legacy

A private preview of The Idea took place in Paris on 23 January 1932; the Belgian artist Henry van de Velde and the German writers Stefan Zweig and Klaus Mann were amongst the attendees.  Mann lauded it as "of the highest ethical and artistic pathos".  The official première—with Honegger's soundtrack—occurred in London in late 1934.

The sound version found receptive audiences in Europe, though distribution was limited due to censorship over its socialist themes.  Despite objections in the press the Nazis had it suppressed in Germany along with Masereel's other works, and it fell into obscurity.  Honegger went on to become a prolific scorer of films, composing for at least forty.

Bartosch made a number of animated advertisement films in the following years.  He attempted an animated anti-war film in colour called Saint Francis: Dreams and Nightmares, but abandoned the work when he and his wife fled, as the Nazis descended on Paris.  The completed portions disappeared during the Nazi occupation.  A negative of The Idea was rediscovered at the Cinémathèque Française in 1959 and Bartosch participated in its reconstruction.

Film historians continue to praise the work.  Filmmaker Alexandre Alexeieff praised the film's mix of fantasy and "unrelenting reality" and described Bartosch's methods as "like Renaissance painters layer by layer, thus obtaining incredible fineness of tone".  He declared, "It was Bartosch who first dared to give animation the dimensions of great art".  Film historian William Moritz called The Idea "the first  film created as an artwork with serious, even tragic, social and philosophical themes".  Historian Perry Willett wrote that the film is at times unclear, and was "something of a disappointment".  Animation historian Giannalberto Bendazzi assessed The Idea as "one of the rare films in which political commitment does not conflict with lyricism".  Film historian and theorist Rishard Neupert called The Idea "an exotic animated project that combines a wild variety of textures and pacing into a truly unique product with its own rhythm, episodic structure, and frustrating logic".    Historian Perry Willett found the film "something of a disappointment" and unclear at times.

Notes

References

Works cited

Further reading

External links
L'Idee at IMDB

1932 films
1932 animated films
1932 short films
Films based on Belgian novels
Films based on Belgian comics
Frans Masereel
French animated short films
French drama short films
French black-and-white films
French fantasy drama films
Films scored by Arthur Honegger
1930s fantasy drama films
1932 drama films
Censored films
1930s French films

The Idea (1932 film)


Fernando Garfella Palmer (9 August 1989 – 9 August 2020) was a Spanish documentary filmmaker, known for his documentaries about the marine life of the Balearic Islands and for his collaboration with the NGO Proactiva Open Arms.

Biography
Garfella was born in Mallorca, Spain. He was the grandson of the painter Fernando Garfella and elder brother of the journalist Carlos Garfella. Growing up surrounded by the sea, he began diving in his childhood and turned it into his career over time, founding the documentary production company Bogar Films, for which he made approximately 900 dives in the Balearic Islands and their surroundings. In his documentaries he managed to capture images of endangered species such as the pearly razorfish and the long-snouted seahorse, among others.

As a documentarian and rescue worker, Garfella was associated with the NGO Proactiva Open Arms, constantly participating in the rescues of migrants from North Africa to the Spanish coasts. He was also one of the originators and promoters of the Dragonera marine reserve and frequently collaborated with Mallorca Blue, an online platform dedicated to denouncing attacks on the marine environment in the Balearic Islands.

Disappearance and death
While making one of his regular dives near Dragonera on 9 August 2020, Garfella was swept away by a strong current at a depth of over . His girlfriend, seeing that he did not surface, alerted a fellow diver, who tried unsuccessfully to rescue Garfella but suffered decompression sickness and had to be rushed by ambulance to the Juaneda Clinic in Palma de Mallorca. The Underwater Activities Special Group (Grupo Especial de Actividades Subacuáticas) of the Civil Guard initiated an exhaustive search for Garfella's body. On 11 August 2020, Garfella's body was recovered by GEAS at a depth of . The body was transported to the Port of Sóller.

References

External links
Official page of Proactiva Open Arms

1989 births
2020 deaths
Accidental deaths in Spain
People from Palma de Mallorca
Spanish documentary filmmakers
Underwater diving deaths

Fernando Garfella Palmer


The Festival of the Tenth Summer was a music and art festival that took place in Manchester in July 1986. The festival was organised by Factory Records to 'celebrate Manchester' specifically with reference to the first performance by the Sex Pistols at the Lesser Free Trade Hall in Manchester on 4 June 1976. It consisted of ten events, culminating in an all day music festival at the Greater Manchester Exhibition Centre on 19 July 1986. The festival has its own number in the Factory Records catalogue, FAC 151.

The Events
The ten events took place between 12 July and 20 July 1986 and were as follows:

"installation/the other decade" by Peter Saville Associates at the City Art Gallery
"clothes" at The Haçienda, presented, (Andrew Obaje AKA Jelly Universe), Breed 86, Su Barnes, William Tailoring, Dawn Campbell, Geese  by The Haçienda and The Green Room 13 July 1986
"cummins ten", an exhibition by photographer Kevin Cummins at the Cornerhouse
"the back pages" a book by Richard Boon, Cath Carroll and others
Six music events across the city: "the great hall show": Margi Clarke sings 'Chaos in Cancerland' plus The Durutti Column at Manchester Town Hall, 14 July 1986; "Blanco meet Creation at the Factory": The Bodines and James at PSV/The Russell Club, Hulme, 15 July 1986; "The Eagle has Landed" at The International 16 July 1986; "Back in the Cellar": Easterhouse, Happy Mondays and the Weeds at Rafters 17 July 1986; "More labels than one": The Railway Children and Distant Cousins at the Boardwalk 18 July 1986; "Later that night": The Faction at the Gallery 18 July 1986
"the new, new music seminar" at The Gay Traitor, The Haçienda 12–20 July 1986
Merchandising: T-shirt, badge, posters, postcards and boiler suit by Peter Saville Associates and Acme Total Merchandising
"the different kitchen": exposition of music graphics by Malcolm Garrett, Linder, Richard Boon, Peter Saville, Jon Savage, Mark Farrow, David Crow, Ian Swift, Mark Zimmerli, Claus Castenskiold/The Fall, Stephen Horse, The Smiths/Caryn Gough and Trevor Johnson. Curated by Malcolm Garrett / Assorted iMaGes at Cavendish House, Manchester Polytechnic.
Film and Video at the Cornerhouse, including showings of Stop Making Sense, The Great Rock and Roll Swindle, Rude Boy and Born in Flames, as well as the European premieres of Pretty in Pink and Sid and Nancy.
G-Mex – The Tenth Event, an all day festival featuring A Certain Ratio, The Smiths, New Order, The Fall, Cabaret Voltaire, Wayne Fontana and the Mindbenders, Orchestral Manoeuvres in the Dark, Pete Shelley/Buzzcocks, Luxuria, The Worst, Sandie Shaw, John Cale, John Cooper Clarke and Margi Clarke. The event was compered by Paul Morley and Bill Grundy.

See also
List of electronic music festivals

References

Electronic music festivals in the United Kingdom
Culture in Manchester
Music festivals in Greater Manchester

Festival of the Tenth Summer


The Loray Mill strike of 1929 in Gastonia, North Carolina, was a notable strike action in the labor history of the United States. Though largely unsuccessful in attaining its goals of better working conditions and wages, the strike was considered successful in a lasting way; it caused an immense controversy which gave the labor movement momentum in the South.

Background
Located in the south-western piedmont of North Carolina, Gaston County had the ideal resources for manufacturing. Because of the large potential workforce of former sharecroppers and failed farmers, many northern industrialists moved south in search of a reduced cost of labor. World War I brought great prosperity to the southern cotton mills, "fueled largely by government defense orders for uniforms, tents, and war material. Thousands of new jobs opened in the mills, and wages soared to all time highs." This boom was to be short-lived, however, and the prosperity that the workers enjoyed soon disappeared. The luxury items they had purchased on credit were now stretching their budgets so much that they could hardly afford to put food on the table.

Managers introduced the "stretch-out" system in which spinners and weavers not only doubled their work, but also reduced their wages. "I used to tend forty-eight looms," complained a South Carolina weaver in 1929, "while under the stretch-out I have to tend ninety looms and I couldn't do it. Three years ago I was makin' over $19 a week. Now I make $17.70." "By the late 1920s some mill workers' wages sank as low as $5 a week." The owners of the mills insisted on keeping prices down, which caused mill work to become extremely dangerous and dirty.  Often the workdays were so long that the women, who made up a considerable percentage of the workers, were rarely home to raise their children. Upon hearing about the conditions in the Loray Mill, Fred Erwin Beal of the National Textile Workers Union (NTWU), a communist labor union, as well as a member of the Trade Union Unity League, began focusing his attention on the small town of Gastonia.

Strike

On Saturday, March 30, 1929, the union held its first public meeting in Gastonia.  Ellen Dawson, co-director of the strike and vice president of the NTWU, urged workers to stand resolute. The "seemingly frail" woman was in fact a "tough, experienced organizer and superb stump speaker." At 3 pm, Beal took a vote and the workers voted unanimously to strike.

On April 1, 1929 1,800 mill workers from the Loray Mill walked off their jobs to protest intolerable working conditions. The strikers demanded a forty-hour workweek, a minimum $20 weekly wage, union recognition, and the abolition of the stretch-out system.

In response, management evicted families from mill-owned homes. In an effort to retain order, Mayor Rankin asked Governor O. Max Gardner for assistance. He immediately sent 250 National Guard troops who arrived on April 3. The strike escalated throughout the month. Nearly 100 masked men destroyed the NTWU's headquarters on April 18, As a result, the NTWU started a tent city on the outskirts of town that was protected by armed strikers at all times.

The situation continued throughout the next few months as the workers continued to strike despite the return to production at the Loray Mill, making their situation appear hopeless. On June 7, 150 workers marched to the mill to call out the night shift. They were attacked and dispersed by sheriff's deputies. Later that night, four officers including Police Chief Aderholt arrived at the tent city and demanded that the guards hand over their weapons. An altercation ensued and Chief Aderholt was killed. Two of his officers and several strikers were wounded.

Trial

In the aftermath, 71 strikers were arrested. Eight strikers and another eight members of the NTWU, including Beal and Clarence Miller, were indicted for the murder of Sheriff Alderholt. During the trial, a juror went insane after seeing some disturbing evidence. As a result, the judge was forced to declare a mistrial. When news of the mistrial was released, a general wave of terror ran through the countryside, with the anti-strike "Committee of One Hundred" prominent in the vigilante activity.

The defense team included:  Arthur Garfield Hays, who had worked briefly in the Sacco and Vanzetti case,  Dr. John Randolph Neal of the Scopes Trial defense, and Leon Josephson of International Labor Defense, the legal arm of the Communist Party of the USA. The prosecutor was Clyde R. Hoey, a brother-in-law of Governor Gardner.

During the early part of September, mobs of men gathered up strikers and ran them out of the county. These actions came to a head when, on September 14, a truck containing 22 strikers was chased down and fired upon. One female striker, Ella Mae Wiggins, was killed.

In a retrial in the Alderholt case, seven men were charged with his murder, six of whom were Loray Mill employees. All were found guilty of second degree murder and sentenced to lengthy terms of imprisonment by Judge M.V. Barnhill.

Aftermath

Beal and Miller were released on bail and fled to the Soviet Union to avoid their prison sentences. (On their ship were American Communist writer Myra Page and her husband John Markey.) Disillusioned by his life in the USSR, Beal subsequently returned to the United States and surrendered to the authorities in North Carolina. He was later pardoned.

Ella May Wiggins

Ella May Wiggins (also known as Ella Mae Wiggins) was a single mother of nine, four of whom died of whooping cough due to inadequate medical care. Rather than renting a mill-owned house in the mill town, she chose to live in a wooden shack in an African-American hamlet called "Stump Town" where her children were cared for by a local African-American woman. Seeing the union as the best hope for her children, Wiggins became a key leader of the strike, and was very successful in rallying the workers through her songs. Some of her better known works are "Mill Mother's Lament", recorded by Pete Seeger, "Chief Aderholt", and "The Big Fat Boss and the Workers". Woody Guthrie referred to her as "the pioneer of the protest ballad". Wiggins went to Washington, D.C., and spoke with senators in the hallways, trying to impress upon them the dire the working conditions of the Southern mills.

On September 14, 1929, following her return to North Carolina, a pregnant Ella May Wiggins was shot in the chest as she rode in the back of a pick-up truck with her brother, Wes, and 2 other men—all headed to a union meeting in Gastonia. Two car loads of armed men pulled the truck over on the bridge leaving Bessemer City for Gastonia.  The strike collapsed shortly after her murder.

Impact

Overall the strike was not a success, but during the same time period there was a series of other textile strikes throughout the South. The main objective of these strikes was the abolition of the stretch-out, and some met with a measure of success. The success was difficult to come by, though, as strikers were branded by the press as "radicals," and labor organizers as "foreign agitators." "Wherever a strike broke out, state troops were immediately sent and to this show of force were added police, deputy sheriffs, and . . . vigilantes." Over time, this spontaneous uprising of textile workers in the South allowed for the formation of the United Textile Workers, the "first significant breach in southern anti-unionism."

Gastonia novels
Because of the violent and dramatic events surrounding the mill strikes in Gastonia, North Carolina, the labor struggle became a symbol of "the strength, courage, and tenacity" of workers in America. The recognizable incidents taken from actual strikes during the period led to the publishing of no less than six strike novels within four years. These are commonly referred to as the Gastonia novels:
Anderson, Sherwood: Beyond Desire
Dargan, Olive Tilford: Call Home the Heart
Lumpkin, Grace: To Make My Bread
Myra Page: Gathering Storm
Rollins Jr., William: The Shadow Before
Vorse, Mary Heaton: Strike!

"In each of the novels, Gastonia is given as the focus of the universal class struggle, as a set of real events operating within the context of Marxist ideology. . . . The novels take a singular, actual event and offer literary and ideological interpretations which can, in turn, be applied to the reader's own experiences and beliefs." Marxist critics responded favorably to the novels, seeing the strike novel as a way to "deal in one way or another with the literary and philosophical problem of the individual against the collective."  Sherwood Anderson received great acclaim for Beyond Desire and the characters' exploitation and suffocation by capitalism. "Grace Lumpkin's To Make My Bread . . . was so well thought of in Party circles that it was awarded the 1932 Gorky prize, while at the same time it received a favorable review in The New York Times." Most critics, however, agree that Olive Tilford Dargan's Call Home the Heart is "by far the best of those [books] on Gastonia. . . . of all the Gastonia novels it most successfully transcends issues of ideology and class to deal with problems of a universal nature." The Gastonia Novels, while well received in their time, were not widely read. In more recent years several of them have gained a new popularity for their feminist subtexts and treatment of race and social class. "The strike novels emphasize that no lost strike is ever a complete defeat, just as no strike is ever a complete victory."

See also
Loray Mill Historic District

Footnotes

Further reading

 Fred Beal, Proletarian Journey: New England, Gastonia, Moscow. New York: Hillman, Curl, 1937.
 Theodore Draper, "Gastonia Revisited," Social Research, vol. 38, no. 1 (Spring 1971), pp. 3–29. In JSTOR
 Robert W. Dunn and Jack Hardy, Labor and Textiles: A Study of Cotton and Wool Manufacturing. New York: International Publishers, 1931.
 William F. Dunne, Gastonia: Citadel of the Class Struggle in the New South. New York: National Textile Workers Union/Workers Library Publishers, 1929.
 Robin Hood, The Loray Mill Strike. MA thesis. University of North Carolina, 1932.
 Dan McCurry and Carolyn Ashbaugh (eds.), "Gastonia, 1929: Strike at the Loray Mill," Southern Exposure 3/4 (Winter 1974)
 David Lee McMullen, "Strike:The radical insurrections of Ellen Dawson." Gainesville, FL: University Press of Florida, 2010.
 Liston Pope, Millhands and Preachers: A Study of Gastonia. New Haven, CT: Yale University Press, 1965.
 John A. Salmond, Gastonia, 1929. Chapel Hill, NC: University of North Carolina Press, 1995.
 Wiley Cash, The Last Ballad.  New York, William Morrow, an imprint of HarperCollins Publishers, 2017

External links
Charlotte Observer newspaper images at UNC University Libraries

1920s strikes in the United States
1929 in the United States
1929 labor disputes and strikes
Gaston County, North Carolina
Textile and clothing labor disputes in the United States
1929 in North Carolina
Labor disputes in North Carolina
Riots and civil disorder in North Carolina

Loray Mill strike


Phantom vibration syndrome or phantom ringing syndrome is the perception that one's mobile phone is vibrating or ringing when it is not. Other terms for this concept include ringxiety (a portmanteau of ring and anxiety), fauxcellarm (a portmanteau of "faux" /fo͜ʊ/ meaning "fake" or "false" and "cellphone" and "alarm" pronounced similarly to "false alarm") and phonetom (a portmanteau of phone and phantom) and phantom phone signals. According to Michael Rothberg, the term is not a syndrome, but is better characterised as a tactile hallucination since the brain perceives a sensation that is not actually present. WebMD published an article on phantom vibration syndrome with Rothberg as a source.  Several other articles have been published in 2010s, including in NPR, Bustle, CBS News, and Psychology Today.

Phantom ringing may be experienced while taking a shower, watching television, or using a noisy device. Humans are particularly sensitive to auditory tones between 1,000 and 6,000 hertz, and basic mobile phone ringtones often fall within this range. Phantom vibrations develop after carrying a cell phone set to use vibrating alerts. Researcher Michelle Drouin found that almost 9 out of 10 undergraduates at her college experienced phantom vibrations.

History
In the comic strip Dilbert, cartoonist Scott Adams referenced such a sensation in 1996 as "phantom-pager syndrome". The earliest published use of the term phantom vibration syndrome dates to 2003 in an article entitled "Phantom Vibration Syndrome" published in the New Pittsburgh Courier, written under a pen name of columnist Robert D. Jones. However, it is debated whether earlier noting of the onsets of PVS came from Michael J Lewis of Melbourne, Australia. In the conclusion of the article, Jones wrote, "...should we be concerned about what our mind or body may be trying to tell us by the aggravating imaginary emanations from belts, pockets and even purses? Whether PVS is the result of physical nerve damage, a mental health issue, or both, this growing phenomenon seems to indicate that we may have crossed a line in this 'always on' society."

The first study of the phenomenon was conducted in 2007 by a researcher who coined the term ringxiety to describe it. In 2012, the term phantom vibration syndrome was chosen as the Australian Macquarie Dictionarys word of the year.

Causes
The cause of phantom vibrations is not known. Preliminary research suggests it is related to over-involvement with one's cell phone, as smartphone dependence is associated with occurrence of phantom phone signals. Vibrations typically begin occurring after carrying a phone for between one month and one year. It has been suggested that, when anticipating a phone call, the cerebral cortex may misinterpret other sensory input (such as muscle contractions, pressure from clothing, or music) as a phone vibration or ring tone. This may be understood as a human signal detection issue, with potentially significant influences from psychological attributes. Factors such as experiences, expectations, and psychological states influence the threshold for signal detection. Some phantom vibration experiences may be a type of pareidolia and can therefore be examined as a psychological phenomenon influenced by individual variances in personality, condition, and context. Attachment anxiety can also be seen as a predictor for the frequency of phantom vibration experiences since it is associated with psychological attributes related to insecurity in interpersonal relationships. Research shows that phantom phone signals may have different mechanisms than experiences similar to auditory hallucinations.

Epidemiology
In most studies, a majority of cell phone users report experiencing occasional phantom vibrations or ringing, with reported rates ranging from 29.6% to 89%. Once every two weeks is a typical frequency for the sensations, though a minority experience them daily. Some individuals may be seriously bothered by the sensations.

Management
Little research has been done on treatment for phantom vibrations. Carrying the cell phone in a different position reduces phantom vibrations for some people. Other methods include turning off the vibration, changing the ringtone or vibration tone, or using a different device altogether.

References

Further reading

Mobile phone culture
Technology neologisms
2000s neologisms
Unsolved problems in neuroscience
Hallucinations

Phantom vibration syndrome


Count Victor Eugen Felix Voß-Schönau (; 31 March 1868 – 9 August 1936) was a German count and tennis player in the late 19th century.

Biography
Count Victor Voss was born on the family estate at Schorssow in today Northeastern Germany to the Hungarian countess Elise Szapáry. At the beginning of the 1890s, he learned to play tennis with the help of an American coach, winning the German Championships three times in a row from 1894 to 1896, which were restricted to German and Austrian citizens at the time. In 1896, he was finalist at the Baden-Baden tournament which he lost to Reginald Doherty.

In 1897 he hired a coach named Thomas Burke (father of Albert Burke) and began to play in tournaments at the Riviera. He reached the final at Nice in 1897 and Monte Carlo in 1898, but lost to Reginald and his brother Laurence Doherty, respectively.

In 1899, Voss traveled to the United Kingdom in order to take part in tournaments there. At the Irish Open, he lost his second round match against Frank Riseley in five sets. At Chiswick Park he lost against George Greville. He reached the final at Nice once again in this year, but lost to Laurence Doherty in three straight sets without winning a single game.

Voss usually played at the tennis facilities at Heiligendamm, where he frequently met with Russian Duchess Anastasia Mikhailovna and countess Clara von der Schulenburg. He used to wrap a wet towel around his forehead while playing, as he said it would prevent his glasses from fogging.

A. Wallis Myers wrote about Voss: "He has a good forehand ground stroke and volleys well, but his service, though hard, is easy to take, he smashes only moderately, and his ground stroke is poor."

After losing to George Hillyard in the semifinals of the 1900 German Championships, Voss retired from playing tennis tournaments. He now focused on his two other hobbies, auto racing and clay pigeon shooting. In 1911, he married a divorced Italian woman at New York. In 1928, he married Countess Clara von der Schulenburg at Berlin-Grunewald. Voss had two children, Paula and Hans-Alexander, with his first wife Francesca Ricci. He died reclusively in his house at Waren in 1936.

References

1860s births
1936 deaths
German male tennis players
Voss family

Victor Voss


Poulos v. New Hampshire, 345 U.S. 395 (1953), was a case in which the Supreme Court of the United States held that a New Hampshire city ordinance regarding permission to hold a meeting in a public park did not violate the appellant's rights to Free Exercise of Religion even if he and his group were arbitrarily and unlawfully denied a license to hold a religious meeting in that public park.

Background
A Portsmouth, New Hampshire municipal ordinance provided that "No theatrical or dramatic representation shall be performed or exhibited and no parade or procession upon any public street or way, and no open air public meeting upon any ground abutting thereon shall be permitted unless a license therefor shall first be obtained from the City Council."

The New Hampshire Supreme Court had construed the discretion vested in the city council as "limited in its exercise by the bounds of reason, in uniformity of method of treatment upon the facts of each application, free from improper or inappropriate considerations and from unfair discrimination."

Thus, the discretion of the official was ministerial. The City could "take one of its small parks and devote it to public and nonreligious purposes under a system which is administered fairly and without bias or discrimination." In fact, the City of Portsmouth denied all religious groups the privilege of using the park for religious services.

The Jehovah's Witnesses, who applied for a permit and were arbitrarily denied, nevertheless chose to hold a religious meeting in the public park. The preacher was arrested. They argued, as they had done on dozens of cases previously, that the arbitrary action of the city council was a defense to their "illegal" holding of the religious meeting.

Decision of the Court
The Court ruled in favor of the City, deciding that because no appeal to the denial was made, despite ample opportunity, punishment under the law was constitutional.

Justice Reed delivered the opinion of the Court.

Dissenting opinions
Justice Douglas' approach to Free Exercise/Speech in this case was first articulated nearly a decade earlier in Murdock v. Commonwealth of Pennsylvania. He speaks of the "preferred position" granted freedom of speech, religion, press and assembly by the First Amendment. "The case is therefore quite different from a legislative program in the field of business, labor, housing and the like where regulation is permissible." He quoted with approval Justice Roberts' opinion in Cantwell v. Connecticut to the effect that even if there was an available remedy (such as mandamus) for abuses in the system of licensing, it still leaves in its place a system of prior restraint that was arbitrarily exercised.

Douglas was quite adamant: "There is no free speech in the sense of the Constitution when permission must be obtained from an official before a speech can be made." Thus, for him, the case was an example of prior restraint of a privileged freedom, a freedom that could be excised with impunity if it was improperly curtailed by civic officials.

References

External links

1953 in United States case law
United States Supreme Court cases
United States Supreme Court cases of the Vinson Court
United States free exercise of religion case law
Jehovah's Witnesses litigation in the United States
1953 in religion
Legal history of New Hampshire
Christianity and law in the 20th century

Poulos v. New Hampshire


Christos Lygeros  (born 1955) served as the Chairman of the National Board of the Scouts of Greece, as well the Chairman of the World Adult Resources Committee of the World Scout Committee and a member of the Global Education Committee.

For his contribution to the Scout Movement, national and international, he has been honored with the Scout Badge of the Silver Palm of the SEP (2002) and in 2005, Lygeros was awarded the 306th Bronze Wolf, the only distinction of the World Organization of the Scout Movement, awarded by the World Scout Committee for exceptional services to world Scouting. In addition he has been thanked by the Minister for Migration Policy for providing volunteers to address and support the influx of refugees during the European refugee crisis.

He is the associate director of Compliance Division of Alpha Bank, a graduate of the University of Piraeus Economics Department, Master's in Business Administration of the Athens University of Economics, Degree in Marketing, and Specialization Certificate in Corporate Governance in the Regulatory Compliance and Prevention of Money Laundering. He has extensive teaching experience in banks and organizations since 1985 in the areas of Administration, Marketing, Development of Human Resources and Training of Trainers. He was a member of the Working Group (1998 - 2001) of the Greek Banking Institute of the Greek Union of Banks for the development of education programs.

He joined Scouting in 1965. He was a Cub Scout, Scout, Rover, and adult leader undertaking various tasks at local and national level, where he held the position of Financial Director, General Superintendent and board president. He participated actively in the modernization of the program since 1981, and the institutional framework of the Scout Movement in three revisions of the SEP Statute in 1991, 1999 and 2011.

References

External links

Recipients of the Bronze Wolf Award
1955 births
Scouting and Guiding in Greece
Living people

Christos Lygeros