James Wan (born 26 February 1977) is an Australian filmmaker. He has primarily worked in the horror genre as the co-creator of the Saw and Insidious franchises and the creator of The Conjuring Universe. The lattermost is the highest-grossing horror franchise at over $2 billion. Wan is also the founder of  film and television production company Atomic Monster.

Beginning his career with the Saw franchise, Wan made his feature directorial debut with his first film in 2004. The franchise became commercially successful and grossed more than $1 billion globally. Following a period of setbacks, Wan found new success with the Insidious series, in which he directed the first film in 2010 and its 2013 sequel. The same year as the second Insidious, Wan directed the first Conjuring film to critical and commercial success. He served as the director of the second installment in 2016 and produced subsequent films in the franchise.

Outside of horror, Wan directed Furious 7 (2015), the seventh installment of the Fast & Furious franchise, and the DC Extended Universe superhero films Aquaman (2018) and the upcoming Aquaman and the Lost Kingdom. Both Furious 7 and Aquaman grossed over $1 billion, making Wan the eighth director with two films to reach the milestone. He is the 19th highest-grossing director of all time as of 2021, with his films having grossed over  worldwide.

Early life and education
James Wan was born on 26 February 1977 in Kuching, Sarawak, Malaysia to Chinese-Malaysian parents. Wan and his family moved to Perth, Western Australia when he was seven. He attended Lake Tuggeranong College in Canberra before returning to Perth as an adult. Wan relocated from Perth to Melbourne, where he attended RMIT University, he graduated from RMIT with a Bachelor of Arts in Media in 1999.

Career

2004–2006: Debut
Prior to 2003, Wan and his friend, fellow filmmaker Leigh Whannell, had begun writing a script for a horror film, citing their dreams and fears as inspiration for its plot. Upon completing the script, Wan and Whannell had wanted to select an excerpt from their script, later to be known as Saw and film it to pitch their film to studios. With the help of Charlie Clouser, who had composed the score for the film, and a few stand-in actors, Wan and Whannell shot the film with a relatively low budget. Whannell also decided to star in the film as Adam Stanheight, one of the film's main protagonists.

After the release of the full-length Saw, the film was met with overwhelming success in the box office both domestically and internationally. The film ended up grossing $55 million in America, and $48 million in other countries, totaling over US$103 million worldwide. This was over $100 million more than the production budget. This led the studio to green-light the sequel Saw II and later the rest of the Saw franchise. Since its inception, the Saw films have become the highest grossing horror franchise of all time worldwide in unadjusted dollars. In the United States alone, Saw is the second highest grossing horror franchise, behind only the Friday the 13th films by a margin of $10 million. Wan directed Saw (2004) and co-wrote Saw III (2006). Meanwhile, he and Whannell have predominately served as executive producers to the sequels Saw II, Saw III, Saw IV, Saw V, Saw VI, Saw 3D, Jigsaw, Spiral and Saw X.

2007–2009: Professional setbacks

In 2007, Wan directed two featured films. The first was the horror film Dead Silence, which was the result of advice from Wan and Whannell's agent at the time; Wan and Whannell have since stated that the film was a negative experience for them. Dead Silence featured Australian actor Ryan Kwanten and is based on the premise of a legend, whereby the ghost of a ventriloquist, Mary Shaw, removes the tongue of any person who screams in its presence. Rather than a gore movie, Wan described the film as "a creepy doll movie. It's in the spirit of those old Twilight Zone episodes or Hammer Horror Films. Very old-school." The film grossed over $22 million against a production budget of $20 million. It received negative reviews from critics.

Wan's second directorial film of 2007 was the vigilante action drama film Death Sentence, a film adapted from the 1975 novel of the same name by Brian Garfield that was written as the sequel to Death Wish. The film's protagonist (Kevin Bacon) was a father seeking revenge for his murdered son, who was killed by a local gang. Whannell played a minor character as one of the gang members. Wan described the film as "a raw and gritty, 70s styled revenge thriller ... It's my arthouse movie with guns." The films grossed $17 million against a production budget of $20 million. Similar to Wan's previous film, it received negative reviews. Author Garfield later stated, "I think that, except for its ludicrous violence toward the end, the Death Sentence movie does depict its character's decline and the stupidity of vengeful vigilantism," adding, "As a story it made the point I wanted it to make."

Having worked on his previous three films continuously, Wan told the male lifestyle website CraveOnline that he was ready for "a bit of time off just to chill... but at the same time I'm using this opportunity to write again." In 2008, Wan directed a trailer for the survival horror video game Dead Space. During this time, Wan and Tobe Hooper were in talks to revive the Texas Chainsaw Massacre series with a trilogy of films, with both planning to direct although the studio instead made 2013's Texas Chainsaw 3D.

2010–2013: Career resurgence
Wan returned to the horror genre with the film Insidious, which premiered at the 2010 Toronto International Film Festival as part of the "Midnight Madness" program and was sold to Sony Pictures Worldwide for a seven-figure sum within four hours of the premiere's conclusion. The film began its American theatrical release in the first weekend of April 2011 and achieved third place at the box office, with an estimated US$13.5 million in ticket sales. Starring Patrick Wilson, Rose Byrne and Barbara Hershey, the film was made independently, as Wan sought complete creative control and also wanted to make a film that was markedly different from the gore that he had become synonymous with due to Saw. Wan stated in an interview, "the fact that Insidious was not being run by a committee really afforded me the luxury to make a film with lots of creepy, bizarre moments that a studio might not 'get.'" Wan later revealed that he wanted to "experiment in other genres, or make films in other genres because I love, Leigh and I have, we're not just horror fans. We're film fans. I love action films. I want to do action films. I want to do romantic comedies. I love all this stuff. So, if I find the good material, I'll do it.

Wan's next film, The Conjuring (2013), centered on the real life exploits of husband and wife Ed and Lorraine Warren, a married couple that investigated paranormal events. The film focused on the couple's most famous case second to the Amityville haunting, in which they investigated a witch's curse on a Rhode Island family farm. In his second collaboration with the pair, Patrick Wilson starred in the film, with him and Vera Farmiga playing the husband and wife respectively. Filming commenced in North Carolina, United States, in late February 2012 and New Line Cinema, together with Warner Bros. Pictures, had initially slated the film for a release on 25 January 2013. A test screening of the film occurred in October 2012 at the New York Comic Con event, where it screened in the IGN Theater, and the audience feedback was overwhelmingly positive. At that stage, Wan had several more weeks before the film was completed. The film was released in July 2013 and was a critical and commercial success, grossing $319.5 million.

After work on The Conjuring was complete, Wan directed a sequel to 2010's Insidious. The film was once again written by Wan's longtime collaborator and close friend, Whannell, and the cast of the original film returned. Filming for the sequel commenced in January 2013 and the film was released on 13 September 2013. The budget for the film had been described as "shoestring" by one media outlet. Oren Peli, the creator of the Paranormal Activity franchise, returned as an executive producer. Film District distributed Insidious: Chapter 2. It received mixed reviews but grossed over $161 million worldwide against a budget of $5 million. Wan later admitted that he wasn't as involved in the sequel, adding "it would be good to shepherd it and keep it more in track to the version I had when I made the first film so that it doesn't detour too far" since he never intended to make a sequel initially.

2014–present: Professional expansion, Atomic Monster and Blockbuster films

In early 2013, Wan entered into negotiations with Universal Pictures to direct the seventh installment to Fast & Furious action franchise after Justin Lin, who directed the previous four sequels, confirmed that he would not continue as director in January 2013. Wan was part of a directorial shortlist alongside Jeff Wadlow, Baltasar Kormákur and Harald Zwart. A final confirmation that Wan would direct was revealed in April 2013, with Lin approving. The film, Furious 7, was released in April 2015. It became the most commercially successful film in the franchise, grossing over $1.516 billion globally and received positive reviews.

Wan later completed a deal to direct The Conjuring 2 as part of a significant long-term deal with New Line Cinema. Head of New Line, Toby Emmerich, explained that Wan is the sole director that the studio signed a deal with, as New Line considers Wan to be "a class of one". The film was released on June 10, 2016, to high critical acclaim and commercial success. That same month, Wan launched his own production company, Atomic Monster, at New Line Cinema. With the company, he develops and produces budget films in the science fiction, horror, and comedy genres. Films produced by the label included The Conjuring 2 and Lights Out.

Wan later produced Demonic, a Dimension Films horror movie that was scheduled for a December 2014 release, alongside Lee Clay. Wan conceived the idea for the film, which was directed by Will Canon and features Maria Bello in the lead role. Max La Bella penned the script. The film was eventually released on VOD in August 2017.

He then produced Annabelle, a spin-off of The Conjuring that served as a prequel to the 2013 film. The spin-off was profitable, made on a budget of $6.5 million and grossing over $256 million As part of the franchise, he also produced the prequel film Annabelle: Creation (2017), another Conjuring spin-off horror film,The Nun (2018), and Annabelle Comes Home (2019). Wan co-wrote The Nun and Annabelle Comes Home with Gary Dauberman.

In 2018, Wan directed the DC Extended Universe superhero film Aquaman. The film grossed over $1.148 billion worldwide, becoming the highest-grossing DCEU film as well as the highest-grossing film based on a DC Comics character, internationally, surpassing The Dark Knight Rises. In 2019, Wan developed a television series based on the character Swamp Thing, for the DC Universe streaming service.

On 7 August 2015, Wan signed-on to produce New Line Cinema's 2021 Mortal Kombat reboot. Four years later, the South Australian Government's budget included a huge boost to the South Australian Film Corporation, with the Mortal Kombat reboot, as the largest film production in the state's history, set to be a key recipient. In 2021, Wan directed the horror film Malignant, starring Annabelle Wallis and co-produced the film adaptation of the slasher novel There's Someone Inside Your House by Stephanie Perkins, under his Atomic Monster label, alongside Shawn Levy's 21 Laps Entertainment for Netflix.

On November 16, 2022, it was announced that Wan's production company Atomic Monster was in talks to merge with Jason Blum's Blumhouse Productions with the company having a shared first look deal with Universal Pictures. Both companies would continue to operate as separate labels, with each maintaining its own creative autonomy and brand identity.

Future projects
In February 2018, Wan was confirmed to executive produce the animated adaptation of Stan Sakai's Usagi Yojimbo comic book series. The series will premiere on Netflix and will be a CGI animated show (titled Samurai Rabbit: The Usagi Chronicles). Later, The Hollywood Reporter reported that Wan and producers Roy Lee and Larry Sanitsky were developing a film adaptation of the Stephen King novel The Tommyknockers and shopping the package to studios. Deadline later reported that Universal had won the bidding war and acquired the feature film package. Wan will produce the film adaptation under his Atomic Monster label, with an eye to direct.

A sequel to Aquaman is also officially confirmed to be in development, with Warner Bros. Entertainment courting Wan to return as writer and director. Discussions of a follow-up film had begun during post-production, when Wan stated to the British movie magazine Total Film that the first film purposefully left room for further stories.

In 2021, Wan executive produced the television adaptation of I Know What You Did Last Summer for Amazon Prime. In March 2020, Wan was announced to be working with Universal Pictures to produce a modern remake of Frankenstein.

Wan is also attached to a television series based on the Italian horror comics series Dylan Dog, which was announced in October 2019. In December 2022, he stated that the series was still in development, and that he was also working with the publishing house to find investors.

Wan will produce the horror film Border Patrol with Screen Gems, with Johannes Roberts directing the movie.

In October 2023, Disney Branded Television announced a Gargoyles live-action reboot with Wan and Michael Clear, joining the executive producing ranks.

Unreleased projects
In 2009, a Whannel–Wan collaborative project, called X Ray, was announced and was described as a new "film noir/action project," with producer Robbie Brenner also attached to the project, however as of December 2012, no further developments were reported. It was also announced that an adaptation of Scott O. Brown graphic novel Nightfall was to be Wan's next film after Death Sentence. The plot involves the events that take place after a criminal is sent to a Texas prison run by vampires. However, nothing materialised and Wan lost the rights to the film.

In 2012, Disney was reported to be developing a remake of The Rocketeer and Wan was in talks about directing the film. However, no film ever came to fruition. Similarly, Wan's negotiations to direct an adaption of the 1980s television series MacGyver film never materialised and he pulled out from directing due to scheduling conflicts. Instead, a reboot television series titled MacGyver premiered in September 2016. Wan executive produced the series and directed the pilot episode. Wan was also at one point attached to the director role for a live action Robotech film for Sony, but was replaced by Andy Muschietti in July 2017.

A "horror-tinged" spin-off of Aquaman called The Trench was in development. Wan would have produced while Noah Gardner and Aidan Fitzgerald were signed on to write the script. It was cancelled by April 2021.

Personal life
On 22 June 2019, Wan became engaged to Romanian actress Ingrid Bisu, making the announcement on his Instagram account. They married on 4 November 2019.

Filmography

Film

Short film

Television

Reception
Critical, public and commercial reception to films James Wan has directed as of 16 September 2021:

References

External links

1977 births
Living people
Film directors from Melbourne
Horror film directors
Australian comics writers
Malaysian emigrants to Australia
Australian expatriates in the United States
People from Kuching
People from Perth, Western Australia
RMIT University alumni
People educated at Lake Tuggeranong College
English-language film directors
Australian people of Malaysian descent
Australian people of Chinese descent
Australian male screenwriters
Australian film producers
Australian film editors

James Wan


Bistek (from Spanish: bistec, "beefsteak"), also known as bistek tagalog or karne frita, is a Filipino dish consisting of thinly-sliced beefsteak braised in soy sauce, calamansi juice, garlic, ground black pepper, and onions cut into rings. It is a common staple in the Tagalog and Western Visayan regions of the Philippines. It is eaten over white rice.

Description
Bistek tagalog is made of strips of beef sirloin or tenderloin, usually flattened with a meat tenderizing tool, it is marinated then braised in soy sauce, calamansi juice (or some other citrus fruit like lime or lemon), smashed whole garlic cloves, ground black pepper, bay leaves, caramelized red onion rings, and (optionally) muscovado or brown sugar. In some recipes, fresh white onion rings are used instead to preserve its crunchiness.

In the Western Visayas, bistek tagalog is known as karne frita (also spelled carne frita, literally "fried meat" in Spanish), not to be confused with the breaded cutlet (milanesa), which is also called carne frita in the Philippines. It is cooked identically to the Tagalog version, but differs in that it is always cooked with sugar.

Variations
A modern version of bistek is bistek na baboy ("pork bistek"; bistig babi in Kapampangan), in which pork—pork chops or pork belly slices—is used instead of beef. Other modern versions can also use slices of chicken or filleted fish.

Vegan versions can also substitute beef with tofu.

Similar dishes
Bistec encebollado is a similar dish found throughout other Spanish-speaking countries. It differs from bistek tagalog in that it does not use soy sauce or citrus juices, but uses vinegar and various local herbs and ingredients instead. Other similar dishes include the bistec de Palomilla of Cuba, bistec a caballo of Colombia, and the bistec ranchero of Mexico.

In the Marianas Islands, Bistek is prepared similarly to Filipino Bistek, but is often made with vinegar instead of citrus juice. Achiote is also added and is typically served with peas.

See also
Philippine adobo
 List of Philippine dishes

References

Beef dishes
Philippine beef dishes
Tagalog words and phrases
Guamanian cuisine

Bistek


Lady Frances Balfour (née Campbell; 22 February 1858 – 25 February 1931) was a British aristocrat, author, and suffragist. She was one of the highest-ranking members of the British aristocracy to assume a leadership role in the Women's suffrage campaign in the United Kingdom. Balfour was a member of the executive committee of the National Society for Women's Suffrage from 1896 to 1919. As a non-violent suffragist, she was opposed to the militant actions of the Women's Social and Political Union, whose members were called the suffragettes.

Life
The tenth child of British Liberal politician and Scottish peer George Campbell, 8th Duke of Argyll, and his wife, Lady Elizabeth Sutherland-Leveson-Gower (eldest daughter of the 2nd Duke of Sutherland), she was born at Argyll Lodge in Kensington, London. Lady Frances Campbell had a hip joint disease and from early childhood was in constant pain and walked with a limp. Her parents were deeply religious and involved in several different campaigns for social reform. She reportedly helped with these campaigns as a child, for example by knitting garments to be sent to the children of former slaves after slavery was formally banned by the government within the British territories in 1833.

In 1879 she married Eustace Balfour, a London-based Scottish architect. Eustace's uncle, Lord Salisbury, had three terms as Britain's prime minister. Eustace's elder brother, Arthur Balfour, was also a Conservative British prime minister from 1902 to 1905. However, in opposition to the Conservative politics of her in-laws, Frances, along with both her parents, supported Liberal statesman William Gladstone and his government when she was a young woman. Lady Frances Balfour and her husband never overcame these political differences and spent less and less time together.

Suffrage

She was the only member of the aristocracy to have a leadership role in the British women's suffrage campaign.  She began her work for women's suffrage in 1889, when she became the constitutionalists' main liaison with Parliament. In 1897, she became a member of the executive committee of the newly formed National Union of Women's Suffrage Societies (NUWSS), whose President was Mrs. Millicent Garrett Fawcett, and served in this capacity from its inception until some women got the vote in 1918. She was also the President of the London Society of Women's Suffrage, the largest single suffrage group in Britain, from 1896 to 1919. In addition, she served as President of the Lyceum Club, which rendered services to professional women, from 1903 to 1915. When her work for votes for women was almost over, Frances joined the National Council of Women in 1917, and served as president from 1921 to 1923.

Lady Frances published six books, including her autobiography Ne Obliviscaris (Dinna Forget) and she was joint editor of Women and Progress with Nora Vynne. The magazine was dedicated to achieving equal citizen rights for men and women. They were happy to see younger women excluded from having the vote, as long as it applied equally to young men as well. The magazine appeared to be about to be a success when shortage of funds obliged it to fold in June 1914. Today the magazine serves as a good source of early suffragette history.

Lyceum Club
The writer Constance Smedley had decided to start a new type of club for women. Another proposed founder, Jessie Trimble, proposed that the new club be called the Lyceum Club, and the new committee arranged for Smedley to meet Lady Frances Balfour. The committee had decided to extend their net for new members from writers, to professional women and even the daughters or wives of prominent men. Balfour agreed to lead the new club and served as their chair for 15 years.

Death
She died in London on 25 February 1931 from bronchial pneumonia and heart failure, and was buried at Whittingehame, the Balfour family home in East Lothian, Scotland.

Publications
 Dr Elsie Inglis (1920)
 The Life of George, Fourth Earl of Aberdeen (1923)
 Lady Victoria Campbell: a memoir (1911)
 A Memoir of Lord Balfour of Burleigh, KT. (1924)
 The Very Rev. Principal Story, D.D. (1909)[No, she published Dr MacGregor of St Cuthberts:  A Memoir in 1912.  Principle Story was a memoir by Dr. Story's daughters.
 Life and Letters if the Reverend James MacGregor (1912)
 Ne Obliviscaris. Dinna Forget. (1930)
 In Memoriam the Lady Frances Balfour, 1881-1931 (Newspaper cuttings compiled by the Committee of the Travellers' Aid Society (1931)

Distinctions
 She received honorary degrees from the University of Durham (DLitt 1919) and from the University of Edinburgh (LLD 1921)
 Her name and picture (and those of 58 other women's suffrage supporters) are on the plinth of the statue of Millicent Fawcett in Parliament Square, London, unveiled in 2018.

External links

References

1858 births
1931 deaths
19th-century English women writers
20th-century English memoirists
20th-century English women writers
Writers from London
English people with disabilities
British royalty and nobility with disabilities
Daughters of British dukes
English feminists
English suffragists
Nonviolence advocates
Women of the Victorian era
Liberal Party (UK) politicians
Frances
Clan Campbell
Deaths from pneumonia in England
Deaths from bronchopneumonia
British women memoirists
Presidents of the National Council of Women of Great Britain
National Society for Women's Suffrage
English people of Scottish descent
British politicians with disabilities

Lady Frances Balfour


Panathinaikos AC women's football is a Greek team, part of the major Athens-based multi-sport club Panathinaikos A.O. It was first founded in 1980 and operated until 1982. In its short presence, it produced the athletes who starred in the following years, who were decisive factors for the development of women's football in Greece. On June 30, 2021, the reactivation of the department was officially announced.

History
The women's football department of Panathinaikos was one of the first to be established in Greece. It was founded in 1980 under the responsibility of Panathinaikos F.C. The original roster was completed through a selection between 200 young athletes.

The technical leadership of the team was taken over successively by Spilios Zacharopoulos, Gómez de Faria and Takis Ikonomopoulos. The department operated from 1980 to 1982 and the activity of the team was limited to friendly matches with other women's teams but also with men's. The most talented athletes of Panathinaikos were the striker Georgia Tzani, whom coach Gómez de Faria used to call "white Pelé", and the stopper Fotini Karadima, who was also called "Novoselac". The leader of the team was Anna Kotsopoulou.

The absence of a domestic championship, which started in 1987, or other competitive events was condemnatory for the section, although it consisted of athletes with remarkable potential. In 1982 the division ceased to exist, but Panathinaikos players continued to compete together as they immediately founded "Doxa Athens" (later renamed to "Doxa Piraeus"), with which they won 4 championships in 5 years, losing only one in a draw.

Current squad

Technical and managerial staff

Honours
 Greek 2nd division
 Winner (1): 2022–23
 Greek 3rd division
 Winner (1): 2021–22

Notable players
 Fotini Karadima
 Anna Kotsopoulou
 Yeoryia Tzani
 Stella Ntzani

Notable coaches
 Gómez de Faria

Shirt manufacturers and sponsors

References

External links

 EPO: Hellenic Football Federation - 3rd division women's championship - Group 6

1980 establishments in Greece
Association football clubs established in 1980
Panathinaikos A.O.
Sports clubs and teams in Athens
Women's football clubs in Greece

Panathinaikos women's football


Alexander Vincent Tanas (born February 28, 1986), known professionally as Alex Tanas or Alexander Vincent, is a Canadian-American artist, producer, songwriter, and drummer. He is best known for being a former drummer and vocalist for the pop-reggae group Magic!. In addition to performing for MAGIC!, Tanas has collaborated with a number of musicians including Justin Nozuka, Kira Isabella, Benj, Pat Robbitaille, Leslie Pike, and Maneli Jamal. In 2018, Tanas began releasing his own solo music. Tanas currently resides in Los Angeles, California.

Early life
Alex Tanas was born in Toronto, Ontario, Canada on February 28, 1986, of Ukrainian and Irish descent. He began drumming at ten years old Tanas attended Earl Haig Secondary School in Toronto, Ontario, Canada.

Collaborations with other artists
Tanas wrote, performed, and  toured with the Justin Nozuka band for a total of six years, where he had the opportunity of opening for Stevie Wonder. He cites his biggest influences as Stewart Copeland and David Grohl. Tanas also performed with Canadian musician Kira Isabella and Pat Robitaille. He has also performed with Leslie Pike and Maneli Jamal.

Tanas is a frequent collaborator with singer-songwriter Hayley Gene Penner, and has been a co-writer and producer of all her songs. He also frequently collaborates with Sabrina Claudio, as he wrote and produced the songs "I Don't", "Frozen", "Everlasting Love" and "Wait." He has written all songs for singer Vöx.

In 2014, Tanas co-wrote "Cut Me Deep" by Shakira with his bandmates from MAGIC!, in which they are also featured on the track.

In 2014, Tanas co-wrote "Coming Home", performed by Anthony Hamilton. In the same year, he served as a co-producer and co-writer of "Human Contact", performed by Catey Shaw on the EP titled "The Brooklyn EP." Tanas co-wrote "Consider Me" for R&B artist Allen Stone, which appeared on his album titled "Building Balance." In 2016, Tanas co-wrote and co-produced the tracks "Levitate" and "Lovesick" for Jacob Whitesides. Tanas co-wrote "Heavy Stone," performed by Justin Nozuka. In 2017, he co-wrote "Warm in December", performed by Michael Schulte. During the same year, he co-wrote "Bad News" for SOJA.

In 2019, he co-wrote and produced "Missing Me" for TRACE's EP titled Like Hell. He also co-wrote and produced the track "Continuum" for Tanerelle.

Apart from songwriting, Tanas has also performed drums for artists such as Justin Nozuka, Kira Isabella, Sabrina Claudio, Pat Robitaille, Leslie Pike, Maneli Jamal, and Luis Figueroa.

MAGIC!
Tanas was a member of the pop-reggae group MAGIC!, alongside vocalist Nasri, bassist Ben Spivak, and guitarist Mark "Pelli" Pellizzer. While Mark Pellizzer was in Los Angeles, he called Alex Tanas to work on music together, since they knew each other from past collaboration with the Justin Nozuka Band. On his first visit, Tanas and the members of MAGIC! wrote Stupid Me, Don't Kill The Magic, and Gypsy Woman, and decided to form the band.

As a band member, Tanas wrote and co-produced all MAGIC! songs.

In February 2022, Magic! announced that Tanas had left the band in a Facebook post.

Solo Music
Tanas began releasing his own solo music in 2018. He served as the co-writer and producer of the singles "Same Love", "I Won't", "Other People's Lives", "Free Myself", "Unravel", "Everything", and "Close to You."

In 2019, he co-wrote and produced "Miles Away", performed by Kan Wakan. Tanas is also featured on the track as a vocalist. The song was recognized by Vulture as one of the best new songs during its release.

Awards and honors
Tanas is the recipient of two Juno Awards for "Single of the Year" for MAGIC's song 'Rude', and Breakout Group of the Year. He is a recipient of the SOCAN Award for songwriting.

References

Canadian male drummers
Musicians from Toronto
Writers from Toronto
Living people
1986 births
Canadian male songwriters
Canadian people of Ukrainian descent
Canadian people of Irish descent
21st-century Canadian drummers
21st-century Canadian male musicians
Earl Haig Secondary School alumni

Alex Tanas


The East Hampton Star is a weekly, privately owned newspaper published each Thursday in East Hampton, New York. It is one of the few independent, family-owned newspapers still existing in the United States. The owners live in East Hampton Town.

The newspaper was founded by George Burling in 1885. His naming of the paper, using East Hampton as two words, created the modern spelling of the town's name. (It had been one word, "Easthampton", similar to neighboring Southampton.)

The Boughton family started publishing the paper in 1890 when Edward S. Boughton became publisher. It stayed in that family until 1935 when the Rattray family under Arnold E. Rattray began publishing it.  Five members of the Rattray family have run the paper: Arnold, Jeannette, Everett (their son), Helen S. Rattray (who has been publisher since 1980) and David E. Rattray, the current editor. Jennifer Landes is the arts editor.

The broadsheet is regularly filled with several pages of letters to the editor, because of its policy to publish "every letter to the editor it receives exclusively, with the exception of those sent anonymously, or those judged to be proselytizing, an invasion of privacy, libelous, or obscene." It is one of the first and only newspapers in the nation to print all letters received (that meet these requirements). The paper has reported on emerging issues surrounding development, land preservation, and historic preservation, and it contributes to East Hampton's level of civic activism and engagement in these matters.

References

External links

East Hampton (town), New York
Newspapers published in New York (state)
Newspapers established in 1885
Weekly newspapers published in the United States
1885 establishments in New York (state)

The East Hampton Star


The Odeon of Herodes Atticus (Greek: Ωδείο Ηρώδου του Αττικού; also called Herodeion or Herodion; Greek: Ηρώδειο) is a stone Roman theatre structure located on the southwest slope of the Acropolis of Athens, Greece. The building was completed in AD 161 and then renovated in 1950.

Ancient times

It was built in AD 161 by Herodes Atticus in memory of his Roman wife, Aspasia Annia Regilla. It was originally a steep-sloped theatre with a three-story stone front wall and a wooden roof made of expensive cedar of Lebanon timber. It was used as a venue for music concerts with a capacity of 5,000. It lasted intact until it was destroyed and left in ruins by the Heruli in AD 267.

Modern events

The audience stands and the orchestra (stage) were restored using Pentelic marble in the 1950s. Since then it has been the main venue of the Athens Festival, which runs from May through October each year, featuring a variety of acclaimed Greek as well as International performances.

In 1957, Maria Callas performed at the Odeon as part of the Athens Festival and in the same year Edith Hamilton was pronounced an honorary citizen of Athens at ninety years of age. In May 1962 Frank Sinatra gave two benefit concerts for the city of Athens. The Odeon of Herodes Atticus was the venue for the Miss Universe 1973 pageant. Another memorable performance at the Odeon of Herodes Atticus was given by the Greek singer Nana Mouskouri in 1984; after 20 years of absence she returned to her country. Luciano Pavarotti performed at the Odeon twice, in 1991 and in 2004. Vangelis' Mythodea premiered at Odeon of Herodes Atticus in July 1993 and the venue hosted Yanni's Live at the Acropolis performance in September 1993. Sting performed at the venue during his Mercury Falling Tour on May 17, 1996. In June 2018 he returned for two more concerts. Mario Frangoulis has performed at the historic theatre with Yannis Markopoulos' and directed by Elias Malandris, Orpheus in 1996 and also played the role of Erotokritos in his work based on Vitsentzos Kornaros' Erotokritos. He also performed 'Axion Esti' poem by Odysseus Elytis music by Mikis Theodorakis and conducted by the composer himself in May 1998 to benefit Elpida Foundation for children suffering from cancer. Elton John performed two concerts at the venue during his Medusa tour in 2000. In June 2008, Sylvie Guillem performed Boléro in company with the Tokyo Ballet as part of the Athens Festival. In September 2010, tenor Andrea Bocelli held a concert at the Odeon to raise funds for cancer research. In 2012, Mario Frangoulis performed the leading role in Carl Orff's Carmina Burana at the Herodes Atticus theatre. In 2020 the first art exhibition was held on the site, by Greek artist Dionisis Kavallieratos, entitled 'Disoriented Dance / Misled Planet' organised by NEON Organization and the Athens and Epidaurus Festival.

Other artists who have performed at the Odeon of Herodes Atticus include Plácido Domingo, José Carreras, Montserrat Caballé, Alicia de Larrocha, Roger Woodward the Bolshoi Ballets, Calexico, Maurice Béjart, Joaquín Cortés, Paco de Lucía, Diana Ross, Liza Minnelli, Goran Bregovic, Steve Harley (without the usual band, Cockney Rebel, but accompanied by an 80-piece orchestra), Jean Michel Jarre, Ennio Morricone, Jethro Tull, Karolos Koun, Mikis Theodorakis, Manos Hatzidakis, Nikos Koundouros, Patti Smith, Sivert Høyem, Spiros Evangelatos, Fairuz, Yannis Markopoulos, George Dalaras, Dulce Pontes, Haris Alexiou, Marinella, Foo Fighters, Yann Tiersen, Dionysis Savopoulos, Leonidas Kavakos, Kathryn Morgan, Dead Can Dance, Florence and the Machine, Kraftwerk and many other important artists and artistic organisations.

See also
 List of concert halls
 List of contemporary amphitheaters

References

External links
● Odeon of Herodes Atticus: History, location, how and when to visit. Text in English, photos.
The southern slope of the Acropolis and the theatre itself, Hellenic Ministry of Culture.
Video: Haris Alexiou performance at the Odeon of Herodes Atticus in 1994, directed by Mauro Bolognini; in this video a part dedicated to her collaboration with Manos Hadjidakis, who had died a few days before the concert.

Buildings and structures completed in the 2nd century
Acropolis of Athens
Landmarks in Athens
Ancient Greek buildings and structures in Athens
Ancient Roman buildings and structures in Greece
Theatres in Athens
Roman Athens

Odeon of Herodes Atticus


A facebuster, also known as a faceplant, is generally a takedown move in professional wrestling in which an attacking wrestler forces their opponent down to the mat face-first without involving a headlock or facelock. A standard facebuster, also known as a jumping facebuster, involves the wrestler grabbing hold of the opponent's head/hair and dropping down to their knees, forcing the opponent's face into the mat.

Variants

Argentine facebuster

The attacking wrestler places an opponent in an Argentine backbreaker rack, where the opponent is held face-up across both the shoulders of the wrestler. From here the wrestler falls sideways (towards the side where the opponent's head is held) while still holding the opponent's head with one arm and flipping the opponent's legs over with the other, driving them down to the mat face-first. WWE wrestler Bianca Belair uses this move and calls it K.O.D (Kiss Of Death). Former WWE wrestler Tyler Reks used the move as the Burning Hammer (not to be confused with the variation innovated by Kenta Kobashi) on rare occasions.

Belly-to-back inverted mat slam

From a position in which the opponent is bent forward against the wrestler's midsection, the wrestler grabs around the opponent's midsection and lifts so that the opponent is held upside down, facing in the same direction as the wrestler. The wrestler then hooks both arms of the opponent using their legs and falls forward, planting the opponent's body into the mat face-first. The move often sees the wrestler keep their legs hooked under the arms of the opponent after hitting the move, using the underhooking technique to turn the opponent on to their back into a Rana style pinning position. This move was innovated by Col. DeBeers and was made famous by Diamond Dallas Page and A.J. Styles, who refers to the move as the Styles Clash. Styles performs the maneuver with a variation, as seen in the photos to the right: he does not hook the opponent's arms before performing the slam, but takes two steps and moves his legs in front of the opponent's arms, enabling him to use his legs to cover the shoulders for a pin. This variant is later utilized by former WWE wrestler Michelle McCool, who referred to the move as the Faith Breaker. Cesaro uses a variation called the Neutralizer where he grapevines the opponent's leg with his arm similar to a cradle piledriver.

Belly-to-back facebuster
Like a belly-to-back suplex, the attacking wrestler wraps their arms around the opponent in a waistlock, lifts the opponent in the air, and falls forward into a facebuster. Brooke Tessmacher used this as her finisher and called it the Tess-Shocker.

Swinging belly-to-back facebuster
The opponent is lifted in sidewinder suplex position before being swung around and driven face first into the mat by the attacker.

Diving facebuster
This variation sees the wrestler grab a hold over the opponent's head/hair, then climb to the second rope or and finally jump from there dropping to their knees or in a sitout position and planting the opponent face first to the mat. In another variation the wrestler could just jump from the turnbuckle grabbing the opponent's head/hair in the air and planting them to the mat.

Double underhook facebuster
The wrestler bends their opponent forward, placing the opponent's head between the wrestler's legs, and then applies a double underhook on the opponent. The wrestler performs a kneeling or sitout facebuster. Andre the Giant is credited for inventing the move, but is perhaps better known as the Pedigree, the name Triple H gave to the kneeling version of the move as his finisher. Chyna later adopted the move from Triple H and began using it as a finisher. Another similar version of the Pedigree was used by Seth Rollins, where he would release his opponent during the fall, while a sitout version, known as the In Yo' Face, is the name Velvet Sky gave to the move as her finisher. CM Punk used an avalanche version called the Pepsi Plunge in the independent circuit before re-using the move in AEW and uses the move which can see him drop the opponent towards the mat while facing to or away from the turnbuckle. Chyna also used this version in her feud against Chris Jericho.

Inverted double underhook facebuster
The wrestler stands behind and facing the same way as their opponent and hooks both their arms. The wrestler then places their head next to the opponent's back and turns 180 degrees while twisting one of the opponent's arms over both of their heads. With the wrestler now in front of the opponent and still hooking the opponent's arms, the wrestler drops onto their back, driving the opponent down face-first into the mat. Innovated by Tommy Rogers as the Tomikaze, it was popularized by Christian, who used this move as a finisher in WWE/TNA; it is perhaps better known as the Killswitch, but he has previously called it the Impaler (1998–1999) and the Unprettier (1999–2009). Juice Robinson uses a jumping variation, calling it Pulp Friction. Candice Michelle used this move and called it Candywrapper. Chelsea Green uses the move as her finisher, calling it the Un-Pretty-Her. Lio Rush uses a variation where he and the opponent spin a full 360°. Tyler Breeze is also among notable wrestlers who use the move and he refers to it as The Unprettier. Grayson Waller version sees him performing a somersault.

Lifting double underhook facebuster
Innovated by Gran Apache, this facebuster is performed when a wrestler bends an opponent forward, placing the opponent's head between the wrestler's legs (a standing head scissors), and hooks each of the opponent's arms behind their back. The wrestler then pulls back on the opponent's arms, lifting them up so that the opponent is held upside-down facing in the same direction as the wrestler, as if the wrestler was preparing for a double underhook piledriver. The wrestler then falls forward to a kneeling position, planting the opponent's body into the mat face-first. A sit-out variation of this move exists. This maneuver was popularized by Christopher Daniels, who uses a spinning sit-out version of the move and calls it the Angel's Wings and El Desperado as Pinche Locó. Awesome Kong uses a kneeling version as her finisher, known as the Implant Buster. Tommaso Ciampa uses this move, calling it Fairy Tale Ending, while Mandy Rose currently uses a sitout version of the move, known as the Bed of Roses.

Electric chair facebuster
The wrestler approaches the opponent from behind, and lifts them onto their shoulders into a seated position, the electric chair. The wrestler then lifts the opponent up by their thighs and pushes them forward and down, slamming them down to the mat chest first. The wrestler may also sit down while slamming the opponent. Used by Rhea Ripley as transition move.

Fireman's carry facebuster
This facebuster variation sees a wrestler lift an opponent up in a fireman's carry across their shoulders, then throw the opponent's legs out in front of them to spin them out, while simultaneously falling backwards or forwards, causing the opponent to land on their face and upper body. Popularized by Brock Lesnar as the F-5 and by Rosemary as the Red Wedding. Kevin Steen used the move as his signature move in Ring of Honor.

Forward Russian legsweep
The wrestler grabs the opponent by the arm and goes behind him while holding the arm and hooking the opponent's leg. The wrestler then bends the opponent's back and slams their face to the mat. The forward Russian legsweep was popularized by Jeff Jarrett, who began using the maneuver as a finisher in the late 1990s and calls it The Stroke.

Full nelson facebuster
A slight variation of the forward Russian legsweep, the wrestler approaches the opponent from behind and places them in a full nelson before hooking their leg. The wrestler then falls forward in an almost identical way, slamming the opponent face-first into the mat. The most notable practitioner of this variant is The Miz, who calls the move the Skull Crushing Finale and has used it as a finisher since August 2009.

Front facelock drop
The wrestler applies a front facelock to the opponent and then throws their legs out behind them, falling onto their stomach and driving the opponent's face into the mat. It is similar to a standard DDT, except it targets the face of the victim rather than the head, and the wrestler falls onto their stomach instead of falling back as they would in a DDT. A single underhook variation was used by Seth Rollins.

Gory bomb
This back-to-back release facebuster is a variation of the Gory special where a wrestler releases the arms of the opponent to take hold of the opponent's legs while dropping to a seated position, forcing the opponent to fall forward and impact the mat face-first. The move is named after the innovator of the original Gory special, Gory Guerrero. Chavo Guerrero utilized this move. WWE wrestler Kay Lee Ray uses this move as the KLR Bomb, now known as the Fyre Bomb ever since going under the ring name Alba Fyre. NJPW wrestler Shingo Takagi uses it as Noshigami.

Inverted double leg slam
Also known as an inverted Alabama Slam, this move usually starts with the opponent sitting on an elevated position such as the top turnbuckle, with the attacking wrestler, standing in front of them and facing the same direction, positioning the opponent's legs over their shoulders. Then the attacking wrestler detaches from the turnbuckle, so that the opponent is held upside down in a back-to-back position. From this position the attacking wrestler bends over, flipping the opponent over their head and slamming them down to the mat face-first. The attacking wrestler may also sit down while slamming the opponent. Drew McIntyre currently uses this moves as a transitional move. Hall of Famer Nikki Bella uses this move as a signature move.

Inverted swinging facebuster
This version of a facebuster sees the wrestler place an opponent in an inverted facelock while holding the facelock, twisting them into the facebuster and landing with their legs spread apart, driving the opponent's face into the mat. Velvet Sky used a variation of this move. She begins with her opponent in an inverted facelock, then grabs one of the opponents arms and pulls, rotating the opponent so that the front of the body faces the mat and is in between her legs, finally driving down to the mat and ending in a facebuster.

Kneeling facebuster
The wrestler grabs the opponent by the head or hair and jumps in the air, landing in a kneeling position and driving the opponent's face into the mat. A slight variation of the kneeling facebuster sees a wrestler fall into the kneeling position while having the opponent's head between their legs and pushing the opponent down with their hands. Dustin Rhodes used the move in his Black Reign persona called the Blackout. Ivory used this as her finisher interchangeably with the sit out version, calling them both Poison Ivory.

Over the shoulder facebuster
Also known as a powerslam facebuster, this variation sees the wrestler lifting the opponent onto their shoulders as in a front powerslam. Then as the opponent is on the shoulder, the wrestler jumps and slams the opponent face-first to the mat. A cutter variation also exists. WWE wrestler Big E uses this move as a finisher, calling it the Big Ending.

Ura-Shouten
The wrestler lifts their opponent into a Gutwrench Canadian Backbreaker Rack and transitions it into a Swinging Side-slam Face-buster. Innovated and popularized by Hirooki Goto.

Powerbomb facebuster
This variation of the facebuster sees the wrestler seating the opponent over their own shoulders, as in a powerbomb. From this point, the wrestler pushes the opponent off their shoulders, grabs the opponent's head with both hands, and drops seated or kneeled to hit a sitout or kneeling facebuster.

Push-up facebuster
A variation where a wrestler puts the opponent's between their legs as they performs push-ups, causing the opponent's face to be slammed into the canvas a number of times. Often instead of straight push ups, the attacking wrestler just bounces their legs up and down to create the effect. Madison Rayne uses this as one of her signature moves.

Reverse chokeslam facebuster
The attacking wrestler grabs hold of an opponent's neck with both hands, one on the front, and one on the back. The arm that has the hand on the back of the neck may hook the opponent's arm. The wrestler then lifts the opponent up, releases the hand holding the front of the opponent's neck, and pushes forward to slam the opponent to the mat face-first with the other hand. Braun Strowman rarely uses this move as his finisher. Former NXT Rookie Eli Cottonwood used this as a finisher.

A wrestler pushes their opponent upward by reaching under their legs and lifting them into the air. While retaining the hold on the opponent's leg, the wrestler falls backwards, dropping the opponent front-first into the canvas. It is commonly used when an opponent is charging. The move is similar to a back body drop, but the wrestler pushes upwards so that their opponent falls on to their face instead of falling back-first.

Shoulder facebuster
Also known as a hangman's facebuster or cravate facebuster, this facebuster is performed when an attacking wrestler, who is standing in a back-to-back position with an opponent, reaches back to pull the opponent's head over their shoulder before (while keeping a hold of the opponent's head) falling forwards to twist the opponent's head over so they slam face first into the mat. This move was the finisher of Curtis Axel, which he called the Axehole.

Sitout facebuster

This is the most common variation of the standard facebuster in which the attacker grabs hold of the opponent by their head then jumps in the air, lifting the opponent and landing with their legs spread apart, driving the opponent's face into the mat. Another variation of this move is to grab the opponent by the hair, perform the same jump and landing but lift only the opponent's head, giving a harder effect when the opponent's face is driven into the mat. This was popularized by Sean Waltman and The Bella Twins, the latter dubbing the move the Bella Buster. Billy Kidman would utilized the move to counter an opponent's powerbomb attempt. Io Shirai/Iyo Sky also uses the move.

Other wrestlers who've used this move and popularized it were, Torrie Wilson calling it the "nose-job", Jazz calling it "the jazz stinger", Ivory calling it "poison Ivory", and Jillian Hall calling it "the solo". The move would also be used by Kelly Kelly, Gail Kim, Layla, Dawn Marie, Lana, and  Brooke Tessemacher.

Spinning facebuster
Also known as a tornado facebuster, this variation sees the attacker grabbing hold of the opponent by their hair and then spinning in the air, landing in a kneeling position and driving the opponent's face into the mat. This maneuver was popularized by Melina. It's also used by Shotzi Blackheart as a setup for her signature or finisher.

Vertical suplex facebuster
Also called a front suplex or a gourdbuster, this move sees attacker apply a front facelock to the opponent and drape the opponent's near arm over their shoulder. The attacker lifts the opponent into a vertical position, then falls forward, driving the opponent's face into the ground. Invented by Arn Anderson, while Jeff Hardy used a sitout version.

Wheelbarrow facebuster
This facebuster sees the attacking wrestler grab a standing opponent around the waist from behind and lift them into a backdrop position before then falling to a sitting position, swinging the opponent down so that their face is driven into the ground. A variant, sees the wrestler lift the opponent's legs around their waist before placing both hands around the opponent's waist and lifting them into a wheelbarrow position. The wrestler then elevates their opponent into the air before performing a seated drop, driving their opponent's face into the canvas.

Belly-to-back wheelbarrow facebuster
A variation to the wheelbarrow facebuster which sees the attacking wrestler stand at the side of an opponent and begin to lift them as for a belly-to-back suplex. Instead of falling backwards to drop the opponent back-first, the wrestler stops after lifting the opponent, grabs a hold of their legs while still holding the opponent up, and slams them face-first on to the mat. Jushin Thunder Liger is well known for using this move as a finisher, calling it the Crash Thunder Buster.

Chickenwing facebuster

The wrestler hooks both an opponent's arms in an elevated double chickenwing, lifts them up into the air from behind, then drops the opponent down onto the mat face first. There is also a sitout variation, where a wrestler hooks their opponent's legs and drops to a seated position, while planting the opponent's face into the canvas between the wrestler's legs. This was popularized by Beth Phoenix, who calls it the Glam Slam. Jon Moxley used this during the indies in the 2000s as the Hook and Ladder before signing with WWE in 2011. NJPW wrestler Ryusuke Taguchi used this move called the Dodon. Taya Valkyrie also used this move as a finisher dubbed Road To Valhalla. Jade Cargill currently used this as the Jaded. T. J. Perkins also utilize the move but instead dropped his opponent onto his knees.

See also
Professional wrestling throws

References

Professional wrestling moves

Facebuster


The hobo nickel is a sculptural art form involving the creative modification of small-denomination coins, resulting in miniature bas reliefs. The United States nickel coin was favored because of its size, thickness, and softness; but the term hobo nickel is generic, carvings having been made from many denominations.  Because of its low cost and its portability, this medium was particularly popular among hobos, hence the name.

Early altered coins (1750s–1913)

The altering of coins dates from the 18th century or earlier. Beginning in the 1850s, the most common form of coin alteration was the "potty coin", engraved on United States Seated Liberty coinage (half dime through trade dollar) and modifying Liberty into a figure sitting on a chamber pot. This period was also the heyday of the love token, which was made by machine-smoothing a coin (usually a silver one, such as a Morgan dollar) on one or both sides, then engraving it with initials, monograms, names, scenes, etc., often with an ornate border. Hundreds of thousands of coins were altered in this manner. They were often mounted on pins or incorporated into bracelets and necklaces. The love-token fad waned in the early 20th century; love tokens engraved on buffalo nickels are rare.

During this period, hobo-style coin alteration also occurred outside the United States, primarily in Britain, France, and South Africa.

The Buffalo nickel

When the Indian Head nickel, or Buffalo nickel, was introduced in 1913, it became popular among coin engravers. The big Native American head was a radical departure from previous designs and would not be seen on any subsequent coins. The large, thick profile gave the artists a larger template to work on and allowed for finer detail.

On earlier coins, the head was much smaller in relation to the size of the coin. For example, on a Lincoln cent, the head covers about one sixth of the area; on the Buffalo nickel, about five sixths of the area. Moreover, the nickel is a larger coin. Large heads also adorn the Morgan dollar and the Columbian half dollar commemoratives of 1892–1893; but these coins were rarely altered, because of their high value.

Another factor contributing to the Buffalo nickel's popularity was the subject. Nearly all previous coins had depicted women (Liberty head nickels, Indian head cents, and Barber and Morgan silver dollars). A male head has larger, coarser features (nose, chin, brow), which can be altered in many ways. The buffalo on the reverse could be changed into another animal or a man with a backpack.

Classic old hobo nickels (1913–1940)
Many talented coin engravers, as well as newcomers, started creating hobo nickels in 1913, when the Buffalo nickel entered circulation. This accounts for the quality and variety of engraving styles found on carved 1913 nickels. More classic old hobo nickels were made from 1913-dated nickels than any other pre-1930s date.

Many artists made hobo nickels in the 1910s and 1920s, with new artists joining in as the years went by. The 1930s saw many talented artists adopting the medium. Bertram Wiegand, known almost exclusively as Bert, began carving nickels in the teens, and his student George Washington Hughes, known as Bo, began carving in the late teens (and up to 1980 when he vanished in 1981). During this period, Buffalo nickels were the most common nickels in circulation.

Later old hobo nickels (1940–1980)
The 1940s, 1950s, 1960s and 1970s were a transitional period for hobo coin engravers, during which the Buffalo nickel was gradually replaced by the Jefferson nickel. Some veteran nickel carvers such as Bo and Bert continued making hobo nickels in the classic old style. Bo, in fact, did his best work in the early 1950s, when he carved many spectacular cameo portrait hobo nickels.

During this 40-year period, many new carvers appeared, and style and subject matter became decidedly modern. Subjects became more ethnically and socially diverse (e.g., a Chinese woman with triangular hat, hippies with long hair and glasses, men wearing floppy hats, etc.). Some of these new artists used new techniques such as power engravers, vibrating tools, and felt marker pens to add color to hair.

By the end of the 1970s, most Buffalo nickels had disappeared from circulation, and the majority of engravings were performed on worn coins. Bo, for example, was forced to obtain Buffalo nickels from coin dealers, some of whom commissioned carvings.

Modern hobo nickels (since 1980)
Many carvers who were active during the 1960s and 1970s continued carving Buffalo nickels into the 1980s. Their coins were altered using punches (dashes, dots, arcs, crescents, stars) and some carving of the profile. The area behind the head is usually rough from dressing with a power tool. They created standard design hobo nickels (derby and beard), as well as many modern subjects, such as occupational busts (fireman, railroad engineer, pizza chef), famous people (Uncle Sam, Albert Einstein), hippies, and others.

A major event occurred in the early 1980s, demarcating the transition from "old" to "modern" hobo nickels. This was the publication of a series of articles by numismatist Del Romines on the subject of hobo nickels. He soon published the first book on the subject, Hobo Nickels (ASIN B0006R7SFW), in 1982. Both centered on Bo and his carvings.

This resulted in some new artists entering the field, most of whom simply copied Bo's nickel artwork from the illustrations in Romines's book. The two major Bo-style copycats were John Dorusa and Frank Brazzell. Together, they produced 20,000 or more modern carved nickels, most of which were copies of Bo's designs. Dorusa even copied Bo's "GH" signature (for "George Hughes") on many of this early creations. Pressure from prominent hobo nickel collectors such as Bill Fivaz convinced Dorusa to stop carving "GH" and put his own initials or name on his works. Dorusa and Brazzell also produced original works, featuring non-traditional subject matter (conquistadors, Dick Tracy, skulls, etc.). The large number of Bo copies led many collectors to label all modern carved nickels as "Neo-Bo's", a term no longer in use.

Other carvers such as "Cinco de Arturo" (Arturo DelFavero) also appeared in the 1980s and 1990s, introducing more modern subject matter (cartoon characters, witches, and animals). Most nickel carvers of the 1980s to mid-1990s are regarded by collectors as mediocre at best, but circa 1995, Ron Landis, an engraver in Arkansas, began creating superior quality carvings.
For about four years, Landis was the only nickel carver creating superior carvings, at the rate of only one to two dozen per year (all signed, numbered, and dated). Many other professional engravers have since begun creating hobo nickels. Landis and "Cinco de Arturo" are two of four known living artist practicing this craft prior to the year 2000. The others are Sonny Carpenter, and Bill Jameson (Billzach), All four are considered superior carvers, and ground breakers that inspired the current renaissance.

Some current prolific carvers are converting from quantity to quality, making fewer pieces of high artistic quality (as the market is flooded with lower quality quickly-made carvings). Modern carvings of superior quality sell for about the same prices as classic old original carvings of equal quality by unknown artists.

From the early 1980s to the present, modern lesser-quality carvings could and still can be purchased for as little as $5 to $10 each. Many new collectors found it hard to obtain good-quality old original hobo nickels (as they are so scarce and costly), so they began collecting the readily obtainable and inexpensive modern works.

About 100,000 (and possibly as many as 200,000) classic hobo nickels were created from 1913 to 1980. Modern artists have created (and continue to create) altered nickels in such large quantities that, within the next few years, the number of modern carvings is expected to surpass that of classic old hobo nickels. Most of the 100,000-plus classic old hobo nickels are not yet in the hands of collectors, whereas almost all modern carvings are. Among numismatists, the modern carvings already greatly outnumber the classic old hobo nickels.

See also

 Trench art

References

 Stephen P. Alpert. Hobo Nickel Guidebook. 2001, 122 pages.
 Bill Fivaz. "Reverse Carvings on Hobo Nickels". Nickel News, Fall 1987.
 Delma K. Romines. Hobo Nickels. Newberry Park, CA: Lonesome John Publishing Co., 1982, 106 pages.
 Joyce Ann Romines. Hobo Carvings: An Exclusive Upgrade of Hobo Nickel Artistry. 1996, 108 pages.
 Michael Wescott with Kendall Keck. The United States Nickel Five-Cent Piece: History and Date-by-Date Analysis. Wolfeboro, NH: Bowers & Merena, 1991.

External links
 Original Hobo Nickel Society, numismatic community interested in carved coins, primarily 1913-1938 Buffalo nickels. Both classic carved nickels and recent carved nickels are generically called "hobo nickels".
 SSoIH Carver's Database, Hobo Nickel Carver Signature Search.  Searchable database of carver signatures and examples of their work.
 Nickel Carver's ShowCase, a collection of photos showing individual carvers and examples of their carvings where available. Includes currently active carvers, known classic carvers and "nicknamed" classic carvers.
 Alpert's Artist Galleries, an expanded and updated online version of Steve Alpert's Hobo Nickel Guidebook.

Five-cent coins of the United States
Exonumia
Hoboes
Sculpture techniques
Reliefs

Hobo nickel


Aleksandr Bratchikov (born 21 July 1947) is a former Soviet sprinter who specialized in the 200 and 400 metres.

At the 1966 European Junior Championships he won the gold medal in the 400 metres, as well as a gold medal in the 4 x 400 metres relay. At the 1967 European Indoor Games he won a gold and a silver medal in relay races. At the 1968 European Indoor Games he won a silver medal in the 400 metres as well as a bronze medal in the relay. A silver medal in the relay followed at the 1969 European Indoor Games. At the 1969 European Championships he finished fifth in the 400 metres and won a silver medal in the 4 x 400 metres relay.

At the 1970 European Indoor Championships the Soviet relay team won gold medals. Individually, Bratchikov won a gold medal too. He followed up with a 400 metres bronze medal at the 1971 European Indoor Championships. The 4 x 400 metres relay won silver medals. In the summer he finished seventh in the 400 metres at the 1971 European Championships.

In 1969 he became the Soviet champion in both 200 and 400 metres. He took another 400 metres title in 1971.

References

1947 births
Living people
Soviet male sprinters
Russian male sprinters
European Athletics Championships medalists
Universiade silver medalists for the Soviet Union
Universiade medalists in athletics (track and field)
Medalists at the 1970 Summer Universiade

Aleksandr Bratchikov


Tai Hang Road () is a major road on the north side of Hong Kong Island in Hong Kong. Starting low from Tai Hang at Tung Lo Wan Road, Causeway Bay, it winds up to So Kon Po and further up to the mid-levels of Jardine's Lookout and Mount Nicholson, passing through Wong Nai Chung Gap. This is a road along which there are a number of luxurious residential apartments, such as Illumination Terrace, Grand Deco Tower and The Legend.

The road meets Lai Tak Tsuen and Haw Par Mansion in Tai Hang.

See also

 List of streets and roads in Hong Kong
 Illumination Terrace

References

Tai Hang
Jardine's Lookout
Wong Nai Chung Gap
Causeway Bay
Roads on Hong Kong Island

Tai Hang Road


The Saint Maurelius Altarpiece was an oil on panel painting by Cosmè Tura, executed c. 1480, produced for the church of San Giorgio fuori le mura, site of Maurelius of Voghenza's shrine. Two tondos from it survive, Trial of St Maurelius and Martyrdom of St Maurelius, both now in the city's Pinacoteca Nazionale.

It was commissioned in the 1470s during a rebuilding of the church prior to its reconsecration. The work's original structure is unknown, but probably had a now-lost central panel of Maurelius himself with a number of panels (perhaps six) with episodes from his life, the only two survivors of which are the Pinacoteca panels. The two panels are the right shape perhaps to have formed part of a predella, though they are larger than the usual size for such panels - the tondi of the Roverella Altarpiece by the same artist are 38 cm in diameter.

The altarpiece fell into disrepair and in 1635 was replaced by one on the same subject by Guercino. The two tondos were moved to the church's sacristy and then possibly to the neighbouring monastery.  They came into the possession of Filippo Zafferini and in 1817 he passed them to Ferrara town council. The two paintings are among only a few of Tura's works still in Ferrara.

References

Paintings by Cosmè Tura
Paintings in the Pinacoteca Nazionale di Ferrara
Paintings of saints
1480 paintings

Saint Maurelius Altarpiece


These Are My Jewels (also known as Ohio's Jewels: Grant, Sheridan, Stanton, Garfield, Hayes, Chase, and Sherman, or simply Ohio's Jewels) is an 1893–1894 monument by Levi Scofield, installed outside the Ohio Statehouse in Columbus, Ohio, United States.

Description

The monument features life-size bronze statues of seven men — Salmon P. Chase, James A. Garfield, Ulysses S. Grant, Rutherford B. Hayes, Philip Sheridan, William Tecumseh Sherman, and Edwin Stanton — as well as a bronze statue of the Roman Cornelia.

The sculptural group stands at the northwest corner of the statehouse grounds (Capitol Square). It honors military and political leaders from Ohio who significantly contributed to the Union during the American Civil War. The monument's name is from an ancient Roman anecdote about the wealthy Cornelia. When asked by her well-dressed friends where her jewelry was, Cornelia left and returned with her sons, saying "These are my jewels!". Cornelia personifies Ohio, presenting its best leaders during the time of crisis.

The monument was designed by Levi Scofield, known for his Soldiers' and Sailors' Monument on the Public Square in Cleveland.

History

The sculptural group was conceived by General Roeliff Brinkerhoff, one of the founders of the current-day Ohio History Connection. Brinkerhoff wanted a monument for the Ohio Pavilion in the World's Columbian Exposition, the 1893 Chicago world's fair. It was moved to Columbus at the fair's end. The statue originally displayed six Ohioans, though Ohio governor and later president William McKinley led efforts to add on a statue of Rutherford B. Hayes, his former commanding officer. The act led the monument to depict three of the eventual eight U.S. presidents from Ohio. The monument was dedicated in 1894, and rededicated on June 10, 1965 and November 5, 1992.

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

References

External links

1894 establishments in Ohio
1894 sculptures
Bronze sculptures in Ohio
Cultural depictions of Rutherford B. Hayes
Cultural depictions of Ulysses S. Grant
Monuments and memorials in Ohio
Ohio Statehouse
Outdoor sculptures in Columbus, Ohio
Sculptures of men in Ohio
Sculptures of women in Ohio
Statues in Columbus, Ohio
Statues of James A. Garfield
Statues of presidents of the United States
Union (American Civil War) monuments and memorials in Ohio
Statues of Ulysses S. Grant

These Are My Jewels


United States obscenity law deals with the regulation or suppression of what is considered obscenity and therefore not protected speech under the First Amendment to the United States Constitution. In the United States, discussion of obscenity typically relates to defining what pornography is obscene, as well as to issues of freedom of speech and of the press, otherwise protected by the First Amendment to the Constitution of the United States. Issues of obscenity arise at federal and state levels. State laws operate only within the jurisdiction of each state, and there are differences among such laws. Federal statutes ban obscenity and child pornography produced with real children (such child pornography is unprotected by the First Amendment even when it is not obscene). Federal law also bans broadcasting (but not cable or satellite transmission) of "indecent" material during specified hours.

Most obscenity cases in the United States in the past century have revolved around images and films, but there have also been many cases that dealt with textual works as well, a notable case being that of the 18th-century novel Fanny Hill. Because censorship laws enacted to combat obscenity restrict the freedom of expression, crafting a legal definition of obscenity presents a civil liberties issue.

Legal issues and definitions

The sale and distribution of obscene materials had been prohibited in most American states since the early 19th century, and by federal law since 1873. Adoption of obscenity laws in the United States at the federal level in 1873 was largely due to the efforts of Anthony Comstock, who created and led the New York Society for the Suppression of Vice. Comstock's intense efforts led to the passage of an anti-obscenity statute known as the Comstock Act which made it a crime to distribute "obscene" material through the post. It also prohibited the use of the mail for distribution of birth control devices and information. Comstock was appointed postal inspector to enforce the new law. Twenty-four states passed similar prohibitions on materials distributed within the states. The law criminalized not only sexually explicit material, but also material dealing with birth control and abortion. However, the legislation did not define "obscenity", which was left to the courts to determine on a case by case basis.

In the United States, the suppression or limitation of what is defined as obscenity raises issues of rights to freedom of speech and of the press, both of which are protected by the First Amendment to the Constitution of the United States. The Supreme Court has ruled that obscenity is not protected by the First Amendment, but that the courts still need to determine whether material in question in each case is obscene.

Legally, a distinction is made between permitted material and discussions that the public can access, on the one hand, and obscenity, access to which may be denied, on the other. Permitted material includes erotic art (including "classic nude forms" such as Michelangelo's David statue) and generally less respected commercial pornography.

Federal obscenity law has no uniform national standard, and there is an explicit legal precedent (the Miller test, below) that allows for something legally obscene in one jurisdiction to be protected by the First Amendment in another. With the advent of Internet distribution of potentially obscene material, this question of jurisdiction and community standards has created significant controversy in the legal community. See United States v. Thomas, 74 F.3d 701 (6th Cir. 1996).

There does not exist a specific listing of acts that are obscene outside of court cases. Title 18, chapter 71 of the U.S. Code makes obscene material illegal.

The Citizen's Guide to U.S. Federal Law on Obscenity lists several relevant statutes regarding obscenity.

Definition of obscenity
Although lower courts in the U.S. had used the Hicklin standard sporadically since 1868, it was not until 1879, when prominent federal judge Samuel Blatchford upheld the obscenity conviction of D. M. Bennett using the Hicklin test, that the constitutionality of the Comstock Law became firmly established.

In Rosen v. United States (1896), the Supreme Court adopted the same obscenity standard as had been articulated in a famous British case, Regina v. Hicklin, [1868] L. R. 3 Q. B. 360. The Hicklin test defined material as obscene if it tended "to deprave or corrupt those whose minds are open to such immoral influences, and into whose hands a publication of this sort may fall."

In the mid-1950s, the Supreme Court ruled in Roth v. United States,  that the Hicklin test was inappropriate. Instead, the new Roth test for obscenity was:

In 1964, in Jacobellis v. Ohio, the Supreme Court held that a work could be obscene only if it was "utterly without redeeming social importance". In his concurring opinion in the case, Justice Potter Stewart stated that obscenity is "constitutionally limited to hard core pornography.... I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description.... But I know it when I see it...." In Memoirs v. Massachusetts (1966) (dealing with the banning of the book Fanny Hill) the Court applied the Roth-Jacobellis test to determine that though the other aspects of the test were clear, the censor could not prove that Fanny Hill had no redeeming social value.

In 1973, the Supreme Court in Miller v. California established the three-tiered Miller test to determine what was obscene (and thus not protected) versus what was merely erotic and thus protected by the First Amendment. Delivering the opinion of the court, Chief Justice Warren Burger wrote:

The Miller test remains the U.S. judicial precedent for determining obscenity. However, the Supreme Court has clarified that only "the first and second prongs of the Miller test—appeal to prurient interest and patent offensiveness—are issues of fact for the jury to determine applying contemporary community standards". As for the third prong, "[t]he proper inquiry is not whether an ordinary member of any given community would find serious literary, artistic, political, or scientific value in allegedly obscene material, but whether a reasonable person would find such value in the material, taken as a whole".

Past standards

The following standards were once used by courts to determine obscenity. Each of them has been invalidated, overturned, or superseded by the Miller test.
 Wepplo test (1947): If material has a substantial tendency to deprave or corrupt its readers by inciting lascivious thoughts or arousing lustful desires. (People v. Wepplo, 78 Cal. App. 2d Supp. 959, 178 P.2d 853).
 Hicklin test (1868): the effect of isolated passages upon the most susceptible persons. (British common law, cited in Regina v. Hicklin, 1868. LR 3 QB 360 - overturned when Michigan tried to outlaw all printed matter that would 'corrupt the morals of youth' in Butler v. State of Michigan 352 U.S. 380 (1957)).

Under FCC rules and federal law, radio stations and over-the-air television channels cannot air obscene material at any time and cannot air indecent material between 6 a.m. and 10 p.m.: language or material that, in context, depicts or describes, in terms patently offensive as measured by contemporary community standards for the broadcast medium, sexual or excretory organs or activities.

Many historically important works have been described as obscene or prosecuted under obscenity laws, including the works of Charles Baudelaire, Lenny Bruce, William S. Burroughs, Allen Ginsberg, James Joyce, D. H. Lawrence, Henry Miller, Samuel Beckett, and the Marquis de Sade.

Other court cases on obscenity and indecency
 FCC v. Pacifica (1978), better known as the "seven dirty words" case. In the decision, the Court found that only "repetitive and frequent" broadcast of indecent words at a time or place when a minor could hear them could be punished.
In State v. Henry (1987), the Oregon Supreme Court ruled that the Oregon state law that criminalized obscenity was an unconstitutional restriction of free speech under the free speech provision of the Oregon Constitution, with the ruling making Oregon the "first state in the nation to abolish the offense of obscenity." Its doing so, however, does not affect the federal government's authority to enforce its obscenity statutes.
In Reno v. ACLU (1997), the Supreme Court invalidated several indecency provisions in the 1996 Communications Decency Act applying to the Internet.

Application of test
Under U.S. law, the question whether a publication is obscene is determined by the Miller test. Several sections of 18 U.S. Code, Chapter 71, prohibit the transmission of obscenity, and the Supreme Court has ruled that such statutes are constitutional. However, it has ruled unconstitutional restrictions on the personal possession of obscenity. Federal obscenity laws at present apply to the distribution of obscenity in interstate or foreign commerce or through the U.S. mail; intrastate issues are for the most part still governed by state law. "Obscene articles ... are generally prohibited entry" to the United States by U.S. Customs and Border Protection.

Pornography that is not obscene under the Miller test is protected by the First Amendment. One example of it is mere nudity. In Jenkins v. Georgia, 418 U.S. 153 (1974), the Supreme Court found the film Carnal Knowledge not to be obscene under the constitutional standards announced by Miller.  As declared by the trial judge in Jenkins, "The film shows occasional nudity, but nudity alone does not render material obscene under Miller's standards." This principle was upheld time and again in later cases, including Erznoznik v. City of Jacksonville, 422 U.S. 205 (1975), in which a Jacksonville ordinance made it an offense to show films containing nudity when the screen was visible from a public street or place. The law was determined to be invalid as an infringement of First Amendment rights of the movie producer and theater owners.

A second example of protected pornography is single male-to-female vaginal-only penetration that does not show the ejaculation of semen (sometimes referred to as "soft-core" pornography), where the sexual act and its fulfillment (orgasm) are merely implied to happen rather than explicitly shown. In June 2006, the federal government brought a case against JM Productions of Chatsworth, California in order to classify commercial pornography that specifically shows actual semen being ejaculated as obscene. The four films that were the subject of the case were entitled American Bukkake 13, Gag Factor 15, Gag Factor 18 and Filthy Things 6.  The case also included charges of distribution of obscene material (a criminal act under 18 USC § 1465 - "Transportation of obscene matters for sale or distribution") against Five Star DVD for the extra-state commercial distribution of the JM Productions films in question. At trial, the Department of Justice decided not to pursue the JM obscenity case any further. The jury found that Five Star Video LC and Five Star Video Outlet LC were guilty of violating "18 USC 1465 - Transportation of obscene matters for sale or distribution" for having shipped JM Productions' film Gag Factor 18.  However, the specific content that the jury deemed "obscene" was not stated.

Obscenity v. indecency

"Indecent" material that is not obscene or child pornography is protected by the First Amendment, except that the government may attempt to keep it away from minors. Examples of indecent material include nudity and George Carlin's "seven dirty words".

Non image-based obscenity cases in the United States

Obscene texts
While most of the obscenity cases in the United States in the past century have revolved around images and films, there have been many cases that dealt with textual works as well.

The classification of "obscene" and thus illegal for production and distribution has been judged on printed text-only stories starting with "Dunlop v. U.S., 165 U.S. 486 (1897)" which upheld a conviction for mailing and delivery of a newspaper called the 'Chicago Dispatch,' containing "obscene, lewd, lascivious, and indecent materials", which was later upheld in several cases. One of these was "A Book Named "John Cleland's Memoirs of a Woman of Pleasure" v. Attorney General of Com. of Massachusetts, 383 U.S. 413 (1966)" wherein the book Fanny Hill,  written by John Cleland c. 1760, was judged to be obscene in a proceeding that put the book itself on trial rather than its publisher. Another was "Kaplan v. California, 413 U.S. 115 (1973)" whereby the court most famously determined that "Obscene material in book form is not entitled to any First Amendment protection merely because it has no pictorial content."

However, the book was labeled "erotica" in the 1965 case (206 NE 2d 403) and there a division between erotica and obscenity was made—not all items with erotic content were automatically obscene. Further, the 1965 "John Cleland's 'Memoirs'" case added a further qualification for the proving of "obscenity"—the work in question had to inspire or exhibit "prurient" (that is, "shameful or morbid") interest.

In 1964, the U.S. Supreme Court, in Grove Press, Inc. v. Gerstein, cited Jacobellis v. Ohio (which was decided the same day) and overruled state court findings of obscenity against Henry Miller's Tropic of Cancer. A unauthorized "Medusa" edition of the novel was published in New York City in 1940 by Jacob Brussel; its title page claimed its place of publication to be Mexico.  Brussel was eventually sent to prison for three years for the edition, a copy of which is in the Library of Congress.

In 2005, the U.S. Department of Justice formed the Obscenity Prosecution Task Force in a push to prosecute obscenity cases. Red Rose Stories (www.red-rose-stories.com, now defunct), a site dedicated to text-only fantasy stories, became one of many sites targeted by the FBI for shutdown.  The government alleged that Red Rose Stories contained depictions of child rape.  The publisher pleaded guilty.

Obscene devices
Many U.S. states have had bans on the sale of sex toys, regulating them as obscene devices. For instance, the 1999 Law and Government of Alabama (Ala. Code. § 13A-12-200.1) made it "unlawful to produce, distribute or otherwise sell sexual devices that are marketed primarily for the stimulation of human genital organs." Alabama claimed that these products were obscene, and that there was "no fundamental right to purchase a product to use in pursuit of having an orgasm." The ACLU challenged the statute, which was overturned in 2002. A federal judge reinstated the law in 2004.  The matter was appealed to the US Supreme Court, who in 2007 refused to hear the case, thus the decision of the lower court is enforceable within the state of Alabama. In 2007, a federal appeals court upheld Alabama's law prohibiting the sale of sex toys. The law, the Anti-Obscenity Enforcement Act of 1998, was also upheld by the Supreme Court of Alabama on September 11, 2009.

But other states have seen their sex toy bans ruled unconstitutional in the courts.  In 2008 the United States Court of Appeals for the Fifth Circuit ruled a similar Texas statute violated the constitutional right to privacy that was recognized by the U.S. Supreme Court in the Lawrence v. Texas decision. That ruling leaves only Mississippi, Alabama, and Virginia with current bans on the sale of obscene devices. Alabama is the only state with a law specifically prohibiting the sale of sex toys.

Criticism
Obscenity law has been criticized in the following areas:
 The U.S. Supreme Court has had difficulty defining the term. In Miller v. California, the court bases its definition to two hypothetical entities, "contemporary community standards" and "reasonable persons".
 Legislatures have had similar problems defining the term.
 The Miller test denies defendants due process of law because they cannot know whether the material they distribute or possess is obscene until after the jury returns its verdict.
 The first two prongs of the Miller test — that material appeal to the prurient interest and be patently offensive — require the impossible. They "require the audience to be turned on and grossed out at the same time".
 Arguments have been made that the term "obscenity" is not defined in case law with sufficient specificity to satisfy the vagueness doctrine, which states that people must clearly be informed as to prohibited behavior.
 Critics have argued that no actual injury occurs when a mere preference is violated, so obscenity crimes are victimless.
 Critics have argued that, given its unusual and problematic history, unclear meaning, and the poor reasoning offered by the majorities in Roth and Miller to explain or justify the doctrine, the Supreme Court was simply wrong on the issue and the doctrine should be wholly discarded.

Public funding/public places
Congress passed a law in 1990 that required such organizations such as the National Endowment of the Arts (NEA) and National Association of Artists' Organizations (NAAO) to abide by general decency standards for the "diverse beliefs and values of the American public." in order to receive grant money.

In National Endowment for the Arts v. Finley (1998), the Supreme Court upheld the law, finding that the speech restrictions were constitutional because they were conditions on funding rather than a direct regulation of speech.

Artists who create sexually explicit art sometimes face complaints that their work is inappropriate for children or constitutes sexual harassment. Such artworks have been removed and "no nudity" policies have been put in place.

When these actions are challenged in court as violations of freedom of speech, the venues are often looked at to see if they are an actual "designated public forum." If they are, then public officials have violated the First Amendment rights of the individuals. If a court finds that the venue is not a designated public forum, then government officials have the right to exclude or censor the work.

Additional restrictions on sexual expression

In the Miller decision the use of the words "contemporary community standards" typically means that the law evolves along with social mores and norms. This has been shown throughout the expansion of the pornography industry along with commercial pornography by people such as amateurs and publishers of personal websites on the World Wide Web. Indirect government control such as restrictive zoning of adult video stores and nude dancing were put in place because general obscenity convictions were harder to come by, but First Amendment case law allows reasonable time, place, and manner restrictions. Similarly a set of rules was put in place in Indiana to control erotic dancing, where legal, so that all dancers must either wear "pasties" or "g-strings" as shown in the 1991 case of Barnes v. Glen Theatre.

State laws
State laws as well as federal law attempt to regulate pornography. Between 1995 and 2002, almost half of the states were considering bills to control internet pornography, and more than a quarter of states enacted such laws. However, the federal courts, as in American Bookseller's Association v. Hudnut, have struck down anti-pornography laws as violating the First Amendment.

Censorship in schools, universities, and libraries
Schools, universities, and libraries receive government funds for many purposes, and some of these funds go to censorship of obscenity in these institutions. There are a few different ways in which this is done. One way is by not carrying pornographic or what the government deems obscene material in these places; another is for these places to purchase software that filters the internet activity on campus. An example is the federal Children's Internet Protection Act (CIPA). This mandates that all schools and libraries receiving federal aid for internet connections install a "technology protection measure" (filter) on all computers, whether used by children or adults. There are some states that have passed laws mandating censorship in schools, universities, and libraries even if they are not receiving government aid that would fund censorship in these institutions. These include Arizona, Kentucky, Michigan, Minnesota, South Carolina, and Tennessee. Twenty more states were considering such legislation in 2001–2002.

Child pornography

Child pornography refers to images or films (also known as child abuse images) and in some cases outside of the United States, writings depicting sexually explicit activities involving a child; as such, child pornography is a record of child sexual abuse. Abuse of the child occurs during the sexual acts which are recorded in the production of child pornography, and several professors of psychology state that memories of the abuse are maintained as long as visual records exist, are accessed, and are "exploited perversely."

In New York v. Ferber, 458 U.S. 747 (1982), the U.S. Supreme Court held that child pornography does not have to be found legally obscene to be prohibited. In Ashcroft v. Free Speech Coalition, 535 U.S. 234 (2002), the Supreme Court held that child pornography that is produced without using an actual minor (computer-generated images, for example) is protected by the First Amendment.

Censorship of film
Film censorship in the United States was recognized as constitutional without limits by the 1915 U.S. Supreme Court decision Mutual Film Corp. v. Industrial Commission of Ohio.  This was overturned by the 1952 decision Joseph Burstyn, Inc. v. Wilson, restricting regulation only to "obscene" films. The 1965 case Freedman v. Maryland ruled that prior restraint of film exhibition without a court order was unconstitutional, leading to the end of most state and local film censorship boards. Current laws which can be enforced after the fact are limited by the definition of "obscene" in the 1973 U.S. Supreme Court decision Miller v. California.

The voluntary Motion Picture Association film rating system was adopted in 1968, functioning mostly to prevent children of various ages from seeing certain films at participating theaters. This has sometimes lead to self-censorship of certain sexual content among participating filmmakers wishing to avoid an X, R, or PG-13 rating that would restrict the size of the potential audience.

The most notable films given an "X" rating were Deep Throat (1972) and The Devil in Miss Jones (1973). These films show explicit, non-simulated, penetrative sex that was presented as part of a reasonable plot with respectable production values. Some state authorities issued injunctions against such films to protect "local community standards"; in New York the print of Deep Throat was seized mid-run, and the film's exhibitors were found guilty of promoting obscenity. This Film Is Not Yet Rated is a 2006 film which discusses disparities the filmmaker sees in ratings and feedback: between Hollywood and independent films, between homosexual and heterosexual sexual situations, between male and female sexual depictions, and between violence and sexual content. They found that films have also been further censored than their heterosexual, male, white counterparts due to gay sex (even if implied), African American sex, or female pleasure as opposed to male pleasure.

Possession of obscene material
In 1969, the Supreme Court held in Stanley v. Georgia that state laws making mere private possession of obscene material a crime are invalid, at least in the absence of an intention to sell, expose or circulate the material. Subsequently, however, the Supreme Court rejected the claim that under Stanley there is a constitutional right to
provide obscene material for private use (United States v. Reidel, 402 U.S. 351 (1971)), or to acquire it for private use (United States v. 12 200-ft. Reels of Film, 413 U.S. 123 (1973)).

See also

 Censorship in the United States
 Indecent exposure in the United States
 Legality of pornography in the United States
 Anti-Obscenity Enforcement Act (Alabama)
 Texas obscenity statute
 Hate speech in the United States

References

Further reading
  - Written on June 19, 2009; posted June 22 that year

Obscenity law
Sexuality and society
Censorship in the United States

United States obscenity law


Marcantonio Franceschini (; 1648 – 24 December 1729) was an Italian painter of the Baroque period, active mostly in his native Bologna. He was the father and teacher of Giacomo Franceschini.

Biography
He was a pupil of Carlo Cignani, with whom he worked on the frescoes in the Palazzo del Giardino in Parma (1678–81). He worked closely for many years with his brother-in-law, Luigi Quaini, who also was the cousin of Cignani.

Franceschini had a long career painting canvases on religious and mythological subjects for patrons throughout Europe. Franceschini decorated some ceilings in the Palazzo Ranuzzi (1680) and the Palazzo Marescotti Brazzetti (1682) in Bologna. He helped paint in the tribune at church of San Bartolomeo Porta Ravegnana (1690). Franceschini frescoed the ceiling of the Sala d'Onore ("Hall of Honor") in the Ducal Palace of Modena, commissioned in 1696 for the marriage of Rinaldo d'Este to Princess Charlotte Felicity of Brunswick. He painted the altarpiece in the Cathedral of Finale Ligure and the canvas of San Carlo in the church of the same name in Modena.

His massive program of historical and mythological scenes in the Sala del Maggior Consiglio of the Palazzo Ducale of Genoa (1701–1704) were destroyed by a fire in 1777. These had been completed with the help of Tommaso Aldrovandini, Quaini, and Antonio Meloni.  In addition, his decorations of the pendentives and lunettes of the Piacenza Cathedral were removed in the late 19th century. He decorated the church of Corpus Domini (1688–1694) in Bologna.

He painted 26 canvases of the Seductions and Loves of the Diana and Venus (1692-1700) for the Viennese palace (now Liechtenstein Museum) of Prince Johann Adam I of Liechtenstein. He also served as a buyer for the art-patron Prince.

In Genoa, he also painted for the palaces Spinola and the Palazzo Pallavicini (now Podestà) (1715) of Genoa. The latter had five large canvases of the history of Diana.

Canvases depicting The Four Seasons (1716) are now found in the Pinacoteca di Bologna. There are two canvases of the Story of Rachel in the Pinacoteca B.P.E.R.

He painted the "cartoons" used to make the mosaic decoration of the Cappella del Coro in St. Peter's Basilica. Knighted by Pope Clement XI, he was founding a member and a subsequent director of the Clementine Academy in Bologna.

His paintings have an academic and idealist strain, even for a member of the Bolognese School of Painting. The sparse figures are severely arranged and often porcelain in features. He worked with a younger colleague, Donato Creti. His style is often classified as Barochetto, a mixture of baroque and rococo; but it also could be said the neoclassical influence of French artists was beginning to overtake the baroque tradition. Wittkower describes him as the "Bolognese Maratta".

Numerous painters worked and trained in his prolific studio. Among those who spent time as pupils, apprentices, or assistants were Tommaso Aldrovandini, Luca Antonio Bistoia, Giacomo Boni, Francesco Caccianiga, Ferdinando del Cairo, Antonio Cifrondi, Gaetano Frattini, Giacinto Garofalini, Carlo Cesare Giovannini, Ercole Graziani the elder, Girolamo Gatti, Pietro Gilardi, Giuseppe Marchesi (il Sansone), Michelangelo Monticelli, Giuseppe Pedretti, Pietro Francesco Prina, Pietro Antonio Avanizi, Antonio Rossi (painter), Gentile Zanardi, and his son Jacopo.

The Dulwich Picture Gallery (London), the Honolulu Museum of Art, the Kunsthistorisches Museum of Vienna, the Metropolitan Museum of Art, the Musei Civici of Macerata, the Museo Glauco Lombardi (Parma, Italy), the National Art Gallery of Bologna (Italy), Bojnice Castle (Slovakia) and the State Museums of Florence are among the public institutions holding paintings by Marcantonio Franceschini.

Gallery

Notes

References

External links

1648 births
1729 deaths
17th-century Italian painters
Italian male painters
18th-century Italian painters
Painters from Bologna
Italian Baroque painters
18th-century Italian male artists

Marcantonio Franceschini