The Ten Thousand (, hoi Myrioi) were a force of mercenary units, mainly Greeks, employed by Cyrus the Younger to attempt to wrest the throne of the Persian Empire from his brother, Artaxerxes II. Their march to the Battle of Cunaxa and back to Greece (401–399 BC) was recorded by Xenophon, one of their leaders, in his work Anabasis.

Campaign

Between 401 and 399 BC, the Ten Thousand marched across Anatolia, fought the Battle of Cunaxa, and then marched back to Greece.

Xenophon stated in Anabasis that the Greek heavy troops routed their opposition twice at Cunaxa at the cost of only one Greek soldier wounded. Only after the battle did they hear that Cyrus had been killed, making their victory irrelevant and the expedition a failure.

The Ten Thousand found themselves far from home with no food, no employer, and no reliable allies.

They offered to make their Persian ally Ariaeus king, but he refused on the grounds that he was not of royal blood and would not find enough support among the Persians to keep the throne.

They then offered their services to Tissaphernes, a leading satrap of Artaxerxes, but he demanded their complete surrender, which they refused. This presented Tissaphernes with a problem – a large army of heavily-armed troops, which he could not defeat by frontal assault. He supplied them with food and, after a long wait, led them northwards for home.

Meanwhile he succeeded in luring away the Persian general Ariaeus and his light troops.

The Greek senior officers accepted the invitation of Tissaphernes to a feast where they were taken prisoner, led before the king, and executed.

The Greeks elected new officers, among them Xenophon, and set out to march northwards to the Black Sea, through Corduene and Armenia.

Xenophon and his men initially had to deal with volleys from a minor force of harassing Persian missile cavalry. Every day, this cavalry, finding no opposition from the Ten Thousand, moved cautiously closer and closer.

One night, Xenophon formed a body of archers and light cavalry. When the Persian cavalry arrived the next day, now shooting within several yards, Xenophon suddenly unleashed his new cavalry in a charge, smashing into the stunned and confused enemy, killing many and routing the rest.

Tissaphernes pursued Xenophon with a vast force, and when the Greeks reached the wide and deep Great Zab river, they seemed to be surrounded. A Rhodian proposed a plan in exchange for a talent; all goats, cattle, sheep, and donkeys were to be slaughtered and their bodies stuffed with hay, laid across the river, and sewn up and covered with soil so as not to be slippery. This was refused, for it would've been impossible to implement, and so the Greeks simply turned around, with the Persians refusing to pursue.

That Xenophon was able to feed his force in the heart of a vast empire with a hostile population was considered astonishing. Dodge notes:

On this retreat also was first shown the necessary, if cruel, means of arresting a pursuing enemy by the systematic devastation of the country traversed and the destruction of its villages to deprive him of food and shelter. And Xenophon is moreover the first who established in the rear of the phalanx a reserve from which he could at will feed weak parts of his line. This was a superb first conception.

The Ten Thousand eventually made their way into the land of the Carduchians, a wild tribe inhabiting the mountains of modern southeastern Turkey,

...a fierce, war-like race, who had never been conquered. Once the Great King had sent into their country an army of 120,000 men, to subdue them, but of all that great host not one had ever seen his home again.

The Ten Thousand made their way in and were fired at with stones and arrows for several days before they reached a defile where the main Carduchian host stood. In the Battle of the Carduchian Defile, Xenophon had 8,000 men make a diversionary attack on this host whilst he marched the other 2,000 under cover of a rainstorm to a pass revealed by a prisoner, and

...having made their way to the rear of the main pass, at daylight, under cover of the morning mist, they boldly pushed in upon the astonished Carducians. The blare of their many trumpets gave notice of their successful detour to Xenophon, as well as adding to the confusion of the enemy. The main army at once joined in the attack from the valley side, and the Carducians were driven from their stronghold.

After heavy mountain fighting, the Greeks made their way to the northern foothills of the mountains at the Centrites River, only to find a major Persian force blocking the route north. With the Carduchians surging toward the Greek rear, Xenophon again faced the threat of total destruction in battle.

Xenophon's scouts quickly found another ford across the river, but the Persians moved and blocked this as well. Xenophon sent a small force back toward the other ford, causing the anxious Persians to detach a major part of their force. Xenophon stormed and completely overwhelmed the force remaining at his ford, while the Greek detachment made a forced march to this bridgehead.

This was among the first attacks in depth ever made, 23 years after Delium and 30 years before Epaminondas' more famous use of it at Leuctra.

Winter had by now arrived as the Greeks marched through Armenia "absolutely unprovided with clothing suitable for such weather", inflicting more casualties than they suffered through their ambush of a local satrap's force and the flanking of another force.

At a stage when the Greeks were in desperate need of food, they decided upon attacking a wooden castle known to have provisions. The castle, however, was located on a hill surrounded by forest. Xenophon ordered small parties of his men to appear on the hill road; and when the defenders flung boulders, a soldier would leap into the trees, and he "did this so often that at last there was quite a heap of stones lying in front of him, but he himself was untouched." Then, "the other men followed his example, and made it a sort of game, enjoying the sensation, pleasant alike to old and young, of courting danger for a moment, and then quickly escaping it.

When the stones were almost exhausted, the soldiers raced one another over the exposed part of the road", storming the fortress, where most of the now neutralized garrison barely put up a fight. The inhabitants threw their children over the walls, before throwing themselves down to their deaths, both men and women.

Xenophon records the joyful moment when the Ten Thousand (by then actually far fewer), from the heights of Mount Theches, saw the sea and friendly Greek colonies on the coast, which signified their escape had been made good, whereupon they shouted Θάλαττα! θάλαττα! : Thalatta! Thalatta! ("The sea! The sea!").

Soon after, Xenophon's men reached Trapezus on the coast of the Black Sea (Anabasis 4.8.22). Before they departed, the Greeks made an alliance with the locals and fought one last battle against the Colchians, vassals of the Persians, in mountainous country. Xenophon ordered his men to deploy their line extremely thin, so as to overlap the enemy, while keeping a strong reserve.

The Colchians, seeing they were being outflanked, divided their army to check the Greek deployment, opening a gap in their line through which Xenophon rushed in his reserves, scoring a Greek victory.

Failure of plans for shipment to Europe
On their arrival at Trapezus on the Euxine, the Greek mercenaries sent their Spartan general Cheirisophus to Anaxibius, the Spartan admiral stationed at Byzantium in 400 BC, to obtain a sufficient number of ships to transport them to Europe.

However, when Cheirisophus met them again at Sinope, he brought back nothing from Anaxibius, but civil words and a promise of employment and pay as soon as they came out of the Euxine.

Final conflict with Pharnabazus (399 BC)

The Ten Thousand under Xenophon continued to the west, some by ship, but most of them by land, and arrived in Bithynia after numerous skirmishes and plunderings. Pharnabazus, satrap of Hellespontine Phrygia, was involved in helping the Bithynians against these plundering raids of the Ten Thousand. He was also trying to stop them from entering Hellespontine Phrygia. His cavalry, which made several raids on the Greek mercenaries, is said to have killed about 500 of them.

Pharnabazus then arranged with the Spartan Anaxibius for the rest of the Ten Thousand to be shipped to Byzantium. On their arrival at Chrysopolis, on the Asiatic shore of the Bosporus, Anaxibius, being bribed by Pharnabazus with great promises to withdraw them from his satrapy, promised to pay them and brought them over to Byzantium. Here Anaxibius attempted to send them forward on their march without fulfilling his agreement. A fight ensued, in which Anaxibius was compelled to flee for refuge to the Acropolis, and which was quelled only by the remonstrances of Xenophon.

Soon after this, the Greeks left the town under the command of the adventurer Coeratades; and Anaxibius issued a proclamation, subsequently acted on by the harmost Aristarchus, that all of Cyrus's soldiers found in Byzantium should be sold as slaves.

In view of his originality and tactical genius, Xenophon's conduct of the retreat caused Dodge to name the Athenian the greatest general to precede Alexander the Great.

Order of battle

According to Xenophon, the Ten Thousand were composed of:
 4,000 hoplites under Xenias the Arcadian, until he deserted in Syria
 1,500 hoplites and 500 light infantry under Proxenus of Boeotia
 1,000 hoplites under Sophaenetus of Stymfalia
 500 hoplites under Socrates the Achaean (not to be confused with the philosopher)
 300 hoplites and 300 peltasts under Pasion the Megarian, until he deserted in Syria
 1,000 hoplites, 800 Thracian peltasts, and 200 Cretan archers (and more than 2,000 men who came from Xenias and Pasion when they deserted) under Clearchus of Sparta
 300 hoplites under Sosis the Syracusan
 700 Spartan hoplites under Cheirisophus the Spartan
 1,000 hoplites and 500 Thessalian peltasts under Menon
 400 Greek mercenaries who had deserted from Artaxerxes' army

In addition, they were backed up by a fleet of 35 triremes under Pythagoras the Spartan and 25 triremes under Tamos the Egyptian, as well as 20,000 Persian troops under Ariaeus the Persian. (Although Xenophon lists them as 100,000, most modern historians believe Ariaeus' troops numbered only about 20,000).

Until shortly after the Battle of Cunaxa, Spartan general Clearchus was recognized as the commander of the army. When Tissaphernes arrested and executed Clearchus, Proxenus, Menon, Agias (possibly the same person as Sophaenetus), and Socrates, their places were taken by Xenophon the Athenian, Timasion the Dardanian, Xanthicles the Achaean, Cleanor the Orchomenian, and Philesius the Achaean, with the Spartan Cheirisophus as the general commander.

When the Ten Thousand started their journey in 401 BC, Xenophon stated that they numbered around 10,400. At the time Xenophon left them two years later, their number had dwindled to just under 6,000.

Cultural influences

 The 1965 novel The Warriors is inspired by Anabasis.  It tells the story of a gang (the Dominators) from New York's Coney Island forced to fight their way home from the Bronx after an all-city gang meeting at which a would-be gang-unifier is killed, the Dominators are blamed, and lose their leader. The novel was adapted into the 1979 film The Warriors. In the film, the would-be emperor figure is named Cyrus, the Coney Island gang's fallen leader is named Cleon, and the film's final scenes take place at the edge of the sea.
 The  novel The Sea, the Sea by  Iris Murdoch, winner of the 1978 Booker Prize, was named for this event.
 David Drake's 1988 novel The Forlorn Hope features a plot revolving around a group of mercenaries caught behind enemy lines, who must fight their way out. Drake's own writings describe Xenophon's Anabasis as the model for the first segment of the book.
 Harold Coyle's 1993 novel The Ten Thousand shows the bulk of US Forces in modern Europe fighting their way across and out of Germany after the Germans steal nuclear weapons being removed from Ukraine.
 The 1997 video game Age of Empires has a campaign mission called "Xenophon's March" based on this event. In the mission, the player has to lead a squad of Greek troops through hostile territory to get home.
 The 2001 novel The Ten Thousand by Michael Curtis Ford is a fictional account of this group's exploits.
 Shane Brennan's In the Tracks of the Ten Thousand: A Journey on Foot through Turkey, Syria and Iraq (London: Robert Hale, 2005) is an account of his 2000 journey to retrace the steps of the Ten Thousand.
 Valerio Massimo Manfredi's 2007 novel L'armata perduta (The Lost Army) tells the story of the army through Abira, a Syrian girl, who decides to follow a Greek warrior named Xeno (Xenophon).
 Paul Kearney's 2008 novel The Ten Thousand is set in a fantasy world based on Xenophon's record of the historical Ten Thousand.
 John Ringo's 2008 novel The Last Centurion tells the story of a U.S. Stryker company left in Iran after a worldwide plague, which must repeat the journey of the Ten Thousand. The Ten Thousand and Anabasis are frequently mentioned.
 Finnish artist Petri Hiltunen has portrayed the campaign in his two-part comic album "Anabasis". It was published by Arktinen Banaani in 2011 (Anabasis: 1. Osa, Kyyroksen sotaretki) and 2013 (Anabasis: 2. Osa, Tuhanten miesten marssi).
 The 2018 novel The Falcon of Sparta by British author Conn Iggulden  provides a fictionalized account of the plight of the Ten Thousand.
 In the 2018 limited series The Terror, Anabasis is recommended as a literary parallel to the grueling walk out by the men of the Franklin expedition.

See also
Arexion

References

Further reading
 The Project Gutenberg EText
 Anabasis at The University of Adelaide

Ten Thousand-ancient mercenaries
Greco-Persian Wars
Marching
Mercenary units and formations of antiquity
Military units and formations of ancient Greece
Military units and formations of the Achaemenid Empire

Ten Thousand


Linda Bond (born 22 June 1946) is a former General of the Salvation Army; she was the 19th person to hold the position. She was born in Glace Bay, Nova Scotia, Canada.

After international service and various promotions, she held the post of territorial commander of the Australian Eastern Territory from 2008. On 31 January 2011, Bond was elected by the High Council to be the next General of the Salvation Army and assumed office on 2 April 2011. She was the third woman and fourth Canadian to be elected General of the Salvation Army. General Evangeline Booth (1934–1939) and General Eva Burrows (1986–1993) were the two previous female Generals of The Salvation Army.
In late 2012, she received an honorary degree from Tyndale University College and Seminary. On 13 June 2013 she unexpectedly announced her retirement with immediate effect.

Work in The Salvation Army
Bond was commanding officer of the Kitchener corps, before serving at the college for officer training in St John's, Newfoundland, as assistant training principal, divisional secretary of the Maritime division and divisional commander of the same division.

In 1995 she was appointed to international headquarters in London as under secretary for personnel. She remained in the United Kingdom, transferring to the UK territory as divisional commander, Central North division, in 1998. A return to Canada came just over a year later, when she was appointed as chief secretary, Canada and Bermuda territory.

In July 2002 she was appointed to the USA Western territory, where she served as territorial commander and territorial president of women's ministries.

In August 2004, Bond submitted her resignation from Army officership for personal reasons. General John Larsson accepted her resignation with regret and acknowledged her outstanding contributions during her officership.

In 2008 she became territorial commander of the Australia Eastern territory. She was elected to The Salvation Army's most senior office, General, in January 2011 and assumed the office on 2 April 2011. Bond held the Office of General until her unexpected and immediate retirement on 13 June 2013.

Appointments

Retirement
After holding the Office of the General of The Salvation Army for more than two years and two months, Bond unexpectedly announced her retirement on 13 June 2013. Bond was an active Salvation Army officer for 44 years.

The High Council of The Salvation Army convened on 29 July 2013 to elect a new General, with André Cox being elected as the 20th General of The Salvation Army.
As of 2022, she is one of five surviving Generals.

References

Salvation Army officers
Living people
Canadian Salvationists
1946 births

Linda Bond


David Maier (born 2 June 1953) is the Maseeh Professor of Emerging Technologies in the Department of Computer Science at Portland State University.  Born in Eugene, OR, he has also been a computer science faculty member at the State University of New York at Stony Brook (1978–82), Oregon Graduate Center (OGC, 1982–2001), University of Wisconsin (UW, 1997–98), Oregon Health & Science University (2001–present) and National University of Singapore (2012–15).  He holds a B.A. in Mathematics and Computer Science from the University of Oregon (Honors College, 1974) and a Ph.D. in Electrical Engineering and Computer Science from Princeton University (1978).

Maier has been chairman of the program committee of ACM SIGMOD. He also served as an associate editor of ACM Transactions on Database Systems. Maier has consulted with Tektronix, Inc., Servio Corporation, the Microelectronics and Computer Technology Corporation (MCC), Digital Equipment Corporation, Altair Engineering, Honeywell, Texas Instruments, IBM, Microsoft, Informix, Oracle Corporation, NCR, and Object Design, as well as several governmental agencies. He is a founding member of the Data-Intensive Systems Center (DISC), a joint project of OGI and Portland State University. He is the author of books on relational databases, logic programming and object-oriented databases, as well as papers in database theory, object-oriented technology and scientific databases. He received the Presidential Young Investigator Award from the National Science Foundation in 1984 at OGC, and was awarded the 1997 SIGMOD Edgar F. Codd Innovations Award for his contributions in objects and databases at UW. He is also an ACM Fellow.

Maier established some of the earliest results on using the relational model. Together with his thesis advisor, Jeffrey Ullman, and fellow Princeton students, including Alberto O. Mendelzon  and Yehoshua Sagiv, he co-authored a number of influential papers that laid out the fundamental issues and approaches for relational databases. In a now-famous paper (Maier, Mendelzon and Sagiv, ACM Trans. Database Syst. 1979), he introduced the chase, a method for testing implication of data dependencies that is now of widespread use in the database theory literature. This work has been highly influential: it is used, directly or indirectly, on an everyday basis by people who design databases, and it is used in commercial systems to reason about the consistency and correctness of a data design. New applications of the chase in meta-data management and data exchange are still being discovered.

He is credited for coining the term Datalog.

References

 David Maier's homepage: http://web.cecs.pdx.edu/~maier/
 His database theory book, now available online: http://web.cecs.pdx.edu/~maier/TheoryBook/TRD.html

American computer scientists
Database researchers
Fellows of the Association for Computing Machinery
Portland State University faculty
Living people
Oregon Graduate Institute people
1953 births

David Maier


Henry (Hayyim Gershon) Vidaver (1833 in Warsaw, Poland – 14 September 1882 in San Francisco, California) was a prominent rabbi, publisher, Hebraist, and orator in America.

Biography
In 1859, Vidaver immigrated to the United States, and became the rabbi of Congregation Rodeph Shalom in Philadelphia. In 1861 he resigned his position and moved to Germany then returned to the U.S. in 1865 to become rabbi of United Hebrew Congregation in St. Louis, Missouri where he withdrew his support for the Confederacy and wrote in praise of Abraham Lincoln.  In 1867, he assumed the pulpit of the B'nai Jeshurun in New York City and from 1874 until his death in 1882 served as rabbi of Congregation Sherith Israel in San Francisco.

Vidaver and Jacob Levinski co-authored the first abridged Hebrew Bible, which was published in 1869. He also commonly published poems in Hebrew about Jerusalem and other Jewish issues in Hebrew newspapers, such as Havatzelet.

References

19th-century Polish rabbis
Polish Hebraists
1833 births
1882 deaths

Henry Vidaver


Bishop Walden Perkins (October 18, 1841June 20, 1894) was a United States representative and Senator from Kansas. Born in Rochester, Ohio, he attended the common schools and Knox College (Galesburg, Illinois). He prospected for gold through California and New Mexico from 1860 to 1862 and served four years in the Union Army during the Civil War as sergeant, adjutant, and captain. He studied law in Ottawa, Illinois and was admitted to the bar in 1867, commencing the practice of law in Princeton, Indiana. He moved to Oswego, Kansas and continued practice; he was a local county attorney for the Missouri, Kansas & Texas Railroad for two years and prosecuting attorney of Labette County in 1869. He was a judge of the probate court of Labette County from 1870 to 1882, and became editor of the Oswego Register in 1873.

Perkins was elected as a Republican to the Forty-eighth and to the three succeeding Congresses, serving from March 4, 1883 – March 3, 1891. He was an unsuccessful candidate for reelection in 1890 to the Fifty-second Congress, but was appointed to the U.S. Senate to fill the vacancy caused by the death of Preston B. Plumb, and served from January 1, 1892, to March 3, 1893, when a successor was elected and qualified. He resumed the practice of his profession in Washington, D.C., and died there in 1894; interment was in Rock Creek Cemetery.

References

External links

1841 births
1894 deaths
Kansas state court judges
Republican Party United States senators from Kansas
People from Oswego, Kansas
People from Lorain County, Ohio
Republican Party members of the United States House of Representatives from Kansas
People from Princeton, Indiana
19th-century American politicians
Washington, D.C., Republicans
19th-century American judges

Bishop W. Perkins


John Evans (2 September 1702 – March 1782) was a Welsh Anglican cleric, known for his attacks upon Methodism.

Life
Evans was born in Meidrym, Carmarthenshire, south Wales on 2 September 1702.  He studied at the grammar school in Carmarthen and at the University of Oxford, matriculating from Jesus College in 1722.  He was ordained and appointed to the parish of Eglwys Cymyn, Carmarthenshire although he only visited the parish for a few weeks each year in the summer, and employed curates to minister in the parish whilst he lived in London.  He was appointed Reading Chaplain of the Chapel Royal, Whitehall in 1742 and preached the St David's Day sermon to the Society of Ancient Britons in 1750; the sermon was later published.  He was a founder member and council member of the Honourable Society of Cymmrodorion when it was established in 1751.  He was buried at Eglwys Cymyn on 14 March 1782.

Evans was inspired by Bishop Edmund Gibson to attack Methodism, publishing a hostile pamphlet against Griffith Jones in 1749 and a further attack in Some Account of the Welch Charity Schools (etc) in 1752.  The attacks did little to harm the position of Griffith Jones and more to hurt the reputation of Evans himself.

References

1702 births
1782 deaths
18th-century Welsh writers
18th-century British male writers
Alumni of Jesus College, Oxford
18th-century Welsh Anglican priests

John Evans (1702–1782)


George Platt Lynes (April 15, 1907 – December 6, 1955) was an American fashion and commercial photographer who worked in the 1930s and 1940s. He produced photographs featuring many gay artists and writers from the 1940s that were acquired by the Kinsey Institute after his death in 1955.

Early life
Born in East Orange, New Jersey to Adelaide Sparkman and Joseph Russell Lynes (died 1932). His younger brother was Joseph Russell Lynes, Jr. (1910–1991). Lynes spent his childhood in New Jersey but attended the Berkshire School in Massachusetts, where he was a classmate of Lincoln Kirstein (1907–1996). He was sent to Paris in 1925 with the idea of better preparing him for college. His life was forever changed by the circle of friends that he would meet there including Gertrude Stein, Glenway Wescott, Monroe Wheeler. He attended Yale University in 1926, but dropped out after a year to move to New York City.

Career
He returned to the United States with the idea of a literary career and he even opened a bookstore in Englewood, New Jersey in 1927. He first became interested in photography not with the idea of a career, but to take photographs of his friends and display them in his bookstore.

Returning to France the next year in the company of Wescott and Wheeler, he traveled around Europe for the next several years, always with his camera at hand. He developed close friendships within a larger circle of artists including Jean Cocteau and Julien Levy, an art dealer and critic. Levy would exhibit his photographs in his gallery in New York City in 1932 and Lynes would open his studio there that same year.

Commercial work

He was soon receiving commissions from Harper's Bazaar, Town & Country, and Vogue including a cover with perhaps the first supermodel, Lisa Fonssagrives.  In 1935, he was asked to document the principal dancers and productions of Kirstein's and George Balanchine's newly founded American Ballet company (now the New York City Ballet).

Private collection
He was also most notably friends with Katherine Anne Porter, author of the novel Ship of Fools, whom he often enjoyed photographing wearing elaborate evening gowns and occasionally reenacting Shakespeare.

During his lifetime, Lynes amassed a substantial body of work involving nude and homoerotic photography. In the 1930s, he began taking nudes of friends, performers, and models, including a young Yul Brynner, although these remained private, unknown, and unpublished for years. Over the following two decades, Lynes continued his work in this area passionately, albeit privately. "The depth and commitment he had in photographing the male nude, from the start of his career to the end, was astonishing. There was absolutely no commercial impulse involved — he couldn't exhibit it, he couldn't publish it." – Allen Ellenzweig, art and photography critic who wrote the introduction to George Platt Lynes: The Male Nudes, published in 2011 by Rizzoli.

In the late 1940s, Lynes became acquainted with Dr. Alfred Kinsey and his Institute in Bloomington, Indiana. Kinsey took an interest in Lynes work, as he was researching homosexuality in America at the time. A large number of Lynes' nude and homoerotic works were left to the Kinsey Institute after his death in 1955. The body of work residing at the Kinsey Institute remained largely unknown until it was made public and published later. The Kinsey collection represents one of the largest single collections of Lynes's work.

Personal life
For over ten years, Lynes had a love affair with both the curator Monroe Wheeler and the writer Glenway Wescott (1901–1987).  He later got together with his studio assistant and, after he died in World War II, Lynes moved in with the younger brother of the assistant.

Los Angeles
Platt Lynes was in Los Angeles from 1946-1948, living both before and after in New York City. He first visited to vacation and meet some friends he knew there including novelists Katherine Anne Porter and Christopher Isherwood, and labor organizer Bernardine Szold Fritz. Upon arriving there he met painter Mai-Mai Sze, costume designers Irene Sharaff and costume designer Adrian (costume designer), and Adrian's wife Janet Gaynor. He also did portraits of the writers Thomas Mann and Aldous Huxley. After meeting all these within a few weeks of his first visit, he decide to relocate from New York to explore the arts scene in LA. Platt Lynes still had commissions for photography with Vogue through their art director Alexander Liberman After moving to LA Platt Lynes reconnected with socialite Denham Fouts, whom he had photographed in New York in the 30s and the two exchanged social networks.

Death
By May 1955, Lynes had been diagnosed with terminal lung cancer. He closed his studio and was reported to have destroyed much of his print and negative archives, particularly his male nudes. However, it is now known that he had transferred many of these works to the Kinsey Institute. "He clearly was concerned that this work, which he considered his greatest achievement as a photographer, should not be dispersed or destroyed...We have to remember the time period we're talking about—America during the post-war Red Scare..."

After a final trip to Europe, Lynes returned to New York City, where he died in 1955, while living with his brother and his family.

Legacy

Films

 (2023) is a full-length documentary about Lynes.

Exhibitions

Solo

 1932, Julian Levy Gallery, New York, NY
 1960, Portraits by George Platt Lynes, The Art Institute of Chicago, Chicago, IL
 1980, Fleeting Gestures: Treasure of Dance Photography, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA
 1993, George Platt Lynes: A New Look, Wessel + O'Connor Fine Art, New York, NY
 1993, George Platt Lynes: Photographs from the Kinsey Institute, Grey Art Gallery at New York University, New York, NY
 1997 George Platt Lynes, Wessel + O'Connor Fine Art, New York, NY
 2003, George Balanchine and his Dancers: the Ballet Photography of George Platt Lynes, The Kinsey Institute Gallery, Bloomington, IN
 2005, Fashioning Celebrity: Photographs of George Platt Lynes, Harry Ransom Center, Austin, TX
 2005, George Platt Lynes, Wessel + O'Connor Fine Art, New York, NY
 2008, Vintage Ballet Photographs, Craig Krull Gallery, Santa Monica, CA
 2011, George Platt Lynes, Throckmorton Fine Art, New York, NY
 2012, George Platt Lynes, Steven Kasher Gallery, New York, NY
 2014, George Platt Lynes, Wessel + O'Connor Fine Art, Lambertville, NJ

Group

 1932, Murals by American Painters and Photographers, Museum of Modern Art, New York, NY
 1937, Fantastic Art, Dada, Surrealism, Museum of Modern Art, New York, NY
 1951, Abstraction in Photography, Museum of Modern Art, New York, NY
 1977, documenta 6, Documenta, Kassel, Germany
 1992, Figure/Form: The Nude in 20th Century Photography, Jan Kesner Gallery, Los Angeles, CA
 1992, Classic Dualities: The Photographs of Len Prince taken at the Tampa Museum of Art, Fay Gold Gallery, Atlanta, GA
 1999, Figurescapes, Radiant Light Gallery, Portland, ME
 2001, Interwoven Lives: George Platt Lynes and his Friends, DC Moore Gallery, New York, NY
 2002, Mirror, Mirror, on the Wall, Art Gallery of Ontario, Toronto, Ontario, Canada
 2003, Flesh Tones – 100 Years of the Nude, Robert Mann Gallery, New York, NY
 2003, Artseal Gallery Photo SF Preview, Artseal Gallery, San Francisco, CA
 2003, Herb Ritts Private Collection, Fahey/Klein Gallery, Los Angeles, CA
 2003, Boys of Summer, ClampArt, New York, NY
 2005, Summer Skin, Stephen Cohen Gallery, Los Angeles, CA
 2005, From the Source, Fashion Photographs, Corkin Gallery, Toronto, Ontario, Canada
 2005, Beyond Real Part 1 Dressing Up, Australian Centre for Photography, Sydney, Australia
 2005, 20th Anniversary Show, Wessel + O'Connor Fine Art, New York, NY
 2006, American Icons, Corkin Gallery, Toronto, Ontario, Canada
 2006, Busy going crazy: The Sylvio Perlstein Collection, La Maison Rouge, Paris, France
 2007, Igor Strawinsky – ich muss die Kunst anfassen, Museum der Moderne Rupertinum, Salzburg, Austria
 2007, VIP, National Gallery of Australia, Canberra, Australia
 2007, Classic Beauty: Part 2 Photographs of the Male Nude, Throckmorton Fine Art, New York, NY
 2007, MODE: BILDER, NRW Forum Kultur und Wirtschaft, Düsseldorf, Germany
 2008, Vintage / Vantage, Wessel + O'Connor Fine Art, New York, NY
 2008, Pre-Revolutionary Queer: Gay Art and Culture Before Stonewall, The Kinsey Institute, Bloomington, IN
 2010, Flirting with Bling, Corkin Gallery, Toronto, Ontario, Canada
 2010, Nature & Nurture: Exploring Human Reproduction from Pregnancy through Early Childhood, The Kinsey Institute, Bloomington, IN
 2010, Staff Picks 2010, Howard Greenberg Gallery, New York, NY
 2010, 25 Years / 25 Works, Wessel + O'Connor Fine Art, Washington, D.C.
 2011, Narcissus Reflected, Fruitmarket Gallery, Edinburgh, Scotland
 2011, An Intimate Circle, DC Moore Gallery, New York, NY
 2011, Psyche & Muse: Creative Entanglements with the Science of the Soul, Beinecke Library at Yale University, New Haven, CT
 2013, Fashion: Photography from the Condé Nast Archives, Fondazione Forma per la Fotografia, Milan, Italy

 2019, Sex Crimes, ClampArt, New York, NY

Collections

 Musée des beaux-arts du Canada, National Gallery of Canada
 Cape Breton University Art Gallery permanent collection in Nova Scotia.
 Centre Pompidou Musée National d́Art Moderne, Paris
 Musée d'Art Moderne et Contemporain, Strasbourg
 The Secret Museum, Montreal
 The Israel Museum, Jerusalem
 The Art Institute of Chicago, Chicago, IL
 Los Angeles County Museum of Art – LACMA, Los Angeles, CA
 Norton Museum of Art, West Palm Beach, FL
 Guggenheim Museum, New York, NY
 National Portrait Gallery, London

References
Citations

Works cited
 James Crump (1993). George Platt Lynes: Photographs from the Kinsey Institute. Bulfinch Press/Little Brown & Company. .
 James Crump and Anatole Pohorilenko (1998). When we were three: The travel albums of George Platt Lynes, Monroe Wheeler, and Glenway Wescott, 1925–1935. Arena Editions. .

External links

  Image of George Platt Lynes, Self-Portrait, Hollywood, California, 1947.

 Portraits by George Platt Lynes at the National Portrait Gallery, London.
 George Platt Lynes Diaries and Memorabilia. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
 George Platt Lynes Scrapbooks. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

1907 births
1955 deaths
Commercial photographers
Fashion photographers
American portrait photographers
Nude photography
American gay artists
American LGBT photographers
LGBT people from New Jersey
Artists from New Jersey
People from East Orange, New Jersey
Burials at Woodlawn Cemetery (Bronx, New York)
Berkshire School alumni
20th-century American photographers
20th-century American male artists
20th-century American LGBT people
Ballet photographers
American erotic photographers
George Platt Lynes

George Platt Lynes


Eden Valley is a 1994 British drama film conceived, written, produced, directed, photographed and edited by the Amber Production Team.

Plot
The film is set within a harness racing fraternity and explores the conflict between urban and rural values through the medium of an evolving relationship between father and son.

The main character in the film, Hoggy, abandoned his wife and son ten years earlier to establish himself in an alternative lifestyle, living in a caravan and caring for his horses. The world gets turned upside down by the arrival of his teenage son, who has a prison sentence hanging over him. Billy has lived his life on an inner-city housing estate, and in his lifestyle theft and drugs are the norm. Using dramatic seasonal changes within the horse-trainer's environment the film follows the development of this fragile relationship. Both father's and son's value systems are tested, with dramatic consequences.

Cast
Brian Hogg as Hoggy
Darren Bell as Billy Hogg
Mike Elliot as Danker
Jimmy Killeen as Probation Officer
Wayne Buck as Young Lad
Kevin Buck as Young Lad
John Middleton as Townie Husband
Charlie Hardwick as Townie Wife
Katja Roberts as Townie Daughter

Production
The roots of the film lie in the making of Seacoal, which was released in 1985. This film depicted the lives of seacoalers on the Northumberland coast, and introduced members of Amber to a passion for horses, and the addictive pursuit of harness racing. The Laidler family, who were featured in Seacoal, proved to have a profound impact. It was they who talked some members of the Amber Production Team into buying their first horse, taught them the rudiments of training and driving, and encouraged their bartering and re-cycling skills. The Laidlers wove the web that pulled Amber into the activity, and secured entry into their environment and the world of harness racing.

Amber's method of working is based on building long-term relationships within communities. Their aim is to enter into people's lives in a way that provides an authenticity to film-making that goes beyond simple realism. After becoming established in the harness racing community, Amber introduced actor Brian Hogg into it. His character, Hoggy, was developed over a period during which Brian immersed himself in the lifestyle, contributed to the development of the script, and participated in other essential tasks such as set building and horse training.

In contrast, Darren Bell, who played Billy, his son, came directly into his first film role from a background of life on an inner-city housing estate. The film was shot sequentially to facilitate Billy's introduction into an initially alien environment and to reflect on the story of Billy. The film schedule spanned a twelve-month period. We worked with a small crew, two main characters and considerable good will from the harness racing community.

Amber Credits Policy
Amber Films introduced a policy of collective crediting of its films with the release of Seacoal in 1985. Amber argues that "all Amber members are involved in all the different areas of operation". Whilst individual members eventually take on specific roles – director, sound recordist, cinematographer – during specific productions, the project's ongoing development is collectively owned by all those involved. Amber therefore credit their films collectively, rather than singling out individuals for roles in the production that are deemed socially superior by conventional society.

Awards
1995: Créteil International Women's Film Festival Grand Prix (Amber Production Team)

See also
 List of films about horse racing

References

External links

Amber Films website

1994 films
1994 drama films
British independent films
British drama films
1996 drama films
1996 films
1990s English-language films
1990s British films

Eden Valley (film)


Tadhg Leader (born 1 March 1992) is an Irish-born rugby union player and gridiron football placekicker.

He has also played for American professional rugby union club New England Free Jacks in Major League Rugby (MLR). Leader was born and raised in Ireland, but after living in the United States for several years, qualified to play for the United States national rugby union team. His primary position is at fly-half, though he has also played at inside center.

Early life
Born in Galway, Leader grew up in Castlegar, just outside the city. He is a past pupil of the Bish, one of the city's secondary schools, and the Cistercian College in Roscrea. Leader is the older brother of current Connacht player Darragh Leader. Greg, the eldest brother, played for the province at underage level. Their parents were also heavily involved in sport, with their mother, Breda, serving as secretary for Rowing Ireland and their father, Noel, having played for and served as president of the Galwegians rugby club, where Leader first played the sport.

Club career

Connacht
Leader graduated secondary school and signed for the Connacht academy in 2011. Later that year, Leader played an integral role in the Connacht under-20 grand slam winning team. Leader was brought into the Connacht senior squad for the 2012–13 season. Leader made multiple appearances for the Connacht Eagles in the British and Irish Cup. After multiple injury setbacks Leader left Connacht and signed with Italian club Rugby Badia ASD.

Rugby Badia ASD
Leader arrived in Italy to play with Rugby Badia ASD in Italy's Serie A rugby competition. A few months into his time in Italy a shoulder injury forced him to return to Ireland for surgery.

Lindenwood University
In 2015, whilst recovering from a shoulder reconstruction Leader received a rugby scholarship at Lindenwood University in St. Charles, Missouri to play for the school's college rugby side the Lindenwood Lions. During his time at Lindenwood, Leader pursued an undergraduate degree in sports management. Leader was selected to play in the Lindenwood team that represented the United States at the Red Bull World Uni 7's in Bath in England. However, shortly after arriving, Leader was ruled ineligible to represent the university in intercollegiate matches due to his time spent as a professional player in Ireland and Italy.

St. Louis Royals
Leader linked up with local club the St. Louis Royals in 2016, whilst continuing his studies at Lindenwood. As captain-coach Leader led the Royals to a DIII national championship in 2017. Leader was also named player's MVP of the Royals after the 2017 season.

San Diego Legion
In January 2018, Leader signed a two-year contract with the San Diego Legion of Major League Rugby.

International career
In April 2011, Leader was selected for the Ireland under-19 squad for their game against France. Later that year in December 2011, Leader was selected as part of Mike Ruddock's squad for the Ireland under-20s in preparation for the 2012 under-20 Six Nations tournament.

Having lived in the United States since 2015, under the World Rugby three-year residency rule, Leader became eligible in 2018 to play for the United States. Leader was called up to the U.S. squad for the 2019 Americas Rugby Championship.

Gridiron football
In 2020, Leader attempted to become an NFL placekicker. He joined The Spring League's Aviators for the 2021 season. Following week 6 of the 2021 European League of Football season, Leader signed with the Wrocław Panthers.

On February 23, 2022, Leader signed with the Canadian Football League's Hamilton Tiger-Cats. However, he was released before the start of the regular season on June 5, 2022.

References

1992 births
Living people
Connacht Rugby players
Irish rugby union players
San Diego Legion players
New England Free Jacks players
United States international rugby union players
New Orleans Gold players
People educated at Cistercian College, Roscrea
People educated at St Joseph's Patrician College
Sportspeople from Galway (city)
The Spring League players
Lindenwood Lions athletes
Irish players of American football
Lindenwood Lions rugby
American football placekickers
Expatriate players of American football
Irish expatriate sportspeople in Poland
Panthers Wrocław players
Rugby union fly-halves
Canadian football placekickers
Hamilton Tiger-Cats players

Tadhg Leader


Liam McHugh (born ) is an American television sportscaster. He is a studio host for the NHL on TNT and MLS Season Pass on Apple TV. He previously worked on NBC Sports coverage of the NHL as well as Notre Dame Fighting Irish football and NBC Sunday Night Football. He was also perhaps the face of NBCSN, anchoring much of its staple programming, including the NHL, Tour De France, college football, college basketball and the Premier League, prior to joining Turner.

Early life and education
McHugh grew up in Williston Park on Long Island and played basketball and soccer at Herricks High School. His father, Frank McHugh, was a long-time track coach at a different high school on Long Island called Elmont. McHugh graduated from the University at Buffalo and received his master's degree from Syracuse University's S. I. Newhouse School of Public Communications in 2004.

Career
Prior to joining NBC, he worked at Newsday (1999-2001), WTHI in Terre Haute, Indiana (2004-2007), KOKH in Oklahoma City, Oklahoma (2007-2009), and ESPN The Magazine (2001-2007). On April 5, 2010, The Daily Line debuted with McHugh as host. The show consisted of a four-person panel (host McHugh, handicapper Rob DeAngelis, comedian Reese Waters, and former Playboy model Jenn Sterger) which discussed, often with heavy satire, sports-related topics that were popular that day and aired on Versus.  However, the show was canceled due to low viewership on November 4, 2010. McHugh would be retained by the network to originally work on NHL coverage, mostly on NHL Overtime and Hockey Central.

In 2011, McHugh began the year as the host of NHL Live, the network's pre- and post-game show that airs before and after each NHL telecast. He also contributed to NBC's Stanley Cup coverage, hosting Games 1 and 2. In the summer of 2011, McHugh stepped into the role of host for NBC's live daily coverage of the Tour de France. In the fall, he contributed to NBCSN's college football coverage as the host of the newly created College Football Talk, a weekly wrap up show. Additionally, he served each week as the host for the network's studio show before and after game coverage.

2012 saw McHugh return to NBC and NBCSN's coverage of the NHL as lead studio host. He hosted NHL Live several times weekly and the NHL on NBC intermission report weekly. He finished off the 2011-2012 NHL season in his biggest role to date, hosting every game of the 2012 Stanley Cup Finals. He served as a reporter for NBC's Super Bowl XLVI pre-game coverage. McHugh expanded his portfolio even farther as he was to be a part of NBC Sports's coverage of the 2012 Summer Olympics.

McHugh hosted the afternoon action on NBCSN daily throughout the games. In the fall, he continued to host NBC's college football studio show alongside Doug Flutie and newcomer Hines Ward. In November 2012, McHugh hosted NBCSN's Carrier Classic Countdown, live from the deck of the USS Bataan, as well as pre-game, halftime and post-game coverage. He made his Winter Olympics debut as a hockey host at the 2014 Olympic Winter Games in Sochi for NBC.

For the final 6 weeks of the 2015-2016 Premier League season, McHugh filled in as the lead studio host for the Monday afternoon Premier League games while Rebecca Lowe was on maternity leave. He continued in that capacity for the next five Premier League seasons when he has no NHL responsibilities for NBCSN.

During the 2017 NFL season, McHugh was named the new studio host for NBC's joint coverage of Thursday Night Football with NFL Network. He replaced Bob Costas, who stepped down from most of his on-air roles at NBC, including the Olympics.

Shortly before Super Bowl LII, it was announced that McHugh would join Dan Patrick as a studio co-host for the game, filling in for Mike Tirico as the latter prepared to anchor the 2018 Winter Olympics, set to open a few days later. McHugh later joined Football Night in America full-time starting with the 2018 NFL season, taking Tirico's spot, as Tirico moved to the studio to replace the departed Patrick.

Following NBC's last Stanley Cup Finals, their coverage of the 2020 Summer Olympics, and after being left off the Football Night in America roster for the 2021 NFL season, McHugh departed NBC to join Turner Sports for their NHL coverage. McHugh joined Kenny Albert, Brendan Burke, Eddie Olczyk, Keith Jones, Anson Carter, and John Forslund, who all jumped from NBC to Turner after the former lost the NHL rights to the latter.

In 2023, McHugh was named to Apple TV's MLS Season Pass broadcast team, as the lead host of their whiparound studio coverage. Despite the new job, McHugh will continue as TNT's NHL studio host.

References

External links
 NBC bio

American radio sports announcers
American television sports announcers
College basketball announcers in the United States
College football announcers
Cycling announcers
Living people
National Football League announcers
National Hockey League broadcasters
Notre Dame Fighting Irish football announcers
Olympic Games broadcasters
Place of birth missing (living people)
S.I. Newhouse School of Public Communications alumni
University at Buffalo alumni
People from Williston Park, New York
Year of birth missing (living people)
Herricks High School alumni

Liam McHugh


Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. In the mid-1980s, digital instrumentation became more prevalent, changing the sound considerably, with digital dancehall (or "ragga") becoming increasingly characterized by faster rhythms. Key elements of dancehall music include its extensive use of Jamaican Patois rather than Jamaican standard English and a focus on the track instrumentals (or "riddims").

Dancehall saw initial mainstream success in Jamaica in the 1980s, and by the 1990s, it became increasingly popular in Jamaican diaspora communities. In the 2000s, dancehall experienced worldwide mainstream success, and by the 2010s, it began to heavily influence the work of established Western artists and producers, which has helped to further bring the genre into the Western music mainstream.

History

Early developments
Dancehall is named after Jamaican dance halls in which popular Jamaican recordings were played by local sound systems.

They began in the late 1970s among people from the inner city of Kingston, who were not able to participate in dances uptown. Social and political changes in late-1970s Jamaica, including the change from the socialist government of Michael Manley (People's National Party) to Edward Seaga (Jamaica Labour Party), were reflected in the shift away from the more internationally oriented roots reggae towards a style geared more towards local consumption and in tune with the music that Jamaicans had experienced when sound systems performed live. Themes of social injustice, repatriation and the Rastafari movement were overtaken by lyrics about dancing, violence and sexuality. Though the revolutionary spirit was present in Jamaica due to this social upheaval, the radio was very conservative and failed to play the people's music. It was this gap that the sound system was able to fill with music that the average Jamaican was more interested in.

Dancehall music, also called ragga or dub, style of Jamaican popular music that had its genesis in the political turbulence of the late 1970s and became Jamaica's dominant music in the 1980s and '90s. Central to dancehall is the deejay, who raps, or "toasts", over a prerecorded rhythm track (bass guitar and drums), or "dub".

Sound systems such as Killimanjaro, Black Scorpio, Silver Hawk, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of deejays. The older toasters were overtaken by new stars such as Captain Sinbad, Ranking Joe, Clint Eastwood, Lone Ranger, Josey Wales, Charlie Chaplin, General Echo and Yellowman — a change reflected by the 1981 Junjo Lawes-produced album A Whole New Generation of DJs, although many went back to U-Roy for inspiration. Deejay records became, for the first time, more important than records featuring singers. Another trend was sound clash albums, featuring rival deejays /or sound systems competing head-to-head for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that came with such rivalries.

Yellowman, one of the most successful early dancehall artists, became the first Jamaican deejay to be signed to a major American record label, and for a time enjoyed a level of popularity in Jamaica to rival Bob Marley's peak. The early 1980s also saw the emergence of female deejays in dancehall music, such as Lady G, Lady Saw, and Sister Nancy. Other female dancehall stars include artistes like Diana King and in the late 1990s to the 2000s Ce'cile, Spice, Macka Diamond and more.
 Beenie Man, Bounty Killer, Mad Cobra, Ninjaman, Buju Banton, and Super Cat becoming major DJs in Jamaica.

With a little help from deejay sound, "sweet sing" (falsetto voice) singers such as Pinchers, Cocoa Tea, Sanchez, Admiral Tibet, Frankie Paul, Half Pint, Courtney Melody, and Barrington Levy were popular in Jamaica.

Origination from the DJ scene
Sound systems and the development of other musical technology heavily influenced dancehall music. The music needed to "get where the radio didn't reach" because Jamaicans often were outside without radios. Especially because the audience of dancehall sessions were lower-class people, it was extremely important that they be able to hear music. Sound systems allowed people to listen to music without having to buy a radio. Therefore, the dancehall culture grew as the use of technology and sound systems got better.

The Jamaican dancehall scene was one created out of creativity and a desire for accessibility, and one that is inseparable from sound system culture. The term 'Dancehall', while now typically used in reference to the specific and uniquely Jamaican genre of music, originally referred to a physical location. This location was always an open-air venue from which DJs and later "Toasters", a precursor to MCs, could perform their original mixes and songs for their audience via their sound systems. The openness of the venue paired with the innately mobile nature of the sound system, allowed performers to come to the people. At the onset of the dancehall scene, sound systems were the only way that some Jamaican audiences might hear the latest songs from a popular artist. Through time, it transformed to where the purveyors of the sound systems were the artists themselves and they became whom the people came to see along with their own original sounds. With the extreme volume and low bass frequencies of the sound systems local people might very well feel the vibrations of the sounds before they could even hear them, though the sound itself did travel for miles. This visceral sensory pleasure acted as an auditory beacon, redefining musical experience.

Jamaica was one of the first cultures to pioneer the concept of remixing. As a result, production level and sound system quality were critical to Jamaica's budding music industry. Since many locals couldn't afford sound systems in their home, listening to one at a dance party or at a festival was their entry into audible bliss. Writer Brougtton and Brewster's book Last Night a DJ Saved My Life states that sound systems were a product of Jamaican social lifestyle. The success of music wasn't just in the hands of one person anymore, it was a factor of the DJ, speaking poetic words to the audience, the Selector, harmonizing beats in an aesthetically pleasing way, and the Sound Engineer, wiring the sound systems to handle deeper and louder bass tones. Music became a factor of many elements and the physicality of that sound was a strategic puzzle left for musicians to solve.

1980s–1990s
InnerCity Promotions Led by Mike Tomlinson And Lois Grant played a very significant role in the development of Jamaica's popular "DanceHall" music. Their promotion company through a series of concerts led to the then emerging music from which they labelled, "DanceHall." The team started a series called "Saturday Night Live" at Harbour View Drive-In. US soul group Gladys Knight and the Pips headlined the initial concert and the showcase also featured boxing presentations from Muhammed Ali. InnerCity Promotions was responsible for establishing and promoting numerous events, their first DanceHall concert was staged in 1984. This was significant because it marked the beginnings of the music's recognition as the "DanceHall" genre. Mr. Tomlinson recalls the opposition received from journalist, radio and TV managers at the time, some who refused to run the commercials or play the music to promote the DanceHall series. Dancehall musicians such as U-Roy, I-Roy, Admiral Bailey, Mikey "lickShot" Palmer, Half Pint, Tenor Saw, Charlie Chaplain(Jamaica), Leroy Sibbles, Papa San, Lieutenant Stitchie, Super Cat, General Trees, Ninjaman, Shabba Ranks, Buju Banton, Yellow Man, Pinchers, Courtney Melody, Jose Wales, Barrington Levy, Mad Cobra, Sugar Minott and Shinehead were popular during the 1980s. The series continued into the early 1990s, the team Mike Tomlinson and Lois Grant played an important role in nurturing and promoting the young talents of the inner city and sound system culture of that era. Through their DanceHall live concerts, many performers found a place to use their voice and make a mark due to the opportunities afforded by InnerCity Promotions. This is from the International Reggae Awards special awarded honors(irawma awards).

King Jammy's 1985 hit, "(Under Me) Sleng Teng" by Wayne Smith, with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a digital keyboard. However, The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.

Dub poet Mutabaruka said, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from reggae's gentle roots and culture, and there was much debate among purists as to whether it should be considered an extension of reggae.

This shift in style again saw the emergence of a new generation of artists, such as Sean Paul, Capleton, Beenie Man and Shabba Ranks, who became famous ragga stars. A new set of producers also came to prominence: Philip "Fatis" Burrell, Dave "Rude Boy" Kelly, George Phang, Hugh "Redman" James, Donovan Germain, Bobby Digital, Wycliffe "Steely" Johnson and Cleveland "Clevie" Brown (aka Steely & Clevie) rose to challenge Sly & Robbie's position as Jamaica's leading rhythm section.

The faster tempo and simpler electronic beat of late-1980s and early-1990s dancehall greatly influenced the development of Reggae en Español.

2000s

By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. This was first seen with artists such as Sean Paul, whose single "Get Busy" (2003) became the first dancehall single to reach number one on the US Billboard Hot 100.

Unlike earlier Dancehall, this new evolution was characterized by structures of music commonly heard in mainstream pop music, such as repeated choruses, melodic tunes, and hooks. Some lyrics were cleaner and featured less sexual content and profanity.

Some of the artists who popularised this new era of Dancehall were Bounty Killer, Beenie Man, Elephant Man, Popcaan, Vybz Kartel, Konshens, Mr. Vegas, Mavado, Ward 21, Lady Saw and Spice, some of whom saw international success.

Modern era: 2015—present
Dancehall saw a new wave of popularity in Western markets in the mid-late 2010s, with immense commercial success being achieved by a number of dancehall-pop singles, including  Rihanna's "Work" (2016) and Drake's "One Dance" and "Controlla" (2016).

A variety of western artists have spoken of being inspired by Dancehall music, including Major Lazer, whose commercially successful singles Lean On (2015), Light It Up (2015) and Run Up (2017) all heavily rely upon dancehall music. Several hip-hop and R&B artists have also released material inspired by dancehall music, including Drake, who has cited Vybz Kartel as one of his "biggest inspirations."

In 2014, Drake took an interest into Popcaan and linked him up with MixPak producer Dre Skull to release his debut album 'Where We Come From'. This saw huge commercial success and went on to receive a UK MOBO award for Best Reggae Album in 2015. The year of 2016 saw Popcaan's rival-artist Alkaline release his debut album 'New Level Unlocked' under DJ Frass Records, which topped the charts in Jamaica, as well as being well received in the US and UK.

Popcaan and Alkaline have always been rival music artists in Jamaica and it is much debated who is the new Dancehall King, since Vybz Kartel was incarcerated in 2011. It has been said that Popcaan's success is largely due to early support from Vybz Kartel(KOTD) and more recent support from Drake.

By 2016, Dancehall had re-emerged into global popularity, artists such as Alkaline, Popcaan, Spice, Aidonia and Rygin King are known as some of the most profound and active artists of this period to date.

Since 2017, Dancehall artists from Jamaica have been frequently collaborating with UK acts such as Chip, Stefflon Don and J Hus. This is well in-tune with the boost of urban acts in the UK rising up, and the re-birth of Grime in 2014.

In the late 2010s, a new wave of artists rose to popularity in Jamaica. These artists come from rural parishes, especially Montego Bay, outside of the commercial center of the Jamaican music industry. They are influenced by American trap music, and sometimes refer to lottery scamming in their lyrics. Some of the most popular artists in this style are Chronic Law, Rygin King, and Squash.

The changing sounds in dancehall have largely been down to the producers behind the tracks. The most notable producers creating the new sound of Jamaica today are: DJ Frass, Notnice, and Lee Milla.

Musical characteristics
Three major elements of Jamaican dancehall music are the use of digital instruments, particularly the Casio Casiotone MT-40 electronic keyboard, the Oberheim DX drum machine, and the use of riddims, instrumentals to which lyrics are added, resulting in an unusual process of creating songs from separate components. More specifically, many riddims are created using digital instruments like the MT-40, a practice that first became popular in 1985 with the release of 'Under Mi Sleng Teng,' whose success made the accessibility of digitally-composed riddims apparent (Manuel-Marshall, p. 453).

Riddims
A single riddim can be used in multiple songs, paired with different sets of lyrics, and the inverse is also possible with a single set of lyrics being attached to different riddims.  Riddims and lyric sets are not exclusive to any one artist, and these can be and are spread around with one particular riddim, 'Real Rock,' first recorded in 1967 for a song of the same name, being used in at least 269 songs by 2006 over the course of 39 years. Peter Manuel and Wayne Marshall noted in 2006 that most songs were set to one of about a dozen riddims that were in vogue, with the exceptions being the work of individual, often high-ranked, artists. Recording over riddims forms the basis of dancehall, with modern dancehall layering vocals over ostinatos; the DJs providing the vocals thus, in the words of Manuel and Marshall, carry the song, unlike older dancehall where vocals were interwoven with full songs.

These practices' roots can be described with the concept of families of resemblance as coined by George Lipsitz in 1986 – similarities between other groups' experiences and cultures (Lipsitz, p. 160). Here, the term might describe the links between different artists via shared riddims and lyric sets and through common experiences incorporated into the music.

Culture

Donna P. Hope defines dancehall culture as a "space for the cultural creation and dissemination of symbols and ideologies that reflect the lived realities of its adherents, particularly those from the inner cities of Jamaica." Dancehall culture actively creates a space for its "affectors" (creators of dancehall culture) and its "affectees" (consumers of dancehall culture) to take control of their own representation, contest conventional relationships of power, and exercise some level of cultural, social and even political autonomy.

Kingsley Stewart outlines ten of the major cultural imperatives or principles that constitute the dancehall worldview. They are:

 It involves the dynamic interweaving of God and Haile Selassie
 It acts as a form of stress release or psycho-physiological relief
 It acts as a medium for economic advancement
 The quickest way to an object is the preferred way (i.e., the speed imperative)
 The end justifies the means
 It strives to make the unseen visible
 Objects and events that are external to the body are more important than internal processes; what is seen is more important than what is thought (i.e., the pre-eminence of the external)
 The importance of the external self; the self is consciously publicly constructed and validated
 The ideal self is shifting, fluid, adaptive, and malleable, and
 It involves the socioexistential imperative to transcend the normal (i.e., there is an emphasis on not being normal).

Such a drastic change in the popular music of the region generated an equally radical transformation in fashion trends, specifically those of its female faction. In lieu of traditional, modest "rootsy" styles, as dictated by Rastafari-inspired gender roles; women began donning flashy, revealing – sometimes X-rated outfits. This transformation is said to coincide with the influx of slack lyrics within dancehall, which objectified women as apparatuses of pleasure. These women would team up with others to form "modeling posses", or "dancehall model" groups, and informally compete with their rivals.

This newfound materialism and conspicuity was not, however, exclusive to women or manner of dress. Appearance at dance halls was exceedingly important to acceptance by peers and encompassed everything from clothing and jewelry, to the types of vehicles driven, to the sizes of each respective gang or "crew", and was equally important to both sexes.

One major theme behind dancehall is that of space. Sonjah Stanley Niaah, in her article "Mapping Black Atlantic Performance Geographies", says

Dancehall occupies multiple spatial dimensions (urban, street, police, marginal, gendered, performance, liminal, memorializing, communal), which are revealed through the nature and type of events and venues, and their use and function. Most notable is the way in which dancehall occupies a liminal space between what is celebrated and at the same time denigrated in Jamaica and how it moves from private community to public and commercial enterprise.A Story of Space and Celebration, by Sonjah Stanley Niaah.

In Kingston's Dancehall: A Story of Space and Celebration, she writes:

Dancehall is ultimately a celebration of the disenfranchised selves in postcolonial Jamaica that occupy and creatively sustain that space. Structured by the urban, a space that is limited, limiting, and marginal yet central to communal, even national, identity, dancehall's identity is as contradictory and competitive as it is sacred. Some of Jamaica's significant memories of itself are inscribed in the dancehall space, and therefore dancehall can be seen as a site of collective memory that functions as ritualized memorializing, a memory bank of the old, new, and dynamic bodily movements, spaces, performers, and performance aesthetics of the New World and Jamaica in particular.

These same notions of dancehall as a cultural space are echoed in Norman Stolzoff's Wake the Town and Tell the People. He notes that dancehall is not merely a sphere of passive consumerism, but rather is an alternative sphere of active cultural production that acts as a means through which black lower-class youth articulate and project a distinct identity in local, national, and global contexts. Through dancehall, ghetto youths attempt to deal with the endemic problems of poverty, racism, and violence, and in this sense the dancehall acts as a communication center, a relay station, a site where black lower-class culture attains its deepest expression. Thus, dancehall in Jamaica is yet another example of the way that the music and dance cultures of the African diaspora have challenged the passive consumerism of mass cultural forms, such as recorded music, by creating a sphere of active cultural production that potentially may transform the prevailing hegemony of society.

In Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall Nadia Ellis explicates the culture of combined homophobia and unabashed queerness within Jamaican dancehall culture. She details the particular importance of the phrase "out and bad" to Jamaica when she writes, "This phrase is of queer hermeneutical possibility in Jamaican dancehall because it registers a dialectic between queer and gay that is never resolved, that relays back and forth, producing an uncertainty about sexual identity and behavior that is usefully maintained in the Jamaican popular cultural context." In discussion of the possibility of a self identifying homosexual dancer performing to homophobic music she writes, "In appropriating the culture and working from within its very center, he produces a bodily performance that gains him power. It is the power or mastery, of parody, and of getting away with it."

Ellis not only examines the intersection of queerness and masculinity within the Jamaican dancehall scene, but suggests that the overt homophobia of certain dancehall music actually creates a space for queer expression. In general, homosexuality and queerness are still stigmatized in dancehalls. In fact, some of the songs used during dancehall sessions contain blatant homophobic lyrics. Ellis argues, however, this explicit, violent rhetoric is what creates a space for queer expression in Jamaica. She describes the phenomenon of all male dance groups that have sprung up within the dancehall scene. These crews dress in matching, tight clothing, often paired with makeup and dyed hair, traditional hallmarks of queerness within Jamaican culture. When they perform together, it is the bodily performance that give the homosexual dancers power.

Dances
The popularity of dancehall has spawned dance moves that help to make parties and stage performances more energetic. Dancing is an integral part of bass culture genres. As people felt the music in the crowded dancehall venues, they would do a variety of dances. Eventually, dancehall artists started to create songs that either invented new dances or formalized some moves done by dancehall goers. Many dance moves seen in hip hop videos are actually variations of dancehall dances. Examples of such dances are: "Like Glue", "Bogle", "Whine & Dip", "Tek Weh Yuhself", "Whine Up", "Shake It With Shaun" (a mix of various genres), "Boosie Bounce", "Drive By", "Shovel It", "To Di World", "Dutty Wine", "Sweep", "Nuh Behavior", "Nuh Linga", "Skip to My Lou", "Gully Creepa", "Breakdancing" ,"Bad Man Forward Bad Man Pull Up", "Keeping it Jiggy", "Pon Di River", "One Drop", "Whine & Kotch", "Bubbling", "Tic Toc", "Willie Bounce", "Wacky Dip", "Screetchie", "One Vice" and "Daggering".

Criticisms

Cultural elements
Dancehall combines elements of materialism and stories of hardships of Kingston, Jamaica. This is seen in the use of gun talk by artists like Buju Banton and Capleton, or the sporting of bling-bling by "Gangsta Ras" artists like Mavado and Munga. The term Gangsta Ras, which combines thuggish imagery with Rastafari is according to Rasta critics, an example of how in dancehall, "the misuse of Rastafari culture has diluted and marginalised the central tenets and creed of the Rastafari philosophy and way of life".

Kingsley Stewart points out that artists sometimes feel an "imperative to transcend the normal", exemplified by artists like Elephant Man and Bounty Killer doing things to stand out, such as putting on a synthetic cartoonish voice or donning pink highlights while constantly re-asserting hypermasculine attributes. Donna P. Hope argues that this trend is related to the rise of market capitalism as a dominant feature of life in Jamaica, coupled with the role of new media and a liberalized media landscape, where images become of increasing importance in the lives of ordinary Jamaicans who strive for celebrity and superstar status on the stages of dancehall and Jamaican popular culture.

Another point of dissension of dancehall from reggae, and from its non-western roots in Jamaica, is on the focus on materialism. Dancehall has also become popular in regions such as Ghana and Panama. Prominent males in the dancehall scene are expected to dress in very expensive casual wear, indicative of European urban styling and high fashion that suggest wealth and status. Since the late 1990s, males in the dancehall culture have rivalled their female counterparts to look fashioned and styled. The female dancehall divas are all scantily clad, or dressed in spandex outfits that accentuate more than cover the shape of the body. In the documentary It's All About Dancing, prominent dancehall artist Beenie Man argues that one could be the best DJ or the smoothest dancer, but if one wears clothing that reflects the economic realities of the majority of the partygoers, one will be ignored, and later Beenie Man returned to perform as Ras Moses.

Guns and violent imagery
According to Carolyn Cooper in Sound Clash, written in 2004, dancehall music and its following were frequently attacked for frequent references to guns and violence in lyrics, with Cooper responding by arguing that the emergence of firearms was less a sign of genuinely violent undercurrents in dancehall and more a theatrical adoption of the role of guns as tools of power. That ties into the concepts of the badman, a defiant, rebellious figure who often use a gun to maintain a level of respect and fear.  Said concepts, Cooper argues, originate in historical resistance to slavery and emulation of imported films, specifically North American action films with gun-wielding protagonists.

Adding to the concept of gunfire as theatrical element is the use of gunfire as a way to show support for a performing DJ or singer, which eventually gave way to flashing cigarette lighters, displaying glowing cellphone monitors, and igniting aerosol sprays. Gunfire as a form of cheering has extended beyond dancehall culture with the phrase "pram, pram!" becoming a general expression of approval or support.

However, Cooper's assessment of the presence of guns in Jamaican dancehall is not wholly uncritical, with a discussion of Buju Banton's 'Mr. Nine' interpreting the song as a denouncement of what Cooper describes as gun culture gone out of control.

Part of the criticism of Jamaican dancehall appears to be the product of cultural clash stemming from a lack of insider knowledge on the nuances of the music's content and the culture surrounding said music.  This struggle is something ethnomusicologists struggle with, even within an academic setting, with Bruno Nettl describing in The Study of Ethnomusicology how "insider" and "outsider" viewpoints would reveal different understandings on the same music. Indeed, Nettl later mentions growing questions of who ethnomusicological studies benefited, especially from the groups being studied.  And even then, in May It Fill Your Soul, Timothy Rice mentioned that even insider scholars required a level of distanciation to scrutinize their own cultures as needed.

Anti-gay lyrics

After the popularizing of Buju Banton's dancehall song "Boom Bye Bye" in the early 1990s, dancehall music came under criticism from international organizations and individuals over anti-gay lyrics. In some cases, dancehall artists whose music featured anti-gay lyrics have had their concerts cancelled. Various singers were investigated by international law enforcement agencies such as Scotland Yard, on the grounds that the lyrics incited the audience to assault gay people. For example, Buju Banton's 1993 hit "Boom Bye Bye" advocates the violent assaults and murders of gay people. Another example, T.O.K.'s song "Chi Chi Man" which advocates the killing of gay men and women.

Some of the affected singers believed that legal or commercial sanctions were an attack against freedom of speech and were affected by anti-Black attitudes in the music industry internationally.  Many artists have over time apologized for their mistreatment of LGBTQ+ communities, particularly in Jamaica, and agreed to not use anti-gay lyrics nor continue to perform or profit off their previously anti-gay music.  "Stop Murder Music" is/was a movement against homophobia in dancehall music. This movement actively targeted homophobia in dancehall music and was partially initiated by a controversial UK based group OutRage! and supported by the Black Gay Men's Advisory Group (UK based) and J-Flag (Jamaica based). It led to some dancehall artists signing the Reggae Compassionate Act. Dancehall artist Mista Majah P has created dancehall music more recently that celebrates and advocates for LGBTQ+ people.

Some artists agreed not to use anti-gay lyrics during their concerts in certain countries internationally because their concerts kept being protested and cancelled. However, this fails to address the most serious effects of the anti-gay lyrics in dancehall music which are on the LGBTQ+ people of Jamaica, where this music is most present.

The global treatment of dancehall can often represent the continued anti-Black association of homophobia with Blackness. For example, dancehall artists that have not used anti-gay lyrics and even write music advocating for gay rights have been excluded internationally from certain spaces because it is assumed they are homophobic. Additionally, groups internationally have acted as though the gay-rights criticism of homophobic dancehall songs or artists is not important to Black communities. This represents the anti-Black and anti-gay attitude that work to erase intersectional Black LGBTQ+ identities. In fact, many LGBTQ+ Black people, particularly with connections to Jamaica, continue to experience the complexities of dancehall music, both culturally important and at times deeply violent. This is demonstrated in the film "Out and Bad: London's LGBT Dancehall Scene" which discusses the experience of a group of LGBTQ+ Black, and mostly Jamaican, people in London. Dancehall is important to their culture, both in connection with Jamaican heritage and in how social interactions are constructed around dance and music. However, it is discussed how many dancehall songs contain homophobic and transphobic lyrics. One interviewee comments "We still enjoy ourselves to these kinds of music because [what matters to us is] the rhythm of the music, the beat, the way the music makes us feel."

Scholars have theorized around the significance and meaning around the use of anti-gay lyrics in dancehall music. Donna P. Hope argues that dancehall culture's anti-gay lyrics formed part of a macho discussion that advanced the interest of the heterosexual male in Jamaica, which is a Christian society with strong Rastafari movement influence as well. Dancehall culture in Jamaica often included imagery of men dressing and dancing in a way stereotypically associated with gay-male style. However, the cultural, religious, and social gender-norms continued to advance the ideal man as macho and heterosexual, any divergence from this would be identified as inadequate and impure portraits of true masculinity.

Some authors have suggested that this duality, the presentation of "queerness," in dance style and dress, and the violent homophobia, in dancehall spaces can be explained by the ritualistic "doing away with 'homosexuality'." Scholar Nadia Ellis suggests that when songs with homophobic lyrics are played, the environment of dancehall spaces can become serious and individuals can use the opportunity to reinstate their allegiance to heteronormativity. These songs thus act to "consecrate" the spaces as straight and masculine. In the safety this ritualized hetero-normativity creates, the space may be opened to more free expression and participants can then more openly engage with styles and dancing that might have been seen as queer. Ellis writes: "The songs are played; no one is 'gay'; everyone can turn a blind eye."

The  backlash to Banton's violently anti-gay "Boom Bye-Bye", and the reality of Kingston's violence which saw the deaths of deejays Pan Head and Dirtsman saw another shift, this time back towards Rastafari and cultural themes, with several of the hardcore slack ragga artists finding religion, and the "conscious ragga" scene becoming an increasingly popular movement. A new generation of singers and deejays emerged that harked back to the roots reggae era, notably Garnett Silk, Tony Rebel, Sanchez, Luciano, Anthony B and Sizzla. Some popular deejays, most prominently Buju Banton and Capleton, began to cite Rastafari and turn their lyrics and music in a more conscious, rootsy direction. Many modern dancehall Rasta artists identify with Bobo Ashanti.

Women's message of power and control
Dancehalls are used to communicate messages of women's power and control in a protest against their gendered experience embedded in Jamaican culture. Danger, a dancehall queen and the winner of the International Dancehall Queen Competition in 2014, expresses her power through dancehalls as she explains: "We are queens, we are not afraid to go out there to do what we want to, demand what we want, and to live how we want, and represent women all over the world and to let them know it is okay to be yourself and that it is ok to not hold back"  Raquel, also known as Dancing Princess, describes her ability to communicate through the dancehall: "What you've lived, what you feel, put it in the dance. That's what dance is, expressing with your body what you feel and who you are. (...) dancehall is the way of the woman to say no, I am a woman respect me." As evidenced by these women, dancehall is a space that allows for women to be empowered and to communicate their liberation from the boundaries imposed on them. Rather by negotiating their own boundaries in the dancehall, by taking control of their bodies, and by communicating their power, they are demanding respect when confronted by those who do not believe they deserve it.

See also

References

External links
 Dancehall in Australia
 Dancehall Magazine
 International Reggae and World Music Awards Magazine

20th-century music genres
Caribbean music genres
Jamaican music
Reggae genres

Dancehall


Bellflower is a 2011 American film written and directed by Evan Glodell. It was produced on a shoestring budget in Ventura, California, and premiered in January 2011 at the Sundance Film Festival.  The film was nominated for the Independent Spirit John Cassavetes Award for best feature film made for under
$500,000.

Plot
Woodrow and Aiden migrate to Los Angeles from Wisconsin, constructing weapons and testing them out in empty lots. At a bar that hosts live acts, Woodrow volunteers to enter a cricket eating contest and meets Milly, who beats him in the contest. They exchange phone numbers, while Aiden talks to Milly's friend, Courtney.

Woodrow and Milly decide they'll drive to Texas to eat at the scariest place Woodrow can think of. Woodrow gets in a fight with a local who disrespects Milly, is made sick by the day-old meatloaf, and trades his car for a motorcycle. Returning to California, Woodrow and Milly begin dating each other, despite Milly's ambiguously hostile roommate Mike.

Woodrow finds Aiden has completed the flamethrower, and they successfully test it out. Aiden is impressed with the motorcycle, which is the second part of their three pronged plan to create a Medusa Gang which will reign over their imagined vision of an apocalyptic future, and now they only lack a flame blowing muscle car. Tensions between friends rise, when Woodrow and Milly spend more time together than they do with their best friends.

Woodrow becomes more controlling and jealous of Milly, who is annoyed by his behavior. He returns home early to find Milly having sex with Mike. Woodrow and Mike scuffle, then Woodrow drives away on his motorcycle and is hit by a car, leaving him with serious injuries. When Aiden picks him up from the hospital, he's utterly despondent and blames Milly. Woodrow lies in bed for days and when Courtney drops in, they have sex despite that Aiden is interested in Courtney.

Aiden purchases a 1972 Buick Skylark and works on turning it into the fire blowing Medusa, while Woodrow continues to have sex with Courtney. Mike comes to Woodrow's to retrieve Milly's personal items, but Aiden intercepts him and tells him not to come around again or he'll kill him. Woodrow takes Milly's personal items, puts them in a box, walks them over to her apartment court with his flame thrower strapped to his back, and lights them on fire in front of her door. This inspires Mike to seek revenge, and he finds the Medusa muscle car in front of Woodrow's house and breaks a window with a baseball bat. Aiden stops him from creating further damage by wrestling the bat from him, and when Mike tries to get the bat back Aiden strikes him in the head. When Mike stops moving, Aiden runs. Milly finds out what's happened and ambushes Woodrow, knocking him unconscious, and she and an unknown man tattoo Woodrow's cheeks, chin and upper-lip.

Courtney confronts Milly about what she did to Woodrow and they fight, with Milly pulling a knife on her former best friend and forcing her to leave.

When Woodrow wakes up and sees himself in the mirror he flies into a rage, tracks Milly down and has a screaming confrontation with her. When he tells her that he's been thinking of doing some "sick shit" to her all morning, she replies that she doesn't care and submits to his anger. This results in sex that turns increasingly violent, ending with Milly screaming out in pain.

As Woodrow leaves Milly's house his shirt and hands are covered in blood, and he encounters Courtney in the street. She has a pistol and shoots herself in the head when he won't talk to her.

The film then back-tracks to when Woodrow has put Milly's things in a box, and gives an alternate series of events, much less apocalyptic, where Woodrow and Aiden light Milly's things on fire at the beach and then leave town. The film flashes forward again to Woodrow in the street, where Milly has caught up with him and they hold each other as credits roll.

Production

Cinematography
Reviewers noted the film's distinctive look, giving credit to cinematographer Joel Hodge's shooting style and the one-of-a-kind camera designed and built by Evan Glodell, who combined vintage camera parts, bellows and Russian lenses, around a Silicon Imaging SI-2K Mini Digital Cinema camera.

Hodge was nominated for the 2012 Independent Spirit Award for Best Cinematography, losing to the significantly bigger budget The Artist. The award was announced the day before The Artist won the Academy Award for Best Picture.  Eric Kohn of IndieWire criticized the inclusion of The Artist into awards that should recognize lesser known films, itemizing "innovative cinematographer" Hodge as one of the people harmed by the decision.  Screen Junkies also included both cinematographers among three it named Best Cinematographers for 2012.

Effects
Glodell and crew were also inventive in the effects they used in the filming.  Glodell constructed the flame thrower central to the theme, and modified the Medusa car.  To get a propane tank explosion, live bullets were fired into the tank, narrowly missing engineer/editor Jon Keevil's head.  It has been called one of the most dangerous film shoots in history.

Distribution
On January 27, 2011, six days after the premiere at Sundance, Oscilloscope Laboratories announced it had acquired English-language territory rights to the film. Bellflower was released in theaters August 5, 2011.

In non-English-speaking territories, Visit Films is the international sales agent and distributor.

Cast
 Evan Glodell as Woodrow
 Jessie Wiseman as Milly
 Tyler Dawson as Aiden
 Rebekah Brandes as Courtney
 Vincent Grashaw as Mike
 Zack Kraus as Elliot
 Keghan Hurst as Sarah
 Alexandra Boylan as Caitlin
 Jon Huck as himself

References

External links
 Bellflower Official Website
 Bellflower Trailers

 Bellflower at SXSW: "Bellflower and The Art of Promotion" Yahoo! Movies

2011 films
2011 action drama films
2011 romantic drama films
American action drama films
American romantic drama films
American independent films
Films about automobiles
Films shot in California
Films set in Los Angeles
2011 directorial debut films
2011 independent films
2010s English-language films
2010s American films

Bellflower (film)


Worth School District 127 is an elementary school district based in Worth, a southern Chicago suburb located in Cook County, Illinois. District 127 is composed of two elementary schools, one junior high school, and a preschool institution; all schools are located within the village of Worth. Students may begin their careers in the district as preschoolers at Worthridge School. They may alternatively enter the district as kindergarteners in either Worth Elementary School or Worthwoods Elementary School, which serve kindergarteners and students between grades one and five under, respectively, principals Joe Zampillo and Tim Hathhorn. Graduates of the two elementary schools move on to attend Worth Junior High School, which is headed by its principal, Dr. Peter Yuska. The district superintendent is Dr. Rita Wojtylewski.

References

External links

School districts in Cook County, Illinois
Worth, Illinois

Worth School District 127


Daniela Castrignano (born December 11, 1980, in Lecce) is an Italian taekwondo practitioner, who competed in the women's heavyweight category. She obtained a total of nine medals in her sporting career, including one Gold and two silvers at the European Championships and a bronze in the over-72 kg division at the 2007 World Taekwondo Championships in Beijing. Castrignano was also selected to compete for the Italian taekwondo squad at the 2004 Summer Olympics in Athens, where she placed fifth in the women's heavyweight category (+67 kg). Throughout her sporting career, Castrignano trained for Team Perulli in her native Lecce under head coach and master Giuseppe Perulli.

Castrignano started her taekwondo career upon her admission at Team Perulli in Lecce, where she practiced and trained full-time under her personal coach Luigi Perulli. In 1997, she won a gold medal over Great Britain's Joanne Lawrence in the heavyweight class at the European Junior Championships in Patras. Castrignano's sporting career continued to thrive with a silver at the 2000 European Championships and then completed her full set of medals by retrieving the bronze at the 2003 World Olympic Qualification Tournament in Paris, France, which guaranteed her place on the Italian team for her major Olympic debut.

Castrignano was selected to compete for the Italian squad in the women's heavyweight class (+67 kg) at the 2004 Summer Olympics in Athens. She surpassed Morocco's Mounia Bourguigue with a score of 6–4 in her opening match, but the referee's decision slipped her Olympic gold medal contention in a stunning defeat to France's Myriam Baverel, after the quarterfinal match ended on 8–8 draw. In the repechage, Castrignano salvaged from her quarterfinal loss to slam Canadian fighter and 2000 Olympic bronze medalist Dominique Bosshart at 7–3. Castrignano lost to Brazil's Natália Falavigna in her next bout with a score of 3–6, relegating her to fifth position.

At the 2007 World Taekwondo Championships in Beijing, China, Castrignano shared bronze medals with Chinese Taipei's Tsui Fang-hsuan in the over-72 kg class after her immediate defeat to local favorite and double Olympic champion Chen Zhong in the semifinals. Castrignano also sought her bid for the 2008 Summer Olympics, but she fell behind France's Anne Caroline Graffe in the quarterfinal match at the European Qualification Tournament in Baku, Azerbaijan.

References

External links

1980 births
Living people
Italian female taekwondo practitioners
Olympic taekwondo practitioners for Italy
Taekwondo practitioners at the 2004 Summer Olympics
Sportspeople from Lecce
European Taekwondo Championships medalists
World Taekwondo Championships medalists
20th-century Italian women
21st-century Italian women

Daniela Castrignano


Pisonia brunoniana is a species of flowering tree in the family Nyctaginaceae that is native to New Zealand, Norfolk Island, Lord Howe Island and Hawaii. The common names in New Zealand are parapara or birdcatcher tree.

Description
Pisonia brunoniana is a small tree, spreading to  or more tall. The wood is soft and the branches are brittle. The large leaves are opposite or ternate, glabrous, and glossy, entire (simple with smooth margins), and obtuse to rounded at apex. The inflorescence is paniculate, many-flowered, and the flowers are unisexual. The very sticky fruits, in which small birds are often trapped, are narrowly ellipsoidal, and  long, having five ribs.

In the Seychelles, the sticky seeds of a related species, Pisonia grandis, regularly causes seabird deaths, and research suggests that the seeds evolved to be transferred on the plumage of seabirds to distant islands, enabling the long-distance dispersal of the species. The situation may be similar with P. brunoniana.

Distribution in New Zealand

In New Zealand, Pisonia brunoniana grows in coastal forest on Raoul Island in the Kermadec group, on the Three Kings Islands, and in the North Island in scattered locations from Whangape Harbour to Mangawhai. Historically, it grew near Auckland, on the Coromandel Peninsula and at East Cape. It is now mainly found on offshore islands, especially rodent-free islands, where it often forms an important understorey component of mixed-broadleaf forest.

The plant is almost extinct in the North Island, partly because the large leaves of P. brunoniana are eagerly eaten by browsing animals such as possums, goats and feral cattle.

The plant is reasonably common in cultivation as a decorative tree in New Zealand, especially in the northern North Island. Two variegated cultivars are sold as P. brunoniana in New Zealand nurseries, although one of these, which has leaves extensively marbled with white, may in fact be P. umbellifera, a similar species which occurs throughout the tropical Indo-Pacific.

In Hawaii

In Hawaii, where it is known as pāpala kēpau, P. brunoniana is most common in dry to mesic habitats. Although abundant in certain locations, such as Kīpuka Puaulu, it has a relatively restricted distribution compared to the related species P. sandwicensis and P. umbellifera. The sticky fruits were employed by the Hawaiian kia manu (bird catchers) to trap birds in order to collect feathers for capes and other objects.

Notes

References

 Metcalf, Laurie, 2002. A Photographic Guide to Trees of New Zealand. Auckland: New Holland.
 Salmon, J.T., 1986. The Native Trees of New Zealand. Wellington: Heinneman Reed.
 Flora of Australia Online Pisonia brunoniana. Retrieved 3 May 2007.
 Hawaiian Ethnobotany Online Database, Bishop Museum. URL: Papala kepau. Retrieved 3 May 2007.
 New Zealand Plant Conservation Network, URL: Pisonia brunoniana. Retrieved 3 October 2010.
 Plants of Hawaii, URL:Papala kepau. Retrieved 3 May 2007.

brunoniana
Trees of New Zealand
Flora of Lord Howe Island
Flora of Norfolk Island
Trees of Hawaii
Trees of Australia
Caryophyllales of Australia
Flora without expected TNC conservation status

Pisonia brunoniana