Jean-Louis Anne Madelain Lefebvre de Cheverus (also known as John Cheverus) (28 January 1768 – 19 July 1836) was a French Roman Catholic bishop and later cardinal. He was the first Bishop of the Roman Catholic Diocese of Boston, Massachusetts in the United States, and later became a bishop and then archbishop in his native France.

Early life
Cheverus was born on January 28, 1768, in the city of Mayenne, then in the ancient Province of Maine, where his father was the general civil judge and lieutenant of police. He studied at the college of Mayenne, received the tonsure aged twelve and became the commendatory prior of Torbechet while still little more than a child, through which he derived sufficient income for his education. He entered the College of Louis le Grand in 1781, and after completing his theological studies at the Seminary of St. Magloire, was ordained a deacon in October 1790. At the age of 22, he was ordained a priest for Montauban by special dispensation on December 18. He was immediately made canon of the cathedral of Le Mans and began to act as vicar to his uncle, the pastor of Mayenne, who died in 1792, succeeding him at that time.

Cheverus refused to take the oath imposed by the Revolution and this cost him his parish, and very nearly his life. He escaped from Paris to London, in disguise. Offered aid on his arrival, he replied: "The little I have will suffice until I learn something of the language. Once acquainted with that, I can earn my living by manual labor, if necessary". In three months he was teaching French and mathematics, and within a year gathered a congregation. A letter from a former professor at Orléans, the Reverend François Antoine Matignon, now in charge under Bishop John Carroll of all the Catholic church and missions in New England, urged Cheverus to come there to help in the work of the church. Cheverus first emigrated to England in 1792, then to America, settling in Boston on October 3, 1796.

American career

Cheverus, although at first appointed to an Indian mission in Maine, remained in Boston for nearly a year, and returned there after several months in the Penobscot and Passamaquoddy missions, and visited scattered Catholic families along the way. During the epidemic of yellow fever in 1798 he won great praise and respect for his courage and charity; and his preaching was listened to by many Protestants; indeed, the subscriptions for the Church of the Holy Cross which he founded in 1803 were largely from non-Catholics.

In 1808 the papal brief was issued making Boston a bishopric, suffragan to Baltimore, and Cheverus its bishop. He was consecrated Bishop of Boston on All Saints Day 1810 in Baltimore, Maryland, by John Carroll, the first Catholic bishop of the nation. Later, upon Carroll's death, his auxiliary bishop, Leonard Neale, urged the appointment of Cheverus as auxiliary to himself. Cheverus refused and strongly asserted his desire to remain in Boston.

Cheverus supported the establishment in 1816 of the Provident Institution for Savings in the Town of Boston, the first chartered savings bank in the U.S.  He believed the bank would inspire virtuous thrifty behavior amongst his parishioners. Some of the books in Cheverus' personal library now reside in the collection of the Boston Athenaeum.

In 1820, Bishop Cheverus oversaw the opening of an Ursuline convent in the rectory of the Boston cathedral. A school for girls was set up in the convent, intended to educate the area's poor. The convent with its school later relocated to Charlestown, but was burned down in the anti-Catholic riots of 1834.

Much broken by the death of Matignon in 1818 and with his health impaired, he soon found it necessary to leave the seat of his bishopric.

Return to France

In 1823 King Louis XVIII of France insisted that Cheverus return to France. Cheverus was named the Bishop of Montauban, on January 13, 1823, while still in Boston. The parishioners of Boston asked for the appointment in France to be rescinded, even garnering 226 signatures from the adult men in the congregation. Nevertheless, Cheverus had felt called to return to France for some time. He remained in Boston before departing for the Port of New York in September 1823. He was appointed Archbishop of Bordeaux on July 30, 1826; and was elevated to cardinal on February 1, 1836, in accordance with the wish of King Louis Philippe.

On one occasion, walking outside Bordeaux, he was approached by a beggar. The Cardinal, who could never refuse alms, gave the man a franc. 'Monseigneur", said an attendant, "I think you have made a mistake. The man you have just given money to is a Jew." "Thank you", replied the Cardinal, "It is true, I did not know it." Calling the man back, he then handed him a five franc piece, adding "There are so few who would give him anything."

Cheverus died in Bordeaux on July 19, 1836, at the age of sixty-eight.

Cheverus' work in New England, covering twenty-seven years, included every form of missionary activity. He lived among the Indians, mastering their dialect; traveled long distances on foot, attending scattered Catholics; nursed the sick and buried the dead during two yellow fever epidemics; collected funds and built a church in Boston; and served as businessman, adviser, peacemaker, servant, and pastor for his flock. His devotion to duty and extraordinary tact gradually won the respect of many Puritans. Ministers invited him to their pulpits. The legislature sought and acted on his counsel.  At a state banquet to President John Adams (whose name had headed a list of Protestant contributors to the Catholic Church building fund), he was placed next the guest of honour.

In 1950, an engraved tablet was placed adjacent to the St. Thomas More Oratory entrance at 49 Franklin Street in Boston. It reads: "Near this site stood THE CATHEDRAL OF THE HOLY CROSS, established 1803 by Jean Lefebvre de Cheverus, First Catholic Bishop of Boston; Missionary to the Penobscot Indians; Friend of President John Adams; Advisor to our State Legislature; One of America's noblest priests. He stood by the bedside of Catholic and Protestant alike. This tablet placed by a group of Protestant Businessmen, 1950."

Cheverus in literature

Jean-Louis Lefebvre de Cheverus, is one of the principal characters in the novel The Garden of Martyrs by Michael C. White. This is a fictional account of the historic murder in Northampton, Massachusetts, in 1805 and the subsequent conviction of James Halligan and Dominic Daley. The conviction was doubtful because of the bigotry of the period toward Catholics, and Irish Catholics in particular. Cheverus came to assist Dominic Daley, one of his parishioners in Boston, at great personal risk, in his last days and he was present at the execution in 1806.

Places named for Cheverus

Cheverus High School, a Jesuit College Preparatory school in Portland, Maine.
Cheverus Hall, a student residence at Boston College.
Collège Cheverus, a French secondary international school.
  Cheverus Centennial School, a Catholic Elementary school in Malden, Massachusetts.
College Cheverus, Public Middle school, Bordeaux, France.

References

Bibliography
 Hamon, André (1837). Vie du cardinal de Cheverus, archevèque de Bordeaux quatrième édition (Paris 1837).

 "Memoir  of Bishop Cheverus," Published June 1825 in Boston Monthly Magazine, Vol. 1, Issue 2

Acknowledgments

1768 births
1836 deaths
People from Mayenne
Lycée Louis-le-Grand alumni
18th-century French Roman Catholic priests
French expatriates in the United States
French Roman Catholic missionaries
Roman Catholic bishops of Boston
Bishops of Montauban
Bishops appointed by Pope Pius VII
Archbishops of Bordeaux
19th-century French cardinals
Roman Catholic missionaries in the United States

Jean-Louis Lefebvre de Cheverus


Frederick Tupper Saussy III (July 3, 1936 – March 16, 2007) was an American composer, musician, author, artist, and conspiracy theorist. His contemporaries describe him as a self-styled theologian, restaurant owner, ghostwriter of James Earl Ray's biography, King assassination conspiracy theorist, anti-government pamphleteer, and radical opponent of the federal government's taxation and monetary authority. He was born in Statesboro, Georgia; grew up in Tampa, Florida; and graduated from the University of the South at Sewanee, Tennessee, in 1958. His jazz combo there put out a university-subsidized album, Jazz at Sewanee, which included several original compositions. Thereafter Saussy taught English at Montgomery Bell Academy in Nashville, Tennessee, co-founded an advertising agency, McDonald and Saussy, and kept his musical career alive with recording dates and club sessions.

With the Nashville Symphony, he composed a work called The Beast with Five Heads (1965/66), based on "The Bremen Town Musicians", designed to replace Peter and the Wolf as a work to teach schoolchildren about orchestration, which continued to be used for the next fifteen years.  For its 1968/69 season, the Nashville Symphony commissioned him to write a piano concerto for Bill Pursell; it was performed by the Symphony on January 14, 1969, with Thor Johnson conducting.

Saussy's activities as tax protester led him to be sentenced to prison and to be a fugitive from the law between 1987 and 1997. After his arrest, he served 14 months and was released in 1999.

Popular music
Tupper Saussy was perhaps best known as the songwriter and keyboardist for the psychedelic pop band The Neon Philharmonic, whose vocalist was Don Gant. The Neon Philharmonic's single "Morning Girl" rose to Top Twenty status and was nominated for two Grammy awards in 1969.  Earlier in Saussy's career, Monument Records had released several albums of his jazz compositions: "Discover Tupper Saussy," "Said I to Shostakovitch," and The Swingers' Guide to Mary Poppins (this last featuring songs from the Disney movie). In the 1960s and 1970s, he composed works for the Nashville Symphony Orchestra and the Chattanooga Symphony. Saussy also composed two pop songs for The Wayward Bus, "The Prophet:  Predictions by David Hoy" and "Love Hum".  He also worked with Chet Atkins and Ray Stevens, and wrote arrangements for Mickey Newbury's Harlequin Melodies, as well as arrangements for Boudleaux Bryant, Bobby Bare, and Roy Orbison.  The Neon Philharmonic's two albums, The Moth Confesses and The Neon Philharmonic were released by Warner Brothers in 1969. The group disbanded in 1972, but producer David Kastle bought the name and used it on recordings until 1975, even recording one of Saussy's songs, "Making Out the Best I Can".

Painting
Saussy was the great-nephew of the Savannah painter Hattie Saussy. His first exhibition of watercolors was given in 1972 at Cheekwood in Nashville, Tennessee and his works can be found in the permanent collection of the Tennessee State Museum.

Theater
In 1972, he published the play, To Watch a Beautiful Sunrise, through Samuel French Inc., a comedy concerning a radical anarchist with the House of the Rising Sons who is assigned to kill his own stepfather.  Saussy first acted by replacing an actor in a regional production of Cactus Flower at The Circle Theater in Nashville after the original actor got pneumonia.  A friend was playing Stephanie and recommended him for the role.

Politics
Saussy published a book on what he called "the Vatican Jesuit Global Conspiracy" in which he claims that "the American Revolution and its resulting constitutional republic have been single-handedly designed and supervised by a Jesuit named Lorenzo Ricci - this country's true founding father".  Between 1980 and 1987, Saussy edited The Main Street Journal, advising and reporting on political action aimed at restoring the gold and silver monetary system in the U.S. and arguing against federal taxes. Convicted on federal income-tax charges in Chattanooga in 1985 and unsuccessful in his appeals, Saussy went on the lam in 1987 rather than begin serving a one-year sentence at the federal prison in Atlanta.

Later, he befriended James Earl Ray, who had confessed to the assassination of Martin Luther King Jr. After Ray, who was in prison, read of Saussy's defense in Tennessee newspapers, inquired by postcard if Saussy would be interested in helping Ray write and publish his autobiography.  Thus began a collaboration that resulted in the publication, in 1987, of Tennessee Waltz: The Making of An American Political Prisoner. After the book was published by Saussy in 1987, Ray disavowed parts of it and sued Saussy.

Legal problems
In the early 1980s, the federal government had begun cracking down on outspoken tax protesters, whose numbers were then estimated by the Internal Revenue Service at 40,000 or more. In 1985 Saussy was found guilty of willfully failing to file a tax return for the year 1977, and sentenced to serve one year in Atlanta Federal Prison Camp. (Technically, he filed a Fifth Amendment return, a discredited tax dodge that was popular with tax protesters in the 1970s and early 1980s. He also issued something called PMOC, or "Public Money Office Certificates," and used them instead of money to pay for some services while living in Sewanee.) Saussy fled in 1987 rather than begin serving a sentence at the federal prison in Atlanta. Thus began a game of cat-and-mouse with U.S. marshals that only ended in November 1997 outside his home in Venice Beach, California.

Saussy's appeal was denied by the Supreme Court. Saussy eventually served a 14-month sentence at Taft Correctional Institution in Taft, California. Saussy was given the job of chapel music director and piano instructor to prisoners. Saussy was released from prison on May 12, 1999.

Later years
During his fugitive years, Saussy pursued his suspicions about the religious element in the origins of American government. In prison, he collated his research and prepared a final manuscript. This grand conspiracy was published in 1999 by Osprey under the title Rulers of Evil: Useful Knowledge about Governing Bodies.

Saussy also expanded on his book's historical speculation later in alleging conspiracies about 9/11 being orchestrated by Dick Cheney and the Pope, whom Saussy calls "the undesignated de facto Chairman of the United States corporation". As Saussy writes: "9/11 could only have been a ruse created by the American Presidency to furnish a pretext for restricting the rights and property of Americans in order to redistribute American funds and forces to the middle east and soon elsewhere, pursuant to the Papacy's design".

Saussy's Warner Brothers albums were reissued in 2004 under the Rhino Handmade label. In April 2006, Tupper Saussy resumed his composer/pianist/performer persona with the Nashville debut of "The Chocolate Orchid Piano Bar," a cycle of new and vintage songs.  His first new musical release in 37 years, the CD was recorded in Nashville and produced by Warren Pash.

Saussy was first married to Lola Haun (1940-1995), a Nashville socialite, whom he met during his tenure as a teacher at Montgomery Bell Academy. The pair, who divorced in 1972, had a son, Caleb Powell Haun Saussy, and a daughter, Melinda Cavanaugh Saussy. By his second wife, Frederique Louise Blanco, the musician had two more sons, Pierre Philippe Saussy and Laurent Amaury Saussy, and a stepdaughter, Alexia Camille Vallord.

Tupper Saussy died on March 16, 2007, at his home in Nashville, Tennessee of a heart attack, two days before the release of The Chocolate Orchid Piano Bar on CD. He was 70 years old.  Saussy's death occurred one day after the 20th anniversary of Don Gant's death.

Publications
Books
The Miracle on Main Street: Saving Yourself and America from Financial Ruin. Sewanee, Tenn.: Spencer Judd (1980).
Rulers of Evil: Useful Knowledge about Governing Bodies. Reno, Nevada: Ospray Bookmakers (1999).

Book contributions
  Foreword to A Caveat Against Injustice, or An Inquiry into the Evils of a Fluctuating Medium of Exchange, by Roger Sherman [1752].

References

External links
Official website at the Wayback Machine
Honest Things Blog
a Tupper Saussy Shrine photos & info about his Monument LPs
Memphis Flyer 1998 article
Brilliant Colors: Neon Philharmonic set on Rhino Handmade
Profile of Saussy from NPR retrieved on April 1, 2007

1936 births
2007 deaths
20th-century American painters
20th-century American composers
20th-century American male musicians
American male composers
American male painters
American watercolorists
Critics of the Catholic Church
Monument Records artists
People from Statesboro, Georgia
Sewanee: The University of the South alumni
Tax protesters in the United States
American conspiracy theorists
20th-century American male artists

Tupper Saussy


The Velvet Book () was an official register of genealogies of Russia's most noble families (Russian nobility). The book is bound in red velvet, hence the name. It was compiled during the regency of Sophia (1682–1687) after Tsar Fyodor III of Russia abolished the old system of ranks (mestnichestvo) and all the ancient pedigree books had been burnt to prevent contention between the feuding aristocratic clans.

The Velvet Book includes the ancient genealogical register from 1555 (Gosudarev Rodoslovets) featuring the family trees of Rurikid and Gediminid princely houses. An important addendum contains a set of genealogies prepared by the non-princely noble families on the basis of their family records. As it was fashionable to trace one's blood line back to a foreign immigrant, all sorts of fantasy genealogies abound.

The Velvet Book first appeared in print in 1787: Nikolai Novikov prepared the first edition at the Moscow University Press. The full list of families from the Velvet Book may be consulted here. The book has also appeared in an online version.

References

Genealogy publications
1687 in Russia
1687 books

Velvet Book


The Mazda Suitcase Car was a prototype suitcase vehicle created in 1991 by the Mazda company. The suitcase opened up to reveal a functioning three-wheeled gasoline-powered vehicle with working lights. The vehicle, which resembled a go-kart, was created by Mazda engineers and showcased in the United States and Europe at auto shows.

Background
The Mazda Suitcase Car never made it to production; it was built for car shows in Europe and the United States. The idea for the car came from Mazda engineer Yoshimi Kanemoto.

In 1991 a select group of seven engineers from Mazda's manual transmission testing and research group including Kanemoto, created the vehicle for an internal company contest called Fantasyard. The contest challenged employees from different departments to design a creative product which is a moving machine.

The car had stubby fold-out handlebars with a twistgrip throttle like a motorcycle, a disk brake for the rear, a differential for wide turns, and three wheels (one in the front middle and two on the outer sides). The front and rear frames locked together to make the suitcase more rigid for when operating

The cost to build the prototype was . In 1992 The Associated Press published a photo of a Mazda executive driving the suitcase car through Times Square ahead of the 16 April 1992 New York International Automobile Show.

Description
The suitcase weighed  and it was . The design began with a Samsonite suitcase and a pocket bike. The power plant was a 33.6cc  two-stroke engine. The suitcase car was designed to go up to . There were slots in the case where the rear wheel axles could protrude and a slot through the case for a front wheel.

The original "Green and Red" was equipped with just brake lights but the "American themed" and its successors the "Blue and black racing stripe" were equipped with turn signals and brake lights. The car also had a throttle, disc brakes, differential, headlights, foot pegs and a horn. No tools were needed to assemble the vehicle.

Legacy
There were only technically two known examples of the car but it is thought that there is only one original Mazda Suitcase Car left.

The first "Original Green and Red" prototype suitcase car was accidentally destroyed after the 1991 Fantasyard event.

The second "American-themed" suitcase that was featured at the 1992 New York International Automobile Show, as well as an appearance on The Oprah Winfrey Show was crashed during a demonstration.

After the crash, a brave individual took it upon himself to resurrect the crashed "American-themed" suitcase and created the well known
"Black and blue racing stripe"

References

External links
Video A Car That Fits in a Suitcase

1990s cars
Cars introduced in 1991
Convertibles
Rear-wheel-drive vehicles
Mazda vehicles
Mazda concept vehicles
Prototypes

Mazda Suitcase Car


Art Baker (born Arthur Appleton Shank; January 7, 1898 – August 26, 1966) was an American film, television and radio actor.

Early years
Baker was born January 7, 1898, in New York City. He initially planned to be a singer, and during World War I he was a song leader while serving in the United States Army. During his time in the Army, his hair turned prematurely white and would later serve as his trademark look. His post-war occupations included touring with traveling evangelist Aimee Semple McPherson, founder of the Foursquare Church, and operating an appliance store in Glendale, California.

Radio
Baker's radio career began as an announcer on Los Angeles radio station KFSG. He later worked at Forest Lawn Memorial Park as a tour guide. Baker was chosen to be the narrator of the radio program Tapestries of Life. The show aired on Los Angeles radio station KFI and became syndicated nationally. Tapestries of Life aired for two decades. Baker went on to work on as many as 22 shows per week.

In 1936 General Mills cast Baker as Captain Bob Baker the Bisquick Maker to host the CBS show, Hollywood in Person, a first of its kind tabloid program in which a "studio on wheels" mobile production trailer would arrive at set locations to conduct candid interviews with celebrities about their gossip and rumors. The show was co-hosted by Louise Roberts (Lois Collier) and ran for two years.

On September 8, 1938, Baker created Art Baker's Notebook on KFI, which lasted for two decades. The program was syndicated in more than 50 markets via electrical transcription, and aired uninterrupted for more than 2,000 episodes. An innovative and widely successful publicity stunt was performed in 1947 on Art Baker's Notebook, when Baker interviewed Jimmy Stewart about his upcoming film It's a Wonderful Life. Baker offered listeners a free transcript of the show and photo of him with Jimmy Stewart. The show received nearly 50,000 letters in the first week.

From 1939 to 1941 Baker worked on The Hedda Hopper Show sponsored by Sunkist.

In 1941 Baker became the announcer for Bob Hope's The Pepsodent Show.

People Are Funny debuted on NBC on April 10, 1942, with Baker as host. The program's stunts and audience participation were calculated to reveal the humorous side of human nature. People Are Funny was the first game show to air repeats. Art Linkletter replaced Baker in 1943.

Also in 1943, Baker hosted CBS's Meet Joe Public, during which studio audience members expressed views on current events.

In the 1930s and 1940s Baker's voice could be heard in all major markets in the United States, and he was a part of as many as 22 aired shows, commercials, or productions a week.

In 1956, Time magazine featured an article on Baker titled "Radio: The Voice from Forest Lawn".

Film
Baker appeared in more than 40 films. His tall, slim frame, snow white hair, smooth slightly nasal voice and genial nature made him a natural choice to play business executives, doctors, and senators in film.

In 1939 Baker narrated an historical documentary on the City of Glendale, California, called Glendale on Parade, which became the only documentary of its kind for the city and featured many historical landmarks and achievements in Glendale history. It also served as a time capsule capturing the everyday life of an emerging city in the 1930s.

In 1943, Baker narrated the Academy Award nominated, Walt Disney produced, propaganda documentary Victory Through Air Power. This film was created to catch the attention of government officials and to build public morale among the U.S. and Allied powers. The film played a significant role for the Disney studio because it was the beginning of the company's entry into educational films in which its cartoon characters were used as marketing tools.

In 1945 Baker was cast as Detective Lt. Cooley in Alfred Hitchcock's critically acclaimed and Oscar-nominated film Spellbound, starring Gregory Peck and Ingrid Bergman.

In 1947 Baker worked with Loretta Young in The Farmer's Daughter. Young won the Oscar for Best Actress for her role as Katrin Holstrom.

In 1949 Baker had title card credit in Cover Up starring William Bendix, Dennis O'Keefe, and Barbara Britton.

Television
Baker hosted many television shows in his career but is best known for his work on a series he created in 1950 titled You Asked for It (for which he became affectionately dubbed, the "genie with the light, white hair"). The show debuted under the title of The Art Baker Show and aired on the DuMont Television Network. The style was a write-in format that allowed viewers to make requests as to what they would like to see. The show traveled the world fulfilling requests of its viewers. In 1951 the show's name was changed to You Asked for It, and it was moved to ABC. It aired until 1959 and became the longest-running show if its kind and established the format for future travel/variety shows. The show would become one of Baker's greatest achievements and solidified his place in television history. During the last 20 months of the show, Baker was replaced by Jack Smith.

Another Baker TV program, End of the Rainbow, debuted January 11, 1958. The program helped unsuspecting people "who are in need of a push to make a success of their dreams, such as a chance to regain a sound footing in business". The show was co-hosted by Bob Barker.

Hollywood Walk of Fame
Baker has a star on the Hollywood Walk of Fame for his work in radio and TV. The star, at 6509 Hollywood Boulevard, was dedicated on February 8, 1960.

Personal life
In 1920 Baker married Marian Hill and had four children: Virginia, who died of tuberculosis, Arthur (Bart), Robert, and Dorothy. Baker and his wife divorced in the late 1920s.

In 1930 Arthur married Maida Sarah Waters (Aimee Semple McPherson's secretary). They had one child, Diane, who attended Hoover High School in Glendale, California. They divorced in 1945.

Baker married Broadway actress Alice Weaver in 1948, and they divorced in 1956.

On August 11, 1957, Baker married his fourth wife, magician Gerri Larsen, in London. Their marriage was featured on the cover of Genii magazine. Gerri Larsen's sons, Milt and Bill were the founders of the Magic Castle in Hollywood in 1963. Baker became the host of It's Magic a stage show credited with rejuvenating interest in magic in America.

Baker was a Rotarian and was the song leader for the 1938 Rotary International Annual Convention in San Francisco.

Art Baker lived in Glendale, California, for most of his career and would later move to Palm Springs, California.

Death
Baker died of a heart attack at a bank in Los Angeles August 26, 1966.

Baker is interred in the Great Mausoleum at Forest Lawn Glendale, in the same hall where he began his career.

Partial filmography

Artists and Models (1937) as 2nd Announcer (uncredited)
Partners in Crime (1937) as Radio Announcer (uncredited)
Stand-In (1937) as Director of Photography (uncredited)
Torchy Blane in Panama (1938) as Assistant Bank Manager (uncredited)
Prairie Moon (1938) as Judge Arthur Dean (uncredited)
Trade Winds (1938) as Police Announcer (voice, uncredited)
Slightly Honorable (1939) as Radio Announcer
South of the Border with Disney (1942) as the narrator
The North Star (1943) as Radio Voice (voice, uncredited)
Once Upon a Time (1944) as Gabriel Heatter (uncredited)
The Amazon Awakens (1944) as the narrator
Tuberculosis (1945) as the narrator
Cleanliness Brings Health (1945) as the narrator
Hookworm (1945) as the narrator
Spellbound (1945) as Det. Lt. Cooley
Environmental Sanitation (1946) as the narrator
Planning for Good Eating (1946) as the narrator
Abie's Irish Rose (1946) as Rabbi Jacob Samuels
The Beginning or the End (1947) as President Truman
The Farmer's Daughter (1947) as Anders J. Finley
Dark Delusion (1947) as Dr. Sanford Burson
Daisy Kenyon (1947) as Lucille's Attorney
State of the Union (1948) as Leith, Radio Announcer
Homecoming (1948) as Williams, Reporter on Transport Ship (uncredited)
Silver River (1948) as Major Wilson (uncredited)
The Walls of Jericho (1948) as Peddigrew
A Southern Yankee (1948) as Col. Clifford M. Baker
Walk a Crooked Mile (1948) as Dr. Frederick Townsend
The Decision of Christopher Blake (1948) as Mr. Kurlick
Cover Up (1949) as Stu Weatherby
Impact (1949) as Eldredge, Defense Attorney
Take One False Step (1949) as Henry Pritchard
Night Unto Night (1949) as Dr. Poole
Massacre River (1949) as Col. James Reid
Any Number Can Play (1949) as Mr. Reardon
Task Force (1949) as Sen. Vincent
Easy Living (1949) as Howard Vollmer
The Underworld Story (1950) as Lt. Tilton
Hot Rod (1950) as Judge Langham
The Du Pont Story (1950) as Chemical Director
Belle Le Grand (1951) as Defense Attorney (uncredited)
Cause for Alarm! (1951) as Superintendent
Only the Valiant (1951) as Capt. Jennings
Here Comes the Groom (1951) as Radio Announcer
Living It Up (1954) as Radio Announcer (uncredited)
Artists and Models (1955) as TV Commentator (uncredited)
Twelve Hours to Kill (1960) as Police Captain Johns
Swingin' Along (1961) as Television Announcer
Voyage to the Bottom of the Sea (1961) as UN Commentator (uncredited)
Young Dillinger (1965) as Warden
The Wild Angels (1966) as Thomas, Mortician (final film role)

References

External links

1898 births
1966 deaths
20th-century American male actors
American male film actors
American male radio actors
American male stage actors
American male television actors
Burials at Forest Lawn Memorial Park (Glendale)
Male Western (genre) film actors
Male actors from New York City

Art Baker (actor)


Coil or COIL may refer to:

Geometry
 Helix, a space curve that winds around a line
 Spiral, a curve that winds around a central point

Science and technology
 Coil (chemistry), a tube used to cool and condense steam from a distillation
 Coil spring, used to store energy, absorb shock, or maintain a force between two surfaces
 Inductor or coil, a passive two-terminal electrical component
 Electromagnetic coil, formed when a conductor is wound around a core or form to create an inductor or electromagnet
 Induction coil, a type of electrical transformer used to produce high-voltage pulses from a low-voltage direct current supply
 Ignition coil, used in internal combustion engines to create a pulse of high voltage for a spark plug
 Intrauterine device or coil, a contraceptive device
 Chemical oxygen iodine laser, a near–infrared chemical laser
 Coil, a binary digit or bit in some communication protocols such as Modbus
 COIL, the gene that encodes the protein coilin
 Coiled tubing, a long metal pipe which is supplied spooled on a large reel

Music
 Coil (band), an English experimental band
 Coil (album), a 1997 album by Toad the Wet Sprocket
 "Coil", a song by Opeth from Watershed

Fictional entities
 The Coil, a fictional organization in the G.I. Joe universe
 Magnemite or Coil, a Pokémon character
 Coil, a crime lord from the web serial Worm

People with the surname
 Liam Mac Cóil, Irish novelist

Other uses
 Coil (hieroglyph), an Egyptian hieratic hieroglyph
 Coiled basketry, using grasses, rushes and pine needles
 Coiling (pottery), a method of creating pottery
 Coil (video game), a video game by Edmund McMillen and Florian Himsl
 Turmoil or burden, as in mortal coil
 Coiling, a method for storing rope or cable

See also
 Helix (disambiguation)
 Loop (disambiguation)
 Spiral (disambiguation)

Coil


Luana Liki Hotel is a hotel in Nukunonu, Tokelau. It is the only hotel in Tokelau. Numerous distinguished guests have stayed at the hotel including former New Zealand Prime Minister Helen Clark and the New Zealand Governor General.

The Luana Liki Hotel in Nukunonu is also the only public eating and drinking place in Tokelau. The hotel also serves Samoan beer but its sale is rationed.

References

Nukunonu
Hotels in Tokelau

Luana Liki Hotel


Before the Aswan Dam was built (1898-1902). there was a Nile flood, once a year. This flood carried rich sediments, which made the soil fertile. Egypt is located in the desert, and agriculture is only possible close to the Nile. A rainy season in Ethiopia starts the flooding, which used to occur between May and August. During this time, the Blue Nile has five times as much water as the White Nile. During the rest of the year, the White Nile has almost twice as much water than the Blue Nile. This event was visible in Aswan, starting in June, and reaching its peak in August. The water reaches the eastuary of the Nile about two weeks later.

The flooding always occurs at the same time; in some years it may be a few days erlier, in others it will be a few days later. What cannot be prediced is the total amount of water. Little water meant droughts and famine. Too much water would cause damage to dams and houses.

Egyptian mythology
Floods
Nile

Flooding of the Nile


Maurice Bardèche (1 October 1907 – 30 July 1998) was a French art critic and journalist, better known as one of the leading exponents of neo-fascism in post–World War II Europe. Bardèche was also the brother-in-law of the collaborationist novelist, poet and journalist Robert Brasillach, executed after the liberation of France in 1945.

His main works include The History of Motion Pictures (1935), an influential study on the nascent art of cinema co-written with Brasillach; literary studies on French writer Honoré de Balzac; and political works advocating fascism and "revisionism" (i.e. Holocaust denial), following his brother-in-law's "poetic fascism", and inspired by fascist figures like Pierre Drieu La Rochelle and José Antonio Primo de Rivera. Viewed as the "father-figure of Holocaust denial", Bardèche introduced in his works many aspects of neo-fascist and Holocaust denial propaganda techniques, methodology and ideological structures; his work is deemed influential in regenerating post-war European far-right ideas at a time of the identity crisis in the 1950–1960s.

Biography

Pre-WWII

Early life and education (1907–1932)
Maurice Bardèche was born on 1 October 1907 in Dun-sur-Auron, near Bourges, in a modest, republican and anticlerical family. He attended the lycée of Bourges, before leaving his home region for the lycée Louis-le-Grand in Paris, where he met Thierry Maulnier and Robert Brasillach in 1926. The latter introduced him to Maurassian nationalist circles. If those groups were mostly anti-Jewish, Bardèche's own antisemitism was then more of a conventional manner than a deep conviction. In 1928, he was admitted to the prestigious École Normale Supérieure, where he received his agrégation degree in 1932. Bardèche wrote at that time for the royalist newspaper L'Étudiant français, parented by Action Française.

In the interwar (1933–1939)
In 1933, Bardèche and Brasillach moved to Vaugirard, in the 15th arrondissement of Paris, where they stayed for three years while Bardèche taught at the Collège Sainte-Geneviève of Versailles. He married Suzanne, Brasillach's sister, in July 1934. During their honeymoon in Spain, Bardèche had a car accident that left him with a permanent depressed skull fracture on the forehead. With his now brother-in-law Brasillach, Bardèche compiled The History of Motion Pictures in 1935, a study of the nascent art of cinema. According to scholar Alice Kaplan, it was "probably the first general history of cinema written in France, if not the world."

Writing for the Revue française, Bardèche also became a film critic for the art magazines 1933 and L'Assaut. During the Spanish Civil War, Bardèche was a supporter of Francisco Franco and the nationalist cause. In 1939, he edited with Brasillach a pro-Franquist book entitled Histoire de la guerre d'Espagne (History of the Spanish War). Bardèche published a fiercely antisemitic contribution in Je suis partout on 15 April 1938, on the occasion of an issue dedicated to the Jewish question.

Literary career and WWII (1939–1946)

After presenting his thesis on the works of novelist Honoré de Balzac in May 1940, Bardèche graduated with a doctorate in literature and was subsequently granted a temporary professorship at the Sorbonne University. He eventually became a professor of French literature at the University of Lille between 1942 and 1944, holding three Chairs at the same time. While he endorsed the deeds and actions of the French collaboration with the Nazis, Bardèche did not invest himself "physically" or ideologically during the war. He instead focused on his career as a literary critic, and wrote only three articles on arts (Stendhal, Balzac and films) for the antisemitic and collaborationist newspaper Je suis partout, in which Brasillach was the editor-in-chief until 1943.

On 1 September 1944, after the Liberation of Paris, Bardèche was detained for the articles he had written for Je suis partout. Brasillach surrendered to the authorities in order to allow for the release of Suzanne and their children, and he was eventually transferred to the Fresnes prison. Bardèche joined him on 30 December; one month later, Brasillach was sentenced to be executed for sharing intelligence with the enemy during the war. Bardèche was sentenced to one year in prison. He lost his university chair in literature and was, for a time, evicted from his apartment.

After the war, Bardèche's world view seemed entirely designed through the filters of Brasillach's death, the épuration, and a hatred of Marxism. He led for 30 years a "personal crusade to purify fascism" and present it as a respectable ideology. In April 1959, Bardèche told the nationalist magazine Jeune Nation: "I loved Brasillach very much, I admired him very much; and, I do not hide it from you, it is the death of Brasillach and the épuration that has turned me into a political animal. Politics did not interest me at all until that date; from then on, I went straight into politics." While in prison in 1945, Bardèche began to develop his own definition of fascism, by cutting away police repression, antisemitism and expansionist imperialism, in an attempt to present the ideology as "a youthful celebration and rejoicing, a new anti-bourgeois life-style, and the existence of feverish activism", in the words of scholar Ian R. Barnes. Meanwhile, Brasillach turned into a fascist martyr in French far-right circles; his cult and ideas were transmitted by Bardèche and fellow travellers through the post-war era.

Fascist writer

The "revisionist" trilogy (1947–1950)
Bardèche explained that he felt like a "foreigner" in a France he perceived as a "foreign country", or worse an "occupied country", in the immediate post-war period. In 1947, he wrote a letter to François Mauriac (Lettre à François Mauriac), who had unsuccessfully tried to convince Charles de Gaulle to grant Brasillach amnesty in 1945. In the letter, Bardèche dismissed the Resistance and the épuration, declaring the Vichy regime and collaboration legitimate. One year later, he established the "revisionist school", railing against what he called the "falsifications" and "manipulations" of history committed by the Allies.

In 1948, Bardèche espoused his "revisionist" thesis in the book Nuremberg ou la Terre promise, a sequel to Lettre à François Mauriac. In the words of historian Valérie Igounet: "if, as Maurice Bardèche shows us, the history written on Occupation is false, then why the history of the Second World War could not be so too?" Indeed, Bardèche wrote that the Nazi death camps were "inventions" of the Allies established to whitewash their own crimes. Jews were presented as ultimately responsible for the war, and likewise accused of falsifying history. Dismissed as the inventors of the Holocaust, Jews had allegedly designed a secret plan to "get revenge from Germany" and obtain international support for the creation of their nation state. If Bardèche did not refute the fact that Jews had suffered or had been persecuted during the war, he did deny the reality of their extermination. It was the first time since the end of the war that someone openly writes that he doubts the existence of the Holocaust. The book, which sold 25,000 copies, was considered an "apology of the crime of murder" by a court, and Bardèche was convicted to one year in jail and fined 50,000 Francs in the spring of 1952. Nuremberg ou la Terre promise was consequently banned, but circulated covertly. Bardèche spent only two or three weeks in jail in July 1954, then was granted amnesty by president René Coty. As he realized the difficulty of diffusing his ideas in a post-fascist context, Bardèche decided to establish his own publishing house Les Sept Couleurs, a name inspired by the title of one of Brasillach's novels.

In 1950, Bardèche released the last volume of his revisionist theory, Nuremberg II, ou les Faux-Monnayeurs, reiterating what he had written two years earlier. The novelty of this volume was the narrative construction Bardèche had designed around the tale of Paul Rassinier, a former deportee turned into a Holocaust denier. Bardèche concluded on his side that kapos were in reality worse than SS, and expressed his "doubts" about the existence of gas chambers. After the release of his revisionist trilogy, Bardèche gained a new status in the international far-right movement. As neo-fascist activist François Duprat later wrote, Bardèche "showed that the 'fascist' far-right had found its intellectual leader". At the same time, Bardèche was recognized among academics as a leading expert of novelists Honoré de Balzac and Stendhal, and benefited in the public opinion from being the brother-in-law and spiritual inheritor of an "assassinated poet".

Neo-fascist activism (1951–1969)
To promote his neo-fascist ideas, Bardèche entered politics. In December 1950, he visited Germany to deliver speeches, creating an "apology of collaboration" and denouncing the "fraud of the French Resistance" before an audience essentially composed of former Nazis. Bardèche was also linked to the Ligue des Intellectuels Independents, and was a patron of Réalisme, the journal of the Union Réaliste. He co-founded the Comité National Français, an umbrella organization for extremist groups to operate, but stepped away when the movement embarked on a violently antisemitic course under the leadership of René Binet. Bardèche founded instead the more tactical and moderate Comité de Coordination des Forces Nationales Françaises.

At the end of 1950, Bardèche initiated in Rome the European National Movements, in order to co-ordinate various neo-fascist groups across the continent. At the congress, it was decided that another meeting would be held in Sweden the following year. Bardèche thereafter attended in May 1951 the founding meeting of the European Social Movement in Malmö, which drew 100 delegates from Europe, including Oswald Mosley. Bardèche represented France under the Comité National Français. On 6 February 1954, he participated in a commemoration of Robert Brasillach held by the neo-fascist group Jeune Nation, along with Pierre Sidos and Jean-Louis Tixier-Vignancour. With the latter, he co-established in the May 1954 the Rassemblement National Français. In 1952, the two of them commenced the journal Défense de l'Occident, designed as an arena for young fascists to air their views and, according to Barnes, a "reborn and renamed Je suis partout". During the Algerian War (1954–1962), Bardèche wrote numerous articles defending French Algeria, third-world colonialism, and segregation based on ethnic difference.

Unlike some of his contemporaries, Bardèche made no secret of his fascist stance, and wrote as the first sentence of his work Qu'est-ce que le fascisme? (1961): "I am a fascist writer". The book became a well-known theoretical work of post-war fascism both in France and abroad. Translated in Italian, it turned into a favorite book among local fascists. The context of the Algerian War, along with the political crisis it triggered in metropolitan France, made fascist ideas more acceptable for a short lapse of time in the wider society, which allowed Bardèche to publicly present himself as an advocate of fascism, a conviction which he had never openly admitted until then.

In 1969, Bardèche published Sparte et les Sudistes (Sparta and the Southerners), in which he wrote that far-right thinkers should not begin with men from the lens of ideology, a mistake he sees in the "rational and abstract definition of man" of left-wing writings, but rather "as they find them, in the place where they have grown, in the unequal bunches that nature has formed."

Later life

Return to literary studies (1971–1998)
Bardèche produced works on French novelists Honoré de Balzac, Marcel Proust, Gustave Flaubert, Louis-Ferdinand Céline and Léon Bloy, which are often cited in bibliographies. In parallel, he continued to publish neo-fascist and pamphlets denying the Holocaust, including Robert Faurisson's The Problem of the "gas chambers" (1978).

According to literary scholar Ralph Schoolcraft, "it would be misleading to infer a divorce between Bardèche's right-wing propaganda and his literary criticism. [...] He favored a totalizing vision that organized the entirety of a writer's production into a sort of organic system working in the service of a specific overriding design. Critics have seen this aesthetic view of literary art as analogous to visions of a fascist utopia, with the author posited as an absolute authority arranging elements hierarchically and moving towards a complete unity at the expense of diversity and ambiguity."

Death

Maurice Bardèche died on 30 July 1998 in Canet-Plage. Jean-Marie Le Pen, then the leader of the National Front party, described him as "a prophet of a European renaissance for which he had long hoped". His wife Suzanne, the sister of Robert Brasillach, died in 2005.

Views

According to political scientist Ghislaine Desbuissons, Bardèche was more of a political writer than a doctrinarian; rather than trying to establish a general doctrine, Bardèche "dreamt of fascism" and was more interested in restoring a metaphysical viewpoint on the nature of man. In Bardèche's view, fascism was indeed more of an "idea", an aesthetics and a "way of life" than an electoral project. Its prominent values were to be those of the "soldier" — braveness, loyalty, discipline and fidelity — and those of the "citizen", in reality the soldier's values applied to civil life.

Bardèche questioned Nazi crimes and drew up a real indictment against the Allies, citing their war crimes and propaganda, the Dresden bombings or the atomic bombings of Hiroshima and Nagasaki in order play down Nazi wartime atrocities. He claimed that democratic idealism had created a closed world similar to that achieved by Marxism, and that by proscribing the fascist consciousness, the Nuremberg trials had eroded individual autonomy. According to Barnes, the democratic worldview was in Bardèche's vision "oppressive when it condemned fascist sensibilities through persecution"; in response, Bardèche "laid down an ideological basis which was defensive in character: he visualized a struggle for survival in a new world as a process of ideological Darwinism".

In an unusual stance among far-right thinkers, Bardèche has praised some Republican and Socialist events of French history: he laid a wreath every year at the Communards' Wall to commemorate the Paris Commune, a failed radical socialist revolution that occurred in 1871, and he co-founded in May 1966 the Association des Amis du Socialisme Français et de la Commune ('Association of Friends of French Socialism and the Commune'). Bardèche has also extolled Islam, praising the "virility it of the Islamic religion and civilization. In Qu'est-ce que le Fascisme? (1962), he wrote: "In the Quran, there is something warlike and forceful, something virile, something Roman, so to speak."

Neo-fascism

In 1961, Maurice Bardèche redefined the nature of fascism in a book deemed influential in the European far-right at large, Qu'est-ce que le fascisme ? ("What is fascism?"). He argued that previous fascists had essentially made two mistakes: they focused their efforts on the methods rather than the original essence and principles; and they wrongly believed that a fascist society could be achieved through the nation-state as opposed to the construction of Europe. According to him, fascism could survive the 20th century in a new metapolitical guise only if its theorists succeed in building inventive methods, adapted to the changes of their times, in order to promote the core politico-cultural fascist project, rather than trying to revive doomed regimes:
Bardèche started to develop his own interpretation of fascism, which he defined as a youthful and heroic rebellion against the established intellectual structures, and as a defence of Europe against the influence of both capitalist America and communist Russia. He attempted to play down elements from the fascist doctrine that were commonly associated with the wartime far-right regimes, which he dismissed as "attempts" in the wider history of fascism rather than models to follow for the future. Bardèche rejected the single-party state, the absoluteness of the Führerprinzip, the myth of the "providential leader", and sought to dissociate fascism from anti-Semitism. On the question of minority, he stated: "there will always be a small minority of opponents in a Fascist regime", but they should be "left alone" as long as they do not hinder the global project. In Qu'est-ce que le fascisme?, Bardèche dismissed the systematic persecutions of Jews by the Nazis on no other ground than their race. His mode of fascist governance is close to a plebiscitary regime, which could allow discussions and debates as long as they do not deviate from the global fascist principles. According to Barnes, Bardèche "sought to divest fascism of its horrific past and to expose the essence of fascism that was distorted by the actions of Mussolini, Hitler and others", and only "indulged in bouts of self-criticism to give substance to and gain acceptance for his ideas."

Bardèche viewed the egalitarian concept of the Enlightenment as eroding distinct racial identities and vital differences, and as a means to "reduce humans in society to the status of ants". The Europe of politicians, Barnes wrote, was "incapable of defending itself against infiltration and subversion, and powerless against a foreign invasion because it had made a dogma of anti-racism. The growth of anti-fascism had reduced Europe to the condition of eighteenth-century Poland, where elites constantly indulged their own self-interests at the expense of the state, and exposed Europe to similar dangers, that is, attacks from both East and West." Bardèche also believed that the time of the nation state had passed, and he developed instead the idea of a "military and politically strong European bloc", a third way between capitalist America and communist Russia. This united Europe would initially take the form of a confederation of nation-states, before turning into a fascist federal state.

If he recognized José Antonio Primo de Rivera, the founder of the Falange, as his main influence, Bardèche did not conceive, unlike most of his far-right contemporaries, the Falange as a perfect example to imitate in the late 20th century. Although drew inspiration from the dirigist socialism of the Spanish fascists, Bardèche essentially tried to develop a theory of fascism adapted to the post-war environment, built on its original socialist, national, and hierarchical idea. According to him, the fascist society rests upon the idea that only a minority, "the physically saner, the morally purer, the most conscious of national interest", can represent best the community, and that this elite should be at the full service of the less gifted, in what he called a "feudal contract".

As summarized by Barnes, Bardèche's definition of fascism was characterized by "a reformist authoritarian and hierarchical socialism; he denigrated liberalism for its pursuit of self-interest and attacked Marxism for stimulating class warfare. What he offered was a third conception of life, a social moralism and nationalism, an alternative hierarchy of values and a social system opposed to the ideologies of Washington and Moscow. This society was conceived as being organic rather than mechanistic, hierarchical rather than egalitarian, and irrational rather than based in positivist reasoning."

Holocaust denial
Bardèche aimed at creating "two schools" of equivalence between fascists and the Resistance. These methods were later expanded and developed by other Holocaust deniers such as Paul Rassinier and Robert Faurisson, who, according to Barnes, "used textual notes and academic referencing, concentrated their denial effort on limited targets believing that to cause doubt over a minor historical point calls the larger picture into question. The two have additionally denounced orthodox historians and created a milieu of doubt."

To prove Germany innocent, Bardèche refuted the specificity of the Hitlerian crimes by drawing moral equivalence between the Soviet and the Nazi concentration systems. While discounting the Nazi attempt at the systematic extermination of Jews and Roma, Bardèche believed that Russians were just more skillful in their propaganda and the dissimulation of their own crime. Nazi extermination camps were likewise presented as a meticulous post-facto construction by Jewish "technicians" (portrayed as the architects of the "invention of the Holocaust"), and designed to dominate the world via a global secret plan of historical disguise.

Bardèche described the Nazi policies on Jews as "moderate" and "reasonable", and believed that the Holocaust was nothing more than a "grouping" of the Jewish people in a "reserve" through a population transfer to Eastern Europe (alluding to the Nisko Plan, cancelled in 1940). Other of his arguments formed the basis of numerous works of Holocaust denial that followed: "testimonies are not reliable, and essentially came from the mouth of Jews and communists", "atrocities committed in camps were the fact of deportees [essentially the kapos]", "disorganization occurred in Nazi camps following the first German defeats", "the high mortality rate is due to the 'weakening' of prisoners and epidemics", "only lice were gassed in Auschwitz", etc.

In the late 1980s, Bardèche declared to "agree on everything" the Front National endorsed, except for their imprecise agenda on the Jewish question, a subject Bardèche considered decisive. Contrary to the "rabid" anti-Semitism of writers like Lucien Rebatet and Louis-Ferdinand Céline, Bardèche tried to rationalize his anti-Jewish stance. In a 1986 interview with historian Alice Kaplan, he stated: "The anti-Semitism of Robert [Brasillach, and hence himself], and of a great part of the French, was an anti-Semitism of reason that wanted to limit the Jewish influence in France."

Anti-Americanism
In his 1951 book L'Œuf de Christophe Colomb, Bardèche explained that the United States had "killed the wrong pig" during WWII, and that anti-fascism turned out to be only an artifice of Bolshevik domination over Europe. Since only nationalists had always fought communism, they were presented in his writings as the only ones able to build a true anti-communist Europe, naturally allied with the nationalist countries of the Arab world against both America and Israel.

Works

 English translation:

See also
 Chantons sous l'Occupation - a documentary film featuring Bardèche.

References

Bibliography

Further reading

1907 births
1998 deaths
People from Cher (department)
Fascist writers
French fascists
French anti-communists
French art critics
French literary critics
French political writers
Writers from Centre-Val de Loire
Pan-European nationalism
French Holocaust deniers
Lycée Louis-le-Grand alumni
École Normale Supérieure alumni
Academic staff of the University of Paris
French male essayists
20th-century French essayists
20th-century French male writers
Neo-fascists
French prisoners and detainees
Prisoners and detainees of France

Maurice Bardèche


Lý Thánh Tông ( 1066 – 1128 ), personal name Lý Nhật Tôn  , temple name Thánh Tông, was the third emperor of the Lý dynasty and the 8th ruler of the Vietnamese kingdom Đại Việt. In his reign, Lý Thánh Tông promoted the agricultural development, reducing some harsh laws and building many Confucianist and Buddhist institutions, most notably the first Temple of Literature in Vietnam (1072). He also fought several successful wars with Champa, resulting in the expansion of Vietnamese territory to the areas which are Quảng Bình Province and Quảng Trị Province today. Chinese sources identify Lý Nhật Tôn as the Viet king that dared to
claim imperial status, which for the Chinese was a direct challenge to their view of the world that prelude to the Song-Viet war in 1070s.

Early life
Lý Nhật Tôn was the eldest son of the second emperor Lý Phật Mã and Queen Mai Thị. He was born on March 30, 1023, at Càn Đức palace. Unlike his father and grandfather, he had not lived in the disturbed atmosphere of Hoa Lư. He came of age witnessing and participating in the exuberance of Lý Phật Mã's reign. His father had readily delegated important tasks to him. He led soldiers against rebels, he judged offenders, he presided over the court in his father's absence, and he always knew that he would be king. In 1033, he was conferred crown prince after his father ascended the throne as Prince Khai Hoàng (開皇王).

Reign

Domestic
Just after succession, Lý Nhật Tôn shortened the kingdom's name from Đại Cồ Việt to Đại Việt (literally "Great Viet"), initiating the most prosperous epoch throughout the history of Vietnam under that name.

Lý Thánh Tông incorporated both Sinic and Indic elements into his court. In 1059 he ordered all palace officers who would approach him to wear contemporary Chinese-style headgear and footwear. Junior royal servants, scribes (thư gia), ten of whom were promoted to law officers in 1067. In 1063, at 40 years old and still without a son and having visited shrines and temples throughout the kingdom to pray for an heir, he traveled to the Pháp Vân pagoda, about thirty kilometers east of Thăng Long at the ancient site of Luy Lâu, where Shi Xie had governed at the turn of the third century. This was among the first Buddhist temples to be built in the Red River Delta. Thánh Tông found interest on a young girl named Ỷ Lan who ignored the king's hubbub while continued working on the mulberry farm, and then took her as queen. Three years later she gave birth for prince Lý Càn Đức. It appears that it was Lý Nhật Tôn who first conferred upon Lý Công Uẩn and Lý Phật Mã posthumous titles derived from Chinese dynastic usage.

In order to educate people with Chinese classics, in 1070 Thánh Tông authorized the construction of Văn Miếu, the Temple of Literature, a scholarly shrine and archive in Thăng Long that was stocked with clay statues of the Duke of Zhou and of Confucius and his followers and paintings of seventy-two other disciples of Confucius. Thánh Tông also relied on his chief minister Lý Đạo Thành to educate his four-year-old son Lý Càn Đức in Chinese classics. Thánh Tông also reorganized the royal army, equipped them with cavalries and catapults. In 1068, Thánh Tông ordered the war boats to be repaired. In making plans for the Champa campaign he relied on Lý Thường Kiệt (1019–1105), the ranking military officer at court.

Foreign relations

After Nong Zhigao's rebellion was suppressed in 1055, the Guangnan West Circuit Fiscal Commissioner, Wang Han (fl. 1043–1063), feared that Nong Zhigao's kinsmen Nùng Tông Đán intended to plunder the region after he crossed the Song border in 1057. Wang Han took a personal visit to Nùng Tông Đán's camp and spoke with Nong Zhigao's son, explaining that seeking "Interior Dependency" status would alienate them from the Vietnamese, but if they remained outside of China proper they could safely act as loyal frontier militia. A local Song official, Xiao Zhu, agitated for military action against Thăng Long to settle the border question. They secretly trained military units and sheltered refugees from the Vietnamese side, including army deserters. The contradiction between the pacific pronouncements of the Song court and the devious, provocative policy of local Song officials angered Lý Nhật Tôn. In 1059, Lý Nhật Tôn to launch a punitive attack across the border, declaring his hate for "Sung's untrustworthiness". After a year or so of attacks and counter-attacks, in which the local Sung officials fared poorly, a parley between Sung and Vietnamese envoys produced a temporary calm as some activist Sung officials were dismissed and the Sung court officially accepted Thăng Long's explanation of events. According to the Chinese, Lý Nhật Tôn violated propriety by arrogantly proclaiming himself an emperor. Because of recently violence in the borders, local Song officials went so far as to conspire with the Cham king to put pressure on the Vietnamese. A Vietnamese embassy was permitted to offer tribute to the court of Renzong in Kaifeng, arriving on 8 February 1063 to deliver gifts, including nine tamed elephants. The king sent a second embassy to the Sung court in 1067 to congratulate Shenzong's coronation, and received gifts from the Sung emperor including a golden belt, silver ingots, 300 bolts of silk, two horses, a saddle inlaid with gold and silver plating.

As Champa constantly harassed the area near the border between the two nations and sometimes intruded deeply to loot, in 1069 Lý Thánh Tông himself led an seaborne invasion of Champa. He defeated the Cham army, burned Vijaya, and captured the king of Champa, Rudravarman III on Khmer territories. Rudravarman III implored Lý Thánh Tông to release him in exchange for three areas, known as Địa Lý, Ma Linh, and Bố Chính. These now form part of Quảng Bình Province and Quảng Trị Province.

Nhật Tôn's victorious army brought back thousands more Cham prisoners and resettled them near capital Thăng Long. These captives contributed Cham music to Viet court; they included Tao Tang, a Chinese monk who had been living at the Cham court. Under the guidance of his new royal patron Nhật Tôn, he established Đại Việt's third Thiền Buddhist sect. Alongside the popular Vinītaruci sect that Lý Công Uẩn had favored and the more ascetic and scholarly Võ Ngôn Thông sect of Lý Phật Mã, the kingdom acquired a princely order that was patronized by later Lý monarchs and catered to court interests, but also incorporated more cosmopolitan influences, including elements of Chinese Buddhism.

Religious activities

Unlike his father and grandfather, Thánh Tông does not seem to have been much engaged with either the Buddhist or the spirit world. In 1057 Thánh Tông erected a Buddha statue in Thăng Long as the reincarnation of a pantheon of spirits, including the ancient Lạc saint Gióng and the Chinese god of war, Chen Wu, while several years later the minister Lý Đạo Thành erected a Buddha statue and established a garden dedicated to a Bodhisattva in the grounds of the provincial Temple of Literature in Nghệ An. In the capital, Thánh Tông ordered the construction of a temple called Phạn Vương Đế Thích for the worship of Indra (Đế Thích). Also in the same year he constructed a royal cult linked Hindu-Buddhist king of the god Indra as well as Brahma (Phạn Vương); every year, before the Tết lunar new year two days, Vietnamese kings and his entourage would go to the shrine of Indra to worship. He also had two temples Thiên Phúc and Thiên Thọ, golden statues of Brahma and Sakra to worship. In early 1072, Thánh Tông went up to the mount of Tản Viên to worship the mountain spirit.

Era name
In January 1072, he suddenly died at the age of 49, having ruled for 17 years. During his rule, he used 5 era names:
 Long Thụy Thái Bình (1054–1058)
 Chương Thánh Gia Khánh (1059–1065)
 Long Chương Thiên Tự (1066–1067)
 Thiên Huống Bảo Tượng (1068)
 Thần Vũ (1069–1072)

Family
 Parents
 Lý Phật Mã (李佛瑪, 1000 – 1054)
 Empress Mai
 Wives
 Empress Thượng Dương
 Lady Ỷ Lan (倚蘭) or Lê Khiết Nương (黎潔娘)
 8 other unknowns
 Children
 Lý Càn Đức (李乾德, 1066 – 1128), first son
 Lý Càn Quyết, second son
 Sùng Hiền Hầu
 Princess Động Thiên
 Princess Thiên Thành
 Lý Thị Ngọc Kiều (李氏玉嬌, 1042 – 1113), adopted daughter

Ancestry

References

Citations

Bibliography

1023 births
1072 deaths
Lý dynasty emperors
People from Bắc Ninh province
11th-century Vietnamese monarchs
Vietnamese monarchs

Lý Thánh Tông


Gone Bald is a noise rock band from Amsterdam, The Netherlands. The band was founded in Zagreb, Croatia in 1994. Soon thereafter, the band hitch-hiked  to Amsterdam and that's where the band still lives, even though singer/guitarplayer Razorblade Jr is the only original member left after numerous changes in line-up.

Gone Bald has toured Holland, Belgium, Luxemburg, Germany, Austria, Switzerland, Italy, France, Slovenia, Croatia and Bosnia and shared the stage with bands like The Jesus Lizard, Butthole Surfers, Chinese Stars, The Ex, Ninewood, Today Is The Day, Neptune, Sebadoh and The Flying Luttenbachers. The band released work on tape, 7" single and CD on labels like Narrominded (The Netherlands) and Interstellar Records (Austria).

Discography
Jesus Is Coming Soon (Kekere Aquarium, 1994) - Tape
Fairytale Addict (Kekere Aquarium, 1994) - Tape
Little Song Of Love (100% Recordings, 1995) - CD
Gone Bald -  (100% Recordings, 1997) - CD
Ona (FBWL Records, 1997) -  7" single (split with No Tomorrow Charlie)
S.O.S. – (No label, 2001) -  CD
It Takes Guts To Tango (No label, 2002) CD-R
Soul Vacation In Rehab Clinic (Interstellar Records, 2003) - CD
10 year anniversary compilation (No label, 2004) - CD
Exotic Klaustrofobia (Narrominded, 2005) - CD
100 Ways to become cool (Narrominded, 2007) – Book  / CD / DVD

External links
gonebald.info Official website
narrominded.com Narrominded website
interstellar.at Interstellar Records website

Dutch noise rock groups
Dutch indie rock groups

Gone Bald


Allan Gordon Bell,  (born 24 May 1953) is a Canadian contemporary classical composer.

Career
Born in Calgary, Alberta, Bell received a Master of Music degree from the University of Alberta where he studied with Violet Archer, Malcolm Forsyth, and Manus Sasonkin, after completing undergraduate studies in philosophy. He also did advanced studies in composition at the Banff Centre for the Arts where his teachers were Jean Coulthard, Bruce Mather, and Oskar Morawetz. He has created works for solo instruments, chamber ensembles, orchestra, band, and electroacoustic media.

Bell is an Associate Composer of the Canadian Music Centre, for which he served as President of the National Board from 1984 to 1988. From 1978 to 1980, and from 1985 to the present, he has been a professor of composition and music theory at the University of Calgary, where he helped to create the Department of Music's doctoral programme.
He served on the jury of the 2002 SOCAN Awards for Young Composers and was a composer-in-residence at the 2001 Cantai Festival in Taiwan.

In the works of Bell one can hear the influences of prairie cultures and scenes and the sounds of nature, which he illustrates with orchestration. In 2004 he received a transplant that halted a serious liver condition; today he actively works in academia and continues to compose.

Recognition
In 2012, for his contribution to Canadian contemporary classical music and culture, Bell was made a Member of the Order of Canada. Previously, The Association of Canadian Choral Conductors had presented him with an award for outstanding choral compositions (in 1994 and again in 1999). He has also been the recipient of numerous teaching excellence awards.

In 2014, Bell received a Juno Award for his Field Notes in the Classical Composition of the Year category.

Music
Bell's works have been performed by the National Arts Centre Orchestra, Calgary Philharmonic Orchestra, Esprit Orchestra, the Vancouver Symphony Orchestra, the Manitoba Chamber Orchestra, the Edmonton Symphony Orchestra the Orford String Quartet, the Purcell String Quartet, the ensembles of Toronto New Music Concerts, Arraymusic and the Société de musique contemporaine du Québec, and many other professional and amateur organizations in Canada, the United States, the United Kingdom, West Germany, Israel, and Japan.

Highlights of performance of Bell's compositions include:
1988 - Concerto for Two Orchestras performed at the Olympic Arts Festival
1989 - Arche II was performed by the finalists at the Banff International String Quartet Competition and was sent by the CBC as the English Network submission to the International Rostrum of Composers in Paris
1992 - An Elemental Lyric was performed at Carnegie Hall in New York, the Kennedy Centre in Washington, D.C., and Symphony Hall in Boston
1996 - Danse sauvage was the imposed piece for the 1996 Honens International Piano Competition
2001 - Turtle Wakes (chamber opera) premiered by Calgary Opera

Works
Pas de quatre for percussion ensemble, 1976
Beltine for Violin, 1977
Nocturne for soprano and piano, 1977
Prelude and Passacaglia for piano, 1977
Ark for string quartet, 1980
Encounters for two violins and two cellos, 1980
Five Rituals for flute, oboe, clarinet, horn, bassoon and two drums, 1980
Morning Music: A Reflection upon Stillness for Violin and Piano, 1980
Dynamus for string orchestra, 1980
Kinesis for speaker, two pianos and two percussion, 1981
Drawing down the Moon for string orchestra, 1982
Mistaya for two drums, 1982
Monashee: Three Lyric Sketches for Cello and Piano, 1982
From Chaos to the Birth of a Dancing Star Band, 1983
Concerto for Percussion and Orchestra, 1984
The Gift of the Wolf, music theater for narrator, children's ensemble, violin, cello and piano, 1984
Gaia for flute, oboe, clarinet, four cellos, piano and two percussion, 1984
The Ugly Duckling, musical theater for female voice, flute, violin and piano, 1985
In the Eye of the Four Winds Concert Band, 1986
At Enchantment for Cello and Piano, 1986
Prairie for synthesizers and computers, 1986
Innua: Three Masks for Violin, Cello and Piano, 1987
The Ascendant Voice for wind ensemble, 1988
Concerto for Two Orchestras, 1988
Prairie II for synthesizers, digital samplers and computers, 1988
Sonora Borealis for piano, 1989
Vision Quest for band, 1989
Ark II for String Quartet, 1989
Orca for nine players, 1989
Lumen: A Quintet for Two Violins, Two Violas and Cello, 1990
Moon of Flowers for synthesizers, digital samplers and computers, 1990
A Prairie Requiem for clarinet, harp and marimba, 1991
At Elemental Lyric , 1992
Old Coyote's Saturday Night for piano, 1992
Snow - More Snow - Snow for bass clarinet, cello and marimba, 1993
Grassi Lakes Four Seasons for children's choir and piano, 1993
Aurages: Seven Ephemera for Flute, Violin, Viola, Cello and Double Bass, 1994
Spirit Trail, 1994
Ark III for violin, percussion and string orchestra, 1994
Shadows, Echoes, impressions for digital samplers and computers, 1994
Animus for alto saxophone, percussion and string orchestra, 1995
Nebulae for piano, 1995
Danse sauvage for piano, 1996
Sweetgrass for flute, clarinet, violin, cello, piano and percussion, 1997
Chthonic Canons for three tubas, 1998
Sundogs Reel for string orchestra, 1998
Turtle Wakes - An Opera , 1998
Two Roads to the Heartland for Children's Choir and Piano, 1998
Chiaroscuro, 1999
a great arch softening the mountains for voice, bass clarinet, violin, piano and Axio / soundfiles, 2001
Symphonies of Hidden Fire , 2002
Serenity for small orchestra, 2004
Trails of Gravity and Grace for clarinet, cello and piano, 2003
Festival Fanfare for horn, two trumpets, trombone and tuba
music for Aesop's Fables (one-act play), 2013

References

External links
 Allan Gordon Bell's Canadian Music Centre Profile
 Allan Gordon Bell at The Living Composers Project
 Allan Gordon Bell's Lecture of a Lifetime at the University of Calgary, 2013

1953 births
Living people
21st-century classical composers
21st-century Canadian male musicians
Canadian classical composers
Canadian male classical composers
Juno Award for Classical Composition of the Year winners
Members of the Order of Canada
Musicians from Calgary
University of Alberta alumni
Academic staff of the University of Calgary

Allan Gordon Bell


"Marsha's Scheme of Diamonds" is the 58th episode of the Batman television series. It originally aired on ABC, on November 24, 1966 and guest starred Carolyn Jones as Marsha, Queen of Diamonds.

Plot synopsis
In the previous episode, as Batman is about to be forced into marrying Marsha, Queen of Diamonds, Aunt Harriet Cooper and Alfred Pennyworth, posing as "Mrs. Batman" and her "lawyer", respectively, storm up to the altar. Alfred provides a fake marriage certificate to the minister conducting the wedding, showing that Batman is still married. The minister refuses to go on with the wedding.

A furious Marsha runs back to her lair, where she is about to give another potion to Robin, but Batman arrives. Marsha and her goons escape before Batman and Alfred enter. Batman and Alfred revive Robin, Commissioner Gordon and Chief O'Hara. Marsha returns to see Aunt Hilda about the failure of Hilda's latest potion. Hilda knew the potion was of poor quality anyway, so they try to figure out a workable potion for the Dynamic Duo.

Meanwhile, Robin wakes up in the Batcave, telling Batman that their troubles with Marsha all center around their Bat-Diamond. Since the Bat-Diamond would be too large and heavy for Marsha to steal from the Batcave, the Dynamic Duo obtains some information via the Batcomputer about Marsha's bordello. Commissioner Gordon calls Batman, remembering Marsha saying to him that she has to visit her aunt, while Batman suspects that there may be a basement where Marsha and Aunt Hilda are hiding. Using the Bat-Computer, Batman and Robin locate Marsha's basement and then pay a visit to the Queen and Hilda. A fight with Marsha's men ensues. Marsha throws a smoke bomb, rendering Batman and Robin unconscious, then Hilda turns Batman and Robin into toads before delivering them to Commissioner Gordon's office. Marsha threatens to feed Batman and Robin to a hungry cat unless Commissioner Gordon reveals the Batcave and Bat-Diamond's location. Then Batman and Robin reappear through a window, shocking Marsha and Gordon. The toads were substituted while Marsha was away. The voices from the toads were provided by Batman's ventriloquism. Marsha is placed under arrest.

Next week
Cliff Robertson as Shame corrals The Caped Crusaders!

References

External links

Batman (TV series) episodes
1966 American television episodes

Marsha's Scheme of Diamonds


Robert F. Berkhofer (November 30, 1931 – June 25, 2012) was an American historian. He was a professor of history emeritus at the University of California, Santa Cruz and former president of the American Studies Association.

Early life and education
Berkhofer was born on November 30, 1931, in Teaneck, New Jersey, to Swiss-German parents. The family lived on a dairy farm in Greeneville, New York, where he then contracted polio at the age of 13 and was confined to a hospital for one year. On the day Japan surrendered in World War II, his mother released him from the hospital and spent three years giving him physical therapy at home so he could walk without a brace. He earned his Bachelor of Arts degree from the University at Albany, SUNY and his PhD from Cornell University. He completed his graduate degrees under the guidance of Paul Wallace Gates and earned a fellowship at Fort Ticonderoga.

Career
Upon receiving his PhD, Berkhofer spent one academic year at Ohio State University before accepting a position as an assistant professor at the University of Minnesota. During this time, he became engaged and married his wife Genevieve (nee Zito) in 1962. He stayed in Minnesota for nine years, where he rose through the academic ranks to associate professor and chair of American studies by 1969. During this time, he also published his first book through the University of Kentucky Press titled Salvation and the Savage: An Analysis of Protestant Missions and American Indian Response, 1787-1862.

Berkhofer left Minnesota in 1969 to accept a professorship position at the University of Wisconsin, during which he published A Behavioral Approach to Historical Analysis. In the book, Berkhofer explained that historians should adapt their discipline by learning from two different groups; social scientists and philosophers of science and history. He also played a role in establishing an undergraduate course focused on American Indian history including tribes and the white man's image of Indians. During the 1973–1974 academic year, Berkhofer received a National Endowment for the Humanities Senior Fellowship to study the "evolving concepts of the American Indian."

Following the publication of his second book, Berkhofer transferred to the University of Michigan (UMich) where he stayed for almost three decades. While there, he received a Guggenheim Fellowship to research United States history and was appointed  president of the American Studies Association. Berkhofer also continued his studies into American Indians and published The White Man's Indian: Images of the American Indian from Columbus to the Present in 1978. In this book, he explored the dichotomy between the Colonial concept of the noble savage and bloodthirsty heathens of which only one were considered "worthy of submission."

As he grew older and experienced post-polio pains, Berkhofer accepted a one year position at the University of Florida and finally the University of California, Santa Cruz (UCSC). He worked at UCSC from 1991 until 2007, when he chose to retire. Berkhofer died on June 25, 2012, in Davis, California.

Personal life
Prior to his wife's death in 2007, Berkhofer and Genevieve Zito Berkhofer had one son together.

References

2012 deaths
1931 births
20th-century American historians
University of Michigan faculty
University of Wisconsin–Madison faculty
Ohio State University faculty
University of California, Santa Cruz faculty
Cornell University alumni
American male non-fiction writers
University at Albany, SUNY alumni

Robert F. Berkhofer


Charles Gayle (February 28, 1939 – September 5, 2023) was an American free jazz musician. Initially known as a saxophonist who came to prominence in the 1990s after decades of obscurity, Gayle also performed as pianist, bass clarinetist, bassist, and percussionist.

Biography
Charles Gayle was born on February 28, 1939, in Buffalo, New York. Some of his history has been unclear due to his reluctance to talk about his life in interviews. He briefly taught music at the University at Buffalo before relocating to New York City during the early 1970s.

Gayle was homeless for approximately twenty years, playing saxophone on street corners and subway platforms around New York City. He had described making a conscious decision to become homeless: "I had to shed my history, my life, everything had to stop right there, and if you live through this, good, and if you don't, you don't. I can't do the rent, the odd jobs, the little rooms, scratchin', and all that, no!" At the same time, this allowed Gayle to devote most of his time to playing music, although he often earned less than US$3 a day from busking:
First of all, I played to play because I need to play. Second of all, the money, a dollar meant a lot to me at that time. Playing out there is obviously different than playing on a stage but that is so rich out there. It's such a whole 'nother world of playin'. I mean I used to walk from Times Square, for instance, all the way to Wall Street playin'. I could walk back and never stop playing. I didn't think about it as anything other than what it was. These were people and I wasn't overly concerned with what they thought. I was playing, I had to play. Also I had to eat some way and I'm not the type to put my hand out. I'd stand there playing with a coffee cup sometime and people would put money in my coffee [Laughs] and you don't get that on the stage. That's beautiful.
When Gayle first set out on the streets, he did not imagine he would remain homeless as long as he did, although he estimated that this period lasted closer to fifteen years than twenty.

In 1988, he gained fame through a trio of albums recorded in one week and released by Swedish label, Silkheart Records.

Gayle's music is spiritual, and heavily inspired by the Old and New Testaments. Gayle explained, "I want the people to enjoy the music and if it, in anyway can suggest something about the Lord, for their benefit, that would be first in my mind." He had explicitly dedicated several albums to God. His childhood was influenced by religion, and his musical roots trace to black gospel music. He had performed and recorded with Cecil Taylor, William Parker, and Rashied Ali. Gayle's most celebrated work to date is the album Touchin' on Trane (FMP) with Parker and Ali, which received the "Crown" accolade from the Penguin Guide to Jazz.

Though he established his reputation primarily as a tenor saxophonist, he had increasingly turned to other instruments, notably the piano (which was, in fact, his original instrument) and alto saxophone. More controversially, he had sometimes included lengthy spoken-word addresses to the audience in his concerts touching on his political and religious beliefs: "I understand that when you start speaking about faith or religion, they want you to keep it in a box, but I'm not going to do that. Not because I'm taking advantage of being a musician, I'm the same everywhere, and people have to understand that." Gayle sometimes performed as a mime, "Streets the Clown." "Streets means to me, first, a freedom from Charles. I'm not good at being the center of attention…. It's a liberation from Charles, even though it's me on the stage, it's a different person."

Gayle appears in the 1985 Jazz documentary, "Rising Tones Cross", directed by Ebba Jahn. He is seen playing with Rashied Ali, Marilyn Crispell, and many others, and is interviewed.

Charles Gayle died in Brooklyn, New York on September 5, 2023, at the age of 84.

Discography

As leader or co-leader
 Always Born (Silkheart, 1988)
 Homeless (Silkheart, 1989)
 Spirits Before (Silkheart, 1988)
 Repent (Knitting Factory, 1992)
 More Live at the Knitting Factory (Knitting Factory, 1993)
 Touchin' on Trane (FMP, 1993)
 Consecration (Black Saint, 1993)
 Raining Fire (Silkheart, 1993)
 Translations (Silkheart, 1993)
 Live at Disobey (Blast First, 1994)
 Kingdom Come (Knitting Factory, 1994)
 Unto I Am (Victo, 1995)
 Testaments (Knitting Factory, 1995)
 Delivered (2.13.61, 1997)
 Berlin Movement from Future Years (FMP, 1997)
 Solo in Japan (PSF, 1997)
 Daily Bread (Black Saint, 1998)
 Ancient of Days (Knitting Factory, 1999)
 Abiding Variations (FMP, 1999)
 Jazz Solo Piano (Knitting Factory, 2001)
 Precious Soul (FMP, 2001)
 No Bills (Long Arms, 2005)
 Shout! (Clean Feed, 2005)
 Time Zones (Tompkins Square, 2006)
 Live at Glenn Miller Cafe (Ayler, 2006)
 Consider the Lilies (Clean Feed, 2006)
 Blue Shadows (Silkheart, 2007)
 Forgiveness (Not Two, 2008)
 Live at Crescendo (Ayler, 2008) with By Any Means (Gayle, William Parker, and Rashied Ali)
 Our Souls: Live in Vilnius (NoBusiness, 2010)
 Streets (Northern Spy, 2012)
 Look Up (ESP Disk, 2012)
 Christ Everlasting (For Tune, 2015)
 Solar System (For Tune, 2017)
 Seasons Changing (Otoroku 2019)
 The Alto Sessions (El Negocito, 2019)

As sideman
 Sunny Murray, Illuminators (Audible Hiss, 1996)
 William Parker, Requiem (Splasc(H), 2006)
 Henry Rollins, Everything (2.13.61, 1996)
 Henry Rollins, Weighting (2.13.61, 2003)
 Sirone and Billy Bang, Configuration (Silkheart, 2005)
 Cecil Taylor, Always a Pleasure (FMP, 1996)

References

External links
The FMP releases

Charles Gayle interview by Howard Mandel for The Wire

1939 births
2023 deaths
21st-century American male musicians
21st-century clarinetists
21st-century American saxophonists
African-American saxophonists
American jazz saxophonists
American male jazz musicians
American male saxophonists
Avant-garde jazz musicians
Bass clarinetists
Blast First artists
Homeless people
FMP/Free Music Production artists
Northern Spy Records artists
Silkheart Records artists
21st-century African-American musicians
20th-century African-American people
NoBusiness Records artists
Musicians from Buffalo, New York

Charles Gayle


Natural uranium (NU or Unat) is uranium with the same isotopic ratio as found in nature. It contains 0.711% uranium-235, 99.284% uranium-238, and a trace of uranium-234 by weight (0.0055%). Approximately 2.2% of its radioactivity  comes from uranium-235, 48.6% from uranium-238, and 49.2% from uranium-234.

Natural uranium can be used to fuel both low- and high-power nuclear reactors. Historically, graphite-moderated reactors and  heavy water-moderated reactors have been fueled with natural uranium in the pure metal (U) or uranium dioxide (UO2) ceramic forms. However, experimental fuelings with uranium trioxide (UO3) and triuranium octaoxide (U3O8) have shown promise.

The 0.72% uranium-235 is not sufficient to produce a self-sustaining critical chain reaction in light water reactors or nuclear weapons; these applications must use enriched uranium. Nuclear weapons take a concentration of 90% uranium-235, and light water reactors require a concentration of roughly 3% uranium-235. Unenriched natural uranium is appropriate fuel for a heavy-water reactor, like a CANDU reactor.

On rare occasions, earlier in geologic history when uranium-235 was more abundant, uranium ore was found to have naturally engaged in fission, forming natural nuclear fission reactors. Uranium-235 decays at a faster rate (half-life of 700 million years) compared to uranium-238, which decays extremely slowly (half-life of 4.5 billion years). Therefore, a billion years ago, there was more than double the uranium-235 compared to now.

During the Manhattan Project, the name Tuballoy was used to refer to natural uranium in the refined condition; this term is still in occasional use. Uranium was also codenamed "X-Metal" during World War II. Similarly, enriched uranium was referred to as Oralloy (Oak Ridge alloy), and depleted uranium was referred to as Depletalloy (depleted alloy).

See also
List of uranium mines
Nuclear engineering
Nuclear fuel cycle
Nuclear physics
Nuclear chemistry

References
Design Parameters for a Natural Uranium Fueled Nuclear Reactor, C. M. Hopper et al., ORNL/TM-2002/240, November 2002.

External links
The evolution of CANDU fuel cycles

Uranium
Nuclear fuels
Nuclear materials

Natural uranium


Diapause is a delay in development which has evolved in response to regular periods of adverse environmental conditions.

It is a physiological state with very specific conditions. Diapause is a mechanism used as a means to survive predictable, unfavourable environmental conditions, such as temperature extremes, drought or reduced food availability. It is most often observed in arthropods, especially insects, and in the embryos of many of the oviparous species of fish in the order Cyprinodontiformes.

Not only is diapause started by specific stimuli or conditions, but once it is started, only certain other stimuli are capable of bringing the organism out of diapause. This distinguishes diapause from other forms of dormancy such as hibernation.

Activity levels of diapausing stages can vary considerably among species. Diapause may occur in a completely immobile stage, such as the pupae and eggs, or it may occur in very active stages that undergo extensive migrations, such as the adult Monarch butterfly, Danaus plexippus. In cases where the insect remains active, feeding is reduced and reproductive development is slowed or halted.

References

Physiology

Diapause


Antonio Gaspari was an Italian architect of the late-Baroque, active in both Venice and the terrafirma of the Veneto. He was a pupil of Baldassarre Longhena, and upon his master's death in 1682, he completed some of his projects, including Longhena's most famous work, the imposing church of Santa Maria della Salute.  He likely died in his homestead in Castelguglielmo, in Polesine. One of his sons, Giovanni Paolo Gaspari (1712-1775), was a painter active mainly in Germany.

Works
Santa Maria della Fava, Venice
Ca' Zenobio degli Armeni, Venice
Santa Sofia, Venice (reconstruction)
San Marcuola, Venice (posthumous, left incomplete)
Palazzo Barbaro a San Vidal, Venice (enlargement)
Palazzo Michiel dalle Colonne, Venice (restoration)
Villa Giovanelli Colonna, Noventa Padovana
Duomo Abbaziale di Santa Tecla in Este
Palazzo Capitanale, Lavis (enlargement)

Bibliography
Elena Bassi, Episodi dell'architettura veneta nell'opera di Antonio Gaspari, Saggi e Memorie di Storia dell'Arte, 3, 1963
Bruno Cogo, Antonio Gaspari architetto Veniceno: dati biografici (1656-1723), il suo capolavoro, Este, Grafica Atestina, 2003

Italian Baroque architects

Antonio Gaspari


WNML (990 kHz) is a commercial AM radio station in Knoxville, Tennessee.  It is owned by Cumulus Media and it simulcasts a sports radio format with co-owned 99.1 WNML-FM Friendsville.  The studios and offices are on Old Kingston Pike in the Sequoyah Hills section of West Knoxville.

By day, WNML transmits 10,000 watts non-directional.  But 990 AM is a Canadian clear channel frequency.  So at night, to avoid interference with other stations, WNML uses a directional antenna with a four-tower array.  The transmitter site is on Anderson Road in Knoxville, off Tazewell Pike.Radio-Locator.com/WNML-AM

Programming
WNML-AM-FM have mostly local sports shows on weekdays with CBS Sports Radio heard nights and weekends.  WNML-AM-FM are the flagship radio stations for both the Tennessee Smokies Southern League Baseball radio network and the University of Tennessee Vol Network.  The stations also carry Knoxville Ice Bears games in the Southern Professional Hockey League.

History

WNAV
WNML is the oldest radio station in Knoxville and one of the oldest in Tennessee.  The first formal regulations establishing radio broadcasting in the United States were adopted by the Department of Commerce effective December 1, 1921.  During the next year, over 500 stations were created. A notice in the October 3, 1922, issue of the Knoxville News reported that: "The Peoples' Telephone and Telegraph Company is experimenting with its new radio broadcasting station. If perfected, this will be the first broadcasting station operating in East Tennessee."

Peoples' was a local Knoxville telephone company, and after the initial tests proved successful, it was issued its first station license on November 3, 1922.  It was given the sequentially assigned call letters WNAV. The News further reported that: "J. C. Duncan, president of the Peoples' Telephone and Telegraph Co., announced Monday that the radio station at the telephone building, Commerce-av had passed the government regulations and is known as WNAV. 'By next Sunday we expect to have a program worked out to be broadcasted,' Duncan said."

In its initial years WNAV had a limited schedule, and after a period of inactivity was deleted in June 1924.  However, the following April it was relicensed to Peoples' Telephone and Telegraph, again with the WNAV call letters.

WNOX
On August 26, 1925, WNAV's call sign was changed to WNOX. Two months later, in late October 1925, the station was destroyed by a major fire on the roof of Peoples' Telephone and Telegraph.  According to J. C. Duncan, the station's $20,000 in equipment was "a total loss".  WNOX was back on the air within a week, transmitting over a 100-watt temporary transmitter, with plans to rebuild the destroyed facility. Later that month it was announced that the rebuilt station would be located atop the Sterchi Brothers building near the Gay Street viaduct.

The early WNAV studios were located in the St. James Hotel, which once stood on Market Square. In June 1928, WNOX was purchased by the Sterchi Brothers furniture chain.  The Sterchi Brothers sold the station to Scripps-Howard in 1935.  WNOX moved to the Andrew Johnson Hotel on Gay Street, with its main offices located on the hotel's 17th floor. The station's growing studio audiences began causing elevator traffic issues for the hotel. Hotel management asked the station to move.  WNOX relocated to a small tabernacle building at the north end of Gay Street, where it remained for several years. The station's frequency changed many times, eventually settling at AM 990 in March 1941 with the implementation of the North American Regional Broadcasting Agreement.

In the 1950s and 1960s, WNOX was home to the popular lunchtime program The Midday Merry-go-Round and weekend program The Tennessee Barndance, which were both influential in the early days of country music.  Legendary station manager Lowell Blanchard hosted the programs for many years in downtown Knoxville, and lunch crowds packed the station's downtown auditorium to see the weekday programs.  Seeking a bigger performance area, WNOX moved its studios to Whittle Springs Road in north Knoxville.  The Whittle Springs facility included a large auditorium for live performances.  But after the move from downtown, the live musical performances were never the same. Once the crowds diminished, the live performances were called off.

The owners of WNOX also had other, much bigger plans for their new facility on Whittle Springs Road.  In 1955, Scripps-Howard Broadcasting was one of the applicants for the Channel 10 television frequency, awarded to Knoxville after the Federal Communications Commission (FCC) reorganized its U.S. TV table of channel allocations in 1952.  So sure of getting the Channel 10 license, the company poured thousands of dollars into the Whittle Springs building to make it a top-notch radio-TV studio combination.  After the FCC awarded the TV license to Jay Birdwell, local owner of WBIR AM and -FM in 1956, Scripps-Howard was saddled with a huge studio to ultimately be used just for radio, amid a dwindling live listening audience.  Still, the station remained there for many years, less than two miles (3 km) from its transmitter site.

The 1960s brought a new era for WNOX.  The station became a popular Top 40 station, and remained that way until the late 1970s, when the station switched to full service Adult Contemporary music.  In the early 1980s, the station was bought again.  The new owners returned the country music format.

WTNZ
WNOX's historic call letters were changed to WTNZ in 1988.  However, within a few months, Dick Broadcasting, at that time operating WIVK (now WKVL) on AM 850, which was limited to daytime-only broadcasting, purchased WTNZ 990 AM, which had a fulltime license.

WIVK
Dick donated the original WIVK on AM 850 to the University of Tennessee.  He then renamed WTNZ to WIVK, and began simulcasting the programming of 107.7 WIVK-FM.  Within a few years, WIVK 990 began adding some talk radio programming, eventually transitioning to an all-talk format..

WNOX
From 1997 to 2005 the station returned to using the historic WNOX call letters.

WNML
In 2005, the station adopted a sports radio format under the call sign of WNML.  Those call letters were chosen to represent the word "animal" with the station known as "The Sports Animal."  At first, the station was an affiliate of Yahoo! Sports Radio.  Then on January 2, 2013, WNML became an affiliate of the CBS Sports Radio Network, along with many radio stations owned by Cumulus Media.

Beginning in 2023, a change in the daily lineup was announced with the debut of "Tyler Ivens and Will West" in afternoon drive time.

Former logo

References

External links
The Sports Animal's official website

 FCC History Cards for WNML (covering 1929-1980 as WNOX)

NML
Sports radio stations in the United States
Cumulus Media radio stations
Radio stations established in 1922
1922 establishments in Tennessee
CBS Sports Radio stations

WNML (AM)