Lucie-Simplice-Camille-Benoît Desmoulins (; 2 March 17605 April 1794) was a French journalist, politician and a prominent figure of the French Revolution. He is best known for playing an instrumental role in the events that led to the Storming of the Bastille. Desmoulins was also noted for his radical criticism of the Reign of Terror as the editor of the journal Le Vieux Cordelier. He was a schoolmate of Maximilien Robespierre and a close friend and political ally of Georges Danton, who were the leading figures in the French Revolution.

A lawyer by training, Desmoulins was enthralled by the Revolution from its outbreak. On 12 July 1789, shortly after Louis XVI dismissed his popular finance minister Jacques Necker, Desmoulins delivered an impassioned call to arms to a crowd before the Palais-Royal. His agitation sparked widespread unrest in Paris, which culminated in the Storming of the Bastille two days later. Through his newfound fame, Desmoulins quickly established himself as a prominent radical pamphleteer. He advocated explicitly in favour of republicanism and revolutionary violence, and mounted relentless attacks on not only the Ancien Régime, but also once-sympathetic revolutionary figures such as Jacques Pierre Brissot. His campaigns ultimately contributed to the fall of the moderate Girondist faction and the beginning of the Reign of Terror.

During the Terror, Desmoulins and his close friend and political ally Georges Danton distanced themselves from Maximilien Robespierre's radical Montagnards. Through his new journal Le Vieux Cordelier, he criticized the excesses of the Revolutionary Government and made pleas for clemency, which enraged Robespierre and eventually led to his downfall. In April 1794, Desmoulins was sentenced to death by the Revolutionary Tribunal and guillotined alongside Danton and other accused Dantonists.

Early life
Desmoulins was born at Guise, in the province of Picardy, northern France. His father, Jean Benoît Nicolas Desmoulins, was a lieutenant-general of the bailliage of Guise. His mother was Marie-Madeleine Godart, from Wiège-Faty. Through the efforts of a friend, his father obtained a scholarship for the fourteen-year-old Camille to enter the Collège Louis-le-Grand in Paris. Desmoulins proved an exceptional student even among such notable contemporaries as Maximilien Robespierre and Louis-Marie Stanislas Fréron. He excelled in the study of Classical Literature and Politics, and gained a particular affinity for Cicero, Tacitus and Livy.

Desmoulins initially pursued a career in law, and succeeded in gaining acceptance as an advocate in the parliament of Paris in 1785; however, his stammer and lack of connections to the Parisian legal community proved obstacles to success in this arena. Thus stymied, he turned towards writing as an alternative outlet for his talents; his interest in public affairs led him to a career as a political journalist.

In March 1789, Desmoulins senior was nominated as deputy to the Estates-General from the bailliage of Guise; however, due to illness, he failed to take his seat. Camille Desmoulins, himself limited to the role of spectator at the procession of the Estates-General on 5 May 1789, wrote a response to the event: Ode aux Etats Generaux. The Comte de Mirabeau, a powerful political figure within the Estates-General who positioned himself as a bridge between the aristocracy and the emerging reformist movement, briefly enlisted Desmoulins to write for his newspaper at this time, strengthening Desmoulins' reputation as a journalist .

Outbreak of the Revolution

Owing to his difficulties in establishing a career as a lawyer, Desmoulins' position in Paris was a precarious one and he often lived in poverty. However, he was greatly inspired and enthused by the current of political reform that surrounded the summoning of the Estates-General.

In letters to his father at the time, he rhapsodized over the procession of deputies entering the Palace of Versailles, and criticized the events surrounding the closing of the Salle des Menus Plaisirs to the deputies who had declared themselves the National Assembly—events which led to the famous swearing of the Tennis Court Oath.

The sudden dismissal of popular finance minister Jacques Necker by King Louis XVI on 11 July 1789 provided the spark that lit the fuse of Desmoulins' fame. On Sunday 12 July, spurred by the news of this politically unsettling dismissal, Desmoulins leapt onto a table outside the Cafe du Foy (one of many cafés in the garden of the Palais Royal frequented in large part by political dissidents) and delivered an impassioned call to arms. Shedding his customary stammer in the excitement, he urged the crowd to "take up arms and adopt cockades by which we may know each other", calling Necker's dismissal the tocsin of the St. Bartholomew of the patriots. The stationing of a large number of troops in Paris, many foreign, had led Desmoulins and other revolutionaries to believe that a massacre of dissidents in the city was indeed imminent. This was an idea that his audience also found plausible and threatening, and they were quick to join Desmoulins and take up arms in riots that rapidly spread throughout Paris.

The "cockades" worn by the crowd were initially green, a color associated with hope, and made at first from the leaves of the trees that lined the Palais Royal. However, the color green was also associated with the Comte d'Artois, the reactionary and conservative brother of the King, and the cockades, therefore, were quickly replaced by others in the traditional colors of Paris: red and blue. On 14 July, the people of Paris attacked the Hôtel des Invalides to seize arms, with Desmoulins among them arming himself with a bayonet rifle and two pistols, and embarked upon the Storming of the Bastille.

Journalism

In June 1789, Desmoulins had written a radical pamphlet entitled La France Libre, which Parisian publishers at the time had refused to print. The rioting surrounding the storming of the Bastille, however, and especially Desmoulins' personal and publicized involvement in it, altered the situation considerably. On 18 July, Desmoulins's work was finally issued. The politics of the pamphlet ran considerably in advance of public opinion; in it, Desmoulins called explicitly for a republic, stating, "... popular and democratic government is the only constitution which suits France, and all those who are worthy of the name of men." La France Libre also examined and criticized in detail the role and rights of kings, of the nobility, and of the Roman Catholic clergy.

Desmoulins' renown as a radical pamphleteer was furthered by the publication, in September 1789, of his Discours de la lanterne aux Parisiens, which featured as its epigraph a quotation from the Gospel of John: Qui male agit odit lucem ("He who does evil hates the light") This was understood to allude to the iron bracket of a lamppost at the corner of the Place de Grève and the Rue de la Vannerie, often used by rioters as a makeshift gallows for anti-revolutionaries and those accused of profiteering. A famous Revolutionary song, Ça ira ("It shall be"), also immortalizes this lantern, in the lines, "Les aristocrates à la lanterne... Les aristocrates, on les pendra!" ("To the lantern with the aristocrats... The aristocrats, we'll hang them!")

The Discours de la lanterne, written from the perspective of the Place de Grève lamppost, was aggressive in its celebration of political violence, and attributed exalted qualities of loyalty and patriotism to the citizens who made up the Parisian mob. This hard-edged fervor found an appreciative audience in Paris, and Desmoulins, as a result of the pamphlet, became known as the "Procureur-général de la lanterne" ("the Lanterne Prosecutor" or "Lanterne Attorney").

In September 1789, Desmoulins issued the first number of a weekly publication, Histoire des Révolutions de France et de Brabant, which would run until the end of July 1791. This publication combined political reportage, revolutionary polemics, satire, and cultural commentary; "The universe and all its follies," Desmoulins had announced, "shall be included in the jurisdiction of this hypercritical journal." The Révolutions de France et de Brabant proved extremely popular from its first to its last number. Desmoulins became notorious, and was able to leave behind the poverty that had marked his previous life in Paris.

The politics of the Révolutions de France et de Brabant were anti-royalist and pro-Revolutionary. The newspaper celebrated the Revolutionary zeal of "patriots" from the battlefields of Brabant to the Cordeliers district in Paris, home to the well-known and powerful revolutionary Club des Cordeliers, which Desmoulins joined in February 1790 and soon became a prominent member, and also criticized the excesses and inequities of, among a wide range of targets, the aristocratic regime. The savagery with which Desmoulins attacked those with whom he disagreed drew lawsuits, criticism, and reciprocal attacks. His previous friendships with powerful figures such as the Comte de Mirabeau and Baron Malouet, suffered. Both men, angered by what they perceived as libellous statements, declared that Desmoulins should be denounced and Malouet "went so far as to ask that Camille be certified insane." The Actes des Apôtres, the equally savage royalist newspaper that served as the Révolutions opposite number, engaged in a continual war of insults with the Révolutions, and particularly with Desmoulins, whom it dubbed, in a satirical poem, "l'ânon des moulins" (the little jackass of the windmills).

Upon the death of the Comte de Mirabeau in April 1791, Desmoulins (to whom Mirabeau had, at one time, been a great patron and friend) countered the predominantly sentimental and forgiving eulogies that appeared in the Parisian press by publishing a brutal attack in which he declared the late Mirabeau to be the "god of orators, liars, and thieves." This presaged later about-face attacks against prominent and once-sympathetic Revolutionary figures, such as Jean Pierre Brissot, by Desmoulins.

On 16 July 1791, Desmoulins appeared before the Paris Commune as the head of a group petitioning for the deposition of Louis XVI, who had, in June of that year, briefly fled Paris with his family before being captured and escorted back to the city. The flight of the king had caused civil unrest, and the petition, presented a day before the anniversary of the Fête de la Fédération, contributed to this agitation. On July 17, a large crowd that had gathered at the Champs de Mars in support of the petition was fired upon by military forces under the command of the Marquis de Lafayette, an incident which became known as the Champs de Mars Massacre. Accounts differ as to whether or not Desmoulins was present at the Champs de Mars; in the subsequent upheaval, warrants for the arrest of himself and Georges Danton were issued. Danton fled Paris, and Desmoulins, though he remained in the city, and spoke on several occasions at the Jacobin Club, decreased his journalistic activities for a time.

Early in 1792, following a bitter quarrel with Jean Pierre Brissot over a legal case which Desmoulins had taken up and discussed in several broadsheets, Desmoulins published a pamphlet, Jean Pierre Brissot démasqué, which attacked Brissot savagely and personally. In it, Desmoulins claimed that the invented verb brissoter had taken on the meaning "to cheat," and accused Brissot of betraying republicanism. The case constructed against Brissot in this pamphlet was expanded and used to terrible and destructive effect in Desmoulins' later publication of 1793, Fragment de l'histoire secrète de la Révolution (also known as the Histoire des Brissotins), in which the Girondist political faction, of which Brissot was a prominent member, was accused of traitorous and counter-revolutionary activities. This "history," produced in response to calls by Brissot and his followers for the dissolution of the Paris Commune and of the Jacobins, contributed to the arrest and execution of many Girondist leaders, including Brissot himself, in October 1793. Desmoulins intensely regretted his role in the death of the Girondists; present at their trial, he was heard to lament, "O my God! my God! It is I who kill them!" He was seen to collapse in the courtroom when the public prosecutor pronounced the sentence of death.

In the summer of 1793, General Arthur Dillon, a royalist and close friend of Desmoulins and his wife, was imprisoned. In an openly published Lettre au General Dillon, Desmoulins went far beyond the politically delicate act of defending Dillon, and attacked powerful members of the Committee of Public Safety - notably Saint-Just and Billaud-Varenne.

Beginning 5 December 1793, Desmoulins published the journal for which he would be best known and most celebrated: Le Vieux Cordelier. Even the title of this short-lived publication spoke of conflict with the current regime, implying that Desmoulins spoke on behalf of the "old" or original members of the Club des Cordeliers, in opposition to the more radical and extreme factions that had now come into power. In the seven issues that comprised the Vieux Cordelier, Desmoulins condemned the suspicion, brutality, and fear that had come to characterize the Revolution, comparing the ongoing Revolutionary Terror to the oppressive reign of the Roman emperor Tiberius and calling for the establishment of a "Committee of Clemency" to counter the climate of mercilessness fostered by the Committee of Public Safety. In the fourth number of the journal, Desmoulins addressed Robespierre directly, writing, "My dear Robespierre... my old school friend... Remember the lessons of history and philosophy: love is stronger, more lasting than fear." The perceived counter-revolutionary tone in these calls for clemency led to Desmoulins' expulsion from the Club des Cordeliers and denunciation at the Jacobins, as well as, ultimately, to his arrest and execution.

Political career, Le Vieux Cordelier, and downfall

Desmoulins took an active part in the 10 August 1792 attack on the Tuileries Palace. Immediately afterwards, as the Legislative Assembly (France) crumbled and various factions contended for control of the country, he was appointed Secretary-General to Georges Danton, who had assumed the role of Justice Minister. On 8 September 1792 he was elected as a deputy from Paris to the new National Convention. He was affiliated with The Mountain, and voted for the establishment of the Republic and the execution of Louis XVI. His political views were closely aligned with those of Danton and, initially, Robespierre.

In autumn 1793, as terror became "the order of the day," Desmoulins began to speak less and less at the Convention. When he did speak, he was one of the few voices calling for clemency; on 16 October 1793 he was one of the rare voices to speak up after the Convention ordered the arrest of all citizens of  governments the Republic was at war with, asking for an exception for Dutch who had been prescribed by their government. Desmoulins also assisted in creating the first draft of the Civil Code and pushed for its implementation.

Desmoulins also spoke in support of a measure proposed in August 1793 that would have given spouses an equal right to administer property. In opposition to Conventionnels who argued for the "natural superiority" of the male sex, Desmoulins condemned the puissance maritale, according to which women were legal nonentities under the guardianship of their husbands, calling it "the creation of despotic governments." Later that month, Desmoulins argued in favor of no-fault divorce, denouncing a draft article enumerating limited grounds for divorce on the ground that divorce should be freely available at the request of either spouse – a measure that would not be revived in France in full until 1985.

The first number of Vieux Cordelier appeared on 5 December 1793. Although it was dedicated to Robespierre along with Danton and called them both friends, it marked the start of a rift between Desmoulins and Robespierre. Initially directed, with Robespierre's approval, against the excesses of the ultra-radical Hébertist faction, the journal rapidly expanded and intensified its criticisms of the Committee of Public Safety and the Revolutionary Tribunal. Desmoulins appealed to Robespierre to help steer these institutions in a more moderate direction. On 20 December, Robespierre had proposed the formation of a commission "to examine all detentions promptly and to free the innocent," an idea shot down by Billaud-Varenne, and Desmoulins "seized on this and called for something more dramatic: a committee of clemency" to put an end to the Terror.

In the Vieux Cordelier, especially the third and fourth numbers, Desmoulins criticized the Terror, argued in favor of clemency for prisoners, and demanded the return of freedom of the press:Certain people apparently believe that liberty, like children, needs to go through cries and tears to get to maturity; on the contrary, it is the nature of liberty that, to enjoy it, we need only desire it.  A people is free as soon as it wishes to be, it entered upon its full rights on the 14th of July.  Liberty has neither old age nor infancy; she has but one age, that of strength and vigour. [...] No, this liberty which I worship is not an unknown deity. We are fighting in defense of the good things which she puts into the possession of those who invoke her: these good things are the Declaration of Rights, the sweetness of Republican maxims, fraternity, holy equality, and the inviolability of principles. These are the footprints of the goddess, these are the signs by which I distinguish the nations among whom she dwells.

And by what other sign would you wish that I recognize this divine liberty?  This liberty, be it but an empty name? Is it only an actress of the Opera, la Candeille or la Maillard paraded about with a red cap on, or that statue, forty-six feet high, that David proposes?  If by liberty you do not mean, as I do, principles, but only a bit of stone, then never has there been an idolatry more stupid and more costly than ours.

Oh my dear fellow citizens! Shall we so far debase ourselves as to fall at the feet of such divinities? No, this Liberty descended from Heaven is not a nymph of the Opera, not a red cap, a dirty shirt, or rags and tatters. Liberty is happiness, reason, equality; she is justice, she is embodied in the Declaration of Rights, in your sublime Constitution. Would you have me acknowledge her, fall at her feet, spill my blood for her? Open the prisons of those two hundred thousand citizens whom you call "suspects," for in the Declaration of Rights there was no prison for suspected persons, but only for felons. Suspicion has no prison, it has the public prosecutor; there are no suspected persons but those who are accused of crime by the law. Do not believe that this measure would be fatal to the Republic, it would be the most revolutionary step you have ever taken.  Desmoulins used a variety of arguments to support his proposal, including pragmatic arguments and historical analysis, making especially heavy use of parallels to Ancient Rome: "You wish to exterminate all your enemies by the guillotine! But was there ever greater folly? Can you kill one person on the scaffold without making yourselves ten more enemies amongst his family and his friends? [...]

I am of a very different opinion from those who claim that it is necessary to leave Terror on the order of the day. I am confident, on the contrary, that liberty will be assured and Europe conquered so soon as you have a Committee of Clemency. This committee will complete the Revolution, for clemency is itself a Revolutionary measure, the most effective of all when it is wisely dealt out.

Let imbeciles and rascals call me moderate, if they want. I am certainly not ashamed not to be more outraged than M. Brutus; yet this is what Brutus wrote: You would do better, my dear Cicero, to put more effort into cutting short the civil wars than in losing your temper and pursuing your personal resentments against the vanquished."Desmoulins also argued fervently in favor of renewed freedom of the press, stating that "if freedom of the press existed in a country where the most absolute despotism unites all powers in a single hand, it alone would suffice to act as a counterweight." He criticized the extreme repression of freedom of the press in revolutionary France:What journalist in France would dare point out the errors of our committees, our generals, the Jacobins, the ministers, or the Commune the way the opposition does to those of the British ministry? Am I, a Frenchman, I, Camille Desmoulins, not as free as an English journalist? The very idea makes me indignant. Let no one tell me that we are in a revolution and that freedom of the press must be suspended during a revolution. Isn't England, isn't all of Europe, also in a state of revolution? Are the principles of freedom of the press less sacred in Paris than in London? [...] Can it be that when on one side servitude and venality hold the pen, and on the other freedom and virtue, that there is the least danger that the people, the judge of this combat, could pass to the side of slavery? To even fear such a thing is to insult human reason! Can reason fear a duel with stupidity? I repeat: Only counter-revolutionaries, only traitors, only Pitt, could have an interest in prohibiting unlimited freedom of the press in France; freedom and truth can never fear the pen of servitude and lies.In his fourth number, Desmoulins addressed Robespierre directly:  "'''O!  my dear Robespierre! O my old school friend! you whose eloquent words posterity will reread! Remember the lessons of history of philosophy: that love is stronger, more enduring than fear; that admiration and religion were born of generosity; that acts of clemency are the ladder of myth, as was said by Tertullien, by which members of the Committee of Public Safety have risen to the skies; men never climb thither on stairs of blood."

Desmoulins made strong use of pragmatic arguments, arguing that the excessive use of terror would cause the people to detest the Revolution and lead to a counter-revolutionary backlash. He backed up his arguments with a variety of sources from history and political theory, including Machiavelli's The Prince, arguing that generosity and the distribution of favors help a sovereign gain and maintain popularity while the indiscriminate use of violence leads to the sovereign becoming detested and  overthrown.

Although Desmoulins harshly criticized Hébert's demands for the increased use of terror, he explicitly opposed Hébert's arrest in his fifth number.  In his seventh and final number, authored in March 1794, unpublished during his lifetime, he again implicitly sided with Hébert, stating that he preferred the incessant denunciations of the Hébertists over the icy silence and bourgeois politeness of the Jacobins:I would prefer that we denounce wrongly and indiscriminately, I would even say calumniate, like Père Duchesne, but with that vigour that characterises strong spirits and a republican temper, than to see, today, this bourgeois politeness, this puerile and honest civility, these pusillanimous considerations of the monarchy, this circumspection … for the strongest, for men of credibility or position, ministers or generals, representatives of the people or influential members of the Jacobins, while we melt with heavy stiffness into patriotism in disfavor and disgrace. [...]

Better would be the intemperance of the language of democracy, the pessimism of these eternal detractors of the present, whose bile pours out on everything around them, than this cold poison of fear, which freezes thought to the bottom of the soul, and prevents it from springing up at the Tribune or in writings. Better would be the misanthropy of Timon, who can find nothing beautiful in Athens, than this general terror, like mountains of ice, which, from one end of France to the other, covers the sea of opinion and obstructs its ebb and flow.

The currency of Republics are the winds that blow over the waves of the sea, with this caption: Tollunt sed attollunt. They agitate but they elevate.

Otherwise, I no longer see in the Republic anything but the flat calm of despotism and the smooth surface of the stagnant waters of a swamp; I see in it only an equality of fear, the leveling of courage, and the most generous spirits as base as the most vulgar.Desmoulins also reiterated his opposition to the war with Austria and its allies, stating that "war will always be the resource of despotism, which by its very nature has no power but that of arms and can gain nothing except at the point of a sword." He accused Robespierre of hypocrisy for entirely reversing his views on the war, which he had originally opposed.

Also in the seventh number, Desmoulins expressed his view that it was freedom of the press and the form of government, rather than virtue, that was the essential basis of a republic. In this, he again directly countered the views of Robespierre.

On 7 January 1794, the Jacobin Club sought to expel Desmoulins from its number. Robespierre, initially seeking to protect Desmoulins, suggested as an alternative that the offending issues of the Vieux Cordelier be publicly burnt. Desmoulins' response,"Brûler n'est pas répondre" ("Burning is not answering"), echoed the cry of Jean-Jacques Rousseau, the influential philosopher whose work was central to Robespierre's own vision of the Republic. Robespierre responded to this by calling Desmoulins a "spoilt child" and saying that: "Camille, that if you weren't Camille, we wouldn't have so much indulgence for you. We treat you like a lost child, and you dare to complain. [...] Well, since he wishes it, let him be covered in ignominy."  Despite this, Desmoulins refused to renounce the Vieux Cordelier.

Meanwhile, the participation of Danton's personal secretary, Fabre d'Églantine, in a financial scam with the East India Company became exposed and he was arrested for corruption and forgery. This scandal cast doubt on Danton and his allies, and Robespierre now supported the expulsion of Desmoulins from the Jacobin club. After the condemnation and execution of the Hébertists in March 1794, the energies of the Montagnards (especially of Saint-Just) turned to the elimination of the indulgent faction headed by Danton and voiced by Desmoulins. They were accused of corruption and counter-revolutionary conspiracy, charges were brought before the Committee of Public Safety, and arrest warrants including for Desmoulins were finally issued on 31 March.

Trial and execution

Danton, Desmoulins, and many other actual or accused Dantonist associates were tried from April 3 through 5th before the Revolutionary Tribunal. The trial was less criminal in nature than political, and as such unfolded in an irregular fashion. When asked his name and age, Desmoulins responded with: "Benoît Camille Desmoulins, age of thirty-three – the age of Jesus, a critical age for patriots." The accused were prevented from defending themselves by a decree of the National Convention. This fact, together with confusing and often incidental denunciations (for instance, a report that Danton, while engaged in political work in Brussels, had appropriated a carriage filled with several hundred thousand livres of table linen) and threats made by prosecutor Antoine Quentin Fouquier-Tinville (Desmoulins' cousin) towards members of the jury, helped to ensure a guilty verdict. Additionally, the accused were denied the right to have witnesses appear on their behalf, though they had submitted requests for several—including, in Desmoulins' case, Robespierre. The verdict was passed in the absence of the accused, who had been removed from the courtroom to prevent unrest among the trial's observers. Their execution was scheduled for the same day.

In a letter to his wife from the Luxembourg Prison, Desmoulins wrote, [I]t is marvellous that I have walked for five years along the precipices of the Revolution without falling over them, and that I am still living; and I rest my head calmly upon the pillow of my writings... I have dreamed of a Republic such as all the world would have adored. I could never have believed that men could be so ferocious and so unjust.

As Desmoulins was taken to the scaffold, he was informed of his wife's arrest and went mad. It took several men to get him to the tumbril. He struggled and tried to plead with the mob, ripping his shirt in the process. Lucile was also soon to be slated for execution and died only eight days later. Of the group of fifteen who were guillotined together on 5 April 1794, including Marie Jean Hérault de Séchelles, Philippe Fabre d'Églantine and Pierre Philippeaux, Desmoulins died third, and Danton last. Desmoulins and his guillotined associates were buried in the Errancis Cemetery, a common place of interment for those executed during the Revolution. In the mid-19th century, their skeletal remains were transferred to the Catacombs of Paris.

Family

On 29 December 1790 Desmoulins married Lucile Duplessis, whom he had known for many years.  Lucile's father long denied permission for the marriage, believing that the life of a journalist could not support any sort of family. Among the witnesses to the marriage were Robespierre, Brissot, and Jérôme Pétion de Villeneuve. The wedding took place at the Saint-Sulpice Church in Paris. The Desmoulins' only child, Horace Camille, was born on 6 July 1792.

Lucile Desmoulins was arrested mere days after her husband and condemned to the guillotine on charges of conspiring to free her husband from prison and plotting the "ruin of the Republic." She was executed on 13 April 1794, the same day as the widow of Jacques Hébert. In a last note to her mother she wrote, "A tear falls from my eyes for you. I shall go to sleep in the calm of innocence. Lucile."

Horace Camille Desmoulins was raised by Adèle and Annette Duplessis (the sister and mother of Lucile, respectively), who successfully petitioned the  in February 1795 for the suspension of the sale of his father's belongings. He married Zoë Villefranche and they had four children. He was later pensioned by the French government, and died in 1825 in Haiti.

In popular culture
Camille Desmoulins is among the central characters in the following works of fiction:
 A Place of Greater Safety (1992) by Hilary Mantel
 The Gods Are Thirsty (1996) by Tanith Lee
 Danton (film; 1982) dir. Andrzej Wajda
 The Danton Case (play; 1929) by Stanislawa Przybyszewska
 La Révolution française (film/miniseries; 1989)
 A Declaration of the Rights of Magicians (2020) by H.G. Parry

There is also a scene in Jefferson in Paris (film; 1995) where Camille Desmoulins makes his famous call to arms in the start of the French revolution.
Vincent Cassel plays the part of Desmoulins.

See also
 Félix Charpentier. Sculptor of bronze statue of Camille Desmoulins in the place d'Armes in Guise

Notes

References

 Andress, David. The Terror: The Merciless War for Freedom in Revolutionary France. New York: Farrar, Straus & Giroux, 2004.
 Claretie, Jules. Camille Desmoulins and His Wife: Passages from the History of the Dantonists. London: Smith, Elder, & Co., 1876.
 Doyle, William. The Oxford History of the French Revolution. Oxford: Oxford University Press, 1990.
 Gilchrist, J.T., and Murray, W.J. The Press in the French Revolution: Selection of Documents taken from the Press of the Reovolution for the years 1789–1794. Melbourne: Cheshire, 1971.
 Hartcup, John. "Camille Desmoulins", History Today 25–4 (1975), pp. 238–245.
 Hammersley, Rachel. "Camille Desmoulin's 'Le Vieux Cordelier'. A Link Between English and French Republicanism" History of European Ideas 27 (2001).
 Linton, Marisa, Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution. Oxford: Oxford University Press, 2013.
 Methley, Violet. Camille Desmoulins: A Biography. New York: E.P. Dutton & Co., 1915.
 Schama, Simon. Citizens: A Chronicle of the French Revolution. New York: Vintage Books, 1990.
 Scurr, Ruth. Fatal Purity: Robespierre and the French Revolution. New York: Owl Books, 2006.
 Whaley, Leigh. "Revolutionary Networking 1789–1791," pp. 41–51 in Revolutionary Culture, Politics and Science. Belfast: Queen's University, 1996.
 McPhee, Peter. Robespierre: A Revolutionary Life. Yale University Press, 2012.
 This gives the following references:
 J. Claretie, Œuvres de Camille Desmoulins avec une étude biographique ... etc. (Paris, 1874), and Camille Desmoulins, Lucile Desmoulins, étude sur les Dantonistes (Paris, 1875; Eng. trans., London, 1876)
 F. A. Aulard, Les Orateurs de la Législative et de la Convention (Paris, 1905, 2nd ed.)
 G. Lenôtre, "La Maison de Camille Desmoulins" (Le Temps'', March 25, 1899).

External links

1760 births
1794 deaths
People from Aisne
Deputies to the French National Convention
18th-century French lawyers
18th-century French journalists
Lycée Louis-le-Grand alumni
Newspaper editors of the French Revolution
French people executed by guillotine during the French Revolution
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Executed regicides of Louis XVI
French pamphleteers

Camille Desmoulins


Center for Reproductive and Sexual Health (CRASH), at the time the largest freestanding abortion clinic in the world, opened in New York City after New York legalized abortion in 1970. It was run for a time by Bernard Nathanson.

CRASH was ordered closed for 60 days by the New York State Health Department on September 30, 1988, following the death of a 19-year-old patient from anesthesia errors. A department spokesman said that the 60-day closure was the most they were empowered to do, and that they would push for revocation of the facility's permit. CRASH, the department indicated, was an "imminent danger" to its patients because it lacked a supervising anesthesiologist, proper equipment and procedures for monitoring patients under anesthesia, and the necessary equipment and procedures for  resuscitating patients. It never re-opened.

The clinic's medical director, Dr. David Gluck, had lost his medical license earlier in the year after being convicted of using and selling prescription drugs, but had obtained a court order to block the revocation.

References

American abortion providers
Healthcare in New York City


The Dancing Girl of Izu () is a 1933 Japanese silent romance film directed by Heinosuke Gosho. It is the first adaptation of the 1926 short story  by Yasunari Kawabata.

Plot
During his vacation tour on Izu peninsula, Tokyo student Mizuhara befriends a group of local travelling musicians led by Eikichi. Eikichi lost the family's inheritance, a gold mine, due to his carelessness, which he had to sell for a low price to its new owner Zenbei. While staying in their hometown where they have an engagement, Eikichi's sister Kaoru falls in love with Mizuhara. Instigated by the mine's former engineer Kubota, Eikichi demands what he considers his fair share from Zenbei, but Zenbei replies that he will only give Eikichi money if he sells his sister Kaoru to him. Mizuhara confronts Zenbei, who also happens to be the father of his fellow student Ryūichi, with what he considers an insolent proposal. As it turns out, Zenbei, who was a friend of Eikichi's and Kaoru's father, wants to spare Kaoru the fate of living the life of a travelling musician. Unbeknownst to Kaoru and her brother, Zenbei secretly opened a bank account in her name and hopes to marry her to his son Ryūichi one day. Mizuhara and Kaoru part in tears upon his return to Tokyo, and before entering the boat which will take him home, he advises her to seek happiness in a stable life as Ryūichi's wife.

Cast
 Den Ohinata (credited Den Obinata) as Mizuhara
 Kinuyo Tanaka as Kaoru
 Tokuji Kobayashi as Eikichi
 Eiko Takamatsu as Otatsu, Eikichi's mother
 Kinuko Wakamizu as Chiyoko, Eikichi's wife
 Shizue Hyōdō as Yuriko
 Jun Arai as Zenbei
 Ryōichi Takeuchi as Ryūichi
 Reikichi Kawamura as Kubota
 Ryōtarō Mizushima as Tamura
 Takeshi Sakamoto as Hattori
 Chōko Iida as a geisha
 Kikuko Hanaoka as a geisha
 Shōzaburō Abe as customer
 Kiyoshi Aono as Kisaku

Legacy
The Dancing Girl of Izu is not only the first, but, according to Gosho biographer Arthur Nolletti, also regarded the best of the many adaptations of Kawabata's story, and an important example of films connected to the junbungaku ("pure literature") movement, which favoured "serious" literature in opposition to "popular" literature. Gosho and his screenwriter Fushimi added a subplot and obscured the class differences between the characters, instead aiming at a nostalgic depiction of the country "untainted by modernization" (Mitsuyo Wada-Marciano).

References

External links

1933 films
1930s Japanese-language films
Japanese silent films
Japanese romance films
Japanese black-and-white films
Films based on short fiction
Films directed by Heinosuke Gosho

The Dancing Girl of Izu (1933 film)


Lu Wen-sheng (; born November 30, 1962, in Kaohsiung County (now part of Kaohsiung City), Taiwan) is a retired Taiwanese professional baseball player and the current manager of Uni-President Lions. He has also represented Chinese Taipei on many occasions before entering his professional career, and is sometimes named the best second baseman of his time.

Baseball career
Lu began his baseball career in elementary school, and has been playing on the national team since high school. Because of his skills, he was admitted into the Hu-feng baseball team (), the baseball team of the Taiwan Air Force. With his solid fielding skills, he was a frequent member of the Chinese Taipei national baseball team in the 1980s and won the bronze medal in the 1984 Olympics(as demonstration sport). He join Uni-President Lions in 1989 after being invited by a former coach.

As a founding member of the Lions, Lu was well liked by his teammates and coaches. He was praised for his stable performance on the field, but had very little achievement elsewhere. When CPBL increased the number of foreign players on each team's roster in 1994, he eventually lost his position and became a backup infielder. He retired in 1998 due to age and lack of position on the team.

He took up the fielding coach position in the Lions after retiring, and later left for Macoto Gida, which is now Macoto Cobras, who offered him the same position but more opportunity. He returned to the Lions after the Cobras underwent major organizational restructuring, and first took up outfield fielding coach position, later the manager position when Lo Kuo-chang, the bench coach at the time, declined the offer. Despite the short notice before taking the job, Lu did fairly well by leading the Lions to victory in the 2007 Taiwan Series. Lu won a total of four titles in his five years tenure as manager.

In February 2012, Lu was investigated by the authority for possible leaking of information to sports betting groups. Lu admitted that he unintentionally leaked players' status to a sports betting group because he mistook them as baseball fans and was not aware that they were engaging in betting activities. He resigned his position following the incident.

Since Lu is no longer able to coach baseball in Taiwan, in March 2012 he moved to New Zealand to help former CPBL, Japanese and MILB professional player Yeh Ming-Huang coach the New Zealand U17 team who will be competing in the 2012 Asia-Pacific Senior League Baseball championships, that runs from 4–9 July in Agana, Guam, in the hope of qualifying for the World Series, held in Bangor, Maine, USA.

On his personal Facebook page, he stated that he was 'very optimistic' for the team and its players, stating that he thought the combination of himself and Coach Yeh as the coaching staff, along with the young talent in the team, could take New Zealand to its maiden World Championship Series at any age-group level.

Sources have also stated that Lu could be the front-runner for New Zealand's World Baseball Classic manager job, the only barrier at this stage being the lack of English that Lu has.

References

1962 births
Living people
Baseball players at the 1984 Summer Olympics
Olympic baseball players for Taiwan
Baseball players from Kaohsiung
Uni-President 7-Eleven Lions managers

Lu Wen-sheng


Dracaena pethera, synonym Sansevieria kirkii, also known as star sansevieria, is a succulent plant native to Tanzania and the surrounding region in East Africa.

Description

The leaves are flattened and thick (at least 9mm), with wavy edges.

Dracaena pethera grows stemless as a perennial, succulent plant with strong rhizomes. The simple leaf blade is from 7.5 to 27.5 inches long and from 6 to 9 inches wide. It gradually narrows from about the middle into a 8.5—12.7 millimeter long pale whitish brown and hard spider tip. The leaves are whitish brown, greyish green, speckled or light green transversely banded, with three to nine dark green longitudinal lines. The leaf margin is wavy and reddish brown. The leaf surface is smooth. The pulchra variety has clearly more marked and partially prostrate leaves, with whitish green, buff-colored or almost reddish spots or irregular bands.

The flower of Dracaena pethera is greenish-white, scented, and is carried on a conical inflorescence.

References

External links
 Star Sansevieria (Sansevieria  kirkii ssp. pulchra)

pethera
Flora of Africa
House plants

Dracaena pethera


The Isle of Wight is an island county that is just off the south coast of England. It is about 40 kilometres (25 miles) by 20 kilometres (13 miles) in size. About one hundred and twenty thousand people live on the island.

The Isle of Wight is a county. This means that it has a council of people who make decisions about some things that affect the people who live there. Until 1890 it was part of the administrative county of Hampshire. The county town of the island, which is the place where the council work, is Newport.

Many people like to go on holiday on the island.  There are many hotels and tourist attractions. Queen Victoria often visited the Isle of Wight where she owned a large mansion called Osborne House. Tourism is the most important industry on the island.

Over half of the island is officially designated as an Area of Outstanding Natural Beauty.  It is widely recognised as the most important site in Europe for finding dinosaur remains, and is a UNESCO Biosphere Reserve.

Ceremonial counties of England
Unitary authorities

Isle of Wight


Tijesna zemlja: roman iz istarskog narodnog života ("Narrow Land," or "Tight Country: A Story from Istrian Folk Life") is a novel by Croatian author Mijo Mirković. Mirković is best known as Mate Balota, and he published this novel under that pen name.

The novel tells the story of the life of people on a small piece of Istrian land. Through 20 chapters "the seasons change, people, births, deaths, changes happen, life happens." The action takes place in the area of the village of Rakalj, in southeastern Istria. Described as "an economic and social study of the Istrian villages in the second half of the nineteenth and early twentieth century," and "an indirect autobiography," the novel follows the history of an Istrian family through three generations, from 1870 to 1941. Although it wasn't well received in the 1940s, the book later became a cult among Istrian Croats.

Analysis
With this novel Mirković sought to portray those people "who were not recorded in historical annals," people who nevertheless did play their roles, some of them taking an active part in shaping history, and some doing so passively. These are "little people who, in the whirlwind of time and the changes it brings, try to find their place under the sun." The people are plagued by the dramas of their country and their own family. The characters of the novel strike a chord in the reader. The reader's bond to the characters grows as the plot unfolds. It has been said of Mirković that "older Istrians can find [in his poems] their youth or the youth of their parents and grandparents as they described it in [their anecdotes transmitted orally]."

The story of the "little men" quietly wins the sympathy of the reader. There are "processions, joy, but also the saddest moments" that alternate in their lives, with each character in the novel portrayed on several levels. The narrator speaks in Croatian, but the characters use the dialect of southeastern Istria.

The novels echoes folk songs and rural conversations, as well as "solitary reflections on man, labor, God, justice and the changes to come." The novel portrays the socioeconomic situation and rural life of old Istria.

References

External links
 Tijesna zemlja at Lektire

1946 Croatian novels
Croatian fiction
Realist novels

Tight Country: A Novel from Istrian Folk Life


Madballs is a series of toy foam balls originally created by AmToy, a subsidiary company of American Greetings (now Cloudco Entertainment) in the mid-1980s, later being revived by Art Asylum (2007–2008) and Just Play, Inc. (2017–2019). The balls incorporated gross-out humor and each was given a character synopsis and an odd name. The toyline expanded into a franchise with comic books, direct-to-video cartoons, and a video game for the ZX Spectrum, Amstrad CPC, and Commodore 64.

Overview
The toys were rubber or foam collectible bouncing balls with grotesque faces and designs. The toys sold well as a passing fad. There were two series of the original Madballs collectible toys. Each series consisted of eight balls, as well as a collection of Super Madballs, a larger version of the original Madballs shaped like other sports balls, such as the American football-shaped "Touchdown Terror," the soccer ball-shaped "Goal Eater," and the basketball-shaped "Foul Shot."

Toys

Original series Madballs
 Screamin' Meemie: A screaming baseball with a large tongue.
 Slobulus: A drooling green creature with one eye hanging out of its socket.
 Aargh: A one-eyed blue-skinned Frankenstein monster-esque creature with stitching all over its face.
 Horn Head: A horned cyclops with a nose ring (which is chained to its ear in the Art Asylum era).
 Dust Brain: A mummy with rotting teeth and wrinkly teal skin.
 Oculus Orbus: A bloodshot eyeball (later sporting a mouth in the Just Play era).
 Skull Face: A skull with large eye sockets sporting tiny red eyes, a big set of teeth, and a partially exposed brain (which is depicted as a sentient being named Lobe in the Just Play era).
 Bash Brain: A gory zombie head with a partially exposed brain. This Madball was originally named "Crack Head," but was later renamed "Bash Brain," due to the unpleasant connotations of crackhead as a slang term for a crack cocaine addict.

All Madballs toys were conceived in the early 1980s by the creative team at American Greetings Properties, which was formally named Those Characters From Cleveland, or TCFC for short: Ralph Shafer, George Chanter, Mark Spangler, Jim Elliott, Kim Hammeren, and Vint Gonser. Editorial by Clark Wiley and Tom Jacobs.

Second series Madballs
 Snake Bait: A forked tongue-sporting gorgon (later depicted in the Just Play era as a monster being devoured by a snake).
 Freaky Fullback: A mutant football player.
 Splitting Headache: A monster with the skin on half of its face peeled off.
 Bruise Brother: An ugly biker with a battered blue helmet.
 Wolf Breath: A werewolf with large, rotten fangs dripping with blood (drool in the Art Asylum era).
 Fist Face: A severed hand clutching an eyeball (later depicted as a severed hand with an eyeball emerging from the wrist in the Just Play era).
 Swine Sucker: An ugly, drooling wild boar.
 Lock Lips: A creature with its jaw locked shut and one eye covered by a riveted plate.

Super Madballs
 Touchdown Terror: An American football with a manic grin and missile-like fins and tip.
 Goal Eater: A soccer ball with very large pointed teeth.
 Foul Shot: A basketball bursting open to reveal a face with worms crawling out of one eye socket.

Head-Popping Madballs
These were posable figures with an ejectable/swappable head:
Dust Brain, Skull Face, Screamin' Meemie, Oculus Orbus, Horn Head, and Slobulus from Series 1.
Bruise Brother, Wolf Breath, and Lock Lips from Series 2.

Similar imitation toys
Due to the popularity of the Madballs, there were many similar imitation toys, such as:
"Blurp Balls" by ERTL: Boney Tossteeth, T-Retch, Count Heave-A-Heart, Spittooey Sooey, Biff Barfball, Sharkey Skullsquert, Retch-A-Rat Tomcat, and Croakey Bugchuck. These toys were designed by artist James Groman, with character names and editorial by Rick Reising.
"Weird Balls" by The Mel Appel Company: Sewer Face, Brain Ball, Wart Hog, Spit Ball, Shrink Head, and Rock Slime.
"Spit Balls" by Lanard Toys: Sharky, 20/20, Ba-Boom, and Crybaby.

Original Madballs re-release
In 2016, the vinyl figure company Kidrobot released nine of the original Madballs in their original foam style, slightly modified. They also released keychains and vinyl figure blind boxes. These are the Madballs that were released:
Screamin' Meemie
Oculus Orbus
Slobulus
Skull Face
Horn Head
Dust Brain
Freaky Fullback
Swine Sucker
Lock Lips

Home video

Unlike many high-profile toylines at the time, the Madballs did not have an accompanying television series. They did, however, have two direct-to-home video cartoons released by Nelvana.

The first one, released in 1986, was a 22-minute episode called Madballs: Escape from Orb in which the titular characters are a rock and roll band who performs across the galaxy but heads for Earth as music is illegal on their home planet, Orb. The video also featured a female, cartoon-exclusive Madball named Freakella, modeled after the Bride of Frankenstein. It was directed by Laura Shepherd and written by Heather MacGillvray and John de Klein.

The second one, released in 1987, was another 22-minute episode called Madballs: Gross Jokes that was a series of jokes and skits performed by the Madballs. Both of these releases are only available on VHS and are not yet available on either DVD or Blu-ray.

Cast
 Screamin' Meemie: A baseball with an eerie grin. He is apparently the Madballs's leader, as he often refers to his friends as the "gang." He also seems to be a friend of Freakella, because they are seen together near the end of the introduction and he is often seen speaking with her. He was voiced by Geoffrey Bowes.
 Horn Head: A cyclops face with a horn. He is the strongest member of the group. He was voiced by Keith Hampshire.
 Aargh: A blue-skinned Frankenstein monster-esque Madball with one eye completely open and the other one completely shut. He is friends with Slobulus, even though he often abuses him and the two of them argue a lot, especially over which one of them is the Madballs's biggest fan. He was voiced by John Stocker.
 Skull Face: A skull with a smile who is best friends with Horn Head and Dusty Dustbrain. He speaks with a slight stutter. He was also voiced by John Stocker.
 Dusty Dustbrain: A very intelligent mummy. He was voiced by Jeri Craden.
 Freakella: A Bride of Frankenstein-esque Madball who hates being called "Mophead." She was voiced by Cree Summer in the first video and Taborah Johnson in the second video.
 Slobulus: A drooling face with one eye hanging from the socket. He is friends with Aargh, even though Aargh often abuses him and the two of them often argue a lot, especially over which one of them is the Madballs's biggest fan. He was voiced by Dan Hennessey.
 Bruise Brother: One of the evil Badballs who looks like a biker with a German helmet, eye patch and beard. He is Wolf Breath's right-hand man, also voiced by Dan Hennessey.
 Freaky Fullback: A purple monster wearing an orange football helmet, also voiced by Dan Hennessey.
 Oculus Orbus: A giant eyeball, voiced by Len Carlson.
 Bash Brain: A normal face with its scalp ripped off to expose its brain, also voiced by Len Carlson. He made a cameo in Madballs: Escape from Orb and his first full appearance was in Madballs: Gross Jokes.
 Wolf Breath: The leader of the evil Badballs. He is a werewolf who has a habit of using breath spray frequently, voiced by Don Francks.
 Skip: The Madballs's manager on Earth, voiced by Christopher Ward.
 Sandy: Skip's sister, voiced by Alyson Court.

Comic books
Marvel Comics's former children's comics subsidiary Star Comics released a three-issue miniseries (September–November 1986), which continued with issue #4 (June 1987) as a bi-monthly comic book. The series was cancelled with issue #10 (June 1988). The main villains of the comic book were Dr. Frankenbeans, who was in many ways similar to Victor Frankenstein, and his bumbling assistant Schnivelitch, who resembled Igor.

Marvel UK released a one-shot issue called Madballs Annual (1988). Produced by Marvel UK in hardcover format, it reprints the comic book story of the creation of the Madballs by Dr. Frankenbeans and also features games and activities.

Madballs re-releases

In early 2006, toy company Art Asylum announced that it had partnered with original rights holder American Greetings to revive the Madballs toys, with both classic characters and new designs. Toy company Basic Fun Inc. took up the task of producing/selling the new Madballs designed by artist James Groman, who worked on the original line. As of November 2007, the toys began appearing in toy stores in the U.S.

Classic Series 1
Madballs Classic Series 1 consists of five re-designed Madballs characters from the original Series 1 (Screamin' Meemie, Skull Face, Bash Brain, Slobulus and Horn Head) and also the first new Madballs character since the toy line's original demise in the mid- to late 1980s: Repvile, an angry, blue, scabrous reptilian. Newly designed sculpts for two other Madballs, Dust Brain and Freaky Fullback, as well as Super Madball Touchdown Terror, were also shown at Toy Fair and Comic-Con 2006, but the former two would be held off until Classic Series 2, and the latter was never released. American Greetings also hinted at the creation of a Super Madball named Goalrilla which would mimic the design of a soccer ball (this was possibly a redesign of the original Goal Eater Super Madball). Aargh from the original Series 1 is the only standard-sized character that was not redesigned or mooted for redesign, although Repvile seems to be a homage to the original Aargh Madball.

Classic Series 2
Six more Madballs forming Classic Series 2 were released in the U.S. in 2008 (Freaky Fullback, Wolf Breath and Swine Sucker from the original Series 2, plus Dust Brain and Oculus Orbus from the original Series 1 and new Madball Blech Beard, a puntastically named ghastly pirate). The rebooted Madballs line was noted for its vastly more detailed sculpts; this was especially noticeable in the redesigned original characters.

Sick Series 1 and Sick Series 2
In addition to the standard Madballs Classic Series, there was an entirely new Madballs variant in stores called Madballs Sick Series. Each of the (so far released) two series in this line featured three re-designed Madballs characters from the Classic Series (Bash Brain, Slobulus and Skull Face composed Sick Series 1 and Freaky Fullback, Dust Brain and Blech Beard composed Sick Series 2) which could be squeezed to reveal their insides (for example, Bash Brain had brains that bubbled, Slobulus contained eyeballs that popped out and Skull Face concealed spiders that squirmed out).

Classic Series 3 and Classic Series 4
Two more Madballs series, Classic Series 3 and Classic Series 4, were planned but never made (however, see International modern revival below).

Madballs by Megalopolis Toys
Toy designer James Groman has shared previews for two upcoming Madballs 6″ Scale Action Figures, which will be coming from Megalopolis Toys. The figures were announced in June 2020. These 6″ scale figure will feature weapons and interchangeable parts. They are modeled after the classic "Head Popping" Madballs figures from the late 1980s; however, these do not feature the head popping gimmick, opting for articulation and a more "action figure"-like approach.

The images showcase both Horn Head and Splitting Headache and will be part of the Premium DNA toy line.

International modern revival

In 2009 European territories, including Italy and the U.K., began receiving a series of 10 officially licensed miniature water-squirting Giraprendi Madballs. The Italian Madballs are slightly larger (golf ball-sized) and more rubbery than their U.K. counterparts. In the U.K., they are dispensed sealed in small semi-transparent plastic spheres from vending machines which also distributed Nintendo- and Disney-branded toys. Some of the toys are based on the planned (but never made) Classic Series 3 and Classic Series 4 Madballs, some simply with name changes; others are entirely new creations. They are as follows:
Scum Chum: A mutant anglerfish.
Brain Rot: A zombie scientist.
Creep Frog: A horrid frog with a mouthful of mini-beasts.
Flea Bag: A hideous dog/cat hybrid.
Spews Ooze: A psychotic dragon impaled with weapons and armor.
Deck Head: A skater speared with a skateboard.
Eye Sore: An abomination with mouths for eyes and eyes for a mouth.
Spit Bull: A branded rabid bull.
Racket Attack: A mauled tennis player.
Fang Thang: A saber-toothed cat eating a caveman.

Video games

A video game based on the toy franchise, simply titled Madballs, was published in 1988 by Ocean Software for a variety of then-popular 8-bit home computers. It was a top-down view action game and received poor to average reviews from the gaming media.

As part of the E3 videogame show, it was announced on May 31, 2009 that Canadian game developer PlayBrains was releasing a video game sequel to BaboViolent 2, including Madballs characters called Madballs in Babo: Invasion. It was released for Xbox Live Arcade on July 15, 2009. The gameplay involves rolling around expansive terrain maps carrying large weaponry (machine guns, etc.) and causing mass destruction. It also includes four player co-op, team v. team and free-for-all modes over Xbox Live, in addition to a unique multiplayer mode where two teams of players build their side of the map, then attack a base on the other team's side. There is also a multiplayer mode where people can play as the head of their Xbox Live avatars. Of the characters in the game, only two are Madballs: Oculus Orbus and Horn Head. An iPhone, iPod Touch and iPad game based on the Madballs characters titled Babo Crash HD was also released.

2017 animated shorts
In addition to the new product line, AGE and Just Play joined together with Oddbot Studios to produce new animated Madballs shorts.  Released on the Madballs YouTube channel on March 1, 2017, the cartoon features the six core characters – Skullface, Horn Head, Screamin' Meemie, Oculus Orbus, Dust Brain and Slobulus.

References

External links
 Official website
 Madballs @ MobyGames
 Madballs @ Big Cartoon Database
 Madballs Toy & Toon Archive!

 Official site for the Madballs video game

1980s toys
Toy brands
Comics based on toys
ZX Spectrum games
Star Comics titles
1980s American animated television series
1987 American television series debuts
1987 American television series endings
American children's animated horror television series
Animated musical groups
Fiction about monsters
Rubber toys
Television series by Nelvana
English-language television shows

Madballs


A provisional designation in astronomy is the naming convention of astronomical objects as soon as they are found. The provisional designation is usually replaced by a permanent name once a good orbit has been calculated. With asteroids, so many have been found that many will never be named by the people who found them.

Other websites
 When did the asteroids become minor planets?
 New and old-style minor planet designations (Minor Planet Center)

Astronomical objects

Provisional designation in astronomy


Don McGuire (born Don Rose; February 28, 1919 – April 13, 1999) was an American actor, director, screenwriter, and producer known for his roles such as playing Congo Bill from DC Comics in the 1948 Congo Bill serial.

Early years
The son of Mr. and Mrs. Benjamin C. Rose, McGuire graduated from Senn High School, where he participated in four sports. Following studies at the University of Iowa, he played semi-pro baseball in Evansville, Indiana, for a year, after which he began working at a newspaper as a copy boy. He progressed from that job to become a photographer and a reporter.

Career
McGuire worked at a newspaper in Chicago but left that job to enlist in the Army in 1941. He was a military police first sergeant, serving in the Aleutian Islands until 1944. Back injuries ended his military service, and when he returned to civilian life, he worked in public relations in Hollywood, eventually opening his own business. While he was trying to secure a film role for his girlfriend, the director offered him a job instead.

McGuire's acting debut came in San Antonio. He went on to act in The Fuller Brush Man and Armored Car Robbery, among other films. While acting, he also worked on several screenplays including Meet Danny Wilson and Bad Day at Black Rock.

In the early 1960s, he created, produced or co-produced, directed, and wrote scripts for the television series Hennesey (1959–1962) and Don't Call Me Charlie! (1962–1963), and he guest-starred as General Nuxhall in the 1962 episode "Play It, Sam" of the latter show. Towards the end of his career, he directed three films: Johnny Concho, The Delicate Delinquent, and Hear Me Good.

Personal life
McGuire married Karen X. Gaylord on August 15, 1948.

Death
Don McGuire died on April 13, 1999, aged 80, of complications from an unspecified illness, in Los Angeles, California.

Recognition
McGuire was nominated for the Academy Award for Best Original Screenplay for co-writing Tootsie. He won Screenwriters Guild Awards for his work on that film and on Bad Day at Black Rock.

References

External links

1919 births
1999 deaths
American film directors
American male screenwriters
20th-century American male actors
American male film actors
Male actors from Chicago
20th-century American male writers
20th-century American screenwriters
Writers Guild of America Award winners

Don McGuire (actor)


The horned helmet of Henry VIII (more properly called the parade armet) is the surviving part of a full suit of armour made by Konrad Seusenhofer between 1511 and 1514. The armour was a gift from the Holy Roman Emperor Maximilian I to the English king Henry VIII, following their alliance in the War of the League of Cambrai. The suit was elaborate and intended for display at tournament parades. It is unclear who was the intended wearer of the armour, but it appears to have been modelled on one of Henry's court fools. Henry may have worn the armour as a jest. The helmet has protruding eyes and a toothy grimace and is adorned with horns and spectacles. The helmet survived when the rest of the suit of armour was scrapped, probably after the English Civil War, and it is now in the collection of the Royal Armouries Museum in Leeds, which formerly used it as a symbol of the museum.

Background
Although commonly known as the "horned helmet", the piece is an armet enclosing the entire head, not a helmet. It was commissioned, as part of a full suit of armour, by Maximilian I in 1511 as a gift for Henry VIII. Henry and Maximilian had recently forged an alliance, as part of the Holy League, in the War of the League of Cambrai against France. (The Holy Roman Empire had, until 1510, been on the French side.) In 1509, Henry had married Catherine of Aragon, whose sister, Joanna of Castile, was married to Maximilian's son Philip.

Maximilian ordered his court armourer Konrad Seusenhofer to produce the armour, although its engraving was carried out by an Augsburg goldsmith, and the suit was completed in 1514. The suit was delivered to Henry later that year, at the same time as another suit that he had commissioned was delivered. The suit was the second gift of armour made to Henry by Maximilian. The first had been a suit of tournament parade armour made in 1510 by Flemish armourer Guillem Margot. Maximilian had the gift embossed with devices of the House of Burgundy, which Maximilian had joined through his wife Mary of Burgundy, and the pomegranate device of Catherine.

Description

The suit of armour was elaborate, intended for display purposes at tournament parades. Its design was inspired by intricate fabrics, which may have been worn alongside the armour. It is possible that the armour was designed to include interchangeable pieces to be swapped to suit different forms of tournament contests. The entire suit was put on display after Henry's death, but today only the helmet survives. The rest of the armour is presumed to have been sold for scrap after the English Civil War; it is thought that the helmet was saved from this fate on account of its bizarre appearance.

The helmet includes a face piece with protruding eyes, a toothy grimace and a stubbly chin. The face includes fine detail such as crow's feet around the eyes and a drip beneath the nose. Ram's horns, made from sheet iron, are rivetted to the upper part of the helmet. The helmet has hinged cheekpieces, with rosette decoration around the ear holes. The face of the helmet has a pair of copper-alloy spectacles. It is not known if these were original to the helmet, but they date from before 1547. The spectacles are of the hinged type, known in Europe since the mid-14th century. The spectacles may have originally been gilded and are non-functional, not being fitted for lenses.

Use
It is unclear if the armour was intended to be worn by Henry or another.  During the 16th century horns were associated with cuckolds or the devil, rendering the armour unsuitable for a royal person, but it might have been worn by Henry as a jest.  The armour was used primarily during court pageants.

The appearance of the helmet is likely to have been modelled on one of Henry's court fools. During the 17th century the helmet was displayed at the Tower of London and attributed to Will Sommers, one of Henry's fools, but he did not join the royal court until 1525.

Its possible that the horns are not original to the helmet. The design of the mask closely matches a face found on a playing card dating from the 1st half of the 16th century. The character is known as Schellenunter or Knave of Bells and does not have horns. The quality of the workmanship appears lower than the rest of the work on the helmet. They do however appear to have been fitted before 1547.

The helmet is currently in the collection of the Royal Armouries Museum in Leeds, and has been adopted as the symbol of the museum.

References

Individual helmets
Henry VIII
Western plate armour
Material culture of royal courts

Horned helmet of Henry VIII


In organic chemistry, a semicarbazone is a derivative of imines formed by a condensation reaction between a ketone or aldehyde and semicarbazide.  They are classified as imine derivatives because they are formed from the reaction of an aldehyde or ketone with the terminal -NH2 group of semicarbazide, which behaves very similarly to primary amines.

Formation
For ketones
H2NNHC(=O)NH2 + RC(=O)R → R2C=NNHC(=O)NH2

For aldehydes
H2NNHC(=O)NH2 + RCHO → RCH=NNHC(=O)NH2

For example, the semicarbazone of acetone would have the structure (CH3)2C=NNHC(=O)NH2.

Properties and uses
Some semicarbazones, such as nitrofurazone, and thiosemicarbazones are known to have anti-viral and anti-cancer activity, usually mediated through binding to copper or iron in cells.  Many semicarbazones are crystalline solids, useful for the identification of the parent aldehydes/ketones by melting point analysis.

A thiosemicarbazone is an analog of a semicarbazone which contains a sulfur atom in place of the oxygen atom.

See also
 Carbazone
 Carbazide
 Thiosemicarbazone

References

External links
 Compounds Containing a N-CO-N-N or More Complex Group

Functional groups
Semicarbazones

Semicarbazone


FilmOn is an Internet-based television provider owned by FilmOn.TV Networks Inc. Alki David had founded FilmOn.TV Networks in 2006. The company was involved in a prolonged legal case concerning streaming rights with CBS, Fox, and NBC between 2013 and 2017, with FilmOn ultimately settling.

History

Early broadcasting model
FilmOn.TV Networks was founded by owner Alki David in 2006.

In 2010 FilmOn launched a streaming internet TV service for mobile devices. Filmon.com claimed it was going to launch an additional over-the-air distribution model using FilmOn AIR, a portable tuner that was supposed to send over-the-air HD channels to mobile devices and computers. At the time, FilmOn's annual subscription was approximately $149.95. In November 2010, major broadcasting studios won a temporary restraining order against FilmOn.com plc in New York, arguing it was violating copyright law by streaming local broadcasts.

In May 2012, FilmOn launched its Facebook app. At the time, the app had 120 channels, with 2,000 on demand titles. For a beta testing stage, all channels were free of charge, as was recording functionality. With Alki David stating the FilmOn technology had been majorly changed by the summer of 2012, at that time, FilmOn was sued again by major networks. FilmOn paid the networks $1.6 million to resolve the 2012 lawsuit.

In November 2012, FilmOn founder Alki David sued Fox Broadcasting in a Los Angeles Superior Court, arguing Fox had allegedly "libeled David's company, FilmOn.com, by making false statements and misrepresenting past court orders to third parties including Apple, Google and Microsoft." At the time, the FilmOn board included individuals such as Charlie Sheen and Ice-T, among others. In October 2012, FilmOn had 85 employees and operated out of Beverly Hills. The company made around $24 million a year, with subscribers at that time paying between $11.95 and $17.90 a month for access. FIlmOn also was licensed to companies like Lenova, with plans for its app to be preloaded on Lenova computers.

2012-2023
In February 2014, FilmOn introduced what it called "teleport technology" in the US that would allow users to watch local television broadcasts not in their region. FilmOn's business model at the time involved making money by selling advertising, as well as providing access to high-definition video, among other services, according to the Financial Times. However, it was restricted by ongoing court battles from offering major network television in various locations in the United States. It had 350 live television channels, and also had original programming. In July 2015, FilmOn served as the production company behind a new single and music video by artist Chief Keef.

CBS, Fox and NBC sued FilmOn in the United States for copyright violations in 2013. While Aereo went bankrupt under a similar lawsuit, FilmOn had argued that "since the high court justices likened streaming operations to a cable system, it was entitled to a compulsory license" under Section 111 of the Copyright Act, and that it had tendered appropriate fees to the Copyright Office. In July 2016, FilmOn in California won a case agreeing with its interpretation, which "represented a threat to broadcasters", according to the Hollywood Reporter. In March 2017, that ruling in favor of FilmOn was reversed, and afterwards, FilmOn continued to appeal. CBS, Fox and NBC settled with FilmOn in May 2017. The settlement resulted in FilmOn withdrawing its appeals to other circuits. Terms were confidential.

On May 1, 2017, all channels were set to "Paid" - both SD and HD quality - which restricts viewing time to 2 minutes. Previously, SD quality channels were mostly free. Alki David remained head of FilmOn Networks in December 2019.

Programming
FilmOn is a subscription-based internet-based television service allowing remote computer viewing of local television. It also allows users to create their own live or video-on-demand channels. At one point, the service licensed 600 channels along with 90,000 video-on-demand titles.

The channel lineup varies depending on country. Its library has included the CineBx and Allied Film libraries. FilmOn launched Shockmasters, a channel devoted to Alfred Hitchcock, in 2013. In 2014, FilmOn launched Bloodzillathon, a channel devoted to kaiju movies, and it also began streaming Voice of America in 2014.

Legal issues
In a case that was projected to "impact free speech cases in California," in May 2019, the Supreme Court of California gave FilmOn the go-ahead to sue DoubleVerify for trade libel. The ruling reversed a lower court's decision supporting DoubleVerify's invocation of the anti-SLAPP statute.

In February 2017, a former employee of FilmOn sued both FilmOn and Alki David, saying David had assaulted her in the workplace, and then fired her for refusing advances.  She was awarded $11 million in April 2019 by a jury.

In November 2019, a Los Angeles jury awarded $8.25 million in damages to a former FilmOn employee, with FilmOn owner Alki David held liable for battery, sexual battery, and sexual harassment. According to a legal expert quoted in the Los Angeles Times, the award was "among the highest ever for an employment case." The former production assistant was then awarded $58 million from David in punitive damages.

Broadcast channel rights

FilmOn and Alki David have been involved in several legal issues over programming including the carriage of major U.S. broadcast channels, such as CBS (and its sister network, The CW), NBC, ABC and FOX (and its sister network, MyNetworkTV), among others.  This resulted in requiring FilmOn to drop these channels in 2011. In 2012, the channels were all returned after appeals were lodged in Federal Court and FilmOn launched its FilmOn Air X antenna farm. On September 5, 2013, Judge Rosemary Collyer of the United States District Court for the District of Columbia issued a nationwide injunction blocking FilmOn from offering its antenna/DVR service. However, the ruling did not apply in the Second Circuit (which includes the states of New York, Vermont, and Connecticut) due to an earlier case brought by Aereo one of FilmOn's competitors.

The 2014-Second Circuit ruling found FilmOn in contempt of a 2012 injunction for continuing to deliver live TV streaming services after the U.S. Supreme Court deemed Aereo's service to be in violation of broadcast copyrights in American Broadcasting Cos. v. Aereo, Inc. (2014). Following the 2014 contempt of court ruling by the Second Circuit, FilmOn was also barred from transmitting broadcast television in the Central District of California and thus remained barred nationwide.

As of July 2015, the company went by FilmOn X LLC in the United States in the then ongoing case Fox Television Stations, Inc v. FilmOn X, LLC. That month, a US judge ruled that internet streaming services like FilmOn should be treated as a normal cable system. It was the first ruling to view a streaming service as a cable provider. The studios appealed. Specifically, in July 2015, George H. Wu, Judge for the Central District of California ruled that FilmOn could qualify for a compulsory license for television content. However, as of late April 2016, the legal issue remained unsettled. Although it had granted judgment in FilmOn's favor, the Central District of California court maintained its preliminary injunction barring the company's streaming services pending the outcome of the appeal. CBS, Fox and NBC settled with FilmOn in May 2017.

References

External links

Further reading
Federal Communications Commission (15 January 2015). "Promoting Innovation and Competition in the Provision of Multichannel Video Programming Distribution Services". Federal Register.

Internet properties established in 2008
Internet properties established in 2009
Streaming television
Companies based in London
Companies based in Los Angeles
Video on demand services

FilmOn


Aastha Kunj is a 200-acre park in southeast New Delhi, India. It lies between the Lotus Temple, ISKCON Temple, Nehru Place. Nearest metro station to reach here are Kalka ji mandir metro station, Nehru Place metro station. Good for jogging and exercise and along with that you can play various types of sports.

References

Parks in Delhi

Aastha Kunj


Carbon-14 is an isotope of the element carbon, so named because it has an atomic mass of 14. It has an atomic nucleus containing 8 neutrons and 6 protons. 6 is the Atomic number for all carbon isotopes. Carbon-14 is also called "carbon 14" or "radiocarbon", or in symbols: 14C, or 146C, or C14.

Carbon 14 is the only radioactive isotope of carbon found in nature. It is generated in the Earth's atmosphere by Cosmic rays and decays with a Half-life of about 5700 years. This long half life makes Carbon 14 exist for enough time to be detected. Other isotopes of carbon are either stable, or have a short half life.

The amount of carbon 14 that remains after the death of a living thing is a measure of that time. This is useful for as long as 60,000 years. This measurement is radiocarbon dating.

Neutrons in cosmic rays collide with nitrogen in the atmosphere and the collision produces carbon 14 and hydrogen. Plants and other living things take up carbon in the carbon cycle. When a thing dies, there is no source of carbon, and the carbon 14 in the body decays to nitrogen (and also to electrons, antineutrinos, and gamma rays).

Isotopes
Carbon

Carbon-14


Delta-v, meaning delta velocity and symbolized as Δv, is a measure of a spacecraft's ability to change it's trajectory (the path it will take in the future). Delta velocity in simple terms means 'the change in speed' It is measured by a unit of speed, usually meters per second (m/s).#

Factors that go into calculating delta-v are:

 The mass of the spacecraft.
 The amount of gravity in which the spacecraft currently finds itself.
 The thrust and efficienty of the engine.
 The amount of fuel the spacecraft has.

As an example of how delta-v is used, we can imagine a goal: flying a spacecraft into low Earth orbit. (In simple words, getting a rocket to spin around the Earth). We would first calculate how much delta-v will be required for that journey. Then, with the factors in the above list, we can calculate how much delta-v our spacecraft would need to go on that journey. Like if a person were to drive his car from point A to point B, he'd need to know how much fuel he needs in his car first. But in rocket science, using delta-v is much more relevant, as we have to completely design our spacecraft, including all factors mentioned above.

To reach Low Earth orbit, (LEO) our spacecraft would need roughly 10,000 m/s of delta-v.

Delta-v can be seen a budget, because if our spacecraft were to use up the 10,000 m/s of delta-v, it wouldn't be able to complete its journey to low Earth orbit.

Delta-v is calculated using this integral equation:

where

  is the thrust at time .
  is the mass at time .

Spaceflight
Measurement

Delta-v


Henryk Kuna (c.1885 – 17 December 1945) was a Polish sculptor, active in the early twentieth century. His long career produced many famous works of arts including several renowned public monuments in his native country of Poland.

Life
Henryk Kuna was born to a Jewish family in Warsaw in 1885 or possibly earlier (various sources give his year of birth as far back as 1879). Kuna studied art at the Academy of Fine Arts in Kraków where he met fellow artists who would become lifelong friends. Many of them became deeply involved in Kuna's informal school of art known as Rytm (Rhythm). The group focused on the development of a Polish national style melding modernity with classicism.

Kuna was a well-established artist in his time. He was appointed, along with the artists Teodor Axentowicz, Julian Fałat and others, to represent Poland at the XII Venice Biennale in 1920. Kuna's fame flourished further with a well-received solo exhibition in London two years later.

Kuna died in the northern city of Toruń in 1945. He was interred in Warsaw's historic Powązki Cemetery.

Works
Kuna was chosen for a project to sculpt a statue of Polish national hero Adam Mickiewicz for the city of Vilnius in the early 1930s. His work progressed on a number of bas reliefs, evocative of the romantic themes of Mickiewicz's writing, which were to surround the statue. When the Nazis invaded in 1939, the monument site was largely destroyed by a bomb, and under their occupation many of the bas reliefs were hauled off to a cemetery as paving stones.

A new sculpture by Gediminas Jokūbonis was unveiled in 1984 with Kuna's surviving bas reliefs emplaced around it. In the turbulent 1980s and 1990s, the site was a popular meeting place for political dissidents.

Kuna's most iconic work, the lifesize female nude Rytm (Rhythm, 1925), seemingly sways waterside in the Praga Południe district of Warsaw. Another female figure, Alina, stands amid a fountain at Stefan Żeromski Park in the Żoliborz district.

Among Kuna's other works are Jutrzenka (Daybreak, 1919); Rozowy marmur (Pink Marble, 1930); and Portraits of K.R Witkowski (1930).

In 1930, Kuna was awarded the Officer's Cross of the Order of Polonia Restituta and, in 1935, the Golden Laurel of the Polish Academy of Literature.

References

Further reading

  Catalog of Kuna's works

Polish sculptors
Polish male sculptors
Jewish sculptors
19th-century Polish Jews
Officers of the Order of Polonia Restituta
20th-century sculptors
1880s births
1945 deaths
Artists from Warsaw
Burials at Powązki Cemetery
Golden Laurel of the Polish Academy of Literature

Henryk Kuna


Saxe-Hildburghausen () was an Ernestine duchy and Imperial Estate of the Holy Roman Empire in the southern side of the present State of Thuringia in Germany. It existed from 1680 to 1826 but its name and borders are currently used by the District of Hildburghausen.

History
After the duke of Saxe-Gotha, Ernest the Pious, died on 26 March 1675 in Gotha, the duchywas divided on 24 February 1680 among his seven surviving sons. The lands of Saxe-Hildburghausen went to the sixth son, who became Ernest II, the first duke of Saxe-Hildburghausen. But the new duchy did not have complete independence. It had to depend on the higher authorities in Gotha for the matters of administration of its districts – the so-called "" – because Gotha was the residence of Ernest II's oldest brother, who ruled as Frederick I, Duke of Saxe-Gotha-Altenburg. Saxe-Hildburghausen did not become fully separate until 1702.

In the beginning, the duchy had the district and city of Hildburghausen, the district and city of Heldburg, the district and city of Eisfeld, the district of Veilsdorf and the half of the district of Schalkau. Two more districts were added – Königsberg in 1683 and Sonnefeld in 1705. When Albert V, the duke of Saxe-Coburg, died in 1699 without any surviving descendants, disputes arose over the inheritance but, eventually, in 1714, Saxe-Hildburghausen agreed to exchange the district of Schalkau for parts of the other Saxon duchies – a piece of the former Duchy of Saxe-Römhild, the District of Behrungen, including the winery, and the monastery estate of Milz as well as the former properties of the Echter family of Mespelbrunn.

In 1684 the city of Hildburghausen became the residence of the duke so it was developed to reflect its new status. However, the elaborate buildings and courtyards of the princes strained the finances of the duchy so much that, in 1769, a forced management of debts by an Imperial Debit commission had to be ordered. It was placed under the direction of the Regent, Charlotte Amalie of Saxe-Meiningen.

With the dissolution of the Holy Roman Empire in 1806, Saxe-Hildburghausen gained its full sovereignty as the Duchy of Saxe-Hildburghausen. A few months later, on 15 December 1806, it, along with the other Ernestine duchies, entered the Confederation of the Rhine. In 1815, it joined the German Confederation. In 1818, it was one of the first German states to receive a constitution.

The extinction of the oldest line, Saxe-Gotha-Altenburg in 1825 again led to inheritance disputes among the other lines of the Ernestine family. On 12 November 1826 the decision, from the arbitration of the supreme head of the family, King Frederick Augustus I of Saxony, resulted in the extensive rearrangement of the Ernestine duchies. Saxe-Hildburghausen lost the Districts of Königsberg and Sonnefeld to the new Duchy of Saxe-Coburg and Gotha and the rest of its territories to the Duchy of Saxe-Meiningen. But the last duke of Saxe-Hildburghausen, Frederick, became the new duke of Saxe-Altenburg.

In 1868, four districts were established in the Duchy of Saxe-Meiningen. One of them was Hildburghausen, with boundaries very similar to those of the former duchy. It remained almost unchanged until 1993, when the District of Suhl was dissolved and most of its municipalities joined the District of Hildburghausen.

Dukes of Saxe-Hildburghausen
 1680–1715 Ernest
 1715–1724 Ernest Frederick I
 1724–1745 Ernest Frederick II, from 1724 to 1728 under the Regency of his mother, Countess Sophia Albertine of Erbach-Erbach
 1745–1780 Ernest Frederick III Carl, from 1745 to 1748 under the Regency of his mother, Countess Caroline of Erbach-Fürstenau
 1780–1826 Frederick, since 1826 Duke of Saxe-Altenburg; from 1780 to 1787 under the Regency of his great-granduncle Prince Joseph Frederick

Notable residents
 Sophie Henriette of Waldeck (1662–1702), Duchess of Saxe-Hildburghausen
 Eugene of Saxe-Hildburghausen (1730–1795), Prince of Saxe-Hildburghausen
 Louis Frederick of Saxe-Hildburghausen (1710–1759), Prince of Saxe-Hildburghausen
 Prince Joseph Frederick (1702–1787), Prince of Saxe-Hildburghausen
 Christiane Sophie Charlotte of Brandenburg-Bayreuth (1733–1757), Duchess of Saxe-Hildburghausen
 Ernestine Auguste Sophie of Saxe-Weimar-Eisenach (1740–1786), Duchess of Saxe-Hildburghausen
 Charlotte Georgine Luise of Mecklenburg-Strelitz (1769–1818), Duchess of Saxe-Hildburghausen
 Charlotte of Saxe-Hildburghausen (1787–1847), by marriage Princess of Württemberg, known as "Princess Paul of Württemberg" since then
 Therese of Saxe-Hildburghausen (1792–1854), by marriage Queen of Bavaria (who gave her name to a park in Munich, Theresienwiese and inspired, with her marriage, the Oktoberfest)
 Louise of Saxe-Hildburghausen (1794–1825), by marriage the Duchess of Nassau

Bibliography
  Johann Werner Krauß, Kirchen–, Schul– und Landeshistorie von Hildburghausen [Church, School and State History of Hildburghausen] (Greiz, 1780)

External links
  Sachsen-Hildburghausen in: Meyers Konversations-Lexikon, 4. Auflage, Band 14 [Meyers Conversational Dictionary, 4th Edition, Volume 14] (Leipzig: Bibliographisches Institut [Bibliographical Institute], 1885–1892), page 146

States and territories established in 1680
1680 establishments in the Holy Roman Empire
1826 disestablishments in Europe
Duchies of the Holy Roman Empire
States of the Confederation of the Rhine
States of the German Confederation
Hildburghausen

House of Wettin
Upper Saxon Circle
Former countries in Europe
Former principalities
South Thuringia

Saxe-Hildburghausen


The Williston-West Church and Parish House are an historic church and house at 32 Thomas Street in the West End neighborhood of Portland, Maine, United States.  The church was built in 1897, and is a significant Gothic work by Francis H. Fassett.  The parish house, built in 1905, was designed by John Calvin Stevens and John Howard Stevens.  The church is historically notable as the founding site of Christian Endeavor International, consider a major forerunner of modern youth ministries.  The property was listed on the National Register of Historic Places in 1980.  The church congregation merged with another in 2011, and the property was sold for rehabilitation and redevelopment.  It now houses professional offices.

Description and history
The Williston-West Church and Parish House stand in Portland West End, on the west side of Thomas Street, occupying the north half of the block between Carroll and Clifford Streets.  The church, standing at the corner of Carroll and Thomas, is a somewhat irregularly shaped complex, dominated by a square three-story tower at the street corner. The walls are buttressed, and lined with Gothic-arched windows, with a large rose window in the main facade.  Separated from the church by a courtyard to its south is the parish house, a two-story brick building of compatible style.

The church complex is unusual for containing works separated in time by two of the city's most prominent architects.  Francis H. Fassett was the city's leading architect in the mid-19th century, and mentored John Calvin Stevens in his early years.  The church is also of historical note, for it was here that Francis Edward Clark established Christian Endeavor, a non-denominational youth ministry that is now international in its scope.

With its congregation declining in size, the Williston-West Church was merged in 2011 with the Immanuel Baptist-American Baptist Churches to form the Williston-Immanuel Church, which meets in a church on High Street.  The church property was then sold to a developer.  In 2014 the property was involved in a rezoning lawsuit in which the city of Portland eventually prevailed in the state supreme court.  It now houses the offices of Majella Global Technologies.

See also
National Register of Historic Places listings in Portland, Maine

References

External links

Majella Global Technologies, (commercial tenant)
Williston-Immanuel Church web site

Churches in Portland, Maine
Churches on the National Register of Historic Places in Maine
Gothic Revival church buildings in Maine
Churches completed in 1897
19th-century United Church of Christ church buildings
United Church of Christ churches in Maine
West End (Portland, Maine)
National Register of Historic Places in Portland, Maine

Williston-West Church and Parish House


A Study of British Genius is a 1904 book by Havelock Ellis published by Hurst and Blackett.

Contents

There is an introduction and then the books delves into chapters on race and nationality, social class, heredity, childhood, marriage, life, pathology, stature, pigments, other miscellaneous things, and a conclusion. Ellis begins by saying people had not been able to have an efficient comprehensive study of men and women before him. The Dictionary of National Biography had a large collection of descriptions of people, but it had been too unwieldy and large to be useful. Ellis then analyzes people and their natural tendencies to contribute successfully to society, but people born into royalty are excluded. They cannot be included with the rest of the population because they were given advantages at a young age that others were not given. The term genius is used to describe intelligence every time the word is mentioned throughout the text. He examines the concept of tracking down the origin of intelligence to a specific region of the world. In order to do this, each person must be asked about their birthplace to create an accurate record. The best way of asking though, is to ask each grandparent where they came from. In the chapter on social class, to determine the social class of people most precisely, it was best to ask the fathers what their occupation was. The occupation had to be considered at the time when the kid was born.

The divisions of social classes that Ellis describes are quite stratified. The upper class is siphoned off from the other occupations as its own group, and then underneath this, Ellis puts the following: yeoman and farmers, church, law, army, navy, medicine, miscellaneous professions, officials, commercial, crafts, and then artisans and unskilled. So, based on the categories, Ellis does not consider any of these other professions in the upper class. He also suggests that the order of the professions may actually be considered a hierarchical relationship that others could use. When observing professions that are primarily in farms or in rural areas, Ellis decided that these places provided a much larger potential for intellectual development than urban cities. The predictions for the future were that he did not believe the cities would ever actually catch up to the rural growth. Dividing this further, he felt that individuals in rural areas of the lowest classes were able to achieve greater intellectual contributions than those in urban areas. In the section talking about heredity, it seems that Ellis supported the idea that it is a large part of people's natural intelligence. He said as well, though, that it was not the only concept that mattered when figuring it out. Ellis then focused on childhood and youth. He pointed out the fact that most of the people who grew up to be important and prominent people, such as Charles Dickens, had very delicate childhoods. Some of them were not expected to live past infancy, and some almost died. Many of these people also had parents who had died before or after the birth of their children. Ellis argued that this also showed the inherited frailty of families.

There was a comparison showing that people who were regarded as significantly intelligent were educated in the UK, Scotland, Ireland, and were at the most notable universities. Ellis pointed out that his studies were not the only ones to include these universities and regions in their results. He did suggest that this wasn't a sweeping generalization that did not take exceptions into account, however, he insisted that it was instead more of a predisposition. Those who went to college or attained some sort of level of higher education were far more likely than others to be intelligent, prominent people of society. Marriage was not seen in most of the prominent men that he studied. However, he pressed the idea that men who did not marry, did not necessarily do so because of intellectual absorption. Many of the men had actually considered marriage, or did not live to the age where they would be likely to marry, or had certain life issues that stood in their way. He is very careful to show that this category was not quite so clear. For those who did marry, they married at much later ages than the rest of the men Ellis had studied, and they married even later than their fathers, who Ellis also thought married much later than other men. This later year was an average of 31.1 years of age.

Historical relevance

In examining how others viewed Ellis's work, some scholars suppose that Robert Knox, a professor at Edinburgh, was influenced by many of the topics discussed in this book, such as the characterization of mental and Emotional qualities in people all over Britain. The book has also been credited as one of a few influential works examining how creativity is inherited. It is trusted as a book that observes individuals who are related and unrelated and the differences between creativity amongst them.

Since Ellis, many researchers in psychology have looked at sibling studies, especially when considering order of childbirth. Many of these researchers still see Ellis as someone who found substantial support to back up findings from others, such as the statistician Francis Galton. The idea he specifically supported was that people who were first born were more likely to be gifted and represented more than people who were not first born. In modern times, this theory has been contested by other studies, but his ideas are still being considered and debated, with both support and criticism.

Another idea he professed that has since been studied extensively by other researchers was the link between mental illness and intelligent people. Ellis himself found no link between the two when compared to the general population. He said that there were indeed people with mental illness who were intelligent as well, but it was not significant. Since then, multiple studies have shown links between schizophrenia and manic-depressive disorder, directly combating Ellis' idea that the link does not exist. There is still room for debate as more research is created concerning mental illness.

Ellis also made attempts in his work to show that people who were white with Nordic features were the ones who would be most likely to be geniuses, and those with darker features were highly unlikely to be as intelligent. This was shown through the data he collected, where most people he described that had contributed significantly to math and science had these characteristics. Another book, written by R. Ochse, titled Before the Gates of Excellence questioned these findings, claiming that these trends are quite different today. Ochse said that as of 1990 at least, Jewish people are the ones who have been most successful in the field of science.

Reception

References

External links
 A Study of British Genius text scan at Internet Archive

1904 non-fiction books
British non-fiction books
English non-fiction books
Books about the United Kingdom
Hurst and Blackett books

A Study of British Genius