is a 1989 Japanese science fiction horror film directed, written, produced, and edited by Shinya Tsukamoto.  The film centers around an unnamed Japanese salaryman who wakes up to find pieces of metal sprouting from various parts of his body and becomes haunted by visions of metal-oriented sexual fantasies. As the man steadily becomes a hybrid of man and machine, he develops a connection with a victim from a hit-and-run accident, who is undergoing a similar transformation.

The film was the first feature-length film by Tsukamoto after he spent his youth creating film shorts and entering Japanese experimental theatre. Through his theatre work, he met like-minded people to perform in plays and later short films such as Kei Fujiwara and Taguchi. Filming proved to be difficult with much of the cast and crew abandoning the production with only Taguchi and Tsukamoto arriving on set to finish the film. After winning the Grand Prize at the Fantafestival in Italy, the film grew in popularity in Japan, becoming a top seller on home video for non-mainstream cinema.

Outside Japan, critics compared the film to the work of directors Sam Raimi, David Cronenberg, and David Lynch while still finding the film to be an original film that was difficult to parse. Tsukamoto directed a sequel titled Tetsuo II: Body Hammer. In 2012, Michael Brooke of Sight & Sound declared the film "remains one of the most pulverisingly effective sci-fi horror films of the past quarter of a century." In Japan, the film magazine Kinema Junpo included the film on their list of top 200 Japanese films in 2009.

Plot
Note: Tetsuo: The Iron Man does not have a conventional narrative. This plot synopsis is adapted from a home video release and a synopsis in Sight & Sound by Tony Rayns using notes from the director.After a young man inserts scrap metal into a self-inflicted wound on his thigh, he becomes a victim in a hit-and-run accident. The driver, a typical salaryman, later finds a metallic thorn protruding from his cheek while shaving. On his way out to a subway station, he is attacked and chased by a woman who sprouts metallic tentacles. The man later finds metallic scabs on his own skin.

At home, the man sleeps next to his girlfriend and has a dream in which he is sodomized by organic metal machinery. Waking up, he either imagines or discovers that metal is taking over his body. When he attempts to have sex with his girlfriend, his penis becomes a metallic drill which leads him to lock himself away from his girlfriend. She approaches him saying she is not afraid of him, but as they have sex with his transformed penis, she stabs him in the neck. Falling into unconsciousness, the man regains consciousness sometime later to find his girlfriend has impaled herself on the drill, killing her.

Meanwhile, the victim of the hit-and-run accident recalls memories in the form of videos looping, recalling the moment of the accident and a doctor who tells him they discovered metal in his brain. The hit-and-run victim realizes he has telepathic powers and reaches out to the man and his girlfriend initially to menace them, but then to promise the man a "new world of metal".

The man flees in a panic as a local tramp meets the car accident victim and starts beating him. The man and the victim eventually meet again finding their entire body more metal than flesh. The victim's tone changes from anger to love and says he needs to merge with the man as he is overcome with rust that is attacking his body. The two merge into a giant metallic monster, and take to the streets of the city convinced they can mutate the entire world into metal.

Cast
 Tomorowo Taguchi as the Salaryman
 Kei Fujiwara as the Salaryman's girlfriend
 Nobu Kanaoka as a Woman in glasses
 Shinya Tsukamoto as the Young Metal Fetishist
 Naomasa Musaka as a Doctor
 Renji Ishibashi as Tramp

Cast adapted from the Sight & Sound review.
Production

Background and pre-production
As a child, Tsukamoto read Shōnen tantei dan and other children's books by Edogawa Ranpo in late grade school and early high school, finding himself interested in what he described as the "dark edges" of the books. He recalled, "I had similar feelings from reading his books as leafing through SM magazines I read when I was in high school."  Tsukamoto was also a fan of kaiju series as a child, seeing the Gamera and Godzilla films and the television series Ultra Q. Tsukamoto spoke specifically being interested in Ultra Q noting the mismatched elements of the show gave it a surreal flavor, which he felt led him to become interested in surrealism in high school. One day while he was still in school, Tsukamoto's father brought home an 8mm camera which Shinya soon inherited. He began making short and feature-length amateur films with his brother by 1974, which were initially monster movies. He began expanding his film input in high school, with the first non-monster movie he saw being Bitterness of Youth by Tatsumi Kumashiro, American films and the works of Akira Kurosawa. Tsukamoto stated that from Kurosawa he learned that one could work with light to manipulate the images on film, which Tsukamoto's biographer Tom Mes stated would anticipate his work in Tetsuo: The Iron Man.  Tsukamoto has since had very mixed feelings on these early films, even only letting his wife see them in 2002. Tsukamoto became frustrated with film work towards the end of the 1970s and began focusing on stage work while entering University.

Tsukamoto had performed and directed plays in high school, finding that they were "quite conventional" and that he preferred to do more experimental theatre. Tsukamoto specifically spoke about the work of Jūrō Kara as an influence, whose work often dealt with themes such as matricide and incest. Tsukamoto appreciated working in plays as it led to immediate feedback from audiences, who started out as spectators, who would want to work with him. Among the early people who reached out to Tsukamoto was Nobu Kanaoka who had roles in Tsukamoto's 1980s short films and Tetsuo: The Iron Man. Working with enthusiastic supporters led to Tsukamoto being able to make films and plays without outside funding and outside influences from production companies. Following graduation in 1984, Tsukamoto entered into advertising agencies which he hoped would give him access to professional film equipment. It took 18 months before Tsukamoto was allowed to direct commercials. He recalled that in those eighteen months he was almost never at home, and that working as a corporate employee for long hours was a major influence on Tetsuo: The Iron Man. Tsukamoto was able to return to doing theatre work in 1985 where he created the Kaiju Shiata group. His plays retained the experimental style of his previous stage work, and connected him with Kei Fujiwara, who had been a member of Jūrō Kara's company. Fujiwara would appear in Tsukamoto's later shorts as well as Tetsuo: The Iron Man, even letting him film large portions of it at her home. By 1986, Tsukamoto quit his job at the Ide Production advertising company, with the intention of returning to filmmaking.

Tsukamoto's first work was The Phantom of Regular Size, a short film made with members of his Kaiju Shiata group, about a salaryman whose body eventually turns into scrap metal. The film was shot in less than a week. Among the cast was Tomorowo Taguchi, who had met Tsukamoto when he was performing in a theatre production that Tsukamoto had seen. They two collaborated on a play titled The Adventure of Denchu Kozo and later was cast in this short as a salaryman. Mes noted the short had themes and elements that would be expanded upon in Tetsuo: The Iron Man such as a woman with a metallic claw hand and the adverse effects of city life on people.

FilmingTetsuo: The Iron Man was shot back to back with the short film The Adventure of Denchu Kozo. Among the major changes from his short film work, was changing from 8mm film to 16mm, which would make the film suitable for theatrical presentation. The film was initially going to be made as an additional short film, at about thirty minutes in length. The choice was made after seeing some Derek Jarman films which were shot in black and white and when blown up to 16mm and 35mm projections, Tsukamoto felt the excessive grain produced interesting imagery with heavy film grain. He then purchased a Canon Scoopic 16mm camera with 10 reels of black and white film stock and began production on the film in September of 1987.

The film's narrative was built upon his previous short The Phantom of Regular Size, with actors Tomorowo Taguchi, Nobu Kanaoka, Tomorowo Taguchi and Tsukamoto portraying similar roles to the short. Other actors included Naomasa Musaka and Renji Ishibashi who had worked in major film studios such as Nikkatsu and Toei in the 1970s. Tsukamoto initially sent him a fan letter, and then asked him to appear in the film. The costumes in the film were made from scrap metal and small parts of electronic appliances stuck onto the actor with double-sided adhesive tape. This led to issues with Taguchi who had metal added to him until Tsukamoto felt it looked right, only to find that the outfit was so heavy that Taguchi could not get up from his make-up chair. Initial tests led to Taguchi being in great discomfort, saying that at the end of a shooting day, his skin felt like sandpaper. As filming progressed, Taguchi's make-up and suit were refined so he could easily take off and on the suit.
Like his 1980s short film work, a large portion of the film was shot in Fujiwara's apartment. Exteriors of the film were shot at Kawaguchi iron factory, north of Tokyo. On traveling between locations, the cast members could not take their make-up off which Tsukamoto recalled led to "People would look at us like we were crazy." Tsukamoto explained that the cast and crew "thought this film would be a parody." and that since they only had time to do things in one take, they ended up performing in what he described as a "more exaggerated, over-acted style, which is easier." Arguments would often erupt on set between the cast, crew as well as Fujiwara's neighbors. Fujiwara stated that the two had always argued, but it got more difficult as they began working on films. Taguchi said that nearly every day they would lose a crew member, and towards the end only actors were showing up, leading to the cast members filling in for various technical roles. When Tsukamoto had to appear on screen, he would set up his shot and then have Fujiwara operate the camera. Fujiwara is credited in the film as an assistant director, costume designer, and the second director of photography. After four months of shooting, Tsukamoto began developing what footage he had in the editing room, which he had access to for free from former co-workers at Ide. While editing, Tsukamoto realized he needed more material and went to film pick-up shots which continued until the end of 1988. Tsukamoto ran out of money while filming, and made a trailer to show to potential film distributors to gain further funding. Through his connections at the PIA Film Festival and F2 distributing, Tsukamoto connected with Japan Home Video who were able to invest money to get the film completed. Cinefantastique suggested the final budget of the film was approximately $100,000 while The Japan Times stated the budget was 13 million yen.

Post-production
Tsukamoto created a rough cut of the film in December 1988 which ran at 77 minutes in length. Tsukamoto found himself emotionally and physically exhausted during the editing process, especially on hearing loud banging noises from the sound effects in the film again and again. During the editing process, Tsukamoto's short film The Adventure of Denchu Kozo won the Grand Prize award at the PIA Film Festival in Japan. He stated getting the award felt like "walking out of the darkness into a bright light" and helped him get motivation to finish editing the film.

For the film's score, Tsukamoto desired music that sounded like reoccurring metallic percussion sounds. Through an acquaintance, Tsukamoto found a tape by a group titled Zeitlich Vergelter led by the musician Chu Ishikawa. Ishikawa had never scored a film before but felt excited to work with Tsukamoto after meeting with him and being intrigued by his personality. Ishikawa made music for long pieces of music for the film. Ishikawa was initially instructed to make music with only the sound of metal, which confused him, and then realized that he should follow his own instincts on the music instead of taking Tsukamoto's instructions literally.

Tsukamoto finished editing the film in January 1989 with a new running time of 67 minutes. Among the shortened scenes were the sex scene between Taguchi and Fujiwara's characters and removed the scene in which the doctor is murdered by Yatsu's character and a chase scene with Kanaoka where a tap dance is performed.

Style
When asked about the film's meaning, Tsuakamoto responded that he felt it was about "the process in which human beings become "Iron"; that is, it's some kind of human condition." and that when he made the film, he was "preoccupied with chaos, so I was trying to integrate the horror with the science fiction that I had within me." Tsukamoto expanded on this in an interview with The Japan Times in 1992, stating an interest in the erotic elements of juxtaposing a soft body against hard iron.

Mes described the pivotal element that made the film popular outside Japan was cyberpunk. Cyberpunk had been derived from the 1983 short story by American writer Bruce Bethke. The term became known as a subgenre of science fiction in both literature and film that explored the relation of the human body in an ever-growing urban landscape dominated by technology. Tsukamoto has given contradictory responses to his familiarity with the genre. In a 1993 interview in Cinefantastique, Tsukamoto stated he was impressed by David Cronenberg's film Videodrome and became aware of the burgeoning cyberpunk movement which led him to make Tetsuo: The Iron Man.  In other interviews, Mes expressed he was unfamiliar with the term when making the film, and that he had intended the film to showcase the eroticism of comparing metal with human flesh. Tsukamoto felt that the Ridley Scott's Blade Runner and Cronenberg's Videodrome were  "two parents of Tetsuo" but felt his work was different from cyberpunk works as felt the genre dealt with the period after the destruction of modern cities.

Mes expanded on the themes of the film, stating that Tsukamoto works from a Japanese context involves the negative aspects of life in a metropolis like Tokyo, which Tsukamoto saw city life, working office jobs, and spending hours commuting as "numbing the senses and robbing people of their humanity. In his films he wants to wake up his countrymen in the most extreme ways possible."

Release
When Tetsuo: The Iron Man was complete, Tsukamoto settled on Nakano Musashino Hall which could fit 80 people. The theatre was equipped with a projector that could handle 16mm film and had it set for late-night screenings in July.
Tsukamoto described the location as "the smallest theatre in Tokyo". The film was distributed by Kaijyu Theatre in Japan on July 1, 1989.

While developing a poster to promote the film, Tsukamoto approached film critic Yoichi Komatsuzawa for a promotional quote for the film. Komatsuzawa proposed to submit the film to the Fantafestival in Rome, of which Komatsuzawa was their Asian film correspondent. In June, the film won the Best Film award at the festival. Japanese film critic Ken Okubo spoke of the impact of the film winning the award, saying "It was a great surprise, not just for me but for everybody in Tokyo. [...] Even before Tetsuo, older Japanese film directors would submit their films to foreign festivals, but there was no real excitement from the audience for those films."

Following the award won at Fantafestival, the film was screened in Tokyo for three months at late shows which were around 9pm, which is the Japanese equivalent of a midnight screening. According to Chikako Shimoaka of The Japan Times, Tetsuo: The Iron Man performed extremely well with over 10,000 copies on home video by 1992. Mark Thompson commented on the films new reception in Japan, by saying like Akira Kurosawa or the band Shonen Knife "an artist without an appreciative domestic audience, somehow finds fans and praise abroad, and returns home a folk hero." The film broke box office and records for non-mainstream cinema in Japan.

The film was distributed in the United States by Original Cinema in early 1992 and in England in September 1991. It was released on home video in 1993 by Fox Lorber in the United States. DVDs was later released by Image Entertainment and Tartan Video under their Asia Extreme label. Arrow Video released the Solid Metal Nightmares  set, a collection of Shinya Tsukamoto's films on Blu-ray, including Tetsuo: The Iron Man, on May 26, 2020.

Reception
From contemporary reviews, critics commented on the film's originality and what Tony Rayns in Sight & Sound referred to as a "gleefully extremist" style. Dan Persons writing in Cinefantastique echoed this, noting the film "catches a lost spirit of pure, kinetic filmmaking" while Richard Harrington of The Washington Post found the film to be "67 of the most relentlessly intense minutes in recent film history" and that "nightmarish hyper-reality about it". Rayns and  Kevin Thomas of Los Angeles Times compared the film to the works of Sam Raimi, David Lynch, David Cronenberg and Kenneth Anger, with Thomas added  that "Tsukamoto like any first-rate artist, is finally not like anybody else." and that the film "is not just another horrific exploitation picture."

Discussing the plot, which Savlov found to be "less a coherent plot than a series of disturbing images loosely struck together" found the film worked on several levels, suggesting it could both be viewed as an AIDS analogy and a metaphor for the Japanese encroachment on the world market. Rayns declared that the film only had "few token gestures towards storytelling." and that he only found traces of satirical elements within the aggressive imagery. Stephen Holden of The New York Times generally felt that the film would only have a limited appeal to fans of more bizarre genre films.

From retrospective reviews, Michael Brooke of Sight & Sound noted the film's low budget "works brilliantly: the stop-motion effects give the fusion of bared wires and exposed ganglia an unnervingly vivid physicality" and proclaimed that the film "remains one of the most pulverisingly effective sci-fi horror films of the past quarter of a century." In the book The Definitive Guide to Horror Movies, James Marriott found that the film became wearying on repeated watches, and only Tsukamoto's Tokyo Fist came close to reaching Tetsuo: The Iron Man's visceral impact. In 2009, the Japanese film magazine Kinema Junpo placed Tetsuo: The Iron Man at number 97 on their list of top 200 Japanese films.

Legacy

Jay McRoy, author of Nightmare Japan: Contemporary Japanese Horror Cinema declared Tetsuo: The Iron Man as being "one of the most influential Japanese horror films ever produced" which along with Sogo Ishii's Burst City (1982) and Toshiharu Ikeda's Evil Dead Trap (1988) "spurred the emergence of an increasingly visceral and graphically violent wave of Japanese horror films."

Tsukamoto stated that the sequel, Tetsuo II: Body Hammer (1992) was made with more of a narrative to reach a wider audience. Attempt to make a third Tetsuo film with American collaborators, including director Quentin Tarantino, was discussed in the early 1990s but was never made. Tsukamoto stated he turned down the offers to make them in America as he was being told he would have to work with specific film stars and have short filming times to make the third film. Following Tsukamoto's work on Vital (2004), he spoke about returning for a third Tetsuo film which became Tetsuo: The Bullet Man (2009).

Taguchi was the only actor to continue working with Tsukamoto from Tetsuo: The Iron Man, with the actor stating he always kept some distance between himself and the director which has led them to continue to work together. Tensions between Fujiwara and Tsukamoto made this film their last project together. Following work on the film, Fujiwara returned to stage work with Jūrō Kara and created her own stage company called Organ Vital in 1991. She made her own feature film titled Organ'' in 1996 based on one of her own plays that was also self-financed and shot on 16mm.

In 1993, Tsukamoto lamented the budget constraints of the film, initially wanting to have a scene with a long take and a long shot of the Salaryman's home becoming metal.

References

Sources

External links

 Review at Midnight Eye

1989 films
1989 horror films
Japanese black-and-white films
Cyberpunk films
Films directed by Shinya Tsukamoto
Films scored by Chu Ishikawa
Films using stop-motion animation
Japanese science fiction horror films
1980s science fiction horror films
1980s Japanese films
1989 in Japanese cinema

Tetsuo: The Iron Man


The magnificent bird-of-paradise (Diphyllodes magnificus) is a species of bird-of-paradise. The magnificent bird-of-paradise is evaluated as Least Concern on the IUCN Red List of Threatened Species. They are listed in Appendix II of CITES.

Etymology
The generic name Cicinnurus means "curled tail" and its specific name magnificus means magnificent or splendid. The species was formerly listed in the genus Diphyllodes, which means "Double leaf-like", referring to its "leaf-like" tail.

Taxonomy
The magnificent bird-of-paradise is included in the same genus as the King and Wilson's Birds-of-paradise, though it's more closely related to the latter. The genus Cicinnurus forms a clade with the genera Paradisaea and Paradisornis, and the other closest genus is Astrapia, though it is not included in the clade.

Three subspecies are recognised:
 D. m. magnificus (Pennant, 1781) – Salawati (Raja Ampat Islands, northwest of New Guinea) and south Bird's Head Peninsula (northwest New Guinea)
 D. m. chrysopterus Elliot, DG, 1873 – Yapen (Geelvink Bay islands, northwest New Guinea) and west, central New Guinea
 D. m. hunsteini Meyer, AB, 1886 – east, southeast New Guinea

Distribution and habitat
This rather common species is widespread throughout a  large range, in Indonesia, New Guinea and surrounding islands. It occurs in the tropical and subtropical montane and hill forest at altitudes of around 1500 m, though it can be found around 1780 m as well.

Description

As the name suggests, the magnificent bird-of-paradise is magnificent indeed. It has one of the most complex plumage arrangements in the family Paradisaeidae. It reaches around 26–26.5 cm in total length, though the body is around 19 cm. The male has beautiful golden-yellow wings, which are overlapped by a sulfur-colored mantle, or cape, that deflect white to a whitish glow, with deep red feathers bordered by black beneath the cape that form a semicircle over the wings; there are also scruffy brownish feathers on the sides of the cape. The head is fairly short; it is a light brown in a scalloped pattern on the top that extends to the back of the neck, and a darker reddish-brown on the face and below the chin. It has a pale grey-bluish bill, dark brown eyes, and a thin, white line that extends behind the eyes. Below is an entirely different story; almost the entire underside consists of the large, iridescent green breast shield, which is finely decorated with lime-green to turquoise scale-like feathers that run down the middle of it. The plumage under the shield is blackish-brown. When fully extended, the breast shield is edged with shiny turquoise-greenish. The tail is blackish-brown with two long, sickle-like, partially curved central tail plumes that are colored light blue. As characteristic in the genus Cicinnurus, both sexes have colorfully blue legs and feet. The female is drastically different from the extravagant male; she is light-brown above, including the tail (which lacks the long sickles). Her head is light brown, but the chin is intercepted by brown barring and creamy feathers that extend all the way to the rump. Her bill is the same color as the males', and she also has a white line extending behind the eyes.

It is sympatric with its congener, the King Bird-of-paradise, and hybridization has been noted several times.  Over 20 specimens of these hybrids exist in museums, though no wild records have ever occurred. It was once even thought to be a separate species, called King of Holland's Bird-of-paradise ("Diphyllodes gulielmitertii"); this hybrid is scarlet red above, of the King, with the golden mantle cape of the Magnificent, also sporting two long tail wires more resembling the king's, but being partially curved at the tip with no green spirals that the king sports.

Behavior
These birds feed mainly on fruits, but also feed on animal matter (notably insects, reptiles, and amphibians), and possibly take nectar and flowers. They mainly feed solitarily, but may also feed in mixed-species congregations. Like most members of the family Paradisaeidae, the male is polygamous and performs an elaborate courtship display, very unique in its family. These birds build their courts on rugged slopes of rocky and uneven terrain. Their courtship typically takes place on a sapling standing up from the ground. He commonly tends to his court and makes sure it stays clean and clear of fallen debris.

When a female attends his court, he is usually on his display perch. Here is where he does his display; he leans backwards to the point where his body is perpendicular to the sapling, raises his mantle cape, to where it appears like a yellow halo behind his head, expands and flexes his iridescent breast shield, and waggles his sickle-shaped tail on each side. Though this performance is comical, it is often observed by many females nearby, who do not take the male mating with the core audience member too lightly. When the male is about to copulate with the core female, other females nearby will spring from their perches to attack and shoo off the female, and the male is discouraged and may have to wait a while to perform again.

Typical of most of the bird-of-paradise family, the female takes up all parental duties, including nest-building, incubation, and chick-rearing. They lay one to two creamy yellow eggs, and incubation usually concludes within 19 days, and the chicks usually fledge in 18 days.

Gallery

External links
 iNatutalist
 eBird
 Oiseaux

Bibliography
Beehler, B. M. (1983). Frugivory and polygamy in Birds of Paradise. The Auk 100: 1-12.
Bruce M. Beehler, Thane K. Pratt: Birds of New Guinea. Distribution, Taxonomy, and Systematics. Princeton University Press, Princeton 2016, ISBN 978-0-691-16424-3.
Clifford B. Frith, Bruce M. Beehler: The Birds of Paradise – Paradisaeidae. Oxford University Press, Oxford 1998, ISBN 0-19-854853-2.
Eugene M McCarthy: Handbook of Avian Hybrids of the World. Oxford University Press, Oxford 2006, ISBN 0-19-518323-1.
Frith, C. B. & Frith, D. W. (2009). Family Paradisaeidae (Birds of Paradise). In del Hoyo, J. Elliott, A. & Christie, D. Handbook of the Birds of the World. Bush-shrikes to Old World Sparrows. Volume 14. p. 404-459. Lynx Edicions, Barcelona.
Gilliard, E. T. (1969). Birds of paradise and Bowerbirds. Weidenfeld & Nicolson, New York.
Ottaviani, M. (2012). Les Oiseaux de Paradis – Histoire Naturelle et photographies, 320 pages. Éditions Prin, France.
Thane Pratt & Bruce M Behhler. (2015): Birds of New Guinea. Princeton University Press, Princeton & Oxford, 2. Ausgabe, ISBN 978-0-691-09563-9.

References

Diphyllodes
Birds of New Guinea
Endemic fauna of New Guinea
Birds described in 1781
Taxa named by Thomas Pennant

Magnificent bird-of-paradise


is a maze video game developed by Nintendo and Intelligent Systems and published by Nintendo for the Nintendo Entertainment System. It was released for the Famicom in Japan on October 5, 1984, and for the Nintendo Entertainment System in Europe on July 15, 1987. It was re-released on the Wii's Virtual Console in Japan on January 22, 2008, and in PAL regions on October 31, 2008. Nintendo of America's content policies prohibiting religious icons prevented the game's release in North America. It is Shigeru Miyamoto's first console-only game after a legacy of arcade development, and for many years was his only game not to be localized to North America until it was released as part of the Nintendo Switch Online service in 2023.

Gameplay

Devil World is a Pac-Man-styled maze game in which  player 1 controls Tamagon, a green dragon who decides to "attack the Devil's World", along with a red player 2 version of him. He navigates through a series of mazes patrolled by monsters, and touches Crosses to power up and summon the ability to breathe fire and eat the dots in the maze. Without a cross, he is completely helpless, and cannot complete the maze. The large winged demon simply called "the Devil" dances at the top of the screen, and will point in a direction for four of his minions to move the maze by using pulleys and ropes. This can be dangerous, as Tamagon can be squished by getting caught between a maze wall and the moving outer boundary. After the first maze is cleared, the next objective is to get four Bibles, and put them into a seal. The Bibles give Tamagon the same powers as with the Crosses. After carrying them all into the seal, the Devil flies to the next maze. In between, a bonus maze shows up where Tamagon collects six Bonus Boxes under a time limit.

Development
Devil World was designed by Shigeru Miyamoto and Takashi Tezuka, and directed by Miyamoto as his first console-only game. The game provided Tezuka's first project when he joined Nintendo full-time. Initially, Tezuka did not know of Pac-Man at that time, a game that Devil World resembles, but enjoyed the game when he played it for the first time. Among Tezuka's tasks then was to create pixelated images based on Miyamoto's instructions. During the development, Tezuka suggested holes the player's character would fall into, causing him to lose a turn. However, when they made a version to test his idea and tried it out, Tezuka was told that it is "a bit flat", and so they went back to the original feature of the character being squished against the walls. The duo flew to Nintendo of America to show Devil World to its president Minoru Arakawa, but he did not wish to release the game in North America due to NOA's policies against the use of religious icons.

Reception
Chris Kohler called Devil World "a typically ingenious Miyamoto-directed take on the maze genre, with inventive graphics and fun game play" which "absolutely could not be released in America" because its satanic and religious imagery "would be seen as unsettling or even blasphemous". On IGN's "Top 10 Pac-Man Clones", Devil World was ranked fourth. Eurogamer rated the Virtual Console release 7 out of 10 points. The reviewer stated that Devil World is "worth experiencing just for the bizarre nature of the concept", but also commented that its "abundance of ideas ultimately get in the way of the simple gameplay".

Notes

References

External links
Official Virtual Console version website
Devil World at NinDB

1984 video games
Nintendo Entertainment System games
Nintendo games
Nintendo Research & Development 1 games
Maze games
Video games designed by Shigeru Miyamoto
Video games developed in Japan
Video games scored by Akito Nakatsuka
Video games scored by Koji Kondo
Virtual Console games
Virtual Console games for Wii U
Nintendo Switch Online games

Devil World


"Of Miracles" is the title of Section X of David Hume's An Enquiry Concerning Human Understanding (1748).

Overview
Put simply, Hume defines a miracle as a violation of a law of nature (understood as a regularity of past experience projected by the mind to future cases) and argues that the evidence for a miracle is never sufficient for rational belief because it is more likely that a report of a miracle is false as a result of misperception, mistransmission, or deception ("that this person should either deceive or be deceived"),  than that a violation of a regularity of experience has actually occurred. For obvious reasons, the argument has infuriated some Christians, especially given the reference to the Resurrection:

When anyone tells me, that he saw a dead man restored to life, I immediately consider with myself, whether it be more probable, that this person should either deceive or be deceived, or that the fact, which he relates, should really have happened.... If the falsehood of his testimony would be more miraculous, than the event which he relates; then, and not till then, can he pretend to command my belief or opinion.

Origins and text
Hume did not publish his views on miracles in his early, 1739, Treatise, and the sections on miracles were often omitted by publishers in early editions of his 1748 Enquiry.

For instance, in the 19th-century edition of Hume's Enquiry (in Sir John Lubbock's series, "One Hundred Books"), sections X and XI were omitted, appearing in an Appendix with the misleading explanation that they were normally left out of popular editions. Although the two sections appear in the full text of the Enquiry in modern editions, chapter X has also been published separately, both as a separate book and in collections.

In his December 1737 letter to his friend and relative Henry Home, Lord Kames, Hume set out his reasons for omitting the sections on miracles in the earlier Treatise. He described how he went about "castrating" the Treatise so as to "give as little offence" to the religious as possible. He added that he had considered publishing the argument against miracles—as well as other anti-theistic arguments—as part of the Treatise, but decided against it so as to not offend the religious sensibilities of readers.

The argument

Hume starts by telling the reader that he believes that he has "discovered an argument ... which, if just, will, with the wise and learned, be an everlasting check to all kinds of superstitious delusion".

Hume first explains the principle of evidence: the only way that we can judge between two empirical claims is by weighing the evidence. The degree to which we believe one claim over another is proportional to the degree by which the evidence for one outweighs the evidence for the other. The weight of evidence is a function of such factors as the reliability, manner, and number of witnesses.

Now, a miracle is defined as "a transgression of a law of nature by a particular volition of the Deity, or by the interposition of some invisible agent."<ref>Hume 1975, X, i, 90n</ref> Laws of nature, however, are established by "a firm and unalterable experience"; they rest upon the exceptionless testimony of countless people in different places and times. In this way Hume is careful to distinguish the miraculous from the merely wondrous or unusual.

Nothing is esteemed a miracle, if it ever happen in the common course of nature. It is no miracle that a man, seemingly in good health, should die on a sudden: because such a kind of death, though more unusual than any other, has yet been frequently observed to happen. But it is a miracle, that a dead man should come to life; because that has never been observed in any age or country.

As the evidence for a miracle is always limited, as miracles are single events, occurring at particular times and places, the evidence for the miracle will always be outweighed by the evidence against – the evidence for the law of which the miracle is supposed to be a transgression.

There are, however, two ways in which this argument might be neutralised. First, if the number of witnesses of the miracle be greater than the number of witnesses of the operation of the law, and secondly, if a witness be completely reliable (for then no amount of contrary testimony will be enough to outweigh that person's account). Hume therefore lays out, in the second part of section X, a number of reasons that we have for never holding this condition to have been met. He first claims that no miracle has in fact had enough witnesses of sufficient honesty, intelligence, and education. He goes on to list the ways in which human beings lack complete reliability:
 People are very prone to accept the unusual and incredible, which excite agreeable passions of surprise and wonder.
 Those with strong religious beliefs are often prepared to give evidence that they know is false, "with the best intentions in the world, for the sake of promoting so holy a cause".
 People are often too credulous when faced with such witnesses, whose apparent honesty and eloquence (together with the psychological effects of the marvellous described earlier) may overcome normal scepticism.
 Miracle stories tend to have their origins in "ignorant and barbarous nations" – either elsewhere in the world or in a civilised nation's past. The history of every culture displays a pattern of development from a wealth of supernatural events – "[p]rodigies, omens, oracles, judgements"– which steadily decreases over time, as the culture grows in knowledge and understanding of the world.

Hume ends with an argument that is relevant to what has gone before, but which introduces a new theme: the argument from miracles. He points out that many different religions have their own miracle stories. Given that there is no reason to accept some of them but not others (aside from a prejudice in favour of one religion), then we must hold all religions to have been proved true – but given the fact that religions contradict each other, this cannot be the case.

Criticism
R. F. Holland has argued that Hume's definition of "miracle" need not be accepted, and that an event need not violate a natural law in order to be accounted miraculous, though as J.C.A. Gaskin has pointed out, other definitions of miracles make them fall under the order of nature, and then they would be subject to Hume's critique of the Teleological Argument. It has been argued by critics such as the Presbyterian minister George Campbell, that Hume's argument is circular.  That is, he rests his case against belief in miracles upon the claim that laws of nature are supported by exceptionless testimony, but testimony can only be accounted exceptionless if we discount the occurrence of miracles. The philosopher John Earman has argued that Hume's argument is "largely unoriginal and chiefly without merit where it is original", citing Hume's lack of understanding of the probability calculus as a major source of error. Hume scholars were nearly unanimous in rejecting Earman's account, however. Fogelin  and Vanderburgh  show in detail how Earman and other critics have made serious errors in interpreting Hume's account of miracles and his treatment of evidential probability. J. P. Moreland and William Lane Craig agree with Earman's basic assessment and have critiqued Hume's argument against being able to identify miracles by stating that Hume's theory "fails to take into account all the probabilities involved" and "he incorrectly assumes that miracles are intrinsically highly improbable"

C. S. Lewis echoes Campbells's sentiment in his book Miracles: A Preliminary Study, when he argues that Hume begins by begging the question. He says that Hume's initial proposition — that laws of nature cannot be broken — is effectively the same question as 'Do miracles occur?'.

Notes

References
 Burwick, Frederick. 'Coleridge and DeQuincey on Miracles', Christianity and Literature, Vol.39, No.4, 1980, pp.387ff..
 Campbell, George. A Dissertation on Miracles. 1762. Reissued New York and London: Garland Publishing, Inc., 1983.
 Earman, John. Hume's Abject Failure. Oxford: Oxford University Press, 2000.
 Fogelin, Robert J.. A Defense of Hume on Miracles. Princeton: Princeton University Press, 2003.
 Gaskin, J.C.A.. "Hume on Religion," in The Cambridge Companion to Hume, edited by David Fate Norton.  Cambridge: Cambridge University Press, 1993.
 Holland, R.F.. "The Miraculous". In American Philosophical Quarterly 2, 1965: pp. 43–51 (reprinted in Richard Swinburne below)
 Hume, David. Of Miracles (introduction by Antony Flew). La Salle, Illinois: Open Court Classic, 1985.
 Hume, David. Enquiries concerning Human Understanding and concerning the Principles of Morals (introduction by L.A. Selby-Bigge); third edition (revised and with notes by P.H. Nidditch). Oxford: Clarendon Press, 1975.
 Hume, David, 1748 et seq., An Enquiry Concerning Human Understanding, Tom L. Beauchamp (ed.), New York: Oxford University Press, 2000.
 Johnson, D.. Hume, Holism, and Miracles. Ithaca, NY: Cornell University Press, 1999.
 Mossner, E.C.. The Life of David Hume, Oxford: O.U.P., 1980.
 Swinburne, Richard [ed.] Miracles. London: Collier Macmillan Publishers, 1989.  (contains "Of Miracles")
 Vanderburgh, William L.. David Hume on Miracles, Evidence, and Probability. Lantham: Lexington Books, 2019.

External links
"Hume on Miracles" – part of the Stanford Encyclopedia article by Paul Russell and Anders Kraal
"Of Miracles" – full text as part of the Leeds Electronic Texts Centre's on-line edition of the Enquiry concerning Human Understanding''
"Miracles" – dialogue by Peter J. King
"Hume On Miracles" – commentary by Rev Dr Wally Shaw

1748 works
Philosophy of religion literature
David Hume
Miracles

Of Miracles


Seyyed Mohammad Motamedi (; born September 24, 1978) is an Iranian traditional vocalist, and a ney player.

He started learning singing with his two elder sisters and also playing ney as self-taught since adolescence. He has studied "Film Directing" as his major in university. However, he has been singing and training since adolescence by listening to the works of maestros of Persian singing. Since 1997, he started learning singing style of Seyed Hossein Taherzadeh. Due to his interest in Isfahan school of singing, he learned this school of singing by practicing the songs of its maestros such as Taj Esfahani and Adib Khansari and has benefitted from guidance of esteemed masters such as the late Hossein Omoumi and Aliasghar Shahzeidi in this regard.

He has a resume ranging from working with the great maestros of Iranian music such as Alexander Rahbari, Mohammadreza Lotfi, Hossein Alizadeh, Majid Derakhshani, Farhad Fakhreddini, etc. as well as working with international figures and many performances in venues such as Carnegie Hall, Theatre de la ville, Muziekgebouw Amsterdam, etc. Recently, he collaborated with Roger Waters in an album by Trio Jobran called "The Long March".

He has been able to create his own dialect and original style of singing and therefore, currently he is regarded as the most characterful singer while being among the few best traditional singers.

Discography

 Boodan Va Soroudan (Majid Derakhshani & Khorshid Ensembl (Sun Ensembl)-2006
 Sufi (Mohammad Motamedi, Sina Jahanabadi & Hossein Rezaeinia)-2007
 Ashoora Opera(Behzad Abdi & Behrouz Gharibpour )-2008
 Vatanam Iran (Mohammad Reza Lotfi & Hamnavazan-e Sheida (Sheyda Ensembl)-2008
 Video Album of Dashti Concert– Vatanam Iran (Mohammad Reza Lotfi & Sheida Threefold Groups)-2008
 In Memory Of Aref Ghazvini (Aref Ghazvini & Mohammad Reza Lotfi)-2009
 Ey Asheghan (Mohammad Reza Lotfi & Banovan-e Sheida (Sheida Women's Ensemble)-2009
 Rumi Opera (Behzad Abdi & Behrouz Gharibpour)-2009
 Video Album of Chavosh Concert – Iran Ey Saraye Omid (Mohammad Reza Lotfi & Hamnavazan-e Sheida (Sheyda Ensembl) -2009
 Saye- e Jan (Mohammad Reza Lotfi & Sheyda Ensembl)-2010
 So Long Goodbye (Ali Ghamsari)-2010
 Gahi Segahi (Pouya Saraei )-2011
 Overwhelmed By Mist (Arash kamvar )-2012
 Mohammad Motamedi & Chant Classique (Radio France)-2013
 Badeh Toei (Hossein Alizadeh & Hamavayan Ensemble)-2014
 In The Distance a Call (Mehdi Teimoori )-2015
 Pass (Ali Gamsari )-2015
 Eshghim Gal (Azari )-(Hossein Alizadeh & Hamavayan Ensemble)-2015
Dauntless (with Ebrahim Tehranipour)-2017
The Long March (with Trio Jobran and Roger Waters)-2018
Told me where you are (Majid wafadar) 2018
Sarmast (Majid Khalaj) 2018
Wait  (Mahyar Alizadeh) 2020

Significant works
Rumi Opera (Behzad Abdi & Behrouz Gharibpour-2009)
Mohammad Motamedi & Chant Classique-2014
The Long March (with Trio Jobran and Roger Waters)-2018

Awards
 Radio France prize winner-2013
 Rumi Award- 2018

Concerts

Extemporization concert in theatre of Paris
Concert in historical Palace of Versailles
Concert at The Festival Of China-Shanghai-2005
Concert in Rasa theatre – Otrowkht, Trophen Theatre – Amsterdam (Poland)
Concert in Music Conservator Rome-Italy
Participation in International Festival of Sufi Music in Karachi – Pakistan
Participation in International Festival of Magham in Azerbaijan
Concert in Headquarters of UNESCO paris – Paris
Participation in Morgan Land Festival – Osnabruck – Germany
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi – Iran & Flamenco
Rumi Ensemble & Mohammad Motamedi European Tour 2013
Concert with Raz Music Ensemble (Honor of Jalāl ad-Dīn Muhammad Rūmī) at Konya, Turkey December 2015
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi at BOZAR – Brussels March 2016
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi at Cleveland Museum of Arts, Cleveland OH March 2016
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi at Zankel Hall – Carnegie Hall, New York March 2016
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi at Lisner Auditorium, Washington DC March 2016
Qasida Concert: Rosario La Tremendita & Mohammad Motamedi at Berklee Performance Center, Boston MA March 2016
Concert at Garonne Theater, Toulouse France April 2016
Concert at Odeon Theater, Nîmes France April 2016

See also
List of Iranian musicians
Music of Iran
National Iranian Symphony Orchestra
Persian Symphonic Music
Hossein Alizadeh
Kayhan Kalhor
Mohammad Reza Lotfi
Shahram Nazeri
Mohammad-Reza Shajarian

References

External links

1978 births
Living people
Singers from Tehran
21st-century Iranian male singers
Festival directors

Mohammad Motamedi


A natural monument is a natural or natural/cultural feature of outstanding or unique value because of its inherent rarity, representative of aesthetic qualities or cultural significance.

Under World Commission on Protected Areas guidelines, natural monuments are level III, described as:
"Areas are set aside to protect a specific natural monument, which can be a landform, sea mount, submarine cavern, geological feature such as a cave or even a living feature such as an ancient grove. They are generally quite small protected areas and often have high visitor value."
This is a lower level of protection than level II (national parks) and level I (wilderness areas).

The European Environment Agency's guidelines for selection of a natural monument are:
 The area should contain one or more features of outstanding significance. Appropriate natural features include waterfalls, caves, craters, fossil beds, sand dunes and marine features, along with unique or representative fauna and flora; associated cultural features might include cave dwellings, cliff-top forts, archaeological sites, or natural sites which have heritage significance to indigenous peoples.
 The area should be large enough to protect the integrity of the feature and its immediately related surroundings.

See also
IUCN Protected Area Management Categories: Category III Natural Monument or Feature
U.S. National Monument
World Conservation Union
Kasberger Linde

References

External links

A-Z of Areas of Biodiversity Importance: Natural Monument or Feature
Natural Monuments in Brazil

Outdoor sculptures
Open-air museums
Types of monuments and memorials
Protected areas

Natural monument


Oscar Fredrik von Sydow (12 July 1873 – 19 August 1936) was a Swedish politician who served briefly as Prime Minister of Sweden from 23 February to 13 October 1921.

Biography
Oscar von Sydow was the son of Henrik August von Sydow, a magistrate's clerk, and Euphrosyne Maria Modin. He was born in Kalmar and raised in Norrland. In 1890, he passed his higher education examination and proceeded to study Law at Uppsala University. In 1894, he graduated with a degree in the civil service.

In 1906, von Sydow was appointed Undersecretary of State at the Ministry for Civil Service Affairs, and in 1911 he became the Governor of Norrbotten County. In the governments of Hjalmar Hammarskjöld and Carl Swartz (1914–1917) he was Minister for Civil Service Affairs, during which time he established the Unemployment Commission (arbetslöshetskommissionen). Between 1917 and 1934, he was Governor of Gothenburg and Bohus County.

Following the sudden resignation of the Prime Minister Louis De Geer in 1921, the King had difficulties finding a candidate willing to form a new government, as the elections were drawing near. Hjalmar Branting declined, after being asked twice to become Prime Minister, and the appointment was offered to Oscar von Sydow, who accepted and took office on 23 February.

Von Sydow gave an ultimatum that he would not lead a powerless government and demanded that the Social Democratic Party promise to support him in important finance and defence issues. Despite such agreements, all of the propositions made by the new government were voted down by the opposition, and as a result von Sydow resigned on 13 October 1921. His lasting legacy as Prime Minister is for presenting the bill that abolished the death penalty in Sweden.

Von Sydow was Marshal of the Realm (riksmarskalk) from 1934 until his death in 1936.

See also
Sydow (surname)

References
Much of the content of this article comes from the equivalent Swedish-language Wikipedia article (retrieved June 23, 2006).

1873 births
1936 deaths
Prime Ministers of Sweden
Governors of Gothenburg and Bohus County
Marshals of the Realm
People from Kalmar
Uppsala University alumni

Oscar von Sydow


Anna Maria Hall (6 January 1800 – 30 January 1881) was an Irish novelist. She published as "Mrs. S. C. Hall".

She was born as Anna Maria Fielding in Dublin, but left Ireland for England at the age of 15. At that time, published her first original work, Sketches of Irish character, in 1828. Her first work was well received, Anna Maria Hall was married to the writer Samuel Carter Hall from 1824.

1800 births
1881 deaths
Irish novelists

Anna Maria Hall


Mark Webster is a British journalist and broadcaster who has presented many of Channel 5's late night sports shows.

TV presenting

He hosted the "Off the Wall" show on the music channel, Music Box, before being given a job by ITV co-hosting arts and entertainment guide 01-for London in 1988. He appeared on the show for three series, also recording specials from Los Angeles, Moscow, Berlin and the Edinburgh Festival.
Other presenting credits include an entertainment strand for BBC News 24, reviewing music videos on The Little Picture Show and hosting First Take, a series for first-time film makers on Anglia.
He is also popular as a pundit; contributing to C4's Top Ten... and British Soul series and ITV's Tribes.
He also gave the voice-over for the top 40 Only Fools and Horses moments for the entertainment channel Dave.
He is a script writer and credits include Never Mind the Buzzcocks, and A League of Their Own.

Sport presenting
Webster's first role on a sports show came on the cable station Sportswire where he fronted live events and chat shows. In 1995, he began a three-year run of working in the United States for British station Channel 4 anchoring their live game coverage of NBA matches as well as presenting their basketball lifestyle magazine show 24/7.

He also co-narrated the multi-sport programme Gillette World Sports Special, alongside David Jensen.

For 10 years Webster worked on a variety of programmes for Channel 5 including hosting their NBA, NFL, NHL and IndyCar coverage, plus their multi-sport programme Live And Dangerous, usually alongside Kevin Day.
In August 2010 Webster started presenting his own football podcast 'The Whistleblowers', produced by Playback Media.

Radio

Webster hosted KISS FM's breakfast show for two years and the Xfm breakfast show for one, he has also worked for Jazz FM and TalkSPORT and for several years was TV pundit on Simon Mayo's BBC Radio 5 Live early afternoon show. He is now a regular contributor to Talksport 2 and one of the featured pundits on Radio 5 Live's Virtual Jukebox feature with Dotun Adebayo on Up All Night.

Print

Webster began his media career in the 1980s as assistant editor on the world's most popular black music magazine Blues & Soul. More recently, he has continued to freelance for publications such as The Face, Loaded and GQ, writing 'style' articles covering fashion, film, design and music. He now has his own TV review column, Edge of The Box, for Sport Mail Online and is staff writer for men's quarterly style magazine Jocks & Nerds.

References

English television journalists
British television newsreaders and news presenters
British radio journalists
English radio personalities
Living people
Year of birth missing (living people)
National Football League announcers
National Hockey League broadcasters
National Basketball Association broadcasters
Motorsport announcers

Mark Webster (presenter)


The Pigford Building, also known as Pythian Castle Hall, is a three-story red brick building in downtown Meridian, Mississippi. It was listed on the National Register of Historic Places on December 18, 1979.

History
The building, constructed in 1914 by the Knights of Pythias Mount Barton Lodge No. 13, was originally known as the Pythian Castle Hall. It served as a home for the organization's weekly meetings. In the 1920s, the building was bought by Pigford Realty, who rented the building out to small businesses. Offices were located on the second floor while a ballroom occupied the third. Between 1933 and 1976, a post office and drug store owned by R.M. Hamil operated out of the first floor of the building. Other businesses have located inside the building since its construction including restaurants, beauty salons, and dress shops.

A graphic design business and tanning salon were located in the building in the 1990s, and after the business closed the entire building was gutted and renovated. A dress shop named Alexander's, owned by Debbie Moorehead, was opened in 1999, and the two upper floors of the building were closed to the public in 2000. A new dress shop named Dream It is now located on the first floor of the building and owned by Theresa Long.

Reports of hauntings
The owner of the graphic design business in the building during the 1990s often worked late into the night, so she put together a small sleeping area. While she was there late at night, she reportedly heard footsteps from the second floor. Other occurrences included voices from the building's intercom system as well as a full-bodied apparition of a lady in a long white dress, which the owner's three-year-old cousin saw. The owner later saw the apparition as well and claimed that it did not like men. Objects would reportedly move across the room and doors would slam if male employees were in the building.

Employees and customers of Alexander's, the dress shop which opened in 1999, reportedly heard "a woman's ghostly laughter." Jewelry and clothes were often found lying on the floor in the mornings after having been hung or pinned up the previous night. On October 15, 1999, J.T. Mohammed, an employee of Alexander's, saw the apparition of the lady in white on the balcony. One employee, who was the only person in the store at the time, later received a phone call from an inside line, and another employee heard voices coming from an empty dressing room. Alan Brown, author of Haunted Places in the American South conducted an investigation into the hauntings in the early 2000s, during which several paranormal experiences were recorded. A door to the roof was nailed shut, clothes moved while they were untouched, and earrings appeared beside Brown's assistant's bed the next morning.

Theresa Long, owner of Dream It, and her daughter have both reported vacuum cleaners being turned on while unplugged, and many electronic devices work incorrectly while in the building. Alan Brown visited the building again in 2008 to do a study, after which he labelled the building as haunted.

References

Knights of Pythias buildings
Clubhouses on the National Register of Historic Places in Mississippi
Commercial buildings on the National Register of Historic Places in Mississippi
Buildings and structures in Meridian, Mississippi
Reportedly haunted locations in Mississippi
National Register of Historic Places in Lauderdale County, Mississippi

Pigford Building


Jet by Day is a post-rock band from Athens, Georgia.

History
Jet by Day was originally formed as the Hosstages in 1997 by guitarist David Matysiak, bassist Bo Wamsley and drummer Tom Naumann, while the three were students at Dunwoody High School in suburban Atlanta. In 1998 they changed their name to Jet By Day, and Matysiak and Naumann began attending the University of Georgia. The band self-released EPs in 1998 and 1999, between which Wamsley was replaced by Amy Burmeister, and began building a fan base among the indie rock scene of the American South. In 2001, they recorded their debut full-length, produced by Bob Weston of Shellac. Later releases came on Kindercore Records and Future Farmer. In 2003, bassist Burmeister left the group, later forming Black Kites. The group toured with Hey Mercedes and Damone later that year.

Members
David Matysiak - guitar, vocals
Tom Naumann - drums
Bo Wamsley - bass (1997–1999)
Amy Burmeister - bass (1999–2003)
Mason Brown - guitar (2000-)
 Brett Griffin - bass (2003-)

Discography
Autumn Means It's All Downhill EP (1998)
Jet by Day EP (1999)
The Day the Earth Stood Still/Shadows Taller Than Our Soul (split w/The Blindfold Parade) (Two Sheds, 2001)
The Feedback that Distracts Us (Moodswing Records, 2001)
Cascadia (Kindercore Records, 2003)
The Vulture (Future Farmer, 2005)

References
[ Jet by Day] at Allmusic.com

Musical groups from Athens, Georgia
American post-rock groups
Musical groups established in 1997

Jet by Day


Fort William was a pioneer fort in Kentucky established in 1785 by Colonel William Christian and Anne Christian.  William Christian directed the defense of what is now Louisville from attacks by the Indians. The fort was in the area of Jefferson County near St. Matthews and Lyndon. Although the historical marker for Fort William is located in front of the Eight Mile House, an early stone house
and tavern, the location of the fort was actually southwest of the Eight Mile House. Fort William was another name for A'Sturgus Station built in 1779 on the Middle fork of Beargrass Creek.  After Christian's death in 1786, his wife, Anne, began to refer to the site as Fort William. Anne Christian was a sister of Patrick Henry. The land acquired by the Christians was payment for his service during the Seven Years' War. They moved into the area with children and slaves.  After William Christian's death, Anne moved to Mercer County. However, she was ill and traveled to the West Indies in hopes it would improve her health.  In 1790, she died either on the return trip from Antigua or the day after arriving in Norfolk, Virginia.

References

Further reading

Former buildings and structures in Louisville, Kentucky
William
History of Louisville, Kentucky
Pre-statehood history of Kentucky

Fort William (Kentucky)


The Space Gamer was a magazine dedicated to the subject of science fiction and fantasy board games and tabletop role-playing games. It quickly grew in importance and was an important and influential magazine in its subject matter from the late 1970s through the mid-1980s. The magazine is no longer published, but the rights holders maintain a web presence using its final title Space Gamer/Fantasy Gamer.

History
The Space Gamer (TSG) started out as a digest quarterly publication of the brand new Metagaming Concepts company in March 1975. Howard M. Thompson, the owner of Metagaming and the first editor of the magazine, stated "The magazine had been planned for after our third or fourth game but circumstances demand we do it now" (after their first game, Stellar Conquest). Initial issues were in a plain-paper digest format. By issue 17, it had grown to a full size bimonthly magazine, printed on slick paper.

When Steve Jackson departed Metagaming to found his own company, he also secured the right to publish The Space Gamer from number 27 on. In the first Steve Jackson Games (SJG) issue, Howard Thompson wrote a report on Metagaming and stated "Metagaming's staff won't miss the effort. After the change in ownership, Metagaming feels comfortable with the decision; it was the right thing to do." In the same issue, Steve Jackson announced, "TSG is going monthly... from [number 28 (May 1980)] on, it'll be a monthly magazine." The magazine stayed with SJG for the next five years, during which it was at its most popular and influential. In 1983, the magazine was split into two separate bimonthly magazines published in alternating months: Space Gamer (losing the definite article with the split in Number 64), and Fantasy Gamer; the former concentrating entirely on science fiction, and the latter on fantasy. This arrangement lasted about a year. Fantasy Gamer ran six issues before being folded back into Space Gamer:

You see, we were churning out magazines - Space Gamer, Fantasy Gamer, Fire & Movement, and Autoduel Quarterly - at the rate of two a month!...

We had to find some way to preserve what little sanity we had left. The best way to do this was to merge Space Gamer and Fantasy Gamer... As it has for the past year, Space Gamer will appear bimonthly, giving us the time to get some games done, as well.

Like Metagaming before it, the effort of producing a magazine became greater than its publisher was willing to bear. The change to bi-monthly publication was not enough to allow SJG to focus on new games as they wished, and in 1985, it was announced, "We've sold Space Gamer. We'll still be heavily involved—but SJ Games won't be the publisher any longer. Giving up SG is definitely traumatic... but it gives us the time to do other things, especially GURPS". The magazine had been sold to Diverse Talents, Incorporated (DTI). They initially had it as a section in their own magazine The VIP of Gaming, but it soon became a separate publication again with the previous numbering and format, but with the name Space Gamer/Fantasy Gamer. Space Gamer ceased publication in September 1985.

Since that time, it has gone through a number of owners, all keeping the final name, but occasionally restarting the numbering. Eventually, Better Games, now renamed Space Gamer, bought the magazine, and has kept the title alive by reinventing it through the internet.

In 2010 Steve Jackson Games started republishing back issues in PDF format.

Editors
Metagaming
 C. Ben Ostrander: #9 (Dec./Jan. 1976) – #26 (Jan./Feb. 1980)
 Howard Thompson: #1 (copyright 1975) – #5 (Mar./May 1976)
Steve Jackson Games
 Aaron Allston: #52 (June 1982) – #65 (Sept/Oct 1983)
 Also Fantasy Gamer: #1 (Aug./Sep. 1983) and co-edited Number #2 (Dec./Jan. 1984)
 Christopher Frink: #66 (Nov./Dec. 1983) – #69 (May/June 1984)
 Also Fantasy Gamer: co-edited #2 (Dec./Jan. 1984) and edited #3 (Feb./Mar. 1984) – #6 (June/July 1984)
 Forrest Johnson: #28 (May/June 1980) – #51 (May 1982)
 Steve Jackson: #27 (Mar./Apr. 1980)
Warren Spector: #70 (July/Aug. 1984) – #76 (Sept/Oct 1985)
Diverse Talents Incorporated
 Anne Jaffe: #77 (Jan./Feb. 1987) – #82 (July/Aug. 1988)
3W Inc.
 Barry Osser & Jay Adan: Vol.II, No.1 (#86, July/Aug. 1989) – Vol.II, No.2 (#87, Oct./Nov. 1989)
 Jeff Albanese & Perrin D. Tong: #83 (Oct./Nov. 1988) – #85 (Jan./Feb. 1989)
Future Combat Simulations
 Jeff Albanese & Perrin D. Tong: #88 (Mar./Apr. 1990) {The majority of the articles printed in issue #88 were from works originally edited by Barry Osser prior to the demise of 3W Inc. and were not credited to him.}
Better Games
 Pat Mannion: #1 (Sep./Oct. 1992) – #3 (Jan./Feb. 1993)
 Red Dog: #4 (Mar./Apr. 1993) – #8 (©1994, states "93rd Issue of Publication" but was actually the 96th overall)

Reviews
Dragon #195 (July 1993)
The Strategic Review #6

Awards
The Space Gamer won the 1977 Charles S. Roberts Award for Best Semiprofessional Magazine. The Space Gamer was awarded the Origins Award for "Best Professional Roleplaying Magazine of 1982".

References

External links
 Archived Space Gamer Magazines on the Internet Archive

Bimonthly magazines published in the United States
Defunct science fiction magazines published in the United States
Game magazines
Hobby magazines published in the United States
Magazines disestablished in 1985
Magazines established in 1975
Origins Award winners
Quarterly magazines published in the United States
Role-playing game magazines

The Space Gamer


Pope John IV (; died 12 October 642) was the bishop of Rome from 24 December 640 to his death. His election followed a four-month vacancy. He wrote to the clergy of Ireland and Scotland to tell them of the mistakes they were making with regard to the time of keeping Easter and condemned Monothelitism as heresy.
According to sacred tradition, he created the Catholic Church in Croatia with Abbot Martin.

Rise
Pope John was a native of Iadera, Dalmatia. He was the son of the scholasticus (advocate) Venantius. At the time of his election, he was archdeacon of the Roman Church, an important role in governing the see. John was considered "a very cultured man". As John's consecration on 24 December 640 followed very soon after his election, it is supposed that the elections were being confirmed by the exarch of Ravenna rather than directly by the emperor in Constantinople.

Papacy
While still only pope-elect, John, with the other bishops of the Catholic Church, wrote to the clergy of Ireland and Scotland to tell them of the mistakes they were making with regard to the time of keeping Easter, and exhort them to be on their guard against the Pelagian heresy. About the same time, he condemned Monothelism as heresy. Emperor Heraclius immediately disowned the Monothelite document known as the "Ecthesis". To Heraclius' son, Constantine III, John addressed his apology for Pope Honorius I, in which he deprecated the attempt to connect the name of Honorius with Monothelism. Honorius, he declared, in speaking of one will in Jesus, only meant to assert that there were not two contrary wills in Him.

Troubles in his native land caused by invasions of Slavs directed John's attention there. To alleviate the distress of the inhabitants, John sent the abbot Martin into Dalmatia and Istria with large sums of money for the redemption of captives. As the ruined churches could not be rebuilt, the relics of some of the more important Dalmatian saints were brought to Rome. John then erected an oratory in their honour. It was adorned by the pope with mosaics depicting John himself holding in his hands a model of his oratory. John endeavoured thereby to convert the Slavs in Dalmatia and Istria to Christianity. Emperor Constantine Porphyrogenitus claimed that Duke Porga of Croatia, who had been invited into Dalmatia by Heraclius, sent to Emperor Heraclius for Christian teachers. It is supposed that the emperor to whom this message was sent was Emperor Heraclius himself, and that he sent it to Pope John IV.

John was buried in the Basilica of St. Peter.

Notes

References
Sereno Detoni, Giovanni IV. Papa dalmata, Libreria Editrice Vaticana, 2006
Luciano Rota, I Papi Caio e Giovanni IV, in Istria e Dalmazia. Uomini e tempi, II, Dalmazia, Udine, Del Bianco 1992
John IV in Encyclopædia Britannica
The Popes and the Church of Rome in Late Antiquity John Moorhead - Taylor and Francis - 2014
Attribution:

External links

Cardinals of the Holy Roman Church

642 deaths
7th-century archbishops
Popes of the Byzantine Papacy
People from Dalmatia
Burials at St. Peter's Basilica
Popes
Year of birth unknown
Illyrian people
7th-century popes

Pope John IV


Walter William Anderson (July 13, 1936 – April 18, 2017) was an American football tight end in the National Football League for the Washington Redskins and the Green Bay Packers. He played high school football at Manatee High School in Bradenton, Florida and college football at the University of Tennessee.  He was drafted in the third round of the 1958 NFL Draft.

Washington
Anderson played for the Redskins from 1958 to 1963.  He was selected by the team as Rookie of the Year in 1958 and Player of the Year in 1959.  Bill made 178 catches, averaging 17.1 yards per catch, and scored 14 touchdowns over six seasons.  Anderson was a two-time Pro Bowl selection (1959 and 1960).

Comeback with Green Bay
Anderson retired from football in 1963 and joined the Tennessee staff as an assistant coach.  However, he temporarily put his retirement plans on hold and signed with the Green Bay Packers in 1965.  He played 24 games with Green Bay from 1965–1966 and averaged 11.9 yards per catch. The comeback was a good thing for him as the Packers won the 1965 and 1966 NFL Championships and he subsequently earned a Super Bowl ring when the Packers defeated the Kansas City Chiefs to win Super Bowl I on January 15, 1967.

Broadcasting
In 1968, Anderson returned to Tennessee as color analyst for football games on the Vol Network, partnered with play-by-play announcer John Ward. Ward and Anderson would remain together for 31 years, the longest-running broadcast partnership in college football at the time.  Their final game was the 1998 national championship game, the first game of the Bowl Championship Series, won by Tennessee over Florida State University.

Family
Anderson is the second cousin of Giant Bomb staff member Brad Shoemaker.

Death
Anderson died on April 18, 2017, at a hospital in Knoxville, Tennessee, at the age of 80.

References

External links

1936 births
2017 deaths
American football ends
American football tight ends
Green Bay Packers players
Tennessee Volunteers football announcers
Tennessee Volunteers football players
Washington Redskins players
Eastern Conference Pro Bowl players
People from Hendersonville, North Carolina

Bill Anderson (American football, born 1936)


The Finnish alphabet has 29 letters. They are: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z, Å, Ä and Ö. The letters Š and Ž, which are only used in borrowed words, are almost never used and not a part of the Finnish alphabet. Instead, they are seen as different forms of S and Z.

The letter G only occurs in original Finnish words in the combination NG, not by itself. The letters B, C and F only occur in newly borrowed words, and thus used to not be part of the Finnish alphabaet until recent times. The letters Q, W, X, Z and Å, along with the Š and Ž, are only used in borrowed words from different languages and are almost absent in Finnish.

Finnish language
Alphabets

Finnish alphabet


Florentino R. Das (August 19, 1918 – October 7, 1964) was a Filipino yachtsman and immigrant to the United States who holds the earliest record of Single-handed sailing from Hawaii to the Philippines on a 27-footer homebuilt sailboat.

Early years
Das was born in the northernmost town of Allen, Northern Samar. Having been exposed at an early age in traditional fishing, and learning this in the most treacherous waters of the San Bernardino Strait, Das has picked the skills of boat handling. Allen is also the terminus of the ferry between Luzon and Samar, and this has impressed upon Das to pursue a life of seafaring. His father also owned a traditional double-outrigger sailing boat called a paraw, which is powered by a crab-claw sail along with a small foresail.  With the paraw, the Das patriarch and his sons conducted trading around Eastern and Central Visayas. Part of his learning was also in the traditional knowledge of boat building, wayfinding, celestial navigation, and weather forecasting. Das shared "Me, I have loved them (boats) since I was a kid. Whenever my father was building a new boat, I was sure to be there beside him, when I was still very little."

At the age of 12, Das got into trouble with his local school authorities, and thus he fled to the neighboring town of Lavezares, where he found work as a cabin boy in the inter-island ferry. Das found his way to the capital Manila later on, and survived by taking various jobs, such as a stevedore or boat crewman.

In February 1934 he boarded the English freighter Silverbeam as a stowaway, but was discovered after a few days en route to San Francisco. The captain put him and his fellow stowaway to work, and by the time they arrived in Hawaii he was given a choice whether to offload or continue to San Francisco with a guaranteed work on board the ship.  Das opted to disembark, and arrived in Honolulu at the age of 16.

In Hawaii, Das took on work as a ship scalar, chipper and painter for interisland vessels, a security guard, and as a vocation he also pursued an amateur boxing career.

He met his wife, Gloria Espartino, a Filipino-American who grew up in Hawaii, and gave Das eight children.

During World War II Das was employed as a fishing boat captain and learned modern navigation.

Solo sailing

Das was inspired by the French sailor Éric de Bisschop, who arrived in Hawaii from France on his sailboat Kaimiloa. Das was mentored by de Bisschop on modern sailing techniques, and in turn the former helped work on the repairs of de Bisschop's boat.

Receiving sponsorship from a local fraternity called Timarau Club, along with proceeds from the sale of three fishing boats Das was able to acquire a surplus US Navy S-Bottom hull. Along with his four sons, Das worked on the boat, and rigged it with canvas sails and a 25 hp outboard motor. He named her Lady Timarau.

On May 14, 1955, Das slipped out of Kewalo Basin in Honolulu in front of family and friends, and sailed into open ocean without modern communication or navigational systems, except for a compass. A month into his adventure, after encountering a number of storms and damage to his boat, he came across a Japanese fishing vessel, Daisan Shinsei Maru, who offered to tow him to Ponape in Micronesia. His sponsor had requested that he return to Hawaii, but Das instead took on odd jobs for the next eight months to generate funding for the continuation of his trip.

On February 22, 1956, Das was able to secure clearance from the local authorities and sailed off towards the Philippines. Along the way, Das passed Truk Island, the Hall Islands, as well as Yap Island, and finally on April 25, 1956, after almost 12 months into his personal adventure, he saw the Philippines for the first time in two decades, landing Siargao Island at Masayay, Alegria, in the town of Santa Monica, Surigao del Norte. The locals did not know who Das was, nor what he achieved, but he became a local curiosity. However, the news of his arrival soon spread and the Philippine Navy dispatched a ship to escort Das on his plan to return to his hometown of Allen, Northern Samar, where he was welcomed as a local town hero.

In Manila, President Ramon Magsaysay received Das on May 11, 1956, with a fluvial parade along the Pasig River, and conferred him an honorary rank of Commodore of the Philippine Navy, as well as the Philippine Legion of Honor rank of Officer [OLH]. The Mayor of Manila Arsenio Lacson received a letter from his counterpart from Honolulu as hand carried by Das, and gave the latter Keys to the City.

Later life and death

The celebration of Das' achievement was short-lived, and no sooner did he find himself lacking in funding or a means of getting back to Hawaii. He tried to sell Lady Timarau to the Philippine government, but he did not receive any positive feedback on this. Personal tragedy also struck Das as his wife divorced him during his absence. To make ends meet, he again took on odd jobs. He also met Herminia Cipriano, whom he married as his second wife and is a school teacher, and they were able to get hired as caretakers of a resort on Corregidor Island.  Das was also hired by the Philippine Tourist and Travel Authority.

Das and his wife moved to Mindoro where his wife took on teaching job with the Divine Word College of San Jose. He attempted once more to sell his boat to the Philippine government for it to be preserved in a museum, but sadly Lady Timarau sank in the Pasig River in one of the storms. On the seventh anniversary of his feat, he celebrated by sailing solo once more, on a 27-footer utility boat from San Jose, Occidental Mindoro to Manila, but by this time he was already suffering from diabetes and was losing his vision because of glaucoma.  Das was admitted to the Ramon Magsaysay Memorial Hospital for glaucoma surgery, but by 1964 his health was deteriorating and he lost his sight.

Das died on October 7, 1964, at the age of 46 due to uremia at a hospital in Manila.  During his funeral, he was accorded Navy Honor Guards, and was buried at the Manila North Cemetery.

Memorials
There are a number of memorials to commemorate his achievement:

A memorial plaque in Kewalo Basin, Honolulu.
A memorial plaque in Santa Monica, Surigao del Norte
A historical marker and statue in Allen, Samar.

References

1964 deaths
Philippine Navy personnel
Recipients of the Philippine Legion of Honor
1918 births
20th-century sailors
People from Hawaii
People from Northern Samar
Filipino sailors
Deaths from kidney failure

Florentino Das


Red Ensign is a 1934 film directed by British filmmaker Michael Powell. It is an early low-budget "quota quickie".

Plot
In 1933, David Barr is the manager and chief designer of Glasgow shipbuilding firm Burns, McKinnon & Co. He comes up with a radical new ship design that can carry 25% more cargo for the tonnage and use less fuel at a time when the industry as a whole is in recession. Barr decides to build not just one ship, as Lord Dean advises, but twenty (to bring the costs down to a manageable level). Manning, a rival shipbuilder Barr loathes, hears rumors and sends two men undercover to find out what they can. They manage to get themselves hired. Manning then offers to purchase either the design or all the ships they can build. Both offers are rejected.

With the support of June McKinnon, the chief shareholder, Barr proceeds, despite the opposition of Lord Dean and other members of the board. He receives a severe setback when the Government declines to give him a contract or pass a shipping bill, and is driven to use his own money to try to complete the ship. When he runs out and cannot secure a loan to cover the payroll, a rabble-rouser tries to stir up the men, but Barr convinces them to stick by him. June, having heard his rousing speech, offers to let him obtain a loan on the security of her trust fund.

Manning's men knock out the night watchman and blow up the ship being built; a man named MacLeod is killed. Bassett, a reporter, informs Barr that MacLeod was third officer on one of Manning's ships.

Now needing funds desperately, Barr forges Lord Dean's signature to obtain a loan when Dean, as a trustee of June's trust, refuses to cooperate (partly out of jealousy of Barr and June's developing relationship). Manning finds out and tries to blackmail Barr into selling the design, but Barr refuses to do so and is convicted of forgery. Later, however, Manning is sought for manslaughter, while Barr is present when June launches the first of the new ships, the SS David Barr.

Cast

Leslie Banks as David Barr
Carol Goodner as June MacKinnon
Frank Vosper as Lord Dean
Alfred Drayton as Manning
Campbell Gullan as Hannay, a shipyard worker
Percy Parsons as Casey, one of Manning's undercover troublemakers
Fewlass Llewellyn as Sir Gregory, a member of the company's board
Henry Oscar as Raglan, a member of the board
Allan Jeayes as Grierson
Donald Calthrop as MacLeod, another of Manning's saboteurs
Henry Caine as Bassett
George Carney as Mr. Lindsey, a publican (uncredited)
Jack Lambert as Police Inspector (uncredited)
John Laurie as Wages Accountant (uncredited)
Frederick Piper as Mr. McWilliams (uncredited)
Jack Raine as Testing Official (uncredited)

Production
Red Ensign was Powell's 12th film in four years, and perhaps his most memorable one in that period. "It was the first time that Michael Powell himself realised that there was something special about a Michael Powell film, something going on on the screen, or behind the screen, which you couldn't put your finger on, something intriguing, aloof, but in the long run memorable."

Analysis
The character of David Barr is seen as an early precursor of Powell's own alter-ego in Michael Powell films such as Eric Portman's Colpeper in A Canterbury Tale (1944) and Roger Livesey's Dr Reeves in A Matter of Life and Death (1946). Indeed the whole film is seen as a parallel with the struggles of a young bold film director, and a plea for a strong British film industry. The strong crusading tone of the film prefigures Powell's wartime propaganda films such as 49th Parallel and Contraband. A minor character is pointedly called 'Grierson' after the celebrated documentary maker John Grierson. This character is described as 'the best rivetter in the yard' who 'taught me [Barr] everything I know'. This scene is immediately followed with one of Barr firing a 'militant' worker intent on provoking industrial strife in the yard.

DVD
The film has been released on Region 1 DVD by MPI along with The Phantom Light (1934) and The Upturned Glass (1947).

The film has been released on Region 2 DVD by Opening in the "Les films de ma vie" series. The DVD has fixed French subtitles for the original English soundtrack.

References

External links

 Red Ensign reviews and articles at the Powell & Pressburger Pages
 . Full synopsis and film stills (and clips viewable from UK libraries).

1934 films
British black-and-white films
1930s English-language films
Films by Powell and Pressburger
Films directed by Michael Powell
Films set in 1933
Films set in Glasgow
Quota quickies
British drama films
1934 drama films
1930s British films

Red Ensign (film)


Henry Wallace Stuart Clark MBE (20 November 1926 – 8 May 2011) was a sailor, author and businessman from Northern Ireland.

Clark was educated at Shrewsbury School and served in the Royal Navy Volunteer Reserve in World War II. He was an officer in the Ulster Special Constabulary and upon its dissolution became a major in the Ulster Defence Regiment serving until 1981. He was the elder brother of Henry Maitland Clark, MP for North Antrim from 1959 to 1970. He was appointed High Sheriff of County Londonderry for 1969.

He is best known for his writing and his sailing exploits. He began sailing at an early age, and from the late 1940s began to explore the waters near his family's ancestral home in Upperlands, County Londonderry. Basing himself in Portrush, County Antrim, he sailed along the north coast of Ireland, and in particular visited Rathlin Island, County Antrim and Inishowen, County Donegal, Republic of Ireland.

His cruises became more adventurous with experience, and his 1954 voyage round Ireland became the basis for his best-known book, Sailing Round Ireland, first published in 1976. In 1963, he was a leading light in the recreation of St Columba's voyage from Derry to Iona in a currach. Nearly thirty years later he was heavily involved in another major reconstruction journey, the Lord of the Isles Voyage, from Ireland to Scotland in Aileach, a wooden galley of the kind used in those waters in medieval times.

Other early voyages in his long sailing career included a cruise to Norway in 1953, and frequent trips to Brittany as well as a longer voyage to the Mediterranean in 1961 through the French canal system.

One of the most challenging projects he was involved in was a circumnavigation of Europe. The journey in Wild Goose by his son Miles, travelled around North Cape, Norway, and then through Russian waterways to the Black Sea, and on through the Mediterranean back to Northern Ireland. Wallace helped plan the voyage and sailed on the first and last legs of the journey. Miles died before the completion of the account of the voyage, and Wallace compiled the book Sailing Round Russia from Miles's logs.

He continued sailing late into life, and completed another reconstruction journey in 2009 when he recreated the 1814 journey of his ancestor Robert Harvey to the Western Isles. Having sold his last boat Agivey in 2009, Wallace was to complete one last cruise in the summer of 2010 along the Croatian coast with old friends. He died on 8 May 2011, and is survived by his wife June and his son, the journalist Bruce. His last book, The Call of the Running Tide, an all-new work edited by Bruce Clark and Tara Mackie, looking back on his long sailing career, was launched on Rathlin Island on 7 July 2012.

Works
 The Call of the Running Tide(2012)
 Sailing Round Russia: Miles Clark's Epic Voyage from Ireland to the White Sea and Across a Continent to the Black Sea and Mediterranean (1999)
 Sailing Round Ireland (1976)
 Rathlin. Its Island Story (1971 as Rathlin – Disputed Island)
 Linen on the Green. An Irish Mill Village, 1730 – 1982 Growing Up in Upperlands: The Story of an Irish Mill Village Guns in Ulster Brave Men and True: Early Days in the Ulster Defence Regiment – Pages of a Company Commander's Diary ''

References

 Irish Times obituary
 Daily Telegraph obituary
 Scotsman obituary
 Independent obituary
 Herald Scotland obituary

1926 births
2011 deaths
People educated at Shrewsbury School
People from County Londonderry
Ulster Defence Regiment officers
Royal Naval Volunteer Reserve personnel of World War II
Male non-fiction writers from Northern Ireland
Sailors (sport) from Northern Ireland
Ulster Special Constabulary officers
High Sheriffs of County Londonderry
Maritime writers
Members of the Order of the British Empire
21st-century writers from Northern Ireland

Wallace Clark


José Gutiérrez de la Vega y Bocanegra (26 December 1791 – December 1865) was a Spanish painter who specialized in portraits and religious subjects.

Biography
He was born in Seville. His father was an engraver and woodcarver. He began his artistic education in his father's workshops, then enrolled at the Real Academia de Bellas Artes de Santa Isabel de Hungría, where he studied until 1817. In 1825, he became an assistant professor there.

In 1828, his friendship with the English travel writer, Richard Ford, led him to begin spending his summers in Cádiz with the British Consul, Sir John MacPherson Brackenbury (1778-1847), a friend of Ford's. In 1830, he painted a portrait of Brackenbury and his family which was presented at a contest and won first prize.

The following year, this encouraged him to take a trip to Madrid in the company of Antonio María Esquivel and his wife, where they both competed at a contest held by the Real Academia de Bellas Artes de San Fernando. Neither was immediately successful, but he and his family settled there permanently the following year, when he was named an "Academician of Merit" for his painting "The Last Communion of San Fernando".

He soon established himself as a popular painter among the upper classes of Madrid and was never short of commissions. He was a member of the Board of Directors at the "Liceo Artístico y Literario". In 1838, was named to a chair at the Academy in Seville, but he remained in Madrid. Two years later, he gained the favor of Queen Isabel II and became a sort of honorary court painter.

The next few years became his most productive period when  he also established himself as a painter of portrait miniatures. Some of his best-known large-scale portraits came from this time; including ones of Queen Isabel and Mariano José de Larra. Religious works were also a significant part of his output; notably portraits of Saints Justa and Rufina, a Virgin with Child and an allegory on the New Testament, all of which reflected his first influence, Bartolomé Esteban Murillo.

In 1845, despite maintaining a voluminous correspondence with the Director of the Seville Academy, and working on his behalf at the Royal Court, he was forced to resign his position there, due to complaints about his continued absence. At that time, he also began to fall out of favor with the Queen and had difficulties getting paid for his work. Several projects were left unfinished, and he gave up hope of achieving an official appointment as court painter. He produced less after that and appears to have stopped painting altogether by the late 1850s. He died in Madrid.

References

External links

ArtNet: More works by Gutiérrez de la Vega.

1791 births
1865 deaths
19th-century Spanish painters
19th-century Spanish male artists
Spanish male painters
Spanish portrait painters
Religious artists
Painters from Seville

José Gutiérrez de la Vega