Peter Wilmshurst is a British medical doctor and successful whistleblower who has been the subject of multiple cases of harassment through vexatious libel actions brought by companies whose products he criticised as ineffective. He has also reported at least twenty doctors to the General Medical Council in the course of two decades of investigating research misconduct.

Background

Sterling-Winthrop case
In 1986, Wilmshurst, a cardiologist then working at St. Thomas' Hospital, London, approached The Guardian newspaper with a substantial dossier detailing alleged misconduct in the development of Amrinone, a cardiac drug manufactured by Sterling-Winthrop. The drug was supported by a study at Harvard Medical School and published in the New England Journal of Medicine, whose lead author was Eugene Braunwald, a leader in his field. Wilmshurst's group ran a series of experiments on the promising new drug but found no effect on contractility and frequent life-threatening side effects. Wilmshurst reported these findings to Sterling-Winthrop, who asked him to suppress the data. He refused, and they retaliated by threatening litigation. He continued the research and published his adverse findings in abstracts and conference presentations, until Sterling-Winthrop staff removed all stocks of the drug from the hospital pharmacy. A review by the Netherlands Committee for the Evaluation of Medicine found substantial discrepancies between the record cards of Wilmshurst's group and those submitted by Sterling-Winthrop. Wilmshurst showed that they had falsified the records, suppressing the adverse events he had reported. He then contacted the UK's Committee for the Safety of Medicines and discovered that Sterling-Winthrop had also failed to report the adverse events to the UK; they had also threatened the UK Government with closure of a large manufacturing plant in the UK. Sterling-Winthrop subsequently reported over 1,400 adverse events to the US Federal Food and Drug Administration, and terminated research and marketing in the US, while continuing to market the drug in the developing world. Finally, after a substantial Guardian feature, they withdrew the oral drug entirely in 1986. In 2003 he was given the Health Watch Award for this work.

NMT Medical case
In 2000, Wilmshurst published a paper linking migraine to patent foramen ovale, a common cardiac condition affecting up to one in four people. This led NMT Medical to develop a PFO closure device branded STARflex. Wilmshurst was recruited as part of the "Migraine Intervention with STARflex Technology" (MIST) trial. The number of patients and potential value of the market (estimated in excess of $15bn) drove NMT's stock price to $25/share. A substantial discrepancy emerged between echocardiogram result interpretations of the implanting cardiologists and Wilmshurst's review. Wilmshurst reported a significantly higher proportion (one in three versus four in sixty-five) with residual cardiac shunts. An independent review backed Wilmshurst's figures. Less than a fortnight after returning from a conference in Washington where he discussed his results, Wilmshurst was contacted by lawyers for NMT making accusations of "seriously defamatory allegations". The first NMT libel suit was lodged in 2007, and drew media attention. NMT served four separate writs on Wilmshurst. The courts demanded that they lodge £200,000 due to their parlous financial state and the likelihood of failing in the action. NMT declared bankruptcy after pursuing Wilmshurst for over three years.

Bawa-Garba Case
In light of the Hadiza Bawa-Garba case, Dr Peter Wilmhurst has both referred himself to the GMC, as well as asking the regulatory body to both remove himself from the register, and scrutinise his medical practice. This is due to the ongoing concern felt by medical practitioners in England with the GMC's outcome and appeal (successfully won) against Bawa-Garba. Multiple parties have been concerned about the outcome of this hearing, as well as the repercussions on current medical practice.

Libel reform
Wilmshurst's experience, along with British Chiropractic Association v Singh, have been cited as catalysts for the UK's libel reform campaign, leading to the Defamation Act 2013.

References

Living people
Year of birth missing (living people)
20th-century British medical doctors
21st-century British medical doctors
British cardiologists
British medical researchers
British whistleblowers

Peter Wilmshurst


Emmanuelle is the lead character in a series of French erotic films based on the main character in the novel Emmanuelle, created by Emmanuelle Arsan, which was written in 1959 and published in 1967.

Emmanuelle originated as a pen name for Marayat Rollet-Andriane, a French-Thai actress who wrote a book in 1957 called The Joys of a Woman, which detailed the sexual exploits of a bored housewife. The first Emmanuelle film debuted in 1974 and starred Sylvia Kristel, who became synonymous with the role. The film embraced its X-rating and became a success, with an estimated audience of 300 million. It remains one of France's most successful films. Several sequels followed, with Kristel reprising her role. Unofficial productions, spinoffs, and a video game also emerged, capitalizing on the Emmanuelle craze. The explicit content in the films varied from softcore to full hardcore, though no penetration or oral sex made it to public versions.

Character history
Emmanuelle appeared as the pen name of Marayat Rollet-Andriane, a French-Thai actress (1932-2005). Her 1957 book The Joys of a Woman detailed the sexual exploits of Emmanuelle, the "bored housewife" of a French diplomat. Rollet-Andriane's book caused a sensation in France and was banned.

The producer of another Arsan/Rollet-Andriane film Laure, Ovidio Assonitis, claimed that all books published under the pen name Emmanuelle Arsan were written by her husband Louis-Jacques Rollet-Andriane, rather than by Marayat.

Films
The first Emmanuelle film was the 1974 French theatrical feature Emmanuelle starring Dutch actress Sylvia Kristel (1952–2012) in the title role. She came to be the actress best identified with the role. This film pushed the boundaries of what was then acceptable on screen, with sex scenes, skinny-dipping, masturbation, the "Mile High Club", rape, and a scene in which a dancer lights a cigarette and puffs it with her vagina. This film was created and directed by French director Just Jaeckin.

Unlike many films that tried to avoid an X-rating, the first Emmanuelle film embraced it, and became a success with a viewing audience estimated at 300 million. It remains one of France's most successful films, and played in the Arc de Triomphe theatre for over eleven years. In France and the US the film was uncut, but British censors balked at masturbation and explicit sex. Heavy cuts were made to the film including the complete removal of the opium den rape and the infamous 'cigarette' sequence in the club.

Several sequels starring Kristel followed, beginning with Emmanuelle 2 known as Emmanuelle: The Joys of a Woman in its U.S. release, and also Emmanuelle l'antivierge in some European press materials, including the soundtrack LP and CD. Kristel sold her interest for $150,000, missing on a share of the film's $26m domestic gross. She was paid $6,000 for her role but negotiated a $100,000 contract for the sequel, Emmanuelle 2.

Kristel stepped away from the role in the 1980s, yielding to younger actresses, but returned for the seventh feature film. In 1992 and 1993, Kristel reprised the role of an older Emmanuelle for a series of made-for-cable films with titles such as Emmanuelle's Love and Emmanuelle's Perfume, which featured Marcela Walerstein as a younger version of Kristel's character. Kristel did not take part in any love scenes for this series, which also co-starred George Lazenby, also in a non-sexual role. Kristel also appeared in films throughout her career that capitalized on or parodied her Emmanuelle image, such as the American sex comedy Private Lessons.

A number of unofficial productions in Italy, Japan and the United States cashed in on the Emmanuelle craze, changing the spelling of the title. In a number of cases, the character's name was spelled "Emanuelle" suggesting these films were not authorized. Among the best known were Italian "Black Emanuelle" films starring Laura Gemser, who became the second most popular actress to play Emanuelle in the 1970s. The 1978 spoof Carry On Emmannuelle (with double "N") starred Kenneth Williams as the French ambassador to London. Having lost his libido by landing on a church spire during a parachute jump, he discovers his sex-starved wife, Emmannuelle Prevert, has seduced a string of VIPs. It starred Suzanne Danielle in the title role.

After the last official Emmanuelle theatrical feature film, Emmanuelle au 7ème ciel (the seventh film for which Kristel returns as the main character), ASP began to produce further films, all featuring the character of Emmanuelle, albeit played by a series of actresses. These included a science fiction series in the 1990s called Emmanuelle in Space starring American actress Krista Allen in one of her first roles. Following spinoffs included TV series Emmanuelle 2000 starring Holly Sampson, TV and video series Emmanuelle's Private Collection starring Natasja Vermeer, and a one-off, Emmanuelle in Rio, starring Ludmilla Ferraz in her only acting credit.

At the 2008 Cannes Film Festival, Alain Siritzky said he was looking for a new Emmanuelle, with production on the first film scheduled to begin in September. It was announced at the 2011 Cannes Film Festival that Allie Haze (performing under the alias Brittany Joy) had been chosen. The direct-to-video series that starred Allie Haze was titled Emmanuelle Through Time.

The character of Emmanuelle is also featured in a video game of the same name, released by Coktel Vision in 1989.

Box office
The film played to packed houses in Paris, running for years. Emmanuelle was also an international hit and has played to 300 million. French distribution company Studio Canal has acquired home video rights for a number of Emmanuelle movies and has released remastered DVDs of the films. Taking video and DVD into account revenue is estimated close to 650 million.

Explicit content
The sexual explicitness in Emmanuelle films varies from arty softcore to full hardcore, although no penetration or oral sex made it to public versions. Many question the place of hardcore scenes in Emmanuelle and ASP never attempted to mix the two genres after experimenting in the late 1980s.

 Emmanuelle 4 (1984), starring Kristel and new Emmanuelle Mia Nygren, had hardcore scenes shot, but they were never used. These scenes, which did not involve the main actors, were included in television versions and turned up as extras on European DVD editions of Emmanuelle 4 and in a version called "Emmanuelle 4X" on a VHS in France in the 1980s.
 Emmanuelle 5 (1987), directed by Walerian Borowczyk, was released in two versions: one with softcore love scenes, and a French home video version that extended several scenes with hardcore sex directed by Borowczyk (apparently Borowczyk said that he had not directed them). The scenes are the Love Express and dance studio segments, embellished with penetration, ejaculation and a woman urinating. This VHS version omits several minutes of footage seen in the public version (including dialogue and plot).
 Emmanuelle 6 (1988) also had two hardcore scenes (one short without ejaculation, but with fellatio and penetration, between a man and a woman whom Emmanuelle watches in a horse box, and the second longer, with fellatio, penetration and ejaculation, starring the same couple entering the place where Emmanuelle is being held prisoner at the end of the movie), directed by erotic horror specialist Jean Rollin. However, they were not used in the theater version, but were included on a hardcore VHS version in France.

Filmography

Emmanuelle series (France)
 Emmanuelle (1974)
 Emmanuelle 2, also known as Emmanuelle, The Joys of a Woman (1975)
 Goodbye Emmanuelle, also known as Emmanuelle 3 (1977)
 Emmanuelle 4 (1984)
 Emmanuelle 5 (1987)
 Emmanuelle 6 (1988)
 Emmanuelle 7 (1993)

Emmanuelle made-for-TV films (France)
 Emmanuelle Forever (1993)
 Emmanuelle's Love (1993)
 Emmanuelle's Magic (1993)
 Emmanuelle's Revenge (1993)
 Emmanuelle's Perfume (1993)
 Emmanuelle in Venice (1993)
 Emmanuelle's Secret (1993)

Emmanuelle in Space series (USA)
 Emmanuelle: First Contact, also known as Queen of the Galaxy (1994)
 Emmanuelle 2: A World of Desire (1994)
 Emmanuelle 3: A Lesson in Love (1994)
 Emmanuelle 4: Concealed Fantasy (1994)
 Emmanuelle 5: A Time to Dream (1994)
 Emmanuelle 6: One Final Fling (1994)
 Emmanuelle 7: The Meaning of Love (1994)

Emmanuelle 2000 series (USA)
 Emmanuelle 2000: Being Emmanuelle (2000)
 Emmanuelle 2000: Emmanuelle and the Art of Love (2000)
 Emmanuelle 2000: Emmanuelle in Paradise (2000)
 Emmanuelle 2000: Jewel of Emmanuelle (2000)
 Emmanuelle 2000: Intimate Encounters (2000)
 Emmanuelle 2000: Emmanuelle's Sensual Pleasure (2000)
 Emmanuelle 2000: Emmanuelle Pie (2002)

Emmanuelle TV film (USA)
 Emmanuelle in Rio (2003)

Emmanuelle Private Collection series (USA)
 Emmanuelle Private Collection: Sex Goddess (2004)
 Emmanuelle Private Collection: Emmanuelle vs. Dracula (2004)
 Emmanuelle Private Collection: Sex Talk (2004)
 Emmanuelle Private Collection: The Sex Lives of Ghosts (2004)
 Emmanuelle Private Collection: Sexual Spells (2004)
 Emmanuelle Private Collection: The Art of Ecstasy (2006)
 Emmanuelle Private Collection: Jesse's Secret Desires (2006)

Emmanuelle Through Time series (USA)
 Emmanuelle Through Time: Emmanuelle's Skin City (2011)
 Emmanuelle Through Time: Emmanuelle's Sexy Bite (2011)
 Emmanuelle Through Time: Sex, Chocolate & Emmanuelle (2011)
 Emmanuelle Through Time: Rod Steele 0014 & Naked Agent 0069 (2011)
 Emmanuelle Through Time: Sex Tales (2011)
 Emmanuelle Through Time: Emmanuelle's Supernatural Sexual Activity (2011)
 Emmanuelle Through Time: Emmanuelle's Forbidden Pleasures (2011)

Others
 Emmanuelle: A Hard Look, a documentary on the series (2000)
 Pretty Cool, a retitled, cut version of Emmanuelle Pie (2002)
 Emmanuelle Tango, a potential theatrical release, cancelled (2006)
 Emmanuelle in Wonderland, a retitled, cut version of Sex Tales (2012)
 Adventures Into The Woods: A Sexy Musical, a further edit of Emmanuelle in Wonderland (2015)

Other films
A great number of films, particularly in the sexploitation genre and sometimes retroactively, included the name 'Emmanuelle' or its variants in their titles (at least in some of their releases) for exploitative reasons, although none of them had been legally or artistically related to the original series or its title character.

The Spanish-Italian "Black Emanuelle" films, starring Laura Gemser, created a following on their own right.

 Black Emanuelle (1975)
 Black Emanuelle 2 (1976)
 Emanuelle in Bangkok (1976)
 Emanuelle in America (1977)
 Emanuelle Around the World (1977)
 Emanuelle and the Last Cannibals (1977)
 Emanuelle and the White Slave Trade (1978)
 Violence in a Women's Prison (1982)
 Emanuelle Escapes from Hell (1983)

Such films also include:
 Io, Emmanuelle (A Man for Emmanuelle) (1969), directed by Cesare Canevari.
 Tendre et perverse Emanuelle (Tender and Perverse Emanuelle) (1973), directed by Jesús Franco.
 Liebesmarkt (Emanuelle Meets the Wife Swappers) (1973), directed by Hubert Frank.
 Amore libero - Free Love (The Real Emanuelle) (1974), directed by Pier Ludovico Pavoni.
 Emanuelle's Revenge (Emanuelle e Françoise le sorelline) (1975), directed by Joe D'Amato.
 Tokyo Emmanuelle (Emmanuelle in Tokyo) (1975), directed by Akira Katō.
 The Daughter of Emanuelle (1975), directed by Jean Luret.
 Emmanuelle on Taboo Island (1976), directed by Enzo D'Ambrosio.
 Black Cobra Woman (Eva Nera, also released as Emmanuelle and the Deadly Black Cobra) (1976), directed by Joe D'Amato.
 Ecco lingua d'argento (Emmanuelle's Silver Tongue) (1976), directed by Mauro Ivaldi.
 La Marge (1976) (The Streetwalker, also released as Emmanuelle 77), directed by Walerian Borowczyk.
 Laure (1976) (also released as Forever Emmanuelle), directed by Emmanuelle Arsan.
 Néa (A Young Emmanuelle) (1976), directed by Nelly Kaplan.
 Black Emmanuelle, White Emmanuelle (Velluto nero, Emanuelle in Egypt) (1976), directed by Brunello Rondi.
 Yellow Emanuelle (Il Mondo dei sensi di Emy Wong 1977), directed by Bitto Albertini.
 Sister Emanuelle (1977), directed by Giuseppe Vari.
 Emmanuele in Denmark (Agent 69 in the Sign of Scorpio) (1977), directed by Werner Hedman.
 Felicity (1978), directed by John D. Lamond.
 Carry On Emmannuelle (1978) directed by Gerald Thomas.
 Emanuelle, Queen of Sados (Emanuelle's Daughter) (1980), directed by Ilias Mylonakos.
 Pleasure Island (Blue Emmanuelle) (1980), directed by Michel Ricaud.
 Emmanuelle Goes to Cannes (1980), directed by Jean-Marie Pallardy.
 Emmanuelle in Soho (1981), directed by David Hughes.
 Las orgías inconfesables de Emmanuelle (The Inconfessable Orgies of Emmanuelle) (1982), directed by Jesus Franco.
 Emanuelle, Queen of the Desert (1982), directed by Bruno Fontana.

References

External links
 The watershed moment in film that was ... Emmanuelle (by Alex Cox, The Guardian, Friday 15 December 2000)

Characters in French novels of the 20th century
Fictional pornographic film actors
Fictional bisexual women
Literary characters introduced in 1959
Fictional French people
Female characters in film
French drama films
Fictional LGBT characters in literature
Fictional LGBT characters in film
Fictional conservationists and environmentalists
Fictional female businesspeople
Fictional sex industry businesspeople
Fictional female sex workers

ja:エマニエル夫人

Emmanuelle


Pullman National Historical Park is a historic district located in Chicago, Illinois, United States, which in the 19th century was the first model, planned industrial community in the United States. The district had its origins in the manufacturing plans and organization of the Pullman Company and became one of the most well-known company towns in the United States, as well as the scene of the violent 1894 Pullman strike. It was built for George Pullman as a place to produce the Pullman railroad-sleeping cars.

Originally built beyond the Chicago city limits, it is in the Pullman community area of Chicago. The district includes the Pullman administration buildings and the company's Hotel Florence, named after George Pullman's daughter, as well as housing originally built for workers and managers. Also within the district is the A. Philip Randolph Pullman Porter Museum, named for the prominent labor and civil rights leader A. Philip Randolph, which recognizes and explores African American labor history.  Parts of the site were acquired by the Illinois Historic Preservation Agency prior to being gifted to the federal government. Additional grounds remain owned by the state, as the Pullman State Historic Site. The Pullman District, including the national historical park, state historic site, and private homes is east of Cottage Grove Avenue, from East 103rd St. to East 115th St. It was named a Chicago Landmark district on October 16, 1972.  It was listed on the National Register of Historic Places on October 8, 1969 and declared a National Historic Landmark on December 30, 1970.

Preservationists had hoped to extend the district to include Schlitz Row, but the taverns located there have been demolished. President Barack Obama named the site a national monument on February 19, 2015, making it a component of the National Park System. It was redesignated a National Historical Park in 2022. In celebration of the 2018 Illinois Bicentennial, Pullman was selected as one of the Illinois 200 Great Places by the American Institute of Architects Illinois component and was recognized by USA Today Travel magazine as one of AIA Illinois's selections for Illinois 25 Must See Places.

Background
George Pullman was born in Brocton, New York and studied engineering. By the 1850s, Chicago was emerging as a major city, but faced sanitation issues. Pullman designed a method to raise buildings, which allowed better drainage. This innovation led Pullman to great financial success. With this new-found wealth, Pullman founded the Pullman Palace Car Company to manufacture sleeping cars in 1867. Through a focus on luxury and customer comfort, Pullman gained a large market share in the railroad car sector. The expensive cars were typically rented out to railroads with trained employees, many of whom were former house slaves recently freed by the Emancipation Proclamation.

Pullman was an early advocate of employee welfare in a city that was a hotbed for labor unrest in the 1870s. When a new factory was required to meet demand, Pullman was presented with an opportunity to integrate employee betterment with manufacturing efficiency. As land values were skyrocketing in the city proper, Pullman purchased  south of Chicago, between the Illinois Central Railroad line and Lake Calumet. He organized the Pullman Land Association to oversee non-manufacturing real estate and transferred all but  to its control.

Solon Spencer Beman was commissioned with the design of the company town buildings, including 1,300 housing units. Nathaniel Franklin Barrett was tasked with the layout and landscape design. Former Chicago superintendent of sewage Benzette Williams developed the utilities and drainage system. The project began in early 1880 and the first factory buildings were nearly completed by fall. Housing was mainly built as red brick rowhouses and featured indoor plumbing. The spacious accommodations were a significant improvement over the tenements that workers were used to. Architecture predominately evoked the Queen Anne style with Romanesque details.

The town was designed with the hope that other companies would want to relocate there. Only Pullman subsidiaries and suppliers ever shared the campus. Additional housing was built north of the factories after the Union Foundry and Allen Paper Car Company moved their operations there. Beman designed simpler, cheaper housing for these largely unskilled employees. Pullman employees, by contrast, were largely young and skilled. Rents were set to provide a 6% profit to the company over construction costs. By 1883, the population of the community reached 8,000. The community was diverse: by 1885, less than half of the employees were American-born, but African Americans were not allowed to live on the premises. Women were employed by the Pullman Company to sew.

Pullman Strike

The City of Chicago annexed Pullman in 1889, though the Land Association maintained control of town management. The town was not the success that George Pullman envisioned; profits from rent never reached the six percent intended. Pullman was a popular attraction during the 1893 World's Columbian Exposition, as visitors came to see the unusual town advertised in the Transportation Building. The Panic of 1893 began that year, devastating the railroad industry. Demand for sleeping cars plummeted, so to maintain a profitable enterprise, Pullman lowered wages for employees. Rents, automatically deducted from paychecks, were not decreased.

Meanwhile, the American Railway Union (ARU), led by Eugene V. Debs, formed in Chicago on June 20, 1893. Membership grew to 150,000, including many of the white workers of Pullman. Pullman employees attempted to use the union to leverage support for wage increases, but their pleas were ignored. On May 11, 1894, employees went on strike. Pullman leadership, however, had put itself in a financial position to withstand a short-term work stoppage as the nation recovered from the financial panic.

To combat this, the ARU launched a boycott on Pullman, where ARU would refuse to run trains with the cars. The extensive use of Pullman cars across the country further crippled the railroad industry and stymied rail traffic. The twenty-four Chicago railroads represented by the General Managers' Association rallied together against the boycott. They used strikebreakers to replace striking workers and convinced lines to run Pullman cars with their mail cars. If strikers shut down lines with mail cars, the federal government would have to intervene as it threatened interstate commerce. Indeed, lines were closed and the government found the boycott in violation of the Sherman Antitrust Act.

Thousands of U.S. Marshals and Army troops were deployed to Chicago to break the boycott. Fights between the workers and the military left dozens dead or injured. After ARU leaders, including Debs, were jailed, the strike and boycott were quelled. Some workers that renounced the union were allowed to return to work. Although the public was generally opposed to the boycott, the strike also tarnished the Pullman brand. Pullman died in 1897 and had his grave sealed in a block of concrete and steel to prevent desecration of his body.

Aftermath
The Pullman Strike changed the American labor landscape. It was an example of the power a union could have against an industry, but it also affirmed the right of the government to intervene against strikes, particularly after the Supreme Court upheld the actions in in re Debs (1895). The Illinois Supreme Court forced the Pullman Company to sell its non-industrial holdings in 1898 and residents were given the first option on purchasing their houses. Most of the land was sold off by 1907.

Under second president Robert Todd Lincoln, Pullman cars were converted to all-steel construction. This required a $5 million investment in remodeling the shops. Despite a brief labor strike in 1904, the Pullman Company restored its place as a leading railcar provider. However, the town never recovered its identity as a company town as employees moved to newer neighborhoods nearby.

Agreement with Brotherhood of Sleeping Car Porters

Unionization of African American workers began in 1925, when the Brotherhood of Sleeping Car Porters was founded by A. Philip Randolph in New York City. Forty-four percent of the Pullman workforce was porters, making Pullman the nation's largest employer of African Americans. A landmark agreement was reached between the two parties in 1937, becoming the first major labor agreement between a company and an African American union. The NAACP lauded the contract and recognized it as an important step in increasing and improving the "respect, recognition and influence, and economic advance" of African Americans.

Competition and the end of rail
The decline of rail usage in favor of cars and aviation led to the decline of the Pullman Company. After a major downsizing in the 1940s, the Pullman Company was largely closed by 1957. It officially ceased operations in 1969. The south wing of the factory and the erecting shops were later used by several steel companies.

Landmarks

Administration and factory complex
The manufacturing center of Pullman, the Administration and Factory Complex were unusually ornate industrial buildings. They were designed to sit in a park-like setting, overlooking the artificial Lake Vista, which was a cooling reservoir for the Corliss steam engine. The buildings, several hundred feet long, were well-lit and ventilated. The main facade, mirrored in the lake, faced the Illinois Central tracks, and thus was one of the first buildings a visitor would see. Beman designed the structures with a linear manufacturing process in mind, making the factory an early adapter of the assembly line.

Hotel Florence

Hotel Florence, named for Pullman's daughter, was opened on November 1, 1881. Intended to showcase the town to visitors, the hotel featured fifty rooms and the only bar in the community. Built at a cost of $130,000, it grew to  after an addition was constructed in 1914. A suite was kept for Pullman on the second floor for when he visited the factory. Each floor presented a different class of service, with the most opulent rooms on the second floor and more modest accommodations on the fourth. It recently completed an extensive rehabilitation, mainly of its first floor and basement. The annex has not been rehabilitated and is closed.

Preservation and rehabilitation
A proposal in 1960 to demolish the community in favor of a new industrial park galvanized residents to form the Pullman Civic Organization (PCO) to support its preservation. On October 8, 1969, the remaining  neighborhood was recognized by the National Park Service (NPS) with a listing on the National Register of Historic Places. The next year, it was recognized as a National Historic Landmark District, a site deemed to have "exceptional value to the nation." The southern portion was locally recognized as a Chicago Landmark on October 16, 1972. A second Chicago Landmark, for the northern portion, was created in 1993, then merged into the other landmark in 1999. The PCO provided grants to help residents restore their houses, and a non-profit called the Historic Pullman Foundation purchased several key buildings for rehabilitation in the 1970s.

The State of Illinois purchased Hotel Florence and the Administration and Factory Complex in 1991 and incorporated it into a state historic site through the Illinois Historic Preservation Agency. However, a 1998 arson destroyed much of the latter building before it could open to visitors. It is now in the process of reconstruction. President Barack Obama designated Pullman as a national monument, thus a component of the NPS, on February 19, 2015. It became the first unit of the NPS in Chicago.  In 2015, the National Parks Conservation Association and the Chicago Chapter of the American Institute of Architects published a report on development for the park.

In 2017, the National Park Service approved a plan to restore the clock tower building and turn it into a visitor center. The plan also calls for reconstructing the main gateway between the factory and housing areas. Toxic soil had to be first removed from the site.  The soil was contaminated by waste materials when the factory was in use. The new visitor center opened on Labor Day, September 6, 2021. In attendance were local and national officials, including Illinois Governor JB Pritzker, and Secretary of the Interior Deb Haaland. The site opened to the public after the restoration of the Administration Building.

The Consolidated Appropriations Act, 2023 redesignated the site as Pullman National Historical Park in December 2022.

Interpretive programs
Pullman National Historical Park partners with the non-profit 501(c)(3) American Passenger Rail Heritage Foundation to provide on-board educational programs for train passengers on the South Shore Line. On select Saturdays, Interpretive Guides with the APRHF Rail Rangers ride roundtrip between Millennium Station and South Bend Airport station to provide narration about the park and the other sites passengers see outside their window.

In popular culture
In the feature animation film The Polar Express (2004), which references several pieces of railroad history, the look of buildings on the square at the North Pole were inspired by Pullman Factory.

Notes

External links

National Park Service site
Pullman Museum
Pullman National Monument Preservation Society
Pullman Site, at Illinois Historic Preservation Agency
 National Parks Conservation Association
Society of Architectural Historians SAH ARCHIPEDIA entry on Pullman

Historic districts in Chicago
Parks in Chicago
South Side, Chicago
Illinois State Historic Sites
National Historic Landmarks in Chicago
Railroad-related National Historic Landmarks
1880s architecture in the United States
Buildings and structures on the National Register of Historic Places in Chicago
National Monuments designated by Barack Obama
Protected areas established in 2015
2015 establishments in Illinois
Chicago Landmarks
1880 establishments in Illinois
National Park Service areas in Illinois
National Historical Parks of the United States

Pullman National Historical Park


BTR-90 (GAZ-5923) () is an 8×8 wheeled armored personnel carrier developed in Russia, designed in 1993 and first shown publicly in 1994. It is a larger version of the BTR-80 vehicle, fitted with a BMP-2 turret.

Armour protection is improved compared with the BTR-80, giving protection from 14.5 mm projectiles over the frontal arc. It is armed with a 2A42 30 mm auto cannon, a coaxial 7.62 mm PKT machine gun, an 9M113 Konkurs ATGM, as well as an AGS-17D 30 mm automatic grenade launcher.

Limited numbers have been produced and are in service with the National Guard of Russia.

Development
The development of the BTR-90 was carried out at the Arzamas Machine Building Plant (AMZ), a subsidiary of the Military Industrial Company. Development commenced in the early 1990s, with the first prototype completed and displayed to the public in 1994. The vehicle was intended to be used by mechanized units of the Russian army, as well as marine units of the Russian Navy, as a vehicle for providing fire support, transportation of personnel, surveillance, reconnaissance, and patrolling tasks. A wide range of vehicles suiting various requirements can be developed on the basis of the BTR-90 chassis.

The vehicle is designed to be highly mobile and maneuverable in all terrain, while providing a high level of protection for its crew and passengers. The BTR-90 is fitted with a gun turret identical to the one used on the BMP-2.

Description
The BTR-90 has a pointed nose, somewhat similar to that of the LAV-25. The hull is made of welded steel armour plate, and is slightly larger and higher than the BTR-80, from which it is developed.

A turbo charged, liquid cooled, multi-fuel diesel engine is used, which can develop 510 bhp. The vehicle has eight-wheel drive and has an automatic reversible hydro mechanical transmission, which is capable of providing different speeds to each side of the vehicle. It has duplicated electrical and compressed air engine start systems. The wheels are utilized with independent torsion-bar suspension and the traverse arms have high capacity telescopic hydraulic shock absorbers.

Communication equipment installed in the BTR-90 include an R-163-50U radio set for external communications, an R-163UP receiver, and an R-174 intercom device for communication between the crew members.

Layout
The commander and gunner are accommodated in a fighting compartment in the turret. This compartment houses a BPK-3-42 gunner's day/night sight and a 1P-13 commander's optical sight. Optionally, a BPK-M thermal imaging sight  can be fitted in this compartment as the gunner's sight.

The driver is located somewhat to the middle of the hull, just in front of the turret. The troop compartment is located behind the driver's position and the turret. The engine compartment is at the rear of the hull.

Hatches are provided on the top of the turret and hull, and side doors are available on the middle of the vehicle. These are designed to allow quick dismounting and boarding of troops even while the vehicle is on the move.

The eight wheels are located as two sets, with two pairs at the front of the hull and two pairs at the rear. Split side doors are located between these two sets of wheels. The two forward pairs of wheels are utilized with power steering.

Capabilities and features
The BTR-90 is capable of achieving a maximum speed of 100 km/h, and has cross-country driving ability comparable to that of tracked vehicles, with an average speed of 50 km/h.

The vehicle is fully amphibious and can negotiate water obstacles without any preparation. Two water jet propellers power the vehicle in water. In water it can achieve a maximum speed of 9 km/h. It can enter and be deployed from amphibious assault ships from the water. The BTR-90 can be deployed by truck, rail and by water and air transportation means.

Its hydro mechanical transmission helps to increase its maneuverability by providing different speeds to each side of the vehicle. This allows the BTR-90 to have a low turning radius of 6 m. When turning with only the front four wheels, it has a turning radius of 14 m. It can cross up to 2.1 m wide trenches and can negotiate 60% gradients, 30% side slopes and 0.8 m vertical steps.

The vehicle has an inner capacity of 12 cubic meters, and can carry a load of 7,000 kg. An air conditioning system can be added optionally. The commander has the ability to carry out all-round surveillance and can take full control of the weapons from the gunner. An onboard information control system (OICS) enables automatic control over the transmission, engine and other important parts of the BTR-90, and it is the first armoured personnel carrier to have such a system. A centralized tire pressure control system is available, and allows the vehicle to move even if four of its wheels are destroyed.

Armour and protection
The armour of the BTR-90 comprises welded steel armour plates. The armour can withstand hits from 14.5 mm rounds over the frontal arc. The side armour can provide protection against large caliber machine gun fire and shrapnel.

Additional armoured plates can be installed on the vehicle to increase protection. Active protection methods can be used, such as explosive reactive armour. These can be added over the existing armour of the vehicle. To increase protection, periscopes are installed instead of windscreens and vision blocks.

Collective NBC (Nuclear, Biological and Chemical) protection is available which can protect the occupants from shock waves and penetrating radiation from nuclear attacks, radioactive dust, and bacteriological and chemical weapons.

Its combat tires are capable of enduring anti-personnel mine explosions and small arms fire. If the vehicle is damaged while afloat, a drainage system is capable of removing incoming water. The BTR-90 features an automatic fire fighting system, and a system for the remote laying of smoke screens. The smoke discharge system includes six smoke grenade launchers, three on each side of the vehicle.

Armament
The main gun of the BTR-90 is a 30 mm Shipunov 2A42 auto cannon. The vehicle carries an ammunition load of 500 rounds for this weapon.

A 7.62 mm PKT coaxial machine gun with 2,000 rounds and a 30 mm AGS-17 automatic grenade launcher are the secondary armaments of the BTR-90.

A guided missile system is available for engaging armoured targets. This consists of four 9M113 Konkurs missiles mounted on the turret. The launching unit is detachable, and can be used to launch missiles from the ground.

All the weapons are mounted on the turret and are assisted by a fire control system. The fire control system allows the weapons to be used while the vehicle is moving, and in all weather conditions. The turret can be traversed 360 degrees with an elevation range of −5 to +75 degrees. The vehicle's weaponry allows it to engage targets at ranges up to 4 km. Helicopters and fortifications can be engaged at ranges up to 2.5 km.

In addition to the vehicle's weapons, its occupants have the ability to fire their weapons through available firing ports and hatches, increasing its firepower.

Variants
A prototype designated BTR-90M was built with a larger turret derived from the BMP-3, mounting a coaxial low-velocity 2A70 100mm rifled gun/missile launcher system (which can fire conventional shells or laser beam-riding 9M117 anti-tank missiles (ATGM), such as AT-10 Stabber), a 30mm Shipunov 2A72 cannon, and a 7.62mm PKT machine gun. The BTR-90M was first displayed publicly in 2001, and is not currently in service.

Another variant of the BTR-90 was produced with the low pressure 120 mm 2S9 Nona weapon, as with the BTR-80 Nona-SVK.

Service history
Limited numbers have been produced and are in service with the National Guard of Russia.

In October 2011, the Ministry of Defence refused to buy the BTR-90 and did not include them in the list of the state program of armament until 2020, and waived exports for the BTR-90.

Subsequently, the Russian army chose to assemble a large number of BTR-82A. The combat effectiveness has already increased significantly, and it is derived from the BTR-80. The development cost for BTR-82A is omitted and the production cost is cheaper, making the less advanced BTR-90 even less likely to change its fate. The 2015 Moscow Victory Parade exposed the next-generation VPK-7829 Bumerang wheeled armored vehicle, and officially announced that the BTR-90 program could no longer be resurrected.

On October 13, 2023, a video was posted on X (formally Twitter) showing a BTR-90 operating in what is believed to be near Avdiivka, Donetsk Oblast area in Ukraine.

Gallery

See also

Comparable vehicles

References

External links

 manufacturer site
 BTR-90 Description and pictures to Army Recognition site
 FAS page

Armoured personnel carriers of Russia
GAZ Group military vehicles
Amphibious armoured personnel carriers
Armoured personnel carriers of the post–Cold War period
Wheeled amphibious armoured fighting vehicles
Eight-wheeled vehicles
Military vehicles introduced in the 2000s

BTR-90


Daniel Pearson (born 2 July 1982) is an English musician and songwriter from Kingston upon Hull, England. He has released two studio albums as a solo artist, and plays guitar, bass guitar, keyboards and percussion on his releases, which have been acclaimed by national and international press and radio. He is primarily known as an indie/folk rock artist.

Early career and bands (1997–2010)

Southall (1997–2001)
At the age of 16, Pearson formed his first band with school friends. They released a series of limited-run studio recordings and played their first live shows at local musical landmark, The New Adelphi Club. The band also played various regional and University music festivals in Kingston upon Hull and Sheffield and were reviewed by local media. The band split in 2001 due to University commitments.

First solo recordings (2001–2002)
In 2001 Pearson began making a series of self-produced home recordings on a four-track portastudio, citing Bruce Springsteen, Elliott Smith and Ryan Adams as key songwriting influences. These songs had a limited physical release, with Pearson selling CDs at live shows throughout 2001 and 2002. He also moved from East to West Yorkshire (specifically to Leeds) during this period.

The Signs (2004–2008)
By 2004, Pearson was again eager to explore a full band sound, and so formed a four-piece rock and roll act called Dakota. This band quickly changed their name to The Signs, with Pearson providing lead vocals and guitar. Other members of the band were Sean Hatherley, Scott Coutts and Adam Worthington. The Signs toured across the UK and soon signed a recording contract with Leeds-based indie record label Wardrobe Records, who released their double A-side single Circles/Something To Believe In in 2007. Despite offers from larger record labels, the band split in 2008 after playing support slots with The Pigeon Detectives, The Rifles and One Night Only on tour.

The Blueprint and free releases (2008)
Throughout 2008, Pearson used the social networking site MySpace to release a series of free solo recordings. He dubbed this project The Blueprint and released a newly written free song every week for six months. Some of the songs from his debut studio album Satellites were written during this period, and Pearson has claimed that this period of intensive creativity refined his songwriting skills as well as attuning him to the power of social media. No official physical release was given for these recordings, though CD copies were sold online to fans.

All Those Heroes (2008–2009)
Pearson also formed a power-trio with Leeds musicians Mike Quarry and Dan Newsome in 2008, showcasing a more punk-driven alternative rock sound. He was lead vocalist and guitarist and was the main songwriter in the band. The band played live sporadically, including shows with The Glitterati and received airplay from BBC 6Music for their studio recordings.

Solo work (2010–present)

Satellites (2010–2011)
In July 2010, Pearson recorded his first full studio album at The Soundmill in Leeds, with Ed Heaton as producer. It was released in January 2011 on Pearson's own Saint in the City record label. The album soon received press praise from Uncut Magazine, Drowned in Sound, Shout 4 Music, AllGigs and Leeds Music Scene. Clint Boon at XFM and Tom Robinson at BBC 6Music played songs from the album on their radio shows and NME Radio and Amazing Radio also gave airplay. With Pearson gaining press plaudits in the UK, US and Australian distribution for the album was also arranged in early 2012. Australian national radio station Triple J gave Satellites airplay and the album picked up a series of positive reviews from press in these territories. Pearson played select live shows in England to support the album, and also toured with Michael Kiwanuka, Willy Mason, Chris Helme and Mark Morriss during 2011/2012. Live dates in the USA also promoted the album, with Pearson playing shows in Knoxville, Las Vegas, Los Angeles, Memphis, Nashville, New York and Washington. He also self-produced and edited music videos for the songs Waves in the Sea and One For Conversation during this period.

Mercury State (2012–present)
In August 2012 Pearson recorded his second studio album with Jeremy Platt, a regular member of his live band, on production duties. Keen to explore and express both the effects of the financial recession and a more stripped-back sound, recording and production of the album was completed in just five days. In advance of the album release, Pearson created a self-shot and edited video for the song Factory Floor. Mercury State was released in January 2013 on Saint in the City Records and was again met with a series of positive reviews. Uncut Magazine awarded it 8/10 with various UK and European magazines and websites praising the new social/political aspect to Pearson's skilled song writing. The album was also acclaimed by the USA-based PopMatters and No Depression sites upon North American release. The songs Medication, Factory Floor and I Still Believe gained airplay on various regional and national radio stations in the UK, Europe and the USA.

References

External links
Official website
Stereofox.com
Members.theunsignedguide.com

1982 births
English male songwriters
British folk rock musicians
Living people

Daniel Pearson (musician)


Frederator Studios is a American animation studio and production company known for producing The Fairly OddParents for both Nickelodeon and Nicktoons, Wow! Wow! Wubbzy! and a Maggie and the Ferocious Beast reboot for Nick Jr., Adventure Time for Cartoon Network, Wattu Academy for both Netflix and Universal Kids and Kingdom Gamers for Disney Channel.

American animation studios

Frederator Studios


The Far North Region is a region in Cameroon. The capital city is Maroua.

Over 50 different ethnic groups live in the area, including the Shuwa Arabs, Fulani, and Kapsiki.

The Chari River and Logone River form the border with Chad. Other rivers include Mayo Kébi and Mayo Louti. Lakes include Lake Chad, Lake Fianga, and Maga Lake. Mount Tourou is the highest point, at 1,442 metres. It is in the Mandara Mountains.

Waza National Park is a major tourist attraction. It is 1700 km2. It is home to antelope, chacals, cheetahs, crocodiles, elephants, giraffes, heron, hippos, hyenas, leopards, lions, monkeys, warthogs, and others. Kalamaloué National Park and Mozogo Gokoro National Park are also in the region.

Government

The province is divided into six departments:
 Diamaré, with its capital at Maroua
 Logone-et-Chari, with its capital at Kousséri
 Mayo-Danay, with its capital at Yagoua
 Mayo-Kani, with its capital at Kaélé
 Mayo-Sava, with its capital at Mora
 Mayo-Tsanaga, with its capital at Mokolo

Regions of Cameroon
1983 establishments in Africa

Far North Region (Cameroon)


Pūjā (Devanagari: पूजा) is a prayer service ritual done by Hindus. The word puja comes from Sanskrit, and means reverence, honor and worship. A puja honors one or more deities. It also spiritually celebrates an event. It is sometimes spelled phonetically as pooja or poojah. A Puja is the most common form of worship in the Hindu religion. It may honor or celebrate the presence of special guests or their memories after they die. Puja rituals are also held by Buddhists, Jains and Sikhs.

References

Hinduism

Puja (Hinduism)


Kraanerg is a composition for 23 instruments and 4-channel analog tape composed by Iannis Xenakis in 1968, as ballet, with choreography by Roland Petit and set design by Victor Vasarely. It was created for the grand opening of the Canadian National Arts Centre in Ottawa, intended to coincide with Expo 67. However, it was delayed to 1969.

History
The title, by Xenakis, is an imaginary compound of the Greek-originating stems kraan (κρααν) and erg (εργ), meaning accomplished action. According to the composer's program note, the title also refers to the "current youth movements" of that time, and his vision of the imminent "biological struggle between generations unfurling all over the planet, destroying existing political, social, urban, scientific, artistic, and ideological frameworks on a scale never before attempted by humanity." Xenakis chose to avoid any narrative or story. The abstract modernistic character of the ballet was to be underscored by Vasarely's Op Art set design. Xenakis had previously written the soundtrack for a 1960 film about Vasarely.

The 75-minute composition is not divided into movements but includes twenty-two periods of silence of varying lengths (three of them more than twenty seconds) which are integral to the work's development. It has three phases of roughly equal duration: the first contains more or less, equal portions of both orchestra and tape; the second (beginning after 23 minutes), primarily instruments; and the third (beginning after 52 minutes) primarily tape. The sounds on the tape are derived from instrumental material.

Richard Toop described it as:... the most overpowering, and yet one of the least known. It is one of the few works of Xenakis to place two media that he normally prefers to explore separately-electroacoustic music and the orchestra-in a situation of juxtaposition and confrontation ...

In Kraanerg the musicians are in open combat with an electronic orchestra in absentia- a pre-recorded tape consisting mainly of transformed orchestral sounds which seem to evoke both antiquity and the future, thus hemming in the presence of the live orchestra.
The choreography by Petit (who was in charge of the premiere, and divided the work at its midpoint with an intermission) was a critical failure, but the music was widely praised; it was conducted at the premiere by Lukas Foss, who like Vasarely was invited to the project by Xenakis.

After a tour of the original ballet that ended in 1972, Kraanerg was largely forgotten until 1988 when a new choreography was created the Australian choreographer Graeme Murphy with Roger Woodward directing twenty-five performances at the Sydney Opera House. This performance was highly considered abroad and attracted attention to the composition again. The music has usually been performed without the ballet.

Discography
 1969: Iannis Xenakis: Syrmos; Polytope; Medea; Kraanerg; Terretektorh; Nomos gamma; Bohor I; Diamorphoses II; Orient-occident III; Concret P-H II. Ensemble Ars Nova de l'O.R.T.F., Marius Constant (cond.) (Syrmos; Polytope; Medea; Kraanerg); Choeur d'Hommes de l'O.R.T.F. (Medea); Orchestre Philharmonique de l'O.R.T.F., Charles Bruck (cond.) (Terretektorh; Nomos gamma). The remainder are for tape alone. Terretektorh recorded at the Gymnase de Drancy on 24 January 1968; Nomos gamma recorded at the Festival de Royan in April 1969. LP recording, 5 audio discs: analog, 33⅓ rpm, stereo, 30 cm. Erato STU 70526/70527/70528/70529/70530. [France]: Erato.
 1989: Iannis Xenakis: Kraanerg. Alpha Centauri Ensemble, Roger Woodward (cond.), with tape. Recorded in the Opera Theatre of the Sydney Opera House, 24 November 1988. 1 compact disc: digital, stereo, 12 cm. Etcetera KTC 1075. [Amsterdam]: Etcetera.
 1997: Iannis Xenakis: Kraanerg. ST-X Ensemble, Charles Zacharie Bornstein (cond.), with tape (Paul D. Miller, quadraphonic ADAT). Recorded live in New York City at the Great Hall in Cooper Union on 12 November 1996, with the composer present. 1 compact disc: digital, stereo, 12 cm. Asphodel/Sombient 0975. New York: Asphobel/Sombient.
 2003: Iannis Xenakis: Kraanerg. Sinfonieorchester Basel, Alexander Winterson (cond.), with tape. Recorded in the Casino Basel Music Hall, 29–31 May 2001. 1 compact disc: digital, stereo, 12 cm. Col Legno WWE 1CD 20217. [Munich]: Col Legno.
 2008: Iannis Xenakis: Kraanerg. Callithumpian Consort, Stephen Drury (cond), with tape. Recorded at Jordan Hall, New England Conservatory, Boston, Massachusetts, on 7 March 2006. Xenakis Edition 8. 1 compact disc: digital, stereo, 12 cm. Mode 196. New York: Mode Records. Also issued on Surround DVD.

See also
Polytope de Montréal, 1967 media installation by Xenakis in Ottawa

References

Further reading
 Harley, James (2004). Xenakis: His Life in Music; Routledge.

External links
 Kraanerg (1969), details. Boosey & Hawkes
 Kraanerg (1988), video excerpts. Graeme Murphy

Compositions by Iannis Xenakis
Ballets by Roland Petit
Ballets by Graeme Murphy
Ballets designed by Victor Vasarely
1969 ballet premieres
1969 compositions
Modernist compositions

Kraanerg


The Schloss Britz (Britz castle) is the former manor-house of the historical Rittergut (country estate) and village Britz, now a district of Berlin-Neukölln. Today it is the headquarters of the cultural organization Kulturstiftung Schloss Britz and includes authentic reconstructed rooms from around 1880. The house is a museum demonstrating interiors of the Gründerzeit era. The manorial park is also well preserved with its mature trees and its 1890s system of trails. In 1997 the park was honored with the German Gustav Meyer Prize for the accuracy and historic authenticity of the reconstruction.

The old farmyard with stables and smithy and the workers' section, with a chimney of a brewery and some storehouses are preserved, too. The final phase of reconstruction will provide space and rooms for further cultural institutions of Berlin-Neukölln in the future.

History
The village Britz is first mentioned in 1373 in the book (Landbuch) of the Mark Brandenburg properties of Kaiser Karl IV (Charles IV, Holy Roman Emperor). Until the end of the 17th century the country estate was the fiefdom of the knight family von Britzke. Due to the devastating consequences of the Thirty Years' War, the family was forced to sell the estate to the Prussian crown in 1699.  Later, King Friedrich I (Frederick I of Prussia) awarded his minister Samuel von Chwalkowski with the manor. Around 1706, Chwalkowski finished the new manor stone house, which would be the core of the building, even until now. In 1717, the manor was given the prestigious allodial title. In the 18th century the Britz Manor (Schloss Britz) was in the possession of Heinrich Rüdiger von Ilgen and the count Ewald Friedrich von Hertzberg, and other noble families. Ilgen owned the manor from 1719 until his death 1728 and served as minister for foreign affairs under different Prussian kings. From 1763 to 1791 Hertzberg was a leading minister of the crown cabinet and managed the foreign affairs under Friedrich II. (Frederick II of Prussia) used the estate from 1751 until his death as his country estate. He established one of the first silk farms of Prussia in Britz, and he hired the prominent painter Bernhard Rode to furnish the manor-house with a new décor of frescos and paintings honoring the life of a genteel statesman.

In the 19th century the estate came into the possession of private owners. From 1824 until 1857 the silk trader Johann Carl Jouanne lived in the manor year-round with his family, and rebuilt the whole house to suit his requirements. Nearly all of the older baroque decorations were destroyed and only some paintings of Rode survived. Also around 1840, the buildings of the farmyard were given their present appearance in the style of Italian country mansions following the example of the Bornstedt Crown Estate(Krongut Bornstedt) near Potsdam. Under Jouanne the first brewery was built on the farmyard to produce hard liquor from potatoes (Kartoffelschnaps). From 1880 to 1883 under the last private owner of the manor Wilhelm A. J. Wrede, a trader and producer of sugar and hard liquor, the manor house was given its final and current appearance as a little castle or château in the style of the Neo-Renaissance. The Berlin architect Carl Busse reshaped the house into a representative upper-class home with a new bath, stair tower, and a magnificent new interior in the new styles of the German elite. Today in the rooms of the museum, one can see furniture and objects from this time, like an original lincrusta wallpaper, which is rare in Germany and one of the few remaining Victorian crystal perpetual table fountains produced by J. Defries & Sons in London .

In 1924, the entire estate was sold to the city of Berlin. After World War II, the Schloss Britz served as a refugee house and from the 1950s on as a children's home. In 1971 the manor house and later the park and the remaining farmyard buildings were declared historic monuments and after the renovation from 1985 to 1988, the manor house was opened to the public for the first time. Ever since, the manor house has hosted many cultural events and has also served as a guest house for the borough office of Neukölln.

The Park
The 1.8 ha park of the manor stands out as an example of the three hundred continuous history of the Schloss Britz. In the early 18th century, the park was a typical baroque park, following the example of the Netherlands that combine elements of a fruit and vegetable garden with that of a pleasure garden. The central colonnade of lime trees still exists. Like the manor-house, the park was given its modern appearance with the winding path system, exotic potted plants and a fountain in the last decade of the 19th century. The mature Ginkgo tree deserves mention as one of the oldest ones in Germany and was probably planted in the early 19th century. The visitor can find also in the park a bust of the former owner Heinrich Rüdiger von Ilgen. It is a copy of a sculpture which was made in 1902 by Rudolf Siemering for the Siegesallee (Victory Avenue).

Milkmaid

The park contains a bronze copy of a neo-classical sculpture made by Pavel Sokolov which he created originally in 1816 for the park of the Catherine Palace in Tsarskoye Selo, near Saint Petersburg. It is called The Milkmaid. The copy was donated in 1998 to Schloss Britz celebrating the anniversary of ten years of partnership between the Kulturstiftung Schloss Britz and the State Museums of Tsarskoye Selo. The sculpture depicts a crying girl with a broken milk jug, from the French fable Le pot à lait (The Milk Pan) from the 17th century writer Jean de La Fontaine. This fable was transferred into a German version Die Milchfrau (The Milkmaid) by the author Johann Wilhelm Ludwig Gleim in the 18th century.

The fable reflects upon the futility of daydreams without recognizing reality or the facts. A milkmaid was on the way to the market with a jug full of milk and was making great plans for the money she would earn for the milk. Lost in her daydreams of future pleasures and fortunes, she missed a step and dropped the pot, which cracked on the ground and all the milk and future plans were spilled, leaving her with nothing but sadness. In Germany this has become a common saying, known as the Milchmädchenrechnung  meaning one who daydreams naïvely and forms false conclusions.

References

Bibliography
 Matthias Barth: Herrenhäuser und Landsitze in Brandenburg und Berlin. Von der Renaissance bis zum Jugendstil. Würzburg 2008, S. 26–29.
 Anton F. Büsching: Beschreibung seiner Reise von Berlin über Potsdam nach Rekahn unweit Brandenburg, welche er vom 3. bis 8 Junius 1775 gethan hat. Frankfurt und Leipzig 1780.
 Freunde und Förderer Schloss Britz e. V. (Hrsg.): 300 Jahre Schloss Britz. Ewald Friedrich Graf von Hertzberg und die Berliner Aufklärung. Berlin 2006. .
 Kulturstiftung Schloss Britz / Freunde und Förderer Schloss Britz e. V. (Hrsg.): Der Garten zu Britz. Seine Entwicklungsgeschichte von den Anfängen bis heute. Berlin 1998.
 Friedrich Nicolai: Beschreibung der königlichen Residenzstädte Berlin und Potsdam, aller daselbst befindlicher Merkwürdigkeiten und der umliegenden Gegend. Berlin 1786.

External links

 Schloss Britz
 "Berlin-Neukölln, seine Geschichte und Denkmale – Britz", Broschüre (Archiv/Publikationen), BSG Brandenburgische Stadterneuerungsgesellschaft mbH, 2000
 Geschichte von Schloss Britz

Museums in Berlin
Heritage sites in Berlin
Buildings and structures in Neukölln
Historic house museums in Germany
Houses in Berlin
Manor houses in Germany

Schloss Britz


Arthur Middleton (June 26, 1742 – January 1, 1787) was a Founding Father of the United States, signer of the United States Declaration of Independence, and a representative from South Carolina in the Second Continental Congress.

Life
Middleton was born in Charleston, Province of South Carolina, in 1742. His parents were Henry Middleton and Mary Baker Williams, both of English descent. He was educated in Britain at Harrow School, Westminster School, and Trinity Hall, Cambridge. He studied law at the Middle Temple and traveled extensively in Europe where his taste in literature, music, and art was developed and refined. In 1764, Arthur and his bride Mary Izard settled at Middleton Place.

Keenly interested in Carolina, Middleton was a more radical thinker than his father. He was a leader of the American Party in Carolina and one of the boldest members of the Council of Safety and its Secret Committee. In 1776, Middleton was elected to succeed his father in the Continental Congress and subsequently was a signer of the United States Declaration of Independence. Also in 1776, he and William Henry Drayton designed the Great Seal of South Carolina. His attitude toward Loyalists was said to be ruthless, this stood in contrast to other South Carolina patriots such as Francis Marion who led the effort to reconcile with the loyalists after the war ended.

During the American Revolutionary War, Middleton served in the defense of Charleston. After the city's fall to the British in 1780, he was sent as a prisoner of war to St. Augustine, Florida (along with Edward Rutledge and Thomas Heyward Jr.), until exchanged in July the following year.

Death, family and legacy

Middleton died on January 1, 1787, at age 44 and was buried in the family tomb in the Gardens at Middleton Place. The death notice from the State Gazette of South-Carolina describes him as a "tender husband and parent, humane master, steady unshaken patriot, the gentleman, and the scholar." The plantation passed to Henry, his eldest son, later governor of South Carolina, U.S. Representative and minister to Russia.

Middleton was an ancestor of actor Charles B. Middleton, who played Ming the Merciless in the Flash Gordon movies of the 1930s. Middleton's son-in-law was Congressman Daniel Elliott Huger who was the grandfather-in-law of Confederate General Arthur Middleton Manigault. Middleton's sister, Susannah Middleton, was the great-great-grandmother of Baldur von Schirach, onetime leader of the Hitler Youth and later governor ("Gauleiter" or "Reichsstatthalter") of the Reichsgau Vienna, who was convicted of crimes against humanity at the Nuremberg trials.

The United States Navy ship USS Arthur Middleton (AP-55/APA-25) was named for him.

See also

 Memorial to the 56 Signers of the Declaration of Independence

References

External links

 Middleton Place
 Biography by Rev. Charles A. Goodrich, 1856

1742 births
1787 deaths
Politicians from Charleston, South Carolina
South Carolina colonial people
Middleton family
American people of Barbadian descent
American people of English descent
Signers of the United States Declaration of Independence
Continental Congressmen from South Carolina
18th-century American politicians
American slave owners
People of South Carolina in the American Revolution
American Revolutionary War prisoners of war held by Great Britain
People educated at Harrow School
People educated at Westminster School, London
Alumni of Trinity Hall, Cambridge
Members of the Middle Temple
Burials in South Carolina
Founding Fathers of the United States

Arthur Middleton


Jesus with erection is a picture that was made by students at the University of Oregon and published in the March 2006 edition of the Student Insurgent. It caused debates in the United States in 2006. The picture shows a naked Jesus Christ on the Cross with an erection.

Context
In 2005 the Danish newspaper Jyllands-Posten published 12 cartoons of the Islamic prophet Muhammad. The paper said that this was to add to the debate about criticism of Islam and self-censorship. Danish-Muslims said that they did not like them because Islam teaches that it is wrong for people to make any picture of Muhammad and also because they felt that the pictures showed disrespect to Muhammad. This led to protests in many Islamic countries, some of which became violent  and led to more than 100 deaths.

The students of the University of Oregon said that they made the pictures of Jesus because they want to show how people who are religious feel when people make pictures that may be offensive to Jesus. They wanted to get Muslims and Christians to talk and understand each other better.

Reactions
Some people disliked the picture of Jesus with erection. The president of the Catholic League, William Donohue, said that the president of the Oregon University, Dave Frohnmayer, is partially responsible for the pictures. William Donohue said that the picture was one of the worst attacks on Christianity he had ever seen. Other people who disliked the picture said that the University's President David B. Frohnmayer should not work for the University any more. However, the Oregon Daily Emerald and the Oregon Commentator, said that the students' right to free speech and the University's decision to defend the student newspaper, citing the decisions of the Supreme Court of the United States like the Southworth case. This case said that universities could support student groups (such as newspapers) that other students did not agree with without hurting the rights of the students who do not like the groups.

Related pages
Jyllands-Posten Muhammad cartoons controversy

References

Other websites
The Student Insurgent Online

Controversies
2006 in the United States
21st century in Oregon

Jesus with erection


The rhinal cortex is the cortex surrounding the rhinal fissure, including the entorhinal cortex and the perirhinal cortex.
It is a cortical region in the medial temporal lobe that is made up of Brodmann areas 28, 34, 35 and 36.

Input from all sensory cortices flows to the perirhinal and parahippocampal cortices, whence it continues to the entorhinal cortex and then the hippocampus. After feedback from the hippocampus, information then returns in the reverse sequence to the sensory cortices.

Explicit memory
The rhinal cortex is proposed to be part of the neural circuit for explicit memory.
Studies comparing the results of selective lesions of the hippocampus and of the rhinal cortex found that lesions of the hippocampus alone did not impair performance on object recognition tests, but that lesions of the rhinal cortex alone caused severe anterograde and retrograde impairments on these tests. The conclusion was that object recognition (semantic memory) depends on the rhinal cortex.

References

External links
 http://thebrain.mcgill.ca/flash/i/i_07/i_07_cr/i_07_cr_tra/i_07_cr_tra_2b.jpg for a picture of the rhinal cortex and its location.

Neuroanatomy

Rhinal cortex


The Lancashire and Yorkshire Railway (L&YR) electrified urban railway lines in Liverpool and Manchester in order to improve the service offered against the competition being put up by new electric trams.

Liverpool

Liverpool to Southport
The line between Liverpool and Southport began using electric multiple units (EMUs) on 22 March 1904. Power was supplied from a third rail at 625 Volts direct current.

Liverpool Overhead Railway
Connections were built with the Liverpool Overhead Railway (LOR) at Seaforth & Litherland railway station to a new station beside LOR's Seaforth Sands station. Also from the North Mersey Branch route to Aintree. From 2 July 1905 LOR trains began to run through to Seaforth and Litherland. In 1906 the L&YR electrified the line to Aintree.

Liverpool to Ormskirk
Electrification to Ormskirk was completed in 1913.

Manchester

Bury to Holcombe Brook
From 1913 an experimental electric service operated between Bury and Holcombe Brook. The equipment was provided by Dick, Kerr & Co. of Preston, which was developing its products for export.
The system used was 3,500 Volts DC from overhead lines. In 1918 the line was converted to the 1,200 V DC system chosen for the Manchester to Bury line.

Manchester to Bury
After the Holcombe Brook service, the L&YR decided to electrify the Manchester to Bury line. The system used was 1,200 V DC from a side-contact third rail. The purpose of this unusual arrangement was to prevent the service being affected by ice forming on the live rail.  Sixty-six cars were built at Newton Heath works. The electrical equipment was supplied by Dick, Kerr & Co. The first public services ran on 17 April 1916,

LYR

LYR electric units


"Autumn Leaves" is a popular song based on a French song "Les Feuilles mortes" ("The Dead Leaves") composed by Joseph Kosma in 1945. The original lyrics were written by Jacques Prévert in French, and the English lyrics were by Johnny Mercer. An instrumental version by pianist Roger Williams was a number one best-seller in the US Billboard charts of 1955.

"Autumn Leaves" has become a jazz standard and it is one of the most recorded songs by jazz musicians. More than a thousand commercial recordings are known to have been released by mainstream and jazz musicians.

Background
Kosma was a native of Hungary who was introduced to Prévert in Paris, and they collaborated on the song "Les Feuilles mortes".  The song was legally deposited in 1945, and published in 1947. The song has its in origin in the ballet music written by Kosma for Le Rendez-vous by Roland Petit, performed in Paris at the end of the Second World War. Large parts of the melodies are exactly the same as the ballet music,  which was itself partially similar to "Poème d'octobre No. 4" by Jules Massenet. This portion of the tune has also been noted to be near-identical to a passage in Tchaikovsky's 1888 composition Hamlet Overture-Fantasia, Op. 67.  Marcel Carné used "Les Feuilles mortes" for the 1946 film Les Portes de la nuit (Gates of the Night), where it was sung/hummed in parts by Irène Joachim and Yves Montand.

The most successful commercial recording of "Les Feuilles mortes" was by Yves Montand (Columbia) in 1949, which sold a million copies within 5 years.  recorded it (1947 or 1948), as did Juliette Gréco who first recorded a version in 1949.

In 1950, Johnny Mercer wrote the English lyric and gave it the title "Autumn Leaves". The English lyrics are significantly shorter than the French version, consisting of only two verses. In the French original, the crucial line "C'est une chanson" starts at the 13th bar, while in English the line "the autumn leaves" starts at bar 1. Mercer was a founder and partner in Capitol Records at the time, and he selected Capitol recording artist Jo Stafford to make the first English-language recording in July, 1950.

Structure and chord progression

The song is in AABC form. "Autumn Leaves" offers a popular way for beginning jazz musicians to become acquainted with jazz harmony as the chord progression consists almost solely of ii–V–I and ii–V sequences which are typical of jazz. Although it is mostly played in G minor, the original key of the composition was A minor.

The song's iv7–bVII7–bIIImaj7–bVImaj7–iiø7–V7–i chord progression is an example of the circle-of-fifths progression.

Roger Williams' recording

Roger Williams was signed by Dave Kapp of Kapp Records when he heard Williams playing in a hotel lounge. He was asked to change his birth name Louis Jacob Weertz to Roger Williams. Williams released an album The Boy Next Door, which failed to make an impact, and then the song "Autumn Leaves". "Autumn Leaves" was recorded at the suggestion of Kapp one Friday, and Williams, who had previously thought that the song was titled "Falling Leaves", said: "The first thing that came to mind was to play all those runs down the keyboard, I tried to make it sound like falling leaves." He created the arrangement that Friday and the following Saturday night, and recorded the song on Monday. Williams played the tune with descending arpeggios its dominant feature, backed by an orchestra conducted by Glenn Osser. The first recording was just over 3 minutes long, and Kapp suggested that it be sped up to keep it under 3 minutes, which Williams duly did.

The song became a number-one hit in the U.S. in 1955, the first piano instrumental to reach number one. It stayed at No. 1 for four weeks in the bestsellers chart. The song is said to have sold two million copies around the world, and it remains the best-selling piano record of all time.

Kapp released a new version with choral and orchestral backings to celebrate its 10th anniversary in 1965.

Charts

Other versions
The song was recorded steadily throughout the 1950s by leading pop vocalists including Steve Conway (1950), Bing Crosby (1950), Steve Allen (whose rendition was the only other version to chart in 1955), Nat King Cole (included in the 1955 album re-release of Nat King Cole Sings for Two in Love, and used in the 1956 film Autumn Leaves whose title was inspired by the song), Doris Day (1956), and Frank Sinatra (1957). It was also used in the 1959 film Hey Boy! Hey Girl! performed by Louis Prima and Keely Smith.

The song was also quickly adopted by many instrumental jazz artists, including Artie Shaw (1950); Stan Getz (1952); Ahmad Jamal (1955); Erroll Garner in his 1955 album Concert by the Sea, Duke Ellington (1957, Ellington Indigos); Cannonball Adderley in his 1958 album Somethin' Else featuring Miles Davis who also recorded it live for Miles Davis in Europe in 1964; Vince Guaraldi (1958); Bill Evans (1959, Portrait in Jazz); John Coltrane (1962); and Ryo Fukui (1976). It became the signature tune of Ben Webster in his later career. A few jazz vocalists have also recorded the song, including Sarah Vaughan in her 1982 album Crazy and Mixed Up.

Composer Terry Riley has written a contrafact of the song (1965), using the same principle of small repetitive cells of melody and rhythm first put in use in his breakthrough piece, In C (1964).

In 2012, jazz historian Philippe Baudoin called the song "the most important non-American standard" and noted that "it has been recorded about 1400 times by mainstream and modern jazz musicians alone and is the eighth most-recorded tune by jazzmen."

The song is heavily referenced in "La Chanson de Prévert", a song by Serge Gainsbourg.

References

External links
 "Autumn Leaves" at jazzstandards.com

1940s jazz standards
1945 songs
1955 singles
Number-one singles in the United States
Pop standards
Torch songs
Eva Cassidy songs
Jerry Lee Lewis songs
Manfred Mann songs
The Coasters songs
Nat King Cole songs
Little Willie John songs
Songs with lyrics by Johnny Mercer
Compositions by Joseph Kosma

Autumn Leaves (1945 song)


Fiji Rugby Union (FRU) is the governing body for the sport of rugby union in Fiji. It is divided into over 30 provincial unions. The Fiji Rugby Union is a member of the Pacific Islands Rugby Alliance (PIRA), along with Samoa and Tonga. There are approximately 80,000 registered players from a total population of around 950,000.

National teams

International 15s

Otherwise known as the "Flying Fijians," the team gained No 9 in the IRB World Rankings after defeating Wales to enter the 2007 Rugby World Cup but slid down No 11 as a result of losses in the 2008 IRB Pacific Nations Cup. They sit 8th in the IRB world rankings as of 26 November 2018.

International 7s

Fiji has won the Rugby World Cup Sevens twice, in 1997 and the 2005. They also play in the World Rugby Sevens Series, an annual circuit of eight tournaments around the world, winning the series in 2006 and ending the six-year reign of New Zealand on that circuit. However, they lost the title to New Zealand in 2007, and did not win any tournaments in the 2007–2008 Series. Fiji has shone in rugby sevens, finishing the 2013 Sevens World Series third behind New Zealand and South Africa.

Other teams

Other teams include the Fiji A "Warriors", Fiji Under 20 team (competing at the annual IRB Junior World Championship), other age group international teams, and a women's team, currently under development and hoping for an invitation to the Women's Rugby World Cup.

Domestic competition

The national provincial Premier championship is the Skipper Cup competition.

A professional six team domestic competition, the Colonial Cup (similar in design to Super Rugby), ran from 2004 to 2008. Before this, Fiji had 12 Division One teams.  Five teams were made up of the players from the 12 Division One teams, based on regional lines, with the aim of creating a "more competitive competition that leads on and provides a higher level of competitive domestic rugby".

The FRU also has developed a base pay for players at international level.

Domestic competitions include the Farebrother-Sullivan Trophy, and a domestic 7s tournament.

Former office bearers
 Pio Bosco Tikoisuva, CEO 2001–05
 Charlie Charters, marketing manager 2001–04, occasional acting CEO
 Wayne Pivac, national coach 2004–05
 Mac McCallion, national coach 2002–04
 George Simpkin, coach 1984–90

See also

 Rugby union in Fiji

References

External links
 Fiji Rugby official site
 FRU news from Teivovo
 Pacific Islanders Rugby Team Supporters Site
 BBC profile on Fiji Rugby Union
 World Rugby Sevens official site

Rugby union in Fiji
Rugby union governing bodies in Oceania
Rugby
National members of World Rugby
Sports organizations established in 1913
1913 establishments in Fiji

Fiji Rugby Union


Robert Paul Schweikher (1903–1997) was a mid-century modern architect from Denver, Colorado.

Biography

Paul Schweikher was born in Denver, Colorado in 1903 to a family of musicians. He originally trained at the University of Colorado for a year (1921–22) before marrying his wife. He moved with her to Chicago, Illinois and studied at The Art Institute of Chicago while working for the firm of Lowe & Bollenbacher. Schweikher worked his way up from a clerk to a construction supervisor. After two-and-a-half years at the firm, Schweikher left to join the David Adler practice. Among the projects that Schweikher worked on was the William McCormick Blair Estate in Lake Bluff, Illinois.

He later studied at the Armour Institute of Technology before again transferring to, and receiving a degree from, the Yale School of Architecture. He returned to Chicago after his schooling in 1930 and collaborated with George Fred Keck and Philip Maher. He quickly rose to prominence, and his works were included in an exhibition at the Museum of Modern Art in 1933. His work was also exhibited at the Century of Progress International Exposition. Schweikher joined the practice of Lamb and Elting in 1934.

In 1953, Schweikher was named chairman of the Yale School of Architecture, following the retirement of George Howe. Five years later, he resigned from the university to take a position as head of the Carnegie School of Architecture. He retired in 1970 and moved to Sedona, Arizona, where he opened a small practice. Schweikher died in 1997.

Buildings and projects

 1932: Eliason House, Chicago, Illinois. (unbuilt)
 Model exhibited at the Museum of Modern Art in 1933.
 1936: Third Unitarian Church, Chicago, Illinois.
 Listed as a Chicago landmark.
 1937–38: Paul Schweikher House and Studio, Roselle (now Schaumburg), Illinois.
 Listed on the National Register of Historic Places.
 1939–42: Redwood Village Cooperative (a.k.a. North Shore Cooperative), Glenview, Illinois.
 1940: Lewis House, Park Ridge, Illinois.
 1940: S.W. Burda House, Mount Prospect, Illinois.
 1947: Donald Berg House, Glen Ellyn, Illinois.
 1948: Upton House, Scottsdale, Arizona. (later destroyed)
 1950: Finch House, Paradise Valley, Arizona.
 1950: R. Harring, Jr. House, Highland Park, Illinois.
 1954: Alfred A. Schiller House, Glen Ellyn, Illinois.
 Listed on the National Register of Historic Places.
 1955: Josiah Willard Gibbs Research Laboratories, Yale University.
 1956: Allen Hall, University at Buffalo, Buffalo, New York.
 1958: Unitarian Church, Evanston, Illinois.
 1962–66: Student Union at Duquesne University, Pittsburgh, Pennsylvania.
 1965: Carnegie Library, Knoxville Branch, Pittsburgh, Pennsylvania.
 1967: Craig Wright House, Fox Chapel, Pennsylvania.
 1970: WQED Building, Pittsburgh, Pennsylvania.
 1972: Schweikher House, Sedona, Arizona

References

 Paul Schweikher biography by the Art Institute of Chicago
 Paul Schweikher oral history (1984)
 Chicago Bauhaus and Beyond: Paul Schweikher, Architect
 Paul Schweikher Collection at Arizona State University
 The S.W. Burda House Designed by Paul Schweikher

1903 births
1997 deaths
Architects from Colorado
Architects from Denver
Illinois Institute of Technology alumni
Yale University alumni
20th-century American architects
People from Sedona, Arizona

Paul Schweikher


Princess Alexandra, The Honourable Lady Ogilvy LG GCVO CD (Alexandra Helen Elizabeth Olga Christabel; born 25 December 1936), is a member of the British Royal Family, the youngest granddaughter of King George V and Queen Mary. She had two children, Marina and James Ogilvy with Sir Angus Ogilvy. She is 55th in line for the Throne as of February 2023.

Titles and Styles

25 December 1936-24 April 1963 Her Royal Highness Princess Alexandra Helen Elizabeth Olga Christabel of Kent

24 April 1963-31 December 1988 Her Royal Highness Princess Alexandra, The Honorable Mrs Ogilvy

31 December 1988-present Her Royal Highness Princess Alexandra, The Honorable Lady Ogilvy

House: Windsor

Religion: Church of England

1936 births
Living people
House of Windsor
British princesses
Knights of the Garter
Knights Grand Cross of the Royal Victorian Order


"Eboshi peak", with Eboshi being a Japanese hat, is a  high mountain in the extreme north of the Japanese main island, Honshu, at the northern end of the Ōu Mountain Range.

Its peak forms the boundary between the communities of Hiranai in the northwest, Noheji in the northeast, and Tōhoku in the south, all located in Aomori Prefecture.

A radio repeater was built on the mountain in 2007 for the three municipalities listed above to broadcast the following digital television stations: NHK, NHK Kyōiku, RAB Aomori, ATV Aomori Television, and ABA Aomori.

The mountain is a popular destination among casual hikers due to its gentle slope and its plant diversity a popular destination. Its north side is also accessible by a road.

References

Mountains of Aomori Prefecture
Hiranai, Aomori
Noheji, Aomori
Tōhoku, Aomori

Eboshi-dake (Aomori)


Andrew Findlater (17 December 18101 January 1885) was a Scottish editor notable for his work on Chambers's Encyclopaedia.

Biography
He was born near Aberdour, Aberdeenshire, the son of a small farmer. By hard study in the evening, after his day's work on the farm was finished, he qualified himself for entrance at the University of Aberdeen, and after graduating as MA he attended the Divinity classes with the idea of entering the ministry. He qualified as a schoolmaster and went to Canada before beginning his association with Chambers.

In 1853 he began that connection with the firm of W. & R. Chambers which gave direction to his subsequent activity. His first engagement was the editing of a revised edition of their Information for the People (1857). In this capacity he gave evidence of qualities and acquirements that marked him as a suitable editor for Chambers's Encyclopaedia, then projected, and his was the directing mind that gave it its character. Many of the more important articles were written by him. This work occupied him until 1868, and he afterwards edited a revised edition (1874). He also had charge of other publications for the same firm, and wrote regularly for the Scotsman.

Findlater was associated with John Stuart Mill and George Grote and friends with William Thackeray and the French philologist Émile Littré. In 1864 he was made LL.D. of Aberdeen University. in 1877 he gave up active work for Chambers, but his services were retained as consulting editor. He died in Edinburgh in 1885.

References

External links

1810 births
1885 deaths
Scottish book editors
Alumni of the University of Aberdeen
Scottish encyclopedists
People from Aberdour
19th-century Scottish people

Andrew Findlater


Adam Darr (29 September 1811 – 2 October 1866) was a German classical guitarist, singer, zither player and composer.

Biography
Adam Darr was born in Schweinfurt, Germany, and started playing the guitar as a youth. Sometime after the age of 23, he left his hometown of Schweinfurt, performing abroad. Although secondary sources state that he performed for royal courts, no primary sources have been discovered to verify this claim. The first known performance of Darr is in April 1837 as a guitarist/vocalist in an ensemble known as the Bavaria Nature-Singers. It is known that he traveled with this ensemble in Belgium, Denmark, Sweden, Finland, and Estonia. According to Bone (1914), he spent three years in St. Petersburg, Russia, from 1836 to 1839, after which he returned to Germany, where, in Würzburg, he became the private tutor of an English family resident there named Whitbread. It is believed that he performed in Paris, and it has been verified that he performed in Berlin. In Würzburg he met fellow-guitarist Friedrich Brand. Together they formed a duo and for a year or two, they traveled through southern Germany, performing in Munich, Weimar, and elsewhere. At Munich, Darr made the acquaintance of the Grand Duke of Bavaria's court zitherist Johann Petzmayer, who became his zither teacher. After five years of service to the Whitbread family, Darr ended his employment and in 1856 moved to Augsburg. In the last ten years of his life, Darr composed music for the guitar and zither, including songs. During this time he published many works for the zither including his famous method. In the last year of his life, Darr became depressed due to a marital engagement that was terminated, and on 2 October 1866 he committed suicide by drowning himself in the river Lech at Augsburg.

Darr was a prolific composer with over 300 known compositions to his name. Most of the known works by Darr are for the zither, he wrote more than 60 works for the guitar and also a respectable comic operetta for men's voices called Robinsonade. Most of Darr's works were not published in his lifetime, which makes dating his music almost impossible. Many manuscripts and most of the printed music is preserved at the Bavarian State Library (Fritz Walter and Gabriele Wiedemann Collection).

Selected compositions
Guitar solo
Andante religioso (Munich: Hauser, 1900)
Galopp (Munich, 1907)
Sonata: 3 movements published separately in Augsburg by the Freie Vereinigung zur Förderung guter Guitaremusik, 1908
Mein letztes Andante (Augsburg, as above)

Guitar duo
15 numbered duos published in Augsburg by the Freie Vereinigung zur Förderung guter Guitaremusik (1905–8)
Irenengalopp (Munich: Gitarristische Vereinigung, 1911)

Zither
Olga-Walzer (Trier: Hoenes, c.1903)

Recordings
Adam Darr: Romantic German Guitar Duets, performed by John Schneiderman and Hideki Yamaya (guitars). Profil DCD PH13052, CD (2014). Contains: Introduktion & Polonaise; Erinnerung an St. Petersburg; Serenade; Irenengalopp; Introduktion & Rondo; Trauer-Marsch; Einleitung & Walzer; Grosses Adagio und Rondo; duos no. 1 to 14.
Gitarrenmusik der deutschen Romantik, performed by David Silvan Weiss (guitar). Vitula, CD [no catalogue number] (2014). Contains: Sonata in D major.
Fogli d'album, performed by Alberto La Rocca (10-string guitar), CD GuitArt 10/2015. Contains: Rondino; Andante no. 1; Andante no. 3; Mein letztes Andante.

Bibliography
Philip J. Bone: The Guitar and Mandolin. Biographies of Celebrated Players and Composers for these Instruments (London: Schott & Co. and Augener Ltd., 1914; 2nd edition, 1954), p. 90–91.
Fritz Stang: "Adam Darr. Gedanken zum 125. Todestag", in: Saitenspiel, January 1992, p. 11–14. English translation by Jane Curtis available here.
Joseph Richard Costello: Adam Darr (1811–1866). The Career and Works of a German Romantic Guitarist and Zitherist (unpublished dissertation, Arizona State University, 2005).

References

External links
Adam Darr Zither and Guitar Sheet music

1811 births
1866 deaths
19th-century classical composers
19th-century German composers
19th-century German male musicians
1860s suicides
Composers for the classical guitar
German classical composers
German classical guitarists
German male classical composers
German male guitarists
People from Schweinfurt
Suicides in the Kingdom of Bavaria
Zither players
19th-century guitarists

Adam Darr


eFront was an affiliate marketing network which purchased successful websites, such as Penny Arcade, SquareGamer, and BetaNews, and pooled traffic to those sites to command higher prices for advertising during an industrywide ad revenue slowdown. In 2001, there was a scandal when ICQ instant messaging logs between the CEO Sam P. Jain and other employees were leaked onto the internet through Fuckedcompany.com. The logs detailed activities such as not paying websites that had hosted their banner ads, sending legal threats to websites that spoke poorly of eFront, and threatening to "rape her and spit on her" (referring to a female webmaster angry about not receiving her check from the company). The logs also detailed how eFront attempted to hire, though never ended up paying, Something Awful founder and webmaster Richard "Lowtax" Kyanka, ostensibly to have him generate a positive buzz for the company.

Richard Kyanka stated during a presentation at the University of Illinois in October 2005 that he was still owed $40,000 by eFront, and that the company ran a number of competitions to attract clients, yet the prizes were awarded to employees.

As of July 2006, the company's former efront.com domain is owned by an unrelated French software firm, eFront Alternative Investment Solutions.

References

External links
 eFront website from the Internet Archive
 Original ICQ logs - Sam Jain detailing his activity
 Betanews escapes eFront meltdown from The Register
 eFront Fiasco Was an Affront to Advertisers' Trust

Online advertising services and affiliate networks
Companies disestablished in 2001
Defunct marketing companies of the United States

EFront


The Burner, Burner II, and Burner IIA rocket stages have been used as upper stages of launch vehicles such as the Thor-Burner and Delta since 1965. The Burner 1 stage was also called the Altair stage and was derived from the fourth stage of the Scout launch vehicle. The Burner 2 stage was powered by a Star 37 solid rocket motor.

In September 1965, Air Force Space Systems Division announced the development of a new, low cost upper stage called Burner II. It was intended as the smallest maneuverable upper stage in the Air Force inventory. In June 1967, the first Thor/Burner II vehicle successfully launched a pair of satellites to orbit. In June 1969, the Space and Missile Systems Organization (SAMSO) began development of the Burner IIA configuration which would offer a tandem motor injection capability and almost twice the capability of Burner II. In June 1971, the last of the Burner II missions was launched from Vandenberg by a Thor/Burner II launch vehicle and carried an SESP-1 space environmental satellite.

In addition to use on Delta family rockets, Burner 2 stages have been used on both Atlas and Titan rockets. Atlas E/F vehicles were configured with a Burner II/IIA stage and launched in 1968 and 1972. The first launch failed with the second delivering a radiation research payload for the Space Test Program (P72-1 Radsat) using Burner IIA.

In the mid-1970s Burner II was also studied for use as an upper stage in combination with the Space Shuttle. NASA managers choose other solutions for missions where upper stages were required.

References

Rocket stages

1967 in spaceflight
1971 in spaceflight

Burner (rocket stage)