Venetian Albania (, , , Serbian and Montenegrin: Млетачка Албанија / Mletačka Albanija) was the official term for several possessions of the Republic of Venice in the southeastern Adriatic, encompassing coastal territories primarily in present-day southern Montenegro and partially in northern Albania.

Several major territorial changes occurred during the Venetian rule in those regions, starting from 1392, and lasting until 1797. By the end of the 15th century, the main possessions in northern Albania had been lost to the expansion of the Ottoman Empire. In spite of that, Venetians did not want to renounce their formal claims to the Albanian coast, and the term Venetian Albania was officially kept in use, designating the remaining Venetian possessions in coastal Montenegro, centred around the Bay of Kotor. During this period the Albanian Piracy was flourishing. Those regions remained under Venetian rule until the fall of the Republic of Venice in 1797. By the Treaty of Campo Formio, the region was transferred to the Habsburg monarchy.

Geography

Venice used the term "Venetian Albania" for its initial possessions that stretched from the southern borders of the Republic of Ragusa to Durrës in coastal Albania. Generally these possessions extended not more than 20 km (12 miles) inland from the Adriatic Sea. Between the Siege of Shkodra and 1571 the territories in what is today Albania were lost. After 1573 the southern limit moved to the village of Kufin (which means border in Albanian) near Budva, because of the Ottoman conquests of Antivari (Bar), Dulcigno (Ulcinj), Scutari (Shkodër) and Durrës. From then on, the Venetian territory was centered on the Bay of Kotor, and included the towns of Kotor, Risan, Perast, Tivat, Herceg Novi, Budva, and Sutomore.

From 1718 to 1797 the Venetian Republic extended its territory south towards the Republic of Ragusa while maintaining the enclaves of Cattaro (Kotor) and Budua (Budva).

History

The Venetians sporadically controlled the small southern Dalmatian villages around the 10th century, but did not permanently assume control until 1420. The Venetians assimilated the Dalmatian language into the Venetian language quickly. The Venetian territories around Kotor lasted from 1420 to 1797 and were called Venetian Albania, a province of the Venetian Republic.

In the early years of the Renaissance the territories under Venetian control included areas from modern coastal Montenegro to northern Albania as far as Durrës: Venice retained this city after a siege by the Ottoman Sultan Mehmed II in 1466, but it fell to Ottoman forces in 1501.

At that time Venetian Albania was relatively rich, and the area around the city of Kotor enjoyed a huge cultural and artistic development.

When the Ottoman Empire started to conquer the Balkans in the 15th century, the population of Christian Slavs in Dalmatia increased greatly. As a consequence of this, by the end of the 17th century the Romance-speaking population of historical Venetian Albania was a minority, according to Oscar Randi.

After the French Republic conquered the Venetian Republic, the area of Venetian Albania became part of the Austrian Empire under the Treaty of Campo Formio, and then part of the Napoleonic Kingdom of Italy under the Peace of Pressburg, and then the French Illyrian Provinces under the Treaty of Schönbrunn. In 1814 it was again included in the Austrian Empire.

Towns
Cattaro. Four centuries of Venetian domination gave the city the typical Venetian architecture, that contributed to make Kotor a UNESCO world heritage site.
Perast. Once part of Venetian Albania, was at its peak in the 18th century, when it had as many as four active shipyards, a standing fleet of around a hundred ships, and 1,643 residents. At that time a number of architecturally significant buildings were constructed in this fortified town. Many ornate baroque palaces and houses were decorated the town of Perast, built in the Venetian style. Citizens of Perast (the population was around 1,600 at the time) enjoyed privileges from the Venetian Republic. They were allowed to trade with large ships and to sell goods without tax on the Venetian market, which created considerable income for the town.
Budva. The Venetians ruled the town for nearly 400 years, from 1420 to 1797. Budva, called "Budua" in those centuries, was part of the Venetian Republic region of Albania Veneta and was fortified by powerful Venetian walls against Ottoman conquests. According to the historian Luigi Paulucci in his book "Le Bocche di Cattaro nel 1810" (The Bay of Kotor in 1810), most of the population spoke the Venetian language until the beginning of the 19th century. One of the most renowned theater librettists and composers, Cristoforo Ivanovich, was born in Venetian Budua.

Population

According to the Dalmatian historian Luigi Paulucci (in his book Le Bocche di Cattaro nel 1810) the population of Venetian Albania, during the centuries of the Republic of Venice, was mainly Venetian speaking (approximately 66%) in the urban areas (Cattaro, Perasto, Budua, etc.) around the "Bocche di Cattaro" (Bay of Kotor).

But in the inland areas, more than half of the population was Serbo-Croatian speaking during the early years of the 18th century. Paulucci wrote that near the border with Albania there were large communities of Albanian-speaking people: Ulcinj was half Albanian, one-quarter Venetian and one-quarter Slavic-speaking.

After the disappearance of Venetian Albania, during the nineteenth century (according to the historian Marzio Scaglioni) the wars of independence of some Italian territories from the Austro-Hungarian empire created a situation of harassment against the Italian (or Venetian speaking) communities in Austrian-ruled southern Dalmatia. The result was that in 1880 in Cattaro there were, according to the Austrian census, only 930 ethnic Italians remained (or 32% of a total population of 2910 people). Thirty years later, in the Austrian census of 1910, the Italians were reduced to only 13.6% of that city's population. Today there are around 500 Italian speakers in Montenegro, mainly in the area of Cattaro (Kotor), who constitute the "Comunitá Nazionale Italiana del Montenegro" (Italian National Community of Montenegro).

Notable people

Many notable people were born in the "Cattaro Bay" (now called Bay of Kotor) during the Venetian rule.

 Arts and Literature
 Giovanni Bona de Boliris, humanist poet and writer
 Cristoforo Ivanovich, librettist and opera historian
 Ludovico Pasquali, writer
 Tomo Medin, adventurer and writer
 Stefano Zannowich, adventurer and writer
 Andrija Paltašić, printer
 Božidar Vuković, printer
 Tripo Smeća, historian
 Andrija Zmajević, Baroque poet
 Vićenco Vuković, printer
 Jerolim Zagurović, printer
 Stefan Marinović, printer
 Tripo Kokolja, painter
 Dimitrije Daskal, painter
 Lovro Dobričević, painter

 Nobility and military personnel
 Julije Balović, military officer, captain, judge, and collector of epic poetry
 Vicko Bujović, military commander
 Giuseppe Viscovich, Count and last Venetian Captain to surrender in 1797
 Krsto Zmajević, merchant captain
 Matija Zmajević, adventurer and admiral of the Baltic Fleet under Tsar Peter the Great of Russia
 Mariano Bolizza, nobleman
 Marko Martinović, sailor and mathematician

 Clergy
 Georgius Pelino, abbot and diplomat
 Lodovico Chieregati, Archbishop of Antivari
 Toma Ursini, Archbishop of Antivari and Primate of Serbia
 Vicko Zmajević, Archbishop of Antivari and Primate of Serbia
 Ivan Paskvali, Catholic missionary
 Mojsije Dečanac, printer of liturgy and Orthodox hierodeacon
 Paolo Bisanti, Bishop of Cattaro and Vicar of the Patriarchate of Aquileia

See also
 Stato da Màr

Notes

References
The struggle between Venice and the Ottoman empire for Venetian Albania in the sixteenth century (Italian)
Kotor and Montenegro's Venetian-speaking area (Italian)
UNESCO: Natural and Culturo-Historical Region of Kotor
Historical review of the Italian traces in Montenegro (Italian)

Bibliography
Bartl, Peter. Le picciole Indie dei Veneziani. Zur Stellung Albaniens in den Handelsbeziehungen zwischen der Balkan- und der Appenninenhalbinsel. In: Münchner Zeitschrift für Balkankunde 4 (1981–1982) 1–10.
Bartl, Peter. Der venezianische Türkenkrieg im Jahre 1690 nach den Briefen des päpstlichen Offiziers Guido Bonaventura. In: Südost-Forschungen 26 (1967) 88–101.
Cecchetti, Bartolomeo. Intorno agli stabilimenti politici della repubblica veneta nell'Albania. In: Atti del Regio Istituto veneto di scienze, lettere ed arti. Bd. 3, Seria 4, S. 978–998. 1874.
De Brodmann, Giuseppe. Memorie politico-economiche della citta e territorio di Trieste, della penisola d'Istria, della Dalmazia fu Veneta, di Ragusi e dell'Albania, ora congiunti all'Austriaco Impero. Venezia 1821.
 De Castro, Diego. Dalmazia, popolazione e composizione etnica. Cenno storico sul rapporto etnico tra Italiani e Slavi nella Dalmazia. ISPI 1978.
Gelcich, Giuseppe. Memorie storiche sulle bocche di Cattaro. Zara 1880.

 Martin, John Jeffries. Venice Reconsidered. The History and Civilization of an Italian City-State, 1297–1797. Johns Hopkins UP. New York, 2002.
 Malcolm, Noel. Agents of Empire. Oxford UP. 2015.
 Norwich, John Julius. A History of Venice. Vintage Books. New York, 1989.
 Paulucci, Luigi. Le Bocche di Cattaro nel 1810 Edizioni Italo Svevo. Trieste, 2005.

Stato da Màr
History of Shkodër
Bay of Kotor
1420 establishments in Europe
15th-century establishments in the Republic of Venice
1797 disestablishments in the Republic of Venice
States and territories established in 1420
States and territories disestablished in 1797
Territories of the Republic of Venice

Venetian Albania


Zucht v. King, 260 U.S. 174 (1922), was a landmark decision by the Supreme Court of the United States in which the Court held, 9–0, that public schools could constitutionally exclude unvaccinated students from attending, even if there was not an ongoing outbreak. In the case, the school district of San Antonio, Texas enacted an ordinance that prohibited any child from attending a school within the district unless they had been vaccinated against smallpox. One parent of a student who had been excluded, Rosalyn Zucht, sued on the basis that there was not a public health emergency. Justice Louis Brandeis wrote for the unanimous court that requiring students to be vaccinated was a justified use of "police power" to maintain public health and safety.

Brandeis invoked a previous decision, Jacobson v. Massachusetts (1905), in which the Court upheld the authority of the states to enforce compulsory vaccination laws.

Opinion

The city of San Antonio, Texas, enacted an ordinance prohibiting any child from attending a public school or other places of education without having first presented a certificate of vaccination for smallpox. Consequently, Rosalyn Zucht was excluded from both public and private schools due to her refusal to receive a vaccination. Zucht sued, asserting that there was no emergency requiring vaccination and that she was deprived of liberty without due process of law by effectively making vaccination compulsory. The Texas state courts denied her claims, and she appealed to the United States Supreme Court.

In a brief opinion, the Court noted that in the previous case of Jacobson v. Massachusetts, the Court "had settled that it is within the police power of a state to provide for compulsory vaccination". The Court found no reason to question the fairness with which the city ordinance was applied in this case, and found that the ordinance reflected the broad discretion needed by authorities to protect the public health. The Court also noted that although the plaintiff asserted an equal protection violation, she had not articulated any impermissible discrimination that would invoke that doctrine, leaving nothing for the Court to examine with respect to such a claim.

See also
 1905 in the United States
 1922 in the United States
 List of United States Supreme Court cases
 List of United States Supreme Court cases, volume 260
 List of United States Supreme Court cases by the Taft Court
 Compagnie Francaise de Navigation a Vapeur v. Louisiana Board of Health, 1902 case in which the Court had upheld quarantine laws as a reasonable exercise of police power
 Prince v. Massachusetts

References

Further reading

External links

United States health case law
United States Supreme Court cases
United States Supreme Court cases of the Taft Court
Vaccine controversies
1922 in United States case law
Vaccination law

Zucht v. King


Banksia nana, commonly known as dwarf dryandra, is a species of shrub that is endemic to a small area in the south-west of Western Australia. It has underground stems, pinnatipartite leaves with sharply-pointed lobes, pale green or yellow flowers and broadly egg-shaped follicles.

Description
Banksia nana is a shrub with short, hairy, underground stems and a small lignotuber. The leaves are pinnatipartite,  long and  wide on a petiole up to  long. There are between ten and thirty-five sharply-pointed lobes on each side of the leaves. Between twelve and seventeen pale green or yellow flowers are arranged in a head on the ends of branches, with egg-shaped to lance-shaped involucral bracts up to  long at the base of the head. The perianth is  long and the pistil  long and curved. Flowering occurs in October and the follicles are broadly egg-shaped,  long.

Taxonomy and naming
This species was first formally described in 1855 by Carl Meissner who gave it the name Dryandra nana and published the description in Hooker's Journal of Botany and Kew Garden Miscellany from specimens collected by James Drummond. The specific epithet (nana) is a Latin word meaning "dwarf". In 2007 Austin Mast and Kevin Thiele transferred all dryandras to the genus Banksia and renamed this species Banksia nana.

Distribution and habitat
Banksia nana grows in kwongan on low hills near Badgingarra in the Geraldton Sandplains and  Swan Coastal Plain biogeographic regions.

Conservation status
This banksia is classified as "Priority Three" by the Government of Western Australia Department of Parks and Wildlife, meaning that it is poorly known and known from only a few locations but is not under imminent threat.

References

nana
Plants described in 1855
Taxa named by Carl Meissner

Banksia nana


Adrian Frederick Joseph Jack (born 16 March 1943, in England) is a British Composer.

Biography

Adrian Jack was born on 16 March 1943, in Datchet, near Slough, Buckinghamshire, England. He was educated at Merchant Taylors' School, Northwood (1954–60), and the Royal College of Music, London (1961–64), where he studied composition with Peter Racine Fricker, fugue and orchestration with Gordon Jacob, piano with Antony Hopkins and organ with John Birch. From 1967 to 1969 he studied composition and electronic music with Włodzimierz Kotoński at the State Higher School of Music in Warsaw, Poland.

Jack started composing at the age of 13. He later studied at the Royal College of Music. The main conscious influence at that time was Messiaen. Hearing Boulez's "Le marteau sans maitre" brought a new atonal complexity to his music, replaced by an austere paring-down following his discovery of Edgard Varèse. He actually wrote to Varèse to ask if he could study with him in New York and received a letter of refusal, not very long before Varèse died in November 1965.

For the next 20 years, Jack composed somewhat intermittently, but his works included "Holly Bush", written in Poland and given a public rehearsal by the London Sinfonietta under Roger Norrington at the Queen Elizabeth Hall, London; a piano concerto for Roger Woodward, which was never performed; a monodic piece for any instruments or voices, "You told me so yourself", which received performances by different soloists and groups both in England and abroad; and "A piece for learning" – a "variable" score performed under Richard Bernas's direction at the Dartington Summer School.

Jack lectured at the Royal College of Music from 1969 to 1977, then he joined BBC Radio 3 as a script-writer for music programmes. He left the BBC in 1993 and for the next ten years was active as a freelance music critic and devised and presented several radio programmes on music and architecture for BBC Radio 3 with the producers Tim Thorne and Antony Pitts, and two notable examples of radiogenic work, "Chromatic Fantasy" and "From the Diary of a Fly". Jack had written about music regularly since 1970, first for the monthly Music and Musicians, then for Time Out, where he was Classical Music and Opera Editor from 1975 to 77, as well as for most of the quality national papers, notably The Guardian and, later, The Independent. The other activity was as director of a series at the Institute of Contemporary Arts (ICA) in London, devoted to new music. It ran from 1978 to 1995.

In 1986 the American pianist Yvar Mikhashoff requested a tango ("Tin-Pan Tango") to perform at the Almeida Festival in London. This kick-started a revival in Jack's composition. Reacting against his own earlier music and most of the experimental or avant-garde music he promoted at the ICA, Jack now wrote music which is, broadly speaking, tonal, and in which the emphasis is on continuity and a sense of line. Among his ensemble pieces, "Jigsaw" and "Notelette" were requested and performed by Sounds Positive, while "Zigzag" was requested and performed (including a broadcast on Radio 3) by Cambridge New Music Players (now known as "New Music Players". His "Piano Trio" (the first of three works for the medium) was originally requested and performed by London New Music and became his most widely played work, taken up by three other groups and broadcast twice in different performances. Jack's first two string quartets were played and broadcast by The Smith Quartet, and the third, fourth, fifth and sixth recorded by the Arditti Quartet for the Deux-Elles. Of over 50 solo piano pieces, many have been performed and broadcast by Noriko Kawai and Iain Burnside, and all of Jack's music for piano duo has been performed by the Danish-based duo, Ingryd Thorson and Julian Thurber. Many of his scores are lodged with the British Music Information Centre (BMIC) and recordings at the British Library Sound Archive.

Owing to ill health Adrian Jack no longer composes or makes public appearances.

Notes

External links
List of compositions
Official Website
Adrian Jack at Deux-Elles Classical Recordings
Profile by Nick Breckenfield from www.classicalsource.com
Works available in the British Music Information Centre
Piano duo Thorson and Thurber

1943 births
20th-century classical composers
Alumni of the Royal College of Music
British music critics
English classical composers
Living people
People from Datchet
English male classical composers
20th-century English composers
20th-century British male musicians

Adrian Jack


Bronner is a surname. Notable people with the surname include:

 Augusta Fox Bronner (1881–1966), American psychologist and author
 David Bronner (born 1973), American soap company executive and activist
 David G. Bronner (born 1945), American businessman
 E. H. Bronner (1908–1997), soapmaker
 Ethan Bronner (born 1954), American journalist
 Gerhard Bronner (1922–2007), Austrian composer
 Leila Leah Bronner (1930–2019), American Jewish historian and biblical scholar
 Liza Brönner (born 1989), Afrikaans singer and songwriter
 Oscar Bronner (born 1943), Austrian newspaper editor, son of Gerhard
 Rudolph Bronner (1890–1960), Australian broadcasting executive
 Simon J. Bronner (born 1954), American folklorist, historian, educator, and author
 Stephen Bronner (born 1949), American political philosopher and professor

See also
 Dr. Bronner's Magic Soaps
 Till Brönner, German jazz musician
 Bronner (grape), a grape variety
 Bronner Bros., one of the largest private African-American hair and skin care producers
 Bronner's Christmas Wonderland, a Christmas store in Michigan
 Brunner (surname)
 Brenner (disambiguation)

German-language surnames

Bronner


Carlos Casado del Alisal (March 16, 1833 – June 29, 1899) was a Spanish Argentine businessman.

Life and times

Carlos Casado del Alisal was born in Villada, Palencia Province, Spain. He arrived in Santa Fe Province, Argentina in 1857, and in 1864, was named to the Board of Directors of the newly established Central Argentine Railway by its chief stockholder, William Wheelwright. Serving in the Rosario City Council, he also established the Casado Bank in 1865, and Colonia Candelaria, an agricultural colony, in 1870; the latter was later reestablished as Casilda, in honor of his mother. He founded the Provincial Bank of Santa Fe in 1874, and purchased the highly indebted Colonia Caridad in 1878, redeveloping it as San Genaro (in honor of his daughter's patron saint, Saint Gennaro).

Casado arranged the first shipment of Argentine wheat to Europe in 1878; the 4,500 tons of wheat had been grown in Candelaria, and were shipped on April 12, 1878. He was subsequently named monetary policy adviser by President Nicolás Avellaneda, and helped direct national support toward the export of cereal at a time when leather and dried meats earned most of the nation's foreign exchange. President of the Bank of Santa Fe, he also sat on the boards of the Bank of the Province of Buenos Aires and the Mortgage Bank as the representative for Santa Fe Province stockholders from 1882. Casado founded the Santa Fe Western Railway in 1883, and the rail line would, by 1890, connect much of the agriculturally-rich province to the Port of Rosario and the Paraná River.

Following the Paraguayan War, in which Argentina annexed what became Formosa Province from Paraguay, Casado became of the new province's leading landowners. He died in Buenos Aires in 1899, at age 66.

Carlos Casado del Alisal was honored with a monument sculpted by Eduardo Barnes, and unveiled at the Rosario headquarters of the Provincial Bank of Santa Fe in 1970.

His brother was the Spanish painter José Casado del Alisal.

References

1833 births
1899 deaths
People from the Province of Palencia
Spanish emigrants to Argentina
Argentine businesspeople

Carlos Casado del Alisal


The sun conure (Aratinga solstitialis), also known as the sun parakeet, is a medium-sized, vibrantly colored parrot native to northeastern South America. The adult male and female are similar in appearance, with black beaks, predominantly golden-yellow plumage, orange-flushed underparts and face, and green and blue-tipped wings and tails. Sun conures are very social birds, typically living in flocks. They form monogamous pairs for reproduction, and nest in palm cavities in the tropics. Sun conures mainly feed on fruits, flowers, berries, blossoms, seeds, nuts, and insects. Conures are commonly bred and kept in aviculture and may live up to 30 years. This species is currently threatened by loss of habitat and trapping for plumage or the pet trade. Sun conures are now listed as endangered by the International Union for Conservation of Nature.

Taxonomy
The sun conure was one of the many species originally described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae. As Linnaeus did with many of the parrots he described, he placed this species in the genus Psittacus, but it has since been moved to the widely accepted Aratinga, which contains a number of similar New World species, while Psittacus is now restricted to the type species, the grey parrot and the closely related Timneh parrot. The specific epithet solstitialis is derived from the Latin for 'of the summer solstice', hence 'sunny', and refers to its golden plumage. The two widely used common names are "sun conure", used in aviculture, by the World Parrot Trust and some authorities such as Thomas Arndt and Joseph Forshaw, and "sun parakeet" as used by the American Ornithologists' Union and widely by official birdlists, field guides, and birders. However, this is the only species of "conure" that is regularly referred to as such in ornithological circles; most others are called "parakeets" by authorities.

The sun conure is monotypic, but the Aratinga solstitialis complex includes three additional species from Brazil: jandaya parakeet, golden-capped parakeet, and sulphur-breasted parakeet. These have all been considered subspecies of the sun conure, but most recent authorities maintain their status as separate species. Alternatively, the sun conure and the sulphur-breasted parakeet have been suggested to represent one species, while the jandaya parakeet and golden-capped parakeet represent a second. Of these, the sulphur-breasted parakeet only received widespread recognition in 2005, having gone unnoticed at least partially due to its resemblance to certain preadult plumages of the sun conure. The sun, jandaya, and golden-capped parakeets all can interbreed in captivity (the sulphur-breasted also likely will interbreed with these). In the wild, hybrids between the jandaya parakeet and golden-capped parakeet have been reported in their limited area of contact, but most such individuals could be subadults (which easily could be confused with hybrids). As far as known, the remaining taxa are entirely allopatric, although the sun conure and the sulphur-breasted parakeet possibly come into contact in the southern Guianas, where some doubts exist over their exact identity.

The sun conure is the closest living relative of the extinct Carolina parakeet and as such, its genes have been sequenced for comparative purposes, in relation to studying the genome of the latter species. The two species last shared a common ancestor about 3 million years ago, coinciding with the closure of the Isthmus of Panama, which allowed easier dispersal of species between North and South America.

Description

On average, sun conures weigh around 110 g (4 oz) and are around 30 cm (12 in) long. The sexes are similar in plumage, although hens may be lighter and slenderer in body, having a shorter tail, with a smaller, rounder head and a smaller beak. Adults have a rich yellow crown, nape, mantle, lesser wing coverts, tips of the greater wing coverts, chest, and underwing coverts. The face and belly are orange with red around the ears. The base of the greater wing coverts, tertials, and base of the primaries are green, while the secondaries, tips of the primaries, and most of the primary coverts are dark blue. The tail is olive-green with a blue tip. From below, all the flight feathers are dark greyish. The bill is black. The legs and the bare eye ring are grey, but the latter often fades to white in captivity (so using amount of grey or white in the eye ring for determining "purity" of an individual can be misleading). It is easily confused with the closely related jandaya parakeet and sulphur-breasted parakeet, but the former has entirely green wing coverts, mantle, and vent, while the latter has green mottling to the mantle and less orange to the underparts. The sun conure is also superficially similar to the pale-billed golden parakeet.

Juvenile sun conures display a predominantly green plumage and resemble similarly aged sulphur-breasted parakeets. The distinctive yellow, orange, and reddish colouration on the back, abdomen, and head is attained with maturity.

Distribution and habitat
Sun conures live in a relatively small region of northeastern South America - the north Brazilian state of Roraima, southern Guyana, extreme southern Suriname, and southern French Guiana. They also occur as vagrants to coastal French Guiana. Their status in Venezuela is unclear, but recent sightings from the southeast near Santa Elena de Uairén have been reported. They may occur in Amapá or far northern Pará (regions where the avifauna generally is very poorly documented), but this remains to be confirmed. Populations found along the Amazon River in Brazil are now known to belong to the sulphur-breasted parakeet.

Sun conures are mostly found in tropical habitats, but their exact ecological requirements remain relatively poorly known. They are widely reported as occurring within dry savanna woodlands and coastal forests, but recent sightings suggest they mainly occur at altitudes less than 1200 m, at the edge of humid forests growing in foothills in the Guiana Shield, and cross more open savannah habitats only when traveling between patches of forest. Sun conures have been seen in shrublands along the Amazon riverbank, as well as forested valleys and coastal, seasonally flooded forests. These conures usually inhabit fruiting trees and palm groves.

Behavior

Like other members of the genus Aratinga, the sun conure is very social and typically occurs in large flocks of 15 to 30 individuals. They rarely leave the flock, but when they get separated from the group, they squawk and scream in a high-pitched voice, which can carry for hundreds of yards, allowing individuals to communicate with their flock and return to them. Flocks are relatively quiet while feeding, but are known to be very vocal and make loud noises when in flight. They can travel many miles in a single day, and they are fast, direct flyers. Nonverbal communication is also practised, with a variety of physical displays. Birds within a flock rest, feed one another, preen, and bathe throughout the daylight hours. They move through the trees using their beaks for extra support. They also have the ability to use their feet like hands to help hold, examine, or eat items. Sun conures have been reported to nest in palm cavities. When in molt, conures are uncomfortable, so are easily irritable. Bathing, warm rainfalls, and humidity allow the sheaths of each pin feather to open more easily and lessen their discomfort. Sun conures are extremely smart and curious, so require constant mental stimulation and social interaction. Their speech and ability to learn tricks in captivity are quite moderate. Otherwise, relatively little is known about their behavior in the wild, in part due to confusion with the sulphur-breasted parakeet species. Regardless, the behavior of the two is unlikely to differ to any great extent.

Diet

In the wild, sun conures mainly feed on fruits, flowers, berries, blossoms, seeds, nuts, and insects. They feed on both ripe and half-ripe seeds of both fruits and berries. They also consume red cactus fruit, Malpighia berries, and legume pods. At times, they forage from agricultural crops and may be considered pests. They require more protein intake during breeding season, more carbohydrates when rearing young, and more calcium during egg production.

In captivity, their diets may include grass seeds, beans, nuts, fruits (apples, papaya, bananas, oranges, grapefruits, strawberries, raspberries, blackberries, gooseberries, currants, rowans, elderberries, hawthorn berries, rose hips, cucumbers, and tomatoes), vegetables (spinach, Chinese cabbage, cress, roquette, kale, broccoli, carrots, alfalfa, peas, endive, and sweet potatoes), dandelions, chickweed, soaked corn, germinated sunflower seeds, and spray millet. They may also eat fruit tree buds (elderberry bushes, willows, hawthorn, and aspen), ant eggs, mealworms or their substitutes (hard-boiled eggs, bread, biscuits, hard cheese or low-fat cottage cheese). Cuttle bones, mineral blocks, and gravel or ground oyster shells may be given to aid in mechanical digestion.

Reproduction

Young sun conures form monogamous pairs around 4 to 5 months of age. Prior to breeding, they may be seen feeding and grooming one another. Mating can last up to three minutes, after which pairs become very affectionate with each other. Prior to egg laying, the female's abdomen noticeably swells. They have been known to nest in trees or in cavities of Mauritia flexuosa palms. Fertility rate of sun conures is relatively high. Typical clutch size is three or four white eggs, and they may be laid in two- to three-day intervals. Pairs may only destroy and eat their eggs in cases of calcium deficiency. Females are responsible for the entire incubation period from 23 to 27 days, and only leave the nest for short feeding periods. Males aggressively protect the nest from potential predators. Eggs may fail to hatch if they are not kept warm or if the hatchling fails to break through the shell successfully, which may take from a few hours to a few days. Chicks are born blind, naked, and completely vulnerable. Only after 10 days, they begin to open their eyes and their feather quills break through. Both parents participate in feeding the chicks. The young depend on their parents for 7 to 8 weeks after hatching, and only become independent after 9 to 10 weeks. Conures are sexually mature around 2 years of age and have a lifespan ranging from 25 to 30 years.

Status
Sun conures are currently endangered, with their population numbers declining rapidly due to loss of habitat, hunting for plumage, and being excessively wild caught – about 800,000 each year, for the pet trade. Now, more sun conures are living in people's homes than in the wild. Since the Wild Bird Conservation Act was put in place in 1992 to ban the importation of parrots (including sun conures) into the United States, they are more frequently bred in captivity for domestication purposes. Similarly, the European Union more recently banned the importation of wild-caught birds in 2007. These legislations may help increase their population in the wild.

In the past, the sun conure has been considered safe and listed as least concern, but recent surveys in southern Guyana (where previously considered common) and the Brazilian state Roraima have revealed that it possibly is extirpated from the former and rare in the latter. It is very rare in French Guiana, but may breed in the southern part of the country (this remains unconfirmed). Today, it is regularly bred in captivity, but the capture of wild individuals potentially remains a serious threat. This has fueled recent discussions regarding its status, leading to it being uplisted to endangered in the 2008 IUCN Red List.

Aviculture

The sun conure is noted for its very loud squawks and screams compared to its relatively small size, and have been recorded reaching over 120 decibels. It is capable of mimicking humans, but not as well as some larger parrots. It is popular as a pet because of its bright coloration and curious nature. Due to its inquisitive temperament, it demands a great deal of attention from owners, with whom it can be loving and cuddly. Hand-reared pets can be very friendly towards people with whom they are familiar, but they may be aggressive with strangers and even territorial with visitors. Sun conures are capable of learning many tricks and can even perform in front of a live audience. They enjoy listening to music, to which they occasionally sing and dance. Like many parrots, they are determined chewers and require toys and treats on which to chew. Other activities enjoyed by sun conures include taking baths and preening feathers. Many owners clip their conures' wings, but this is not necessary if the proper precautions are put in place. Due to environmental hazards, conures should not be allowed to fly unsupervised. Sun conures are great candidates for outdoor flight when well trained, as they are loyal, but risk potential must be minimized. In captivity, their lifespans range from 15 to 30 years.

A red-factor colour mutation has been produced in aviculture. Originating in Hawaii in the early 2000s, this mutation results in the parakeet's normal yellowish plumage being replaced by a deep reddish-orange, the intensity of which varies from individual to individual. The genetics and inheritance mode of the mutation are poorly understood at present and some red-factor birds that exhibit extremely reddish color fail to thrive, display health problems, and die within months of hatching, with brain and spleen abnormalities apparent upon autopsy.

References

Further reading
 Hilty, S. (2003). Birds of Venezuela, 2nd edition. Princeton University Press, New Jersey.
 Juniper, T., & Parr, M. (1998). A Guide to the Parrots of the World. Pica Press, East Sussex.
 Jutglar, Á. (1997). Aratinga solstitialis (Sun Conure). p. 431 in: del Hoyo, J., Elliott, A., & Sargatal, J. eds (1997). Handbook of Birds of the World. Vol. 4. Sandgrouse to Cuckoos. Lynx Edicions, Barcelona.
 Restall, R., Rodner, C., & Lentino, M. (2006). Birds of Northern South America – An Identification Guide. Vol. 1: Species Accounts. Helm, London.
 Recognize Aratinga pintoi as a valid species. South American Classification Committee.
 Teitler, R., 1981. Taming and Training Conures. T.F.H. Publications, Inc. Ltd. England.

External links

Stamps (for Guyana) with RangeMap

sun parakeet
Birds of the Guianas
Talking birds
sun parakeet
Taxa named by Carl Linnaeus

Sun conure


James Marwick (born 1862 in Edinburgh, Scotland) was a Scottish American   and an original founder of an accounting office that became one of the Big Four accounting firms, KPMG.

Career
Marwick's father was Sir James David Marwick, an Orcadian who was Town Clerk of Glasgow from 1873 to 1904. The young Marwick qualified as a chartered accountant, and began his accounting practice in Glasgow, and travelled to Australia to conduct a bank examination for a group of Scottish investors during the Australian banking crisis in the 1890s.

Marwick later travelled from Australia to Canada and, impressed with business opportunities in North America and cultivating banking clients, he went to the United States in 1894 and began looking for a partner.

Marwick and Roger Mitchell, schoolmates from the University of Glasgow, literally ran into each other on a New York City street in 1897.  Mitchell had been sent to the United States to run the family textile business.  The two set up a practice together in what has been labelled the perfect "front office/back office partnership."

After opening Marwick, Mitchell & Company in New York, Marwick began traveling to other cities, opening offices all over the United States.  Percy Garrett, who ran the London office, once wrote that the tireless Marwick travelled as many as 15,000 miles a year.

Marwick retired in 1917, handing the reins to Mitchell, who took over as senior partner and stayed on until 1925 when the firm joined with William Barclay Peat & Co. to form Peat, Marwick & Mitchell.

Marwick's legacy continues with the appointment of the James Marwick Professor-in-Residence at KPMG: the role is normally filled by a leading academic.

References

1862 births
Year of death missing
Scottish businesspeople
Scottish accountants
Alumni of the University of Glasgow
KPMG people

James Marwick


David Garshen Bomberg (5 December 1890 – 19 August 1957) was a British painter, and one of the Whitechapel Boys.

Bomberg was one of the most audacious of the exceptional generation of artists who studied at the Slade School of Art under Henry Tonks, and which included Mark Gertler, Stanley Spencer, C.R.W. Nevinson, and Dora Carrington. Bomberg painted a series of complex geometric compositions combining the influences of cubism and futurism in the years immediately preceding World War I; typically using a limited number of striking colours, turning humans into simple, angular shapes, and sometimes overlaying the whole painting a strong grid-work colouring scheme. He was expelled from the Slade School of Art in 1913, with agreement between the senior teachers Tonks, Frederick Brown and Philip Wilson Steer, because of the audacity of his breach from the conventional approach of that time.

Whether because his faith in the machine age had been shattered by his experiences as a private soldier in the trenches or because of the pervasive retrogressive attitude towards modernism in Britain Bomberg moved to a more figurative style in the 1920s and his work became increasingly dominated by portraits and landscapes drawn from nature. Gradually developing a more expressionist technique, he travelled widely through the Middle East and Europe.

From 1945 to 1953, he worked as a teacher at Borough Polytechnic (now London South Bank University) in London, where his pupils included Frank Auerbach, Leon Kossoff, Philip Holmes, Cliff Holden, Edna Mann, Dorothy Mead, Gustav Metzger, Dennis Creffield, Cecil Bailey, and Miles Richmond. David Bomberg House, one of the student halls of residences at London South Bank University, is named in his honour. He was married to landscape painter Lilian Holt.

Early years

Bomberg was born in the Lee Bank area of Birmingham on 5 December 1890. He was the seventh of eleven children of a Polish Jewish immigrant leatherworker, Abraham, and his wife Rebecca. He was Orthodox but she less so and supported David's painting ambitions. In 1895, his family moved to Whitechapel in the East End of London where he was to spend the rest of his childhood.

After studying art at City and Guilds, Bomberg returned to Birmingham to train as a lithographer but quit to study under Walter Sickert at Westminster School of Art from 1908 to 1910. Sickert's emphasis on the study of form and the representation of the "gross material facts" of urban life were an important early influence on Bomberg, alongside Roger Fry's 1910 exhibition Manet and the Post-Impressionists, where he first saw the work of Paul Cézanne.

Bomberg's artistic studies had involved considerable financial hardship but in 1911, with the help of John Singer Sargent and the Jewish Education Aid Society, he was able to attain a place at the Slade School of Art.

The Slade

At the Slade School of Fine Art Bomberg was one of the remarkable generation of artists described by their drawing master Henry Tonks as the School's second and last "crisis of brilliance" and which included Stanley Spencer, Paul Nash, Ben Nicholson, Mark Gertler and Isaac Rosenberg. (The "first crisis of brilliance" had occurred in the 1890s, with Augustus John, William Orpen and others.) Bomberg and Rosenberg, from similar backgrounds, had met some years earlier and became close friends as a result of their mutual interests.

The emphasis in teaching at the Slade was on technique and draughtsmanship, to which Bomberg was well suited – winning the Tonks Prize for his drawing of fellow student Rosenberg in 1911. His own style was rapidly moving away from these traditional methods, however, particularly under the influence of the March 1912 London exhibition of Italian Futurists that exposed him to the dynamic abstraction of Francis Picabia and Gino Severini, and Fry's second Post Impressionist exhibition in October of the same year, which displayed the works of Pablo Picasso, Henri Matisse and the Fauvists alongside those of Wyndham Lewis, Duncan Grant and Vanessa Bell.

Bomberg's response to this became clear in paintings such as Vision of Ezekiel (1912), in which he proved "he could absorb the most experimental European ideas, fuse these with Jewish influences and come up with a robust alternative of his own." His dynamic, angular representations of the human form, combining the geometrical abstraction of cubism with the energy of the Futurists, established his reputation as a forceful member of the avant-garde and the most audacious of his contemporaries; bringing him to the attention of Wyndham Lewis (who visited him in 1912) and Filippo Marinetti. In 1913, the year in which he was expelled from the Slade because of the radicalism of his approach, he travelled to France with Jacob Epstein, where among others he met Amedeo Modigliani, André Derain and Pablo Picasso.

Pre-war avant-garde

Expelled from the Slade in the Summer of 1913, Bomberg formed a series of loose affiliations with several groups involved with the contemporary English avant-garde, embarking on a brief and acrimonious association with the Bloomsbury Group's Omega Workshops before exhibiting with the Camden Town Group in December 1913. His enthusiasm for the dynamism and aesthetics of the machine age gave him a natural affinity with Wyndham Lewis's emerging vorticist movement, and five of his works featured in the founding exhibition of the London Group in 1914. Still, Bomberg was staunchly independent and despite Lewis' attempts he never officially joined Vorticism. In July 1914 he refused involvement with the Vorticist literary magazine BLAST and in June of the following year his work featured only in the "Invited to show" section of the vorticist exhibition at London's Dore Gallery.
In 1914 he met his first wife Alice Mayes a resourceful and practical woman about ten years older than him who had worked with Kosslov's Ballet Company. Their mutual interest in experimental dance and the Russian ballet may have helped bring them together. Alice helped Bomberg in the early part of his career both with financial support and in influencing his appearance and character.
1914 saw the highpoint of his early career – a solo exhibition at the Chenil Gallery in Chelsea which attracted positive reviews from Roger Fry and T. E. Hulme and attracted favourable attention from experimental artists nationally and internationally. The exhibition featured several of Bomberg's early masterpieces, most notably The Mud Bath (1914), which was hung on an outside wall surrounded by Union Flags – causing "the horses drawing the 29 bus... to shy at it as they came round the corner of King's Road."
"I look upon Nature while I live in a steel city" he explained in the exhibition catalogue "I APPEAL to a Sense of Form ... My object is the construction of Pure Form. I reject everything in painting that is not Pure Form."

With the help of Augustus John, Bomberg sold two paintings from this exhibition to the influential American collector John Quinn.
Alice and David enjoyed a trip to Paris with the proceeds of the sale of several pictures in 1914 which led to them marrying in 1916 after Bomberg had enlisted in the Royal Engineers in November 1915.

World War I and after

Despite the success of his Chenil Gallery exhibition Bomberg continued to be dogged by financial problems. In 1915, he enlisted in the Royal Engineers, transferring in 1916 to the King's Royal Rifle Corps and in March of that year, shortly after marrying his first wife, being sent to the Western Front.

World War I was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches – as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme – permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, Sappers at Work (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version.

The artist's book Russian Ballet, 1919, was the last work to use the pre-war vorticist idiom. Bomberg self-published this work whilst waiting for the Canadian Government's verdict on Sappers at Work; the next few years was to see him 'experimenting with ways of making his stark pre-war style more rounded and organic'.

In radical opposition to the prevailing currents in avant-garde art, stimulated as these were by the enthusiasm for mechanization in Constructivism in Russia following the Revolution, Bomberg went to paint and draw in Palestine between 1923 and 1927, with the assistance of the Zionist Organization. There he brought together the geometric energies of his pre-war work as an "English cubist" with the tradition of figurative observation of the English landscape school of Turner, Constable, Girtin and John Sell Cotman.

The return to order

From there followed Bomberg's great period of painting and drawing in landscape, in Spain at Toledo (1928), Ronda (1934–35 and 1954–57) and Asturias (1935), in Cyprus (1948) and intermittently in Britain, perhaps most powerfully in Cornwall. A six-month stay at Odessa in the Soviet Union in the second half of 1933, following Hitler's seizure of power in Germany, led Bomberg on his return to London to immediate resignation from the Communist Party. During World War II, he painted Evening in the City of London (1944), showing the blitzed city viewed rising up to a triumphant, surviving St Paul's Cathedral on the horizon, since described as the "most moving of all paintings of wartime Britain" (Martin Harrison); a series of flower paintings saturated with turbulent feeling; and his single commission as a war artist, a series of "Bomb Store" paintings (1942) expressing Bomberg's expanded first-hand sense of the destructive powers of modern technology in warfare. These "Bomb Store" paintings convey a premonitory sense of the massive explosion that destroyed the underground store two years later, killing around 70 people, and bear comparison with Piranesi's Carceri etchings.

Bomberg's superb draughtsmanship was expressed also in a lifelong series of portraits, from the early period of his Botticelli-like "Head of a Poet" (1913), a pencil portrait of his friend the poet Isaac Rosenberg for which he won the Henry Tonks Prize at the Slade, to his "Last Self-Portrait" (1956), painted at Ronda, a meditation also on Rembrandt.

Unable to get a teaching position after World War II in any of the most prestigious London art schools, Bomberg became the most exemplary teacher of the immediate post-war period in Britain, working part-time in a bakery school at the Borough Polytechnic (now London South Bank University) in the working-class borough of Southwark. Though his students received no grant and were awarded no diploma, he attracted devoted and highly energetic pupils, with whom he exhibited on an equal basis in London, Oxford, and Cambridge in two important artists' groupings in which he was the leading light, the Borough Group (1946–51) and the Borough Bottega (1953–55). He developed a deeply considered philosophy of art, set out in several pieces of writing, which he summed up in the phrase, "The Spirit in the Mass".

Following a collapse in Ronda, Bomberg died in London in 1957, his critical stock rising sharply thereafter. One of Bomberg's admirers, the painter Patrick Swift, unearthed and edited Bomberg's pensées, and was later to publish them, along with images of Bomberg's work, as 'The Bomberg Papers' in his 'X' magazine (June 1960). After his early success before the First World War, he was in his lifetime the most brutally excluded artist in Britain. Having lived for years on the earnings of his second wife, fellow artist Lilian Holt and remittances from his sister Kitty, he died in absolute poverty.

Posthumous reception
Thirty years after his death, a major retrospective of Bomberg's work curated by Richard Cork was held at the Tate Gallery, London, in 1988.

In 2006, Abbot Hall Art Gallery in Kendal, Cumbria, mounted the first major exhibition of Bomberg's paintings for nearly twenty years: David Bomberg: Spirit in the Mass (17 July – 28 October 2006). Prior to that, the exhibition David Bomberg en Ronda at the Museo Joaquin Peinado in Ronda in Andalusia (1–30 October 2004) showed work by Bomberg in the city and environment which he had celebrated in paintings and drawings in 1934-35 and 1954–57. Work from one of the best collections in private hands was shown on the fiftieth anniversary of his death in the exhibition In celebration of David Bomberg 1890-1957 at Daniel Katz Gallery, Old Bond Street, London (30 May – 13 July 2007).

London South Bank University, the site of Bomberg's teaching at the former Borough Polytechnic, received a gift of more than 150 paintings and drawings by Bomberg and his students in the Borough Group – principally Dorothy Mead, Cliff Holden, Miles Richmond, and Dennis Creffield — the David Bomberg Legacy. The gallery, formally launched on 14 June 2012, to display the artworks donated to the university by Sarah Rose has been made possible by the Heritage Lottery Fund. The collection is the work of Sarah Rose, who built her collection over thirty years. The London South Bank University Borough Road Gallery will hold two exhibitions a year drawn from the Sarah Rose collection.

The Nasher Museum of Art at Duke University held an exhibition entitled The Vorticists: Rebel Artists in London and New York, 1914-18 from 30 September 2010 through 2 January 2011. Tate Britain held an exhibition entitled The Vorticists: Manifesto for a Modern World between 14 June and 4 September 2011. In the 2011 BBC series, British Masters, Bomberg was singled out as being one of the greatest painters of the 20th Century. He was one of the six artists included in Dulwich Picture Gallery's 2013 summer exhibition, "Nash, Nevinson, Spencer, Gertler, Carrington, Bomberg: A Crisis of Brilliance, 1908-1922".

In 2017 the Pallant House Gallery in Chichester mounted a major exhibition of Bomberg's work curated in partnership with the Ben Uri Gallery & Museum of St John's Wood, London.

References in fiction
In Restless, William Boyd's 2006 novel, there is a reference to a portrait by Bomberg of one of the book's major (fictional) characters. The painting is said to occupy a place in the National Portrait Gallery in London.
In A Palestine Affair, a 2003 novel by Jonathan Wilson, the character "Mike Bloomberg" is loosely based on Bomberg's life, as acknowledged by the author: "Richard Cork's 'David Bomberg'  [was] ... of inestimable value to me in constructing this fiction".
Glyn Hughes's novel, Roth (Simon & Schuster, London, 1992) – its leading a character a London Jewish painter, its cover carrying a reproduction of one of Bomberg's Cyprus landscapes – is also loosely based on the author's reflections on Bomberg.

References

Further reading
 David Bomberg 1890–1957: Paintings and Drawings, Tate Gallery, London, Arts Council of Great Britain (organizer), 1967. (Exhibition catalogue.)
  Roy Oxlade, David Bomberg, 1890–1957. London: Royal College of Art, 1977. .
 Nicholas Serota and Jennifer Brook (editors), David Bomberg: the Later Years. London: Whitechapel Art Gallery, 1979. (Exhibition catalogue.) .
 David Bomberg in Palestine, 1923–1927. Curator in charge, Stephanie Rachum; assistant curator, Hedva Raff; English editing, Barbara Gingold. Jerusalem: Israel Museum, 1983. (Exhibition catalogue.) .
 David Bomberg, 1890–1957: a Tribute to Lilian Bomberg, March 14 – April 12, 1985. London: Fischer Fine Art Ltd. Uxbridge, Middlesex: Hillingdon Press, 1985.
 Kate Aspinall, 'Artist Versus Teacher: The Problem of David Bomberg's Pedagogical Legacy', Tate Papers, no.33, 2020, https://www.tate.org.uk/research/publications/tate-papers/33/artist-versus-teacher-problem-david-bomberg-pedagogical-legacy
 Richard Cork, David Bomberg. Yale, 1987. .
 David Bomberg: Spirit in the Mass; Abbot Hall Art Gallery, Kendal, 17 July – 28 October 2006. Lakeland Arts Trust, 2006. (Exhibition catalogue.) .
 David Bomberg en Ronda; Museo Joaquin Peinado, Ronda, 1–30 October 2004. Museo Joaquin Peinado, 2004. (Exhibition catalogue with text by Richard Cork and Michael Jacobs.) .
 In Celebration of David Bomberg 1890–1957; Daniel Katz Gallery, London, 30 May – 13 July 2007. Daniel Katz Ltd, 2007. (Exhibition catalogue with text by Richard Cork and Miles Richmond.)
 Jean Moorcroft Wilson, Isaac Rosenberg: The Making of a Great War Poet. London: Weidenfeld and Nicolson, 2008. .
 The Bomberg Papers (Bomberg's pensées; unearthed and edited by Patrick Swift), X, Vol. 1, No. 3, June 1960; An Anthology from X (Oxford University Press 1988).
 Bomberg Sarah MacDougall & Rachel Dickson, Ben Uri Gallery and Museum, London 2017

External links

 14 artworks by David Bomberg at the Ben Uri site
 Article on the Whitechapel Boys
 Guardian review of Abbot Hall exhibition
 Laurie Stewart, Notes on the Borough Group of Artists
 Cliff Holden, The History of the Borough Group of Artists, 2004
 Connected, Spring 2009, Journal of alumni of London South Bank University

1890 births
1957 deaths
20th-century English painters
Academics of London South Bank University
Alumni of the Slade School of Fine Art
Alumni of the Westminster School of Art
Borough Group
British Army personnel of World War I
British war artists
English Jews
English male painters
English people of Polish-Jewish descent
Jewish painters
King's Royal Rifle Corps soldiers
Painters from London
Royal Engineers soldiers
Vorticists
Whitechapel Boys
World War II artists
20th-century English male artists

David Bomberg


Home Care Assistance is an in-home senior care company with locations throughout the United States, Canada and Puerto Rico. Based in San Francisco, California, the company provides non-medical, hourly and live-in care.

The company is notable for its educational Healthy Longevity webinar series, in which it has partnered with various organizations including the Cleveland Clinic, Stanford School of Medicine and the American Society on Aging.

References

External links

Companies based in San Francisco

Home Care Assistance


Jan Sladký Kozina (10 September 1652 in Újezd – 26 November 1695 in Plzeň) was the Czech revolutionary leader of the Chodové peasant rebellion at the end of the 17th century.

Biography
Jan Sladký Kozina was first named Rosocha, after Rosoch Farm (U Rosochů), which from 1632 had belonged to his grandfather, and on which he was born and grew up. In 1670 his father Jan Sladky bought the farm "At Kozinas" (U Kozinů). All those originating from this farm were thereafter called Sladky-Kozina. On 9 May 1678, aged 25, he married Dorota Pelnářová, took over the ancestral farm U Kozinů, and took his place in the middle yeomanry. They seem to have gone on to live as a quiet, god-fearing couple. They had 6 sons but only one - Adam - had descendants.

He could neither read nor write, but made his name by his speeches, in which he drew attention to the abuses of the time, and became the spokesman for farmers' woes. He defended the rights of the Chodové people and demanded justice for the country people. This culminated in disagreement with the local magnate Wolf Maximilian Laminger von Albenreuth, also known as "Lomikar". Kozina was judged responsible for the peasant rebellion, arrested and executed in Plzeň on 28 November 1695.

Legacy
He was immortalised as a figure of resistance in the stories of Alois Jirásek and Božena Němcová. In Újezd u Domažlic a memorial to him was set up; his place of execution is marked by a plaque just inside what is now the main entrance to the Pilsner Urquell brewery in Plzeň.

Alois Jirásek wrote the book Psohlavci (The Dogheads), which was about the Chodové peoples and young Jan's struggles; this was later turned into an opera of the same name by Karel Kovařovic.

In 1918, the newly formed 10th Infantry Shooting Regiment of the newly formed 3rd Division of the Czechoslovak Legions in Russia was named "Regiment Jan Sladký Kozina's of Hrádek".

References

 - text of Psohlavci in Czech. Retrieved 30 July 2020

1652 births
1695 deaths
Czech activists
Executed revolutionaries
Chodové
Executed Czech people
People from Domažlice District

Jan Sladký Kozina


The thinlip mullet (Chelon ramada)  is a species of fish in the family Mugilidae. It is found in shallow European waters and is a migratory species.

Description
The thin lip mullet has an elongate body compressed laterally. The head is short and flattened and the mouth is broad with a narrow upper lip and no tubercles. There are two dorsal fins. It is steely blue above and paler beneath. The scales are large and there is no externally visible lateral line.

Its maximum length is around 70  cm, with the common specimen being around 35  cm. The largest specimens recorded weighed over three kilograms.

Spawning takes place at sea, near the coast between September and February.

Distribution
The thinlip mullet is found in the eastern Atlantic Ocean from Cape Verde and Senegal north to the Baltic Sea. It is also found in the Mediterranean Sea, Black Sea and Azov Sea.

It is a pelagic species, usually occurring inshore, entering lagoons and estuaries, and rivers. It feeds on epiphytic algae, detritus, and small benthic or planktonic organisms. It is common between 0-10m, rarely deeper than that.

Fishing
Thinlip mullet is commercially caught mainly with gill nets, trammel nets, beach seines and sometimes cast nets. In recreational fishing, spearguns and rods and reels with floats are used. Hooks are baited with bread, various pastes, fish guts and similar baits. One must be careful when pulling and reeling in larger mullets since hooks can sometimes hook only soft lips and catch can be easily lost.

Cuisine
Meat is white, tender and very soft. Since Thinlip mullet can be found in polluted waters too, taste and quality of the meat vary. Specimen caught in clear waters have great taste and can be prepared in many ways. It is the best barbecued with some olive oil and lemon juice and as part of mixed fish stew with boiled potatoes and/or polenta.

References

External links

thinlip mullet
Fish of Europe
Fish of the Mediterranean Sea
Marine fish of West Africa
Marine fish of North Africa
Fauna of Macaronesia
Taxa named by Antoine Risso
thinlip mullet

Thinlip mullet


Bushey is a town in the Hertsmere borough of Hertfordshire in the East of England. It had a population of 25,328 in the 2011 census, rising to 28,416 in the 2021 census, an increase of 12.19%. This makes Bushey the second most populated town in Hertsmere. Bushey Heath is a large neighbourhood south east of Bushey on the boundary with the London Borough of Harrow reaching elevations of  above sea level.

Etymology
Bushey is first attested in the Domesday Book of 1086 in the form Bissei. Although there has been some debate, modern, scholarly commentary has concluded that the name originated as a compound of the Old English words bysc ('bush, thicket') and hæg ('enclosure'). Thus it once meant 'enclosure made of bushes'.

History
The first written record of Bushey is its entry in the Domesday Book of 1086, which describes a small agricultural village named 'Bissei' (which later became 'Biss(h)e' and then 'Bisheye' during the 12th century). However, chance archaeological findings of Stone Age tools provide evidence that the area was inhabited as far back as the Palaeolithic period. The town also has links to the Roman occupation of Britain, with the main road running through it being Roman; sites of possible Roman villas being unearthed in the area; and a Roman tessellated pavement was discovered near Chiltern Avenue.

Bushey Heath's story begins in the Napoleonic Wars during a large food shortage. To help solve the problem, the government awarded the waste land to the east of Bushey to Bushey landowners to be used as farming; the land was more generally known as Bushey Common. Whilst the original aim was to produce food, being close to a railway and up to 500 ft above sea level with beautiful and broad views made the area attractive for housing developers.

The 19th and 20th centuries marked the time of most change in Bushey, especially between 1860 and 1960. The population rose 28-fold within 200 years, from 856 in 1801, to just under 24,000 today. The expansion was for many reasons, one of the main ones being due to the boom in industry caused by the railway in the early 20th century. A result was that many new jobs were created in and around Watford, and in the early 1920s, Bushey's first council houses were built. More housing was later built for the service families working in defence organisations in Stanmore and Northwood. The expansion eventually died down because much of the land in and around Bushey was protected under the Metropolitan Green Belt after the Second World War.

This same Green Belt legislation was also partly responsible for the abandonment of the pre-war Edgware to Bushey Heath extension as part of the Northern Heights programme of the Northern line underground railway. The Metropolitan Green Belt put great restrictions on new development, and the plan had been to use the new railway to stimulate new housing around the new route; without the new housing the route was deemed no longer viable. However, as work was advanced at the onset of war, the depot was completed for use as bomber manufacture, and following the Second World War and Green Belt coming into force, it was converted into the Aldenham bus depot (of Cliff Richard's Summer Holiday fame), which it remained until 1985, when it became derelict. It was redeveloped in 1996 and is now the Centennial Park Industrial Estate (). Bushey Heath station would have been located at the intersection of Elstree Road and Northwestern Avenue (). Conceptual plans existed in the 1903 Act of Parliament for an Edgware to Watford railway that would have seen the railway extended at a later date though Bushey village and on to Watford market, but even less came of that than the partially completed Edgware to Bushey Heath stretch.

The highest point in the historic county of Middlesex was in Bushey Heath on the border between Hertfordshire and Middlesex at the junction of the A4140 and the A409. At  above sea level, the grid reference was TQ 152937.

Stories, legends and folklore
The lack of farming in Bushey Heath meant that it was a heavily wooded area up to the 18th century; this, added to the lack of street lighting and police, meant that Bushey Heath's history is full of tales of thieves, highwaymen and even murder. According to Grant Longman's Robberies on Bushey Heath, the road from Bushey Heath to Stanmore is said to be where the highwaymen lurked, ready to raid the dozen or so caravans that passed through Bushey Heath daily, carrying money from trade in London. Before venturing through the pass, parties of travellers and merchants would form at the Boot Inn at Edgware and the Three Crowns at Bushey Heath so they did not have to venture through the pass alone. Although one of the highwaymen responsible for the attacks is rumoured to have been the notorious Dick Turpin, evidence suggests that he was in fact more active in the region of Essex.

Governance
Bushey has two tiers of local government, at district and county level: Hertsmere Borough Council and Hertfordshire County Council. There is no parish or town council in Bushey, which has been an unparished area since 1974.

Historically, Bushey was a parish in the hundred of Dacorum. Bushey was included in the Watford Poor Law Union from 1835. When the Watford Local Board of Health was established in 1850, its territory included a part of the parish of Bushey where the urban area of Watford crossed the parish boundary. Under the Local Government Act 1894 the Watford Local Board became Watford Urban District, and parishes that straddled urban district boundaries were divided. Bushey parish was therefore split with effect from 4 December 1894 into two parishes: "Bushey Urban" for the part of the parish within Watford Urban District and "Bushey Rural" for the remainder. Bushey Urban did not have its own parish council, being governed directly by Watford Urban District Council. Bushey Rural Parish Council held its first meeting on 2 January 1895 at Merry Hill School, with Edward Fithian being appointed the first chairman of the parish council. The parish of Bushey Rural was included in the Watford Rural District.

On 1 April 1906 the parish of Bushey Rural was renamed "Bushey" and was made an urban district, independent of the Watford Rural District. To avoid confusion, the separate parish of "Bushey Urban" within Watford Urban District was renamed "Oxhey" on the same day. The first meeting of Bushey Urban District Council was held on 16 April 1906 at Merry Hill School, with Richard Prowse being appointed the first chairman. The council built itself new offices and a fire station on Rudolph Road in Bushey, which were completed in 1909.

Bushey Urban District was abolished under the Local Government Act 1972, becoming part of the district of Hertsmere on 1 April 1974. No successor parish was created for Bushey, and so it became an unparished area. The council's former offices on Rudolph Road later became Bushey Museum & Art Gallery.

Modern day

Despite being close to London and having Watford on its doorstep, Bushey retains the feeling of a small town. This is reinforced with events such as the Bushey Festival and quarter marathon, which is held each July, and the Horticultural Society's flower and produce show.

Being located near several film studios at Elstree and Borehamwood, Bushey and Bushey Heath frequently feature as backdrops for many film and TV shows. Most notable is a bus scene in the Cannon and Ball film, and in the 1957 film Lucky Jim. Several historic buildings in Bushey, notably the old Royal Masonic School for Boys, later the International University, in the Avenue, have been used in films over a long period of time, including Nuns on the Run, Out of Bounds, Children of Men and Harry Potter. It has also been the set for several television comedy series, including Monty Python's Flying Circus and Little Britain. This site is currently being redeveloped for residential usage, with the 1960s additions to the site having been demolished.

Many of The Avengers episodes include location shots around the Bushey area, and the latter half of the Confessions of a Driving Instructor is entirely shot on the roads between Elstree and Bushey, finishing in the car dump at 'Bushey Breakers'.

Pupils from local schools including Bushey Hall and Bushey Meads have taken part as extras in productions such as My Dad's the Prime Minister.

Warren Lake, a duck pond on Bushey Heath, was restored in 1992 after falling into dereliction.

Religion

In 2021, Jews formed a plurality of the population in Bushey Heath ward. A majority (192 of 342) of those who came under 'Other' were Jains.

Schools
The area contains a mix of primary schools and linked infants and junior schools (see schools in Bushey).

The state secondary schools are Queens' School, Bushey Meads School and The Grange Academy, of which the first two generally do well in comparison with other schools in the county. Bushey is also the site of the famous Purcell School, a school for young musicians well known for turning out many successful musicians. It was formerly the Royal Caledonian School. There are also two private girls' schools, St. Hilda's and St Margaret's in the area.

Herkomer's Art School

Hubert Herkomer was a poor immigrant from Bavaria, who grew up in Southampton and studied art in London before moving to Bushey in 1874. His painting and portraits earned him fame and fortune, and he died in 1914 as Sir Hubert von Herkomer RA CVO. Herkomer had visited a friend who lived in Bushey in 1873, and returned to rent a pair of cottages and a studio near Melbourne Road. He founded Herkomer's Art School at Bushey in 1883, which, in its 21-year life, attracted some 500 students to the area, including the miniaturist Elsie Higgins. Some of those students stayed after establishing their own studios. Their paintings are on display in the Bushey Museum. A street, Herkomer Road, was named in his memory.

At around 1888, he built Lululaund (), a 'Bavarian castle', which was named after his second wife Lulu Griffiths. After being married for only a year she died. Lululaund dominated the Bushey skyline until 1939 when it was almost entirely demolished; a lot of the building was used as hardcore for Bovingdon Airfield, and much of the woodwork and carvings from the castle were burnt.

In 2014 the surviving remnant of Lululaund was converted into luxury apartments.

Sir Hubert is mainly remembered as an artist today, but in his time he was a polymath, becoming involved in some of the earliest film productions in Europe, and starting a series of races and time trials for cars in Germany.

In 1904 Herkomer closed his school and sold the building. The school was re-opened in 1905 on the same site by the artist Lucy Kemp-Welch as the Bushey School of Painting. In 1912 Herkomer bought back the school building and demolished it. A rose garden was laid out on the site to a design by T.H. Mawson. It is listed grade II on the Register of Parks and Gardens.

There is a gallery named after Kemp-Welch close to the village church. It is more usually used as a village hall today, with occasional exhibitions such as one in September 2006 by students from the Chelsea College of Art.

Film studios

Bushey Film Studios in Melbourne Road were originally built by Hubert Herkomer and operated between 1913 and 1985. For much of its existence the studios focused on low-budget productions.

Jewish cemeteries
There are two Jewish cemeteries, Old and New Cemeteries, both active, serving the north-west London Jewish communities. In 2018 an extension was built to provide for 50 further years of interment covering  of new landscaping and including prayer halls, offices and mortuary.

Notable people

R. D. Blackmore, novelist, lived briefly in Bushey
Freddie Bunce, footballer
Michael C. Burgess, actor, poet, activist and former editor
Dave Cash, disc jockey, born in Bushey
Helen Cherry, actress, died in Bushey, born in Worsley
Peter Copley, actor, born in Bushey
Oliver Dowden, Member of Parliament for Hertsmere
John Gale, poker player
Divina Galica, skier and racing driver, born in Bushey Heath
Phil Gillies, Canadian politician, born in Bushey
Hubert von Herkomer, artist, owner of Lululaund
Shirlie Holliman, musician, of Pepsi & Shirlie, attended Bushey Meads School
Tom Howard, Oscar-winning film special effects man, lived in Bushey from 1946 until his death in 1985
Lucy Kemp-Welch, artist
Simon Le Bon, musician, Duran Duran, born in Bushey
Jonathan Lemon, cartoonist and musician, lived in Bushey, attended Queens' School
A. E. Matthews, character actor, lived in Bushey until his death. He has a blue plaque in Little Bushey Lane.
George Michael, musician, Wham!, attended Bushey Meads School
Thomas Monro, Principal Physician of Bedlam and who attended on King George III in his last illness, settled his family here in the 19th century
Ron Moulton, author and editor
Tony O'Malley, musician, born in Bushey
Josef Perl, Holocaust survivor, lives in Bushey
Sid Phillips, musician, band leader, lived in Bushey Heath
Simon Phillips, musician, drummer Toto, lived in Bushey Heath
Roy Plomley, radio presenter, created Desert Island Discs whilst living in a cottage at Little Bushey Lane
Michael Portillo, journalist, broadcaster and former politician, born in Bushey
Mark Ramprakash, cricketer, born in Bushey
William Hurst Rees, surveyor
Andrew Ridgeley, musician, Wham!, attended Bushey Meads School
Michèle Roberts, writer
Lady Marjorie Stopford Girl Guide leader, early Duke of Edinburgh Awards advisor, lived in Bushey from 1934 until her death in 1996.
Gilbert Taylor, cinematographer, born in Bushey Heath
Henry Wylde, conductor and musician

Twin town
Bushey has been twinned with German town Landsberg am Lech in Bavaria (Southern Germany) for its historical link. To Landsberg belonged the native village, Waal, of artist Herkomer detailed above. The towns retain links for mayoral duties and school exchange trips.

See also
Bushey Hall
Bushey Hall Golf Club
Bushey Museum
Bushey railway station
RAF Bushey Hall

References

Sources

External links

Towns in Hertfordshire
Unparished areas in Hertfordshire
Former civil parishes in Hertfordshire
Hertsmere
Highest points of English counties

Bushey


Viaje del Parnaso ("Journey to Parnassus") is a poetic work by Miguel de Cervantes. It was first published in 1614, two years before the author's death.

Overview
The chief object of the poem is to survey contemporary Spanish poets, assembled on an imaginary boat to Parnassus, and ridicule (and sometimes throw overboard) those who, in Cervantes' opinion, are deficient. This satire is of a peculiar character: an effusion of sportive humour, leaving it a matter of doubt whether Cervantes intended to praise or to ridicule the individuals whom he points out as being particularly worthy of the favour of Apollo. He himself says: "Those whose names do not appear in this list may be just as well pleased as those who are mentioned in it."  Cervantes' aims in composing the poem seem to have been to characterise true poetry according to his own poetic feelings, to manifest in a decided way his enthusiasm for the art even in his old age, and to hold up a mirror for the conviction of those who were only capable of making rhymes and inventing extravagances. Concealed satire and open jesting are the combined elements of this work.

The poem is divided into eight chapters, and the versification is in tercets.  The composition is half comic and half serious. After many humorous incidents, Mercury appears to Cervantes (who is represented as travelling to Parnassus in the most miserable condition), saluting him with the title of the "Adam of poets". Mercury, after addressing to him many flattering compliments, conducts him to a ship entirely built of different kinds of verse, which is intended to convey a cargo of Spanish poets to the kingdom of Apollo. The description of the ship is a comic allegory. Mercury shows him a list of the poets with whom Apollo wishes to become acquainted and this list, owing to the problematic nature of its half ironical and half serious praises, has proved a stumbling block to commentators. In the midst of the reading, Cervantes suddenly drops the list. The poets are now described as crowding on board the ship in numbers as countless as drops of rain in a shower, or grains of sand on the seacoast; and such a tumult ensues, that, to save the ship from sinking by their pressure, the sirens raise a furious storm. The flights of imagination become more wild as the story advances. Thy storm subsides, and is succeeded by a shower of poets, that is to say poets fall from the clouds. One of the first who descends on the ship is Lope de Vega, on whom Cervantes seizes this opportunity of pronouncing an emphatic praise. The remainder of the poem, a complete analysis of which would occupy too much space, proceeds in the same spirit.

One of the pieces of verse written by Cervantes, is his description of the goddess Poesy, whom he sees in all her glory in the kingdom of Apollo. To this picture the portrait of the goddess Vain-Glory, who afterwards appears to the author in a dream, forms a companion. Among the passages, which for burlesque humour vie with Don Quixote is the description of a second storm, in which Neptune vainly endeavours to plunge the poetasters to the bottom of the deep. Venus prevents them from sinking, by changing them into gourds and leather flasks. At length a formal battle is fought between the real poets and some of the poetasters.

The poem is interspersed throughout with singularly witty ideas; and only a few passages fail to live up to the general standard. It had no prototype. The language is classical throughout, but Cervantes added to the poem a comic supplement in prose, praising his own ability.

See also
 1614 in poetry

Notes

References
Frederick Bouterwek, History of Spanish Literature, Translator: ROSS, Thomasina, Edition: David Bogue, Fleet Street, London, 1847.

External links
Viage al Parnaso by Miguel de Cervantes Saavedra at Project Gutenberg

1614 poems
Spanish poems
Works by Miguel de Cervantes
Literary criticism

Viaje del Parnaso


Hoya macgillivrayi is a fast-growing vine native to northeastern Australia that was first discovered in Queensland in the McIlwraith and Tozer Range by Frederick Manson Bailey. The plant was named after William David Kerr Macgillivray, who collected the type specimen.

Description
It has oval pointed leaves and has a twining growth habit.  The flowers of the plant are approximately 6 cm in diameter and vary slightly in size, shape, and color from each cultivar.  They come in umbels of 6 to 10 flowers that are each connected at a central axis.  Each flower is a dark burgundy color with five sepals and five petals.  The stamen are enclosed in the corona.  The fruit produced are two pairs of follicles that are 25 cm long from which a flat seed is produced that is distributed by the wind.  The seed takes a long time to germinate.

Cultivation
The plant requires well-drained soil and prefers to stay dry during the winter time.  It also likes to be kept rootbound. It requires protection in temperate climates, where it may be used as a houseplant.

It is listed as Rare on the 1997 IUCN Red list.

References

Bibliography
CONTRIBUTIONS TO THE FLORA OF QUEENSLAND Queensland Agricultural Journal Vol. 1 p. 190, F.M. Bailey,(1914)
Mullins, Effie. (1986). Hoya macgillivrayi. Growing Native Plants, Australian National Botanic Gardens. Accessed online: 28 February 2008.

macgillivrayi
Gentianales of Australia
Flora of Queensland
Rare flora of Australia
Vines

Hoya macgillivrayi


Association belge des Consommateurs Test-Achats ASBL v Conseil des ministres (2011) , , is a decision of the European Court of Justice which invalidated a provision of Directive 2004/113/EC of the European Union which permitted the continence of sexual discrimination in the provision of insurance services provided that it was based on "relevant and accurate actuarial and statistical data." The practical result of the decision was the prohibition of sexual discrimination in insurance policies.

Facts
A Belgian consumer association, Test-Achats, against the Belgian government claiming that the legal measure adopted by the government to transpose the Gender Directive into EU law violated the Charter of Fundamental Rights of the European Union. The Constitutional Court asked the European Court of Justice for a preliminary ruling on the validity of Article 5(2) of the directive.

Judgment
On 1 March 2011 the ECJ ruled in favour of Test-Achats that Article 5(2) was in breach of the Charter of Fundamental Rights and therefore void. However the court ruled that there would be a transitional period to enable insurance companies to comply with the ruling this lasted until the 21 December 2012.

The ruling means that after the transitional period ended all new insurance contracts entered into in the 27 European Union member states could no longer use sex to determine premiums paid or benefits granted. The ruling benefits male drivers and male purchasers of life insurance, who tend to experience claims more than women in these areas;  it will also benefit female purchasers of health insurance who tend to experience health claims more than men and female purchasers of life annuity products, who tend to live longer than men. Naturally it is likely that female drivers and life insurance purchasers, and male health insurance purchasers, will pay more.

The ruling was welcomed by many as a step forward for gender equality and for ending outdated practices but met with some controversy particularly from United Kingdom conservative politicians who felt the court was overstepping its power and in effect making its own legislation.

See also
EU law

External links
 The Test Achats Case
 Legal comment on the Test-Achats Case

Court of Justice of the European Union case law
Belgian case law
2011 in case law
2011 in Belgium
Gender equality case law
Insurance case law
Consumer protection case law


Carentan () is a small rural town near the north-eastern base of the French Cotentin Peninsula in Normandy in north-western France, with a population of about 6,000. It is a former commune in the Manche department. On 1 January 2016, it was merged into the new commune of Carentan-les-Marais. The town was a strategic early goal of the World War II landings as capturing the town was necessary to link the lodgements at Utah and Omaha beaches which were divided by the Douve river estuary (nearby fields were flooded by the Germans up to the town's outskirts). The town was also needed as an intermediate staging position for the capture of the cities of Cherbourg and Octeville, with the critically important port facilities in Cherbourg.

History
Carentan is close to the sites of the medieval Battle of Formigny of the Hundred Years' War. The town is also likely the site of the historical references to the ancient Gallic port of Crociatonum (documented by Roman sources), a possession of the Unelli (or Veneli or also Venelli) tribe (Greek: Οὐένελοι) situated on the river Douve slightly inland from the beaches at Normandy.  The gently sloping terrain in the nearby river valley was excellent for boat construction.

World War II
In the early hours of June 6, 1944, the U.S. 82nd Airborne and 101st Airborne divisions landed at the base of the Cotentin Peninsula. Although the landings were scattered, they nevertheless secured most of the routes by which the U.S. VII Corps would advance from Utah Beach, the right (west) flank of the Allied forces separated from the landings at Omaha and the other beachheads by the river Douve. The U.S. 4th Infantry Division landed on Utah Beach shortly after dawn with few casualties, and began staging for a move against Cherbourg, a fortified port critical to future Allied operations.

In the immediate aftermath of the landings, the priority for the Allies at Utah Beach was to link up with the Allied landings further east.  This job was assigned to the 101st Airborne, who had landed in the area and had been both conducting raids against inland targets (such as artillery emplacements) and securing and cutting off the area from German reinforcements.

By June 9, the 101st Airborne had reorganized sufficiently from the haphazard scattering of its units. It managed to cross the flooded Douve using a few causeways across the flooded fields.  The next day Carentan fell to the 101st in the Battle of Carentan.  Beginning with a dawn assault, it was an all-day, hard-fought, house-to-house battle against German troops embedded in strongly prepared positions. The capture of the town gave the Allies a continuous front joining Omaha to Utah Beach and the other three lodgments to the east of Omaha. US forces maintained possession of the town despite a German armor-reinforced counterattack on June 13 just to the southwest of town known as the Battle of Bloody Gulch.

On 15 June, engineers of the Ninth Air Force IX Engineering Command began construction on a combat advanced landing ground for fighter aircraft south of the town. Declared operational on 25 June, the airfield was designated, "A-10". It was used by P-47 Thunderbolts of the 50th Fighter Group until mid-August, then as a support airfield for supplies and evacuation of wounded personnel until its closure in November. Today, a small private airfield is located on part of the wartime facility.

101st Airborne March
The "101st Airborne March" was composed by Daniel Bourdelès, a Norman composer, for the celebration of the liberation of Carentan, in June 1944. This march created in Carentan is extracted from the CD "Carentan, the sky memory" (1994), produced by the town. It is regularly used as a musical illustration for the Normandy liberation films on France3 regional TV.

Heraldry

Sister cities
  Selby, United Kingdom
  Waldfischbach-Burgalben, Germany
  Hopkinsville, Kentucky, United States (since 2019)

See also
 Battle of Carentan
 Communes of the Manche department
 Crociatonum
 Château de Carentan

References

Former communes of Manche
World War II sites in France

Carentan


Amebix were an English crust punk band. Formed as the Band with No Name, the band's original run was from 1978 to 1987, during which time they released two EPs and three albums. The group reunited in 2008, released another full-length album in 2011, and disbanded again in November 2012.

By being one of the first bands to blend anarcho-punk and heavy metal music, Amebix are often cited as one of the key bands that helped to create the crust punk genre, and as being influential to many extreme metal bands, especially black metal bands.

History
Amebix were initially formed by Rob Miller (a.k.a. "The Baron") along with his brother "Stig" Chris Miller, Andy "Billy Jug", (Andy Hoare) and Clive Barnes whilst at school in Tavistock Devon in 1978. Initially referring to themselves as "The Band with No Name" the band played extensively around the local area, during which time they recorded a four track demo tape. Using his role as part-time columnist in a local paper Rob Miller gave a tape to Crass when they played in Plymouth. The track "University Challenged" from this demo was then featured on the first Crass Records Bullshit Detector compilation LP.

Clive B and drummer Andy "Billy Jug" left the band and Martin Baker became Amebix' new drummer. Baker's parents' manor house in Dartmoor was then used to practice in. It was around this time that the band began to refer to themselves as 'Amebix'. According to an interview with lead singer and bassist Rob Miller, Amebix refers to the amoeba. However, Baker was removed by his parents from the band and relocated to London where he had a breakdown and was diagnosed with paranoid schizophrenica. The song "Largactyl" was written about his experience.

The band then recruited Norm (Screaming Heads, Phantasmagoria, NormYard) as a synth player and relocated to Bristol, living in a number of squats. They recruited Disorder drummer Neil "Virus" Worthington (from Nailsea in Somerset) to play drums and finally had a semi-stable line-up. This line-up would record the first two 7"s (Who's the Enemy and Winter) and their first album No Sanctuary. A fill-in synth player would appear on No Sanctuary, and in 1984 they would acquire a new synth player, George. While recording No Sanctuary at Southern Studios they met Jello Biafra of American punk band Dead Kennedys and owner of the punk record label Alternative Tentacles. As a result, they became the label's first UK signing, and subsequently released the Arise! album in 1985. The final line-up would come together in 1985 with the addition of Spider on drums. They signed to Heavy Metal Records for the release of 1987's Monolith, whose release/distribution difficulties led to the band eventually splitting, although they were to continue touring, their final tour ending in Sarajevo before the collapse of Yugoslavia.

Spider, George, and Stig went on to perform in Zygote. Vocalist Rob Miller now lives on the Isle of Skye where he works as a self-taught swordsmith.

According to The Baron's Myspace page, Amebix have reformed as of February 2008. On 9 March 2008, Amebix reissued their last album Monolith as a sliding scale download through Moshpit Tragedy Records. Since reforming, the band have released the Redux EP, which consists of three rerecorded songs from the band's original incarnation, plus a fourth live track on the downloadable version. A new maxi-single entitled Knights of the Black Sun was released on 3 June 2011 which also featured the band's first ever music video. Sonic Mass, the band's third album and first full-length in 24 years, was released on 23 September 2011 through the band's own label (Amebix Records) and Easy Action Records. They disbanded on 28 November 2012.

In 2014, Rob "The Baron" Miller joined forces with Jon Misery (Misery), Andy Lefton (War//Plague) and Michel "Away" Langevin of Voivod to form Tau Cross.

Influences and legacy
Amebix took inspiration from Motörhead (and to a lesser extent Lemmy-era Hawkwind), Black Sabbath, and combined with an ethos and worldview akin to Crass. They were also influenced by various post-punk and gothic rock bands, including Public Image Ltd, Bauhaus, Joy Division and especially Killing Joke. Many have claimed that Amebix were influenced by proto-black metal band Venom; however, Rob Miller has denied this on numerous occasions.

Such notable bands as Sepultura, Neurosis and Deviated Instinct have paid homage to the band. In an interview with The Guardian in 2016, the band was citied along with a number of other British Anarcho-punk bands of the early 80s as being an influence to the American avant-garde metal group Neurosis.

Members

Final line-up
Rob "The Baron" Miller – vocals (1978–1987; 2008–2012), bass (1979–1987; 2008–2012)
Chris "Stig" Miller – guitar, backing vocals (1978–1987; 2008–2012), keyboards (1978–1979)
Roy Mayorga – drums, percussion, keyboards (2008–2012)

Past members
Clive Barnes – bass (1978–1979)
Andy "Billy Jug" Hoare – drums (1978–1981)
Ric Gadsby – bass (1979)
Martin Baker – drums (1981)
Norman Butler – keyboards (1981–1984)
Virus – drums (1981–1985; died 2015)
Jenghiz – keyboards (1984)
George Fletcher – keyboards (1984–1986)
Robert "Spider" Richards – drums (1985–1987)
Andy Wiggins – keyboards (1986–1987)

Timeline

Discography

Studio albums
No Sanctuary (1983, 12", Spiderleg Records)
Arise! (1985, LP/CD, Alternative Tentacles)
Monolith (1987, LP/CD, Heavy Metal Records)
Sonic Mass (2011, LP/CD, Easy Action & Amebix Records)

EPs
Who's the Enemy (1982, 7", Spiderleg Records)
Redux (2010, 12", CD, DD, Profane Existence)

Live albums
V živo (1986)

Compilation albums
The Power Remains (1993, LP, Skuld Releases)
No Sanctuary: The Spiderleg Recordings (2008, LP+7"/CD, Alternative Tentacles)
Bullshit Detector Vol 1: University Challenged (1980, LP, Crass Records, Bullshit Detector)

Singles
"Winter" (1983, 7", Spiderleg Records)
"Knights of the Black Sun" (2011)

Demos
Amebix (1979, self-released)
Right to Ride (1987, self-released)

References

External links
Archived version of their website
Amebix on bandcamp
Nightgaunt Graphics- Amebix official merch
One of the most extensive Amebix pages ever
Amebix Story
[ Amebix page on AllMusic]
Christian Miller Interview from DIY Conspiracy, 2021 - English
Christian Miller Interview from Ooer Fanzine 1988 - English
Rob "The Baron" Miller 2012 interview @ Metalfan.ro - English
Soundcheck 5 2011 interview - Rob "The Baron" Miller favorite albums
Rob "The Baron" Miller 2008 interview @ Metalfan.ro - English
Roy Mayorga 2008 interview @ Metalfan.ro - English

Alternative Tentacles artists
English heavy metal musical groups
British crust and d-beat groups
Political music groups
Musical groups established in 1978
Musical groups disestablished in 1987
Musical groups reestablished in 2008
Musical groups disestablished in 2012
1978 establishments in England

Amebix


The Lillooet Museum in Lillooet, British Columbia, Canada is located on that town's Main Street, across from the "Mile '0'" cairn marking the beginning point of the Old Cariboo Road to Alexandria in the Cariboo region.

Holdings and displays
The Museum, which is also the town's official Visitor Centre, is housed in the former Anglican Church, St. Mary's the Virgin, which was built in 1961, incorporating materials from the original St. Mary's Church, built in 1860. The museum houses artifacts from the Fraser Gold Rush and the several other gold rushes in the vicinity, belongings and household items and photos from the region's families, the second largest mounted elk head trophy ever registered in British Columbia and First Nations artifacts of the St'at'imc (Lillooet people).  The chancery and melodeon of the original church are on site. Also housed in the museum are the original presses, office desk and sundry from the legendary Bridge River-Lillooet News, a newspaper founded in 1933 by Margaret "Ma" Lally Murray and her husband George Matheson Murray, one-time Liberal MLA for the Lillooet riding.

Notes

External links

History museums in British Columbia
Lillooet Country

Lillooet Museum