The Gulflander is a passenger train operated by Queensland Rail on the isolated Normanton to Croydon line in the Gulf Country of northern Queensland, Australia.

History

Steam locomotives were used until 1929. By that stage railmotors had been introduced since 1922. By 1974 the line was under the threat of closure, earning just $3,000 in revenue but costing $64,000 to maintain.

Today the line exists as a tourist attraction and is said to be more an adventure than a train ride. The crews are qualified guides and will stop the train and talk about points of interest. The present three-car railmotor set of RM93 Gardner diesel railmotor and carriages TP1809 and TP1811 is known as "the old Tin Hare".

Service
The service runs once per week to Croydon on Wednesdays, returning to Normanton on Thursdays. Shorter charter services on most other days are also available.

Rollingstock
Thirteen power units have been used on the line. It is unusual that of the 13 units, 12 survive in one form or another and most are still in the region due mainly to its remoteness. They are as follows:
A10 class steam locomotive 202, undergoing restoration to operational condition by Croydon Shire Council
A10 class steam locomotive 203, used as parts for the restoration of 202
A10 class steam locomotive 204, on display at Croydon station
B12 class steam locomotive 28, on display at Normanton station
B13 class steam locomotive 161, on display at Normanton station
B13 class steam locomotive 234, on display at Normanton station
RM14 Panhard-Levassor petrol railmotor, operated Gulflander 1923-1929, returned to Normanton for 120th anniversary in 2011, on display at Workshops Rail Museum
RM31 AEC petrol railmotor, operated Gulflander 1929-1945, eventual fate unknown
RM32 AEC petrol railmotor, operated Gulflander 1945-1960, on display at Normanton
RM60 AEC petrol railmotor, operated Gulflander 1960-1964, operational at Normanton
RM74 Gardner (formerly AEC) diesel railmotor, operated Gulflander 1964-1982, on display at Redland Museum, Cleveland
RM93 Gardner diesel railmotor, operational at Normanton station, arrived 1982, hauls present Gulflander
DL4 diesel-mechanical locomotive, arrived November 1988, operational at Normanton
TP1809 carriage, former PL1809 passenger/luggage trailer transferred to Normanton in 1980, forms present Gulflander
TP1811 carriage de-motored and reclassified RM1811, was the QR Commissioners Car throughout the 1980s before conversion and transfer to Normanton in 1991, forms present Gulflander

References

External links

Named passenger trains of Queensland
North West Queensland
Tourist railways in Queensland

Gulflander


Jonah Koslen is an American singer-songwriter and musician best known for his work with the Michael Stanley Band and Breathless in the 1970s and 1980s.

Biography
After graduating from Beachwood High School, Koslen joined the Cleveland, Ohio-based band, Snake Eyes, with former Eli Radish Band bassist Danny Sheridan. In 1974, he joined with Michael Stanley, Daniel Pecchio, formerly of Glass Harp, and Tommy Dobeck to form The Michael Stanley Band. During his tenure with the band, they released three albums for Epic Records and became popular in Northeast Ohio. Sharing songwriting duties with Stanley, Koslen contributed two of the group's classic songs: "Strike Up the Band" and "Nothing's Gonna Change My Mind".

Koslen left the Michael Stanley Band in 1977 and formed the band Breathless the following year. Breathless consisted of Koslen, bassist Bob Benjamin, drummer Kevin Valentine, percussionist Rodney Psyka, guitarist Alan Greene and keyboardist Mark Avsec, formerly with Wild Cherry. Signed to EMI America Records, the group released their debut album Breathless, produced by Don Gehman, in July 1979. Following the album's release, Breathless toured as an opening act, including a dozen shows opening for Kiss.  The single, "Takin' It Back", scratched the Billboard Hot 100 at No. 92, but the album did not chart. With support from Cleveland radio station WMMS, Breathless became a popular act locally, headlining Blossom Music Center in June 1980. The band released its second album, Nobody Leaves This Song Alive in October 1980. Again, the album received airplay in Northeast Ohio but failed to catch on nationally. Breathless disbanded in 1981, with Avsec and Valentine joining Donnie Iris' band "The Cruisers".

Koslen formed another band, Jonah Koslen and the Heroes, that released the album Aces, in 1983, and also the albums Orange and Agora Live, but they soon broke up. After that Koslen moved to California and worked on various music projects. He briefly reunited with Michael Stanley in 1993 for the album The Ghost Poets.

Discography

Albums
 Michael Stanley Band
1975: You Break It...You Bought It!
1976: Ladies' Choice
1977: Stagepass
1992: Right Back at Ya (1971–1983)
1997: Misery Loves Company: More of the Best 1975–1983

 Solo
1978: Back Tracks
2008: Telling on Myself

 Breathless
1979: Breathless
1980: Nobody Leaves This Song Alive
1993: Picture This...The Best of Breathless

 Jonah Koslen and the Heroes
1983: Aces
1984: Orange
 Agora Live

 The Ghost Poets
1993: The Ghost Poets

References

Other sources
Adams, Deanna. Rock 'n' Roll and the Cleveland Connection (2002): pp. 261–268, pp. 416–418

1952 births
Living people
Musicians from Cleveland
American male singer-songwriters
Singer-songwriters from Ohio

Jonah Koslen


Verdala Palace is a palace in the Buskett Gardens, limits of Siġġiewi, Malta. It was built in 1586 during the reign of Hugues Loubenx de Verdalle, and it now serves as the official summer residence of the President of Malta.

History
The site of Verdala Palace was originally occupied by a hunting lodge, which was built in the 1550s or 1560s during the reign of Grand Master Jean Parisot de la Valette. The lodge was built in the Boschetto, a large semi-landscaped area that was used by knights of the Order of Saint John for game hunting. The hunting lodge was expanded into a palace in 1586, during the reign of Hugues Loubenx de Verdalle. It was further embellished in the 17th and 18th centuries, during the reigns of Giovanni Paolo Lascaris and António Manoel de Vilhena.

During the French blockade of 1798–1800, the palace served as a military prison for French soldiers captured by the Maltese or British. During British rule, it became a silk factory, but it was eventually abandoned and fell into a state of disrepair. Some repairs were undertaken during the governorship of Frederick Cavendish Ponsonby, and it was fully restored by Governor Sir William Reid in the 1850s. Prior to its restoration it was a temporal minor hospital between 1915 and 1916. It subsequently became the official summer residency of the Governors of Malta. It was included on the Antiquities List of 1925. On the outbreak of World War II in 1939, works of art from the National Museum were stored at the palace for safekeeping. The palace was restored in 1982 and began to be used to host visiting heads of state.

Over the years, the palace welcomed several distinguished guests, including:
Edward VII and Alexandra of Denmark, King and Queen of the United Kingdom
Maria Feodorovna, Empress of Russia (1909)
George V and Mary of Teck, King and Queen of the United Kingdom (1912)
George VI, King of the United Kingdom (1913 and 1943)
Wilhelm II, Emperor of Germany (1919)
Muammar Gaddafi, Libyan dictator
Josip Broz Tito, President of Yugoslavia
Nicolae Ceaușescu, President of Romania
Giovanni Leone, President of Italy

Since 1987, the Verdala Palace has been in use as the summer residence of the President of Malta, and it is generally closed to the public except for the August Moon Ball held annually in aid of the Malta Community Chest Fund.

Architecture
Verdala Palace was designed by Girolamo Cassar, a Maltese architect mostly known for the design of many buildings in the capital Valletta. The palace is an example of Renaissance architecture, and its design is possibly influenced by Villa Farnese in Caprarola.

The building has a rectangular plan, with pentagonal bastion-like turrets on each corner. The building itself has two floors, while the corner turrets are about five storeys high. The entire structure is also surrounded by a stone quarried ditch. Although the turrets and ditch gave the palace the outward appearance of a fort, they were mainly symbolic, and the palace was never really intended to withstand any attack. Nonetheless, the palace was still armed with four pieces of artillery on the roof. The interior of the palace is very ornate, with frescoes on some of the ceilings.

A chapel, stables and servant quarters are located a short distance away from the palace.

Ghost story
Verdala Palace is supposedly haunted by the "Blue Lady", a niece of Grand Master de Rohan. She was supposed to marry a particular suitor who she did not like, she didn't want to marry this person so the only way to escape her fiancé is suicide, she jumped off the balcony in her bedroom. Her ghost is reportedly seen roaming the palace, wearing the same blue dress she wore when she died; her wedding dress.

Gallery

References

Palaces in Malta
Official residences in Malta
Defunct prisons in Malta
Defunct hospitals in Malta
Houses completed in 1586
Renaissance architecture in Malta
Fortified houses in Malta
Siġġiewi
Reportedly haunted locations in Malta
Limestone buildings in Malta
Hunting lodges in Malta
Knights Hospitaller

Verdala Palace


Degaussing is the process of decreasing or eliminating a remnant magnetic field. It is named after the gauss, a unit of magnetism, which in turn was named after Carl Friedrich Gauss. Due to magnetic hysteresis, it is generally not possible to reduce a magnetic field completely to zero, so degaussing typically induces a very small "known" field referred to as bias. Degaussing was originally applied to reduce ships' magnetic signatures during World War II. Degaussing is also used to reduce magnetic fields in cathode ray tube monitors and to destroy data held on magnetic storage.

Ships' hulls

The term was first used by then-Commander Charles F. Goodeve, Royal Canadian Naval Volunteer Reserve, during World War II while trying to counter the German magnetic naval mines that were wreaking havoc on the British fleet.

The mines detected the increase in the magnetic field when the steel in a ship concentrated the Earth's magnetic field over it. Admiralty scientists, including Goodeve, developed a number of systems to induce a small "N-pole up" field into the ship to offset this effect, meaning that the net field was the same as the background. Since the Germans used the gauss as the unit of the strength of the magnetic field in their mines' triggers (not yet a standard measure), Goodeve referred to the various processes to counter the mines as "degaussing". The term became a common word.

The original method of degaussing was to install electromagnetic coils into the ships, known as coiling. In addition to being able to bias the ship continually, coiling also allowed the bias field to be reversed in the southern hemisphere, where the mines were set to detect "S-pole down" fields. British ships, notably cruisers and battleships, were well protected by about 1943.

Installing such special equipment was, however, far too expensive and difficult to service all ships that would need it, so the navy developed an alternative called wiping, which Goodeve also devised, and which is now also called deperming. This procedure dragged a large electrical cable along the side of the ship with a pulse of about 2000 amperes flowing through it. This induced the proper field into the ship in the form of a slight bias. It was originally thought that the pounding of the sea and the ship's engines would slowly randomize this field, but in testing, this was found not to be a real problem. A more serious problem was later realized: as a ship travels through Earth's magnetic field, it will slowly pick up that field, counteracting the effects of the degaussing. From then on captains were instructed to change direction as often as possible to avoid this problem. Nevertheless, the bias did wear off eventually, and ships had to be degaussed on a schedule. Smaller ships continued to use wiping through the war.

To aid the Dunkirk evacuation, the British "wiped" 400 ships in four days.

During World War II, the United States Navy commissioned a specialized class of degaussing ships that were capable of performing this function. One of them, USS Deperm (ADG-10), was named after the procedure.

After the war, the capabilities of the magnetic fuzes were greatly improved, by detecting not the field itself, but changes in it. This meant a degaussed ship with a magnetic "hot spot" would still set off the mine. Additionally, the precise orientation of the field was also measured, something a simple bias field could not remove, at least for all points on the ship. A series of ever-increasingly complex coils were introduced to offset these effects, with modern systems including no fewer than three separate sets of coils to reduce the field in all axes.

High-temperature superconductivity

The US Navy tested, in April 2009, a prototype of its High-Temperature Superconducting Degaussing Coil System, referred to as "HTS Degaussing". The system works by encircling the vessel with superconducting ceramic cables whose purpose is to neutralize the ship's magnetic signature, as in the legacy copper systems. The main advantage of the HTS Degaussing Coil system is greatly reduced weight (sometimes by as much as 80%) and increased efficiency.

A sea-going metal-hulled ship or submarine, by its very nature, develops a magnetic signature as it travels, due to a magneto-mechanical interaction with Earth's magnetic field. It also picks up the magnetic orientation of the Earth's magnetic field where it is built. This signature can be exploited by magnetic mines or facilitate the detection of a submarine by ships or aircraft with magnetic anomaly detection (MAD) equipment. Navies use the deperming procedure, in conjunction with degaussing, as a countermeasure against this.

Specialized deperming facilities, such as the United States Navy's Lambert's Point Deperming Station at Naval Station Norfolk, or Pacific Fleet Submarine Drive-In Magnetic Silencing Facility (MSF) at Joint Base Pearl Harbor–Hickam, are used to perform the procedure. During a closed-wrap magnetic treatment, heavy-gauge copper cables encircle the hull and superstructure of the vessel, and high electrical currents (up to 4000 amperes) are pulsed through the cables. This has the effect of "resetting" the ship's magnetic signature to the ambient level after flashing its hull with electricity. It is also possible to assign a specific signature that is best suited to the particular area of the world in which the ship will operate. In drive-in magnetic silencing facilities, all cables are either hung above, below and on the sides, or concealed within the structural elements of facilities. Deperming is "permanent". It is only done once unless major repairs or structural modifications are done to the ship.

Early experiments
With the introduction of iron ships, the negative effect of the metal hull on steering compasses was noted. It was also observed that lightning strikes had a significant effect on compass deviation, identified in some extreme cases as being caused by the reversal of the ship's magnetic signature. In 1866, Evan Hopkins of London registered a patent for a process "to depolarise iron vessels and leave them thenceforth free from any compass-disturbing influence whatever". The technique was described as follows: "For this purpose he employed a number of Grove's batteries and electromagnets. The latter were to be passed along the plates till the desired end had been obtained... the process must not be overdone for fear of re-polarising in the opposite direction." The invention was, however, reported to be "incapable of being carried to a successful issue", and "quickly died a natural death".

Color cathode ray tubes

Color CRT displays, the technology underlying many television and computer monitors before the early 2010s, use degaussing. Many CRT displays use a metal plate near the front of the tube to ensure that each electron beam hits the corresponding phosphors of the correct color. If this plate becomes magnetized (e.g. if someone sweeps a magnet on the screen or places loudspeakers nearby), it imparts an undesired deflection to the electron beams and the displayed image becomes distorted and discolored.

To minimize this, CRTs have a copper, or often in the case of cheaper appliances, aluminum, coil wrapped around the front of the display, known as the degaussing coil. Monitors without an internal coil can be degaussed using an external handheld version. Internal degaussing coils in CRTs are generally much weaker than external degaussing coils, since a better degaussing coil takes up more space. A degauss causes a magnetic field inside the tube to oscillate rapidly, with decreasing amplitude. This leaves the shadow mask with a field opposing any external field (such as that of the Earth), removing the discoloration.

Many televisions and monitors automatically degauss their picture tube when switched on, before an image is displayed. The high current surge that takes place during this automatic degauss is the cause of an audible "thunk", a loud hum or some clicking noises, which can be heard (and felt) when televisions and CRT computer monitors are switched on, due to the capacitors discharging and injecting current into the coil. Visually, this causes the image to shake dramatically for a short period of time. A degauss option is also usually available for manual selection in the operations menu in such appliances.

In most commercial equipment the current surge to the degaussing coil is regulated by a simple positive temperature coefficient (PTC) thermistor device, which initially has a low resistance but quickly changes to a high resistance due to the heating effect of the current flow.  Such devices are designed for a one-off transition from cold to hot at power up; "experimenting" with the degauss effect by repeatedly switching the device on and off may cause this component to fail.  The effect will also be weaker, since the PTC will not have had time to cool off.

Magnetic data storage media
Data is stored in the magnetic media, such as hard drives, floppy disks, and magnetic tape, by making very small areas called magnetic domains change their magnetic alignment to be in the direction of an applied magnetic field. This phenomenon occurs in much the same way a compass needle points in the direction of the Earth's magnetic field. Degaussing, commonly called erasure, leaves the domains in random patterns with no preference to orientation, thereby rendering previous data unrecoverable. There are some domains whose magnetic alignment is not randomized after degaussing. The information these domains represent is commonly called magnetic remanence or remanent magnetization. Proper degaussing will ensure there is insufficient magnetic remanence to reconstruct the data.

Erasure via degaussing may be accomplished in two ways: in AC erasure, the medium is degaussed by applying an alternating field that is reduced in amplitude over time from an initial high value (i.e., AC powered); in DC erasure, the medium is saturated by applying a unidirectional field (i.e., DC powered or by employing a permanent magnet). A degausser is a device that can generate a magnetic field for degaussing magnetic storage media. The magnetic field needed for degaussing magnetic data storage media is a powerful one that normal magnets cannot easily achieve and maintain.

Irreversible damage to some media types
Many forms of generic magnetic storage media can be reused after degaussing, including reel-to-reel audio tape, VHS videocassettes, and floppy disks. These older media types are simply a raw medium which are overwritten with fresh new patterns, created by fixed-alignment read/write heads.

For certain forms of computer data storage, however, such as modern hard disk drives and some tape drives, degaussing renders the magnetic media completely unusable and damages the storage system. This is due to the devices having an infinitely variable read/write head positioning mechanism which relies on special servo control data (e.g. Gray Code) that is meant to be permanently recorded onto the magnetic media. This servo data is written onto the media a single time at the factory using special-purpose servo writing hardware.

The servo patterns are normally never overwritten by the device for any reason and are used to precisely position the read/write heads over data tracks on the media, to compensate for sudden jarring device movements, thermal expansion, or changes in orientation. Degaussing indiscriminately removes not only the stored data but also the servo control data, and without the servo data the device is no longer able to determine where data is to be read or written on the magnetic medium. The servo data must be rewritten to become usable again; with modern hard drives, this is generally not possible without manufacturer-specific and often model-specific service equipment.

Audio tape recorders
In reel-to-reel and compact cassette audio tape recorders, remnant magnetic fields will over time gather on metal parts such as guide posts tape heads. These are points that come into contact with the magnetic tape. The remnant fields can cause an increase in audible background noise during playback. Cheap, handheld consumer degaussers can significantly reduce this effect.

Types of degaussers
Degaussers range in size from small ones used in offices for erasing magnetic data storage devices to industrial-size degaussers for use on piping, ships, submarines, and other large-sized items, equipment to vehicles. Rating and categorizing degaussers depends on the strength of the magnetic field the degausser generates, the method of generating a magnetic field in the degausser, the type of operations the degausser is suitable for, the working rate of the degausser based on whether it is a high volume degausser or a low volume degausser, and mobility of the degausser among others. From these criteria of rating and categorization, there are thus electromagnetic degaussers, permanent magnet degaussers as the main types of degaussers.

Electromagnetic degaussers
An electromagnetic degausser passes an electrical charge through a degaussing coil to generate a magnetic field. Sub-types of electromagnetic degaussers are several such as Rotating Coil Degaussers and Pulse Demagnetization Technology degaussers since the technologies used in the degaussers are often developed and patented by respective manufacturing companies such as Verity Systems and Maurer Magnetic among others, so that the degausser is suitable for its intended use. Electromagnetic degaussers generate strong magnetic fields, and have a high rate of work.

Rotating coil degausser
Performance of a degaussing machine is the major determinant of the effectiveness of degaussing magnetic data storage media. Effectiveness does not improve when the media passes through the same degaussing magnetic field more than once. Rotating the media by 90 degrees improves effectiveness of degaussing the media.
One magnetic media degaussers' manufacturer, Verity Systems, has used this principle in a rotating coil technique they developed. Their rotating coil degausser passes the magnetic data storage media being erased through a magnetic field generated using two coils in the degaussing machine with the media on a variable-speed conveyor belt. The two coils generating a magnetic field are rotating; with one coil positioned above the media and the other coil positioned below the media.

Pulse degaussing
Pulse degaussing technology involves the cyclic application of electric current for a fraction of a second to the coil being used to generate a magnetic field in the degausser. The process starts with the maximum voltage applied and held for only a fraction of a second to avoid overheating the coil, and then the voltages applied in subsequent seconds are reduced in sequence at varying differences until no current is applied to the coil. Pulse degaussing saves on energy costs, produces high magnetic field strength, is suitable for degaussing large assemblies, and is reliable due to zero-error degaussing achievement.

Permanent magnet degausser
Permanent magnet degaussers use magnets made using rare earth materials. They do not require electricity for their operation. Permanent magnet degaussers require adequate shielding of the magnetic field they constantly have to prevent unintended degaussing. The need for shielding usually results in permanent magnet degaussers being bulky. When small-sized, permanent magnet degaussers are suited for use as mobile degaussers.

See also

Data remanence

References

External links
Guide to degaussing TVs

https://degaussing-101.com/what-is-degaussing/

Computer storage media
Magnetic data storage
Magnetic hysteresis
British inventions

Degaussing


Jobst Hermann von Holstein-Schaumburg (6 October 1593 at Gemen Castle in Borken – 5 November 1635 in Bückeburg) was a member of the House of Schaumburg.

Life
His parents were Henry V, Count of Schaumburg and Holstein-Pinneberg (d. 1606), from a collateral line of the Gemen family tree, and Countess Matilda of Limburg-Styrum (1561–1622), a daughter of Count Hermann Georg of Limburg. In 1622, he became Count of Schaumburg and Lord of Gemen. Although he was raised as a Catholic, he made no attempt to change the religious denomination of his territories.

During the Thirty Years' War, he had little opportunity to influence events; however he succeeded in protecting his Lordship of Gemen from the worst oppression by imperial and Hessian troops.

Inheritance
He married Catherine Sophia (1577–1665), daughter of Otto II, Duke of Brunswick-Harburg, but the marriage was childless, and when he died in 1635, a succession dispute broke out between the families of Holstein-Schaumburg and Limburg-Styrum in relation to the immediate Lordship of Gemen. His aunt, Countess Agnes of Limburg-Styrum, who was abbess of Elten, Vreden, Borghorst Abbey and Freckenhorst won the dispute and shortly afterwards transferred Gemen to her nephew Hermann Otto I of Limburg-Styrum, a wealthy man who had a successful career as a lieutenant general in the Dutch cavalry. When he died in 1644, he left Gemen to his second son, Adolf Ernst, who married Isabella, the daughter of Count Alexander of Velen-Meggen-Raesfeld. Adolf Ernst unsuccessfully attempted to reintroduce Catholicism in Gemen.

References
 Helge Bei der Wieden: Schaumburgische Genealogie. Stammtafeln der Grafen von Holstein und Schaumburg - auch Herzöge von Schleswig - bis zu ihrem Aussterben 1640, 2nd revised edition, Melle,1999

External links

|-

|-

Counts of Holstein
House of Schauenburg
1593 births
1635 deaths

Jobst Herman, Count of Schaumburg


ParadisEO is a white-box object-oriented framework dedicated to the flexible design of metaheuristics. It uses EO, a template-based, ANSI-C++ compliant computation library.  ParadisEO is portable across both Windows system and sequential platforms (Unix, Linux, Mac OS X, etc.). ParadisEO is distributed under the CeCill license and can be used under several environments.

Overview

ParadisEO is a white-box object-oriented framework dedicated to the reusable design of metaheuristics, hybrid metaheuristics, and parallel and distributed metaheuristics.
ParadisEO provides a broad range of features including evolutionary algorithms, local searches, Particle swarm optimization, the most common parallel and distributed models and hybridization mechanisms, etc. This high content and utility encourages its use at International level. ParadisEO is based on a clear conceptual separation of the solution methods from the problems they are intended to solve. This separation confers to the user a maximum code and design reuse. Furthermore, the fine-grained nature of the classes provided by the framework allow a higher flexibility compared to other frameworks. ParadisEO is of the rare frameworks that provide the most common parallel and distributed models. Their implementation is portable on distributed-memory machines as well as on shared-memory multiprocessors, as it uses standard libraries such as MPI, PVM and PThreads. The models can be exploited in a transparent way, one has just to instantiate their associated provided classes. Their experimentation on the radio network design real-world application demonstrate their efficiency.

Modules

Paradiseo-EO

Paradiseo-EO deals with population based metaheuristics, it is a templates-based, ANSI-C++ compliant evolutionary computation library (evolutionary algorithms, particle swarm optimization...). It contains classes for almost any kind of evolutionary computation you might come up to - at least for the ones we could think of. It is component-based, so that if you don't find the class you need in it, it is very easy to subclass existing abstract or concrete classes.

Paradiseo-MOEO

Paradiseo-MOEO provides a broad range of tools for the design of multiobjective optimization metaheuristics: fitness assignment schemes (achievement functions, ranking, indicator-based...), diversity preservation mechanisms (sharing, crowding), elitism, performance metrics (contribution, entropy...), statistical tools and some easy-to-use state-of-the-art multi-objective evolutionary algorithms (NSGA, NSGA-II, IBEA...).

Paradiseo-MO

Paradiseo-MO deals with single-solution based metaheuristics, it provides tools for the development of single solution-based metaheuristics: Hill climbing, Tabu search, Iterative Local Search (ILS), Simulated annealing, incremental evaluation, partial neighbourhood...

Paradiseo-PEO

Paradiseo-PEO provides tools for the design of parallel and distributed metaheuristics: parallel evaluation, parallel evaluation function, island model, cellular model... Paradiseo-PEO also introduces tools for the design of distributed, hybrid and cooperative models.

See also
 ECJ, A toolkit to implement Evolutionary Algorithms
 MOEA Framework, an open source Java framework for multiobjective evolutionary algorithms

External links
 Official site , at Paradiseo website
 Team, at DOLPHIN project-team website

References

 "Solving the Protein Folding Problem with a Bicriterion Genetic Algorithm on the Grid"
 Protein Sequencing with an Adaptive Genetic Algorithm from Tandem Mass Spectrometry, CEC 2006, 0-7803-9489-5, July 16-21 2006, pp 1412–1419, Vancouver, Canada
 "ParadisEO-MOEO: A Framework for Evolutionary Multi-objective Optimization" (broken link?)
 A Multi-Objective Approach to the Design of Conducting Polymer Composites for Electromagnetic Shielding, EMO 2007, Matsushima, Japan
 A hybrid metaheuristic for knowledge discovery in microarray experiments, In Handbook of Bioinspired Algorithms and Applications, Edited by S. Olariu and A.Y. Zomaya
  Grid computing for parallel bioinspired algorithms (broken link?)
 ParadisEO: A Framework for the Reusable Design of Parallel and Distributed Metaheuristics  (broken link?)
  Designing cellular networks using a parallel hybrid metaheuristic

Distributed computing architecture
Metaheuristics
Numerical programming languages
Numerical analysis software for Linux
Numerical analysis software for macOS
Numerical analysis software for Windows

Paradiseo


Radu Lupu  (30 November 1945 – 17 April 2022) was a Romanian pianist. He was widely recognized as one of the greatest pianists of his time.

Born in Galați, Romania, Lupu began studying piano at the age of six. Two of his major piano teachers were Florica Musicescu, who also taught Dinu Lipatti, and Heinrich Neuhaus, who also taught Sviatoslav Richter and Emil Gilels. From 1966 to 1969, he won three of the world's most prestigious piano competitions: the Van Cliburn International Piano Competition (1966), the George Enescu International Piano Competition (1967), and the Leeds International Pianoforte Competition (1969). These victories launched Lupu's international career, and he appeared with all of the major orchestras and at all of the major festivals and music capitals of the world.

From 1970 to 1993, Lupu made over 20 recordings for Decca Records. His solo recordings, which have received considerable acclaim, include works by Beethoven, Brahms, Grieg, Mozart, Schubert, and Schumann, including all of Beethoven's piano concertos and five piano sonatas and other solo works; the Grieg and Schumann piano concertos, as well as three major solo works of Schumann; nine piano sonatas and the Impromptus and Moments musicaux of Schubert; various major solo works and the first piano concerto of Brahms; and two piano concertos of Mozart. His chamber music recordings for Decca include all of Mozart's sonatas for violin and piano with Szymon Goldberg; the violin sonatas of Debussy and Franck with Kyung Wha Chung; and various works by Schubert for violin and piano with Goldberg. He additionally recorded works of Mozart and Schubert for piano four-hands and two pianos with Murray Perahia for CBS Masterworks, Schubert songs with Barbara Hendricks for EMI, and works by Schubert for piano four-hands with Daniel Barenboim for Teldec. In addition, Lupu is also noted for his performances of Bartók, Debussy, Enescu, and Janáček, among other composers.

Lupu was nominated for two Grammy Awards, winning one in 1996 for an album of two Schubert piano sonatas. In 1995, Lupu also won an Edison Award for a disc of three major piano works of Schumann. Other awards won by Lupu include the Franco Abbiati Prize in 1989 and 2006, and the 2006 Premio Internazionale Arturo Benedetti Michelangeli award.

Life and career

Early life and education

Lupu was born in Galați, Romania on 30 November 1945 to a Jewish family, the son of Meyer Lupu, an attorney, and Ana Gabor, a linguist. From his earliest days, Lupu "had always expressed himself by singing", and was given his first piano at the age of five. He began piano studies in 1951, as a six-year-old, with Lia Busuioceanu. He made his public debut in 1957, at age 12, in a concert featuring his own compositions. He told The Christian Science Monitor in 1970 that "from the very beginning I regarded myself as a composer. I was sure, and everybody else was sure, that one day I would become a famous composer". He gave up composing about four years later, saying that he thought he would be "much better as a pianist".

After completing high school in Galați, and graduating from the Popular School for the Arts in Brașov, where he studied harmony and counterpoint with Victor Bickerich, Lupu continued his piano studies at the Bucharest Conservatory (1959–1961) with Florica Musicescu (who also taught Dinu Lipatti), and Cella Delavrancea, studying also composition with Dragos Alexandrescu. At age 16, in 1961, he was awarded a scholarship to the Moscow Conservatory, where he studied for seven years. In Moscow, he first studied with Galina Eguiazarova (a pupil of Alexander Goldenweiser) for two years, and then with Heinrich Neuhaus (who also taught Sviatoslav Richter and Emil Gilels) and later with his son, Stanislav Neuhaus. He graduated in 1969. Lupu was also a student of Maria Curcio, a student of Artur Schnabel. However, in a 1981 interview, when asked about what types of influences his teachers had on him, Lupu answered that he thought of himself as more autodidactic: "My first teacher took me to every orchestral concert, and I am also grateful for what I learned in Moscow, but I think of myself, basically (in music anyway), as somebody who is more autodidactic. I took some from Furtwängler, Toscanini, everywhere ... more and more so since I left Moscow."

Early career
In 1965, Lupu was placed fifth at the International Beethoven Piano Competition in Vienna.
The following year, he won the first prize in the second Van Cliburn International Piano Competition; he also won special prizes for the best performance of a commissioned work (of Willard Straight's "Structure for Piano") and the best performance of a movement from the Aaron Copland Piano Sonata. In the finals, his performance of the first movement of Sergei Prokofiev's Piano Concerto No. 2 (Op. 16), a required piece, was described by Paul Hume of The Washington Post as "the most fiery and thunderous of any of the six finalists". In addition to the Prokofiev, he performed Beethoven's Piano Concerto No. 5 (Op. 73). Alicia de Larrocha, who was on the jury, declared Lupu a genius. "I did not expect it at all. I am just speechless," Lupu said after his victory. Shortly after the competition, in April 1967, Lupu made his debut at Carnegie Hall in New York City in a program of Beethoven, Schubert, and Chopin. However, Lupu reportedly turned down many of the other engagements that came with the prize, instead choosing to further his studies in Moscow.

A year after his Cliburn Competition victory, in 1967, Lupu won the first prize in the George Enescu International Piano Competition. Two years later, in October 1969, he won the Leeds International Piano Competition; he performed Beethoven's Piano Concerto No. 3 with the Royal Liverpool Philharmonic Orchestra under Charles Groves  (Op. 37) in the final. The following month, in November 1969, Lupu made his solo debut in London; Joan Chissell of The Times wrote about his performance of the second movement of Beethoven's Piano Sonata No. 7 at the recital: "He brought what seemed like a lifetime's experience to its alternating desolation and pride. Never could music come nearer to speech."

In April 1970, Lupu made his first recording for Decca Records: Brahms' Rhapsody in B minor (Op. 79 No. 1) and Three Intermezzi (Op. 117), and Schubert's Piano Sonata in A minor (D. 784). He continued to record for the label for the following 23 years. In August 1970, the 24-year-old pianist made his debut at The Proms, performing Brahms' Piano Concerto No. 1 (Op. 15) with the BBC Symphony Orchestra conducted by Edo de Waart at the Royal Albert Hall. In November 1970, he made his first concerto recording for Decca, of the Beethoven Piano Concerto No. 3 with the London Symphony Orchestra conducted by Lawrence Foster; he also recorded Beethoven's 32 Variations in C minor (WoO 80).

Lupu's first major American appearances after his Leeds Competition victory were in February 1972 with the Cleveland Orchestra in the Brahms Piano Concerto No. 1 with Daniel Barenboim conducting at Carnegie Hall in New York City, and in October 1972 with the Chicago Symphony Orchestra in the Beethoven Piano Concerto No. 3 with Carlo Maria Giulini conducting.
The performance of the Brahms with the Cleveland Orchestra and Barenboim was reviewed by Harold C. Schonberg, a Pulitzer Prize-winning music critic for The New York Times who had ten years prior notably lambasted the famous New York Philharmonic concert of 6 April 1962 where the same concerto was played by Glenn Gould with the New York Philharmonic conducted by Leonard Bernstein. Schonberg was also critical of the performance by Lupu and Barenboim, writing that not since the Bernstein–Gould performance "had there been such an interpretation" of the concerto, describing it as "willful, episodic and mannered, self-indulgent, capricious". However, he added that "yet through all the eccentricities came the feeling of two young musicians trying hard to get out of the rut and once in a while actually succeeding", but that "in future years this kind of approach may jell for them. Right now it does not come off."

Growing acclaim

Although Schonberg had been critical of Lupu's debut with the Cleveland Orchestra conducted by Barenboim in February 1972, he was far more enthusiastic about Lupu's performance in November 1972 of Beethoven's Piano Concerto No. 5 with the Royal Philharmonic Orchestra conducted by Lawrence Foster at Carnegie Hall, writing, in The New York Times, that
 [H]is performance did much to redeem the impression he had made last season in the Brahms D minor concerto. Then he sounded mannered, finicky, artificial. This time he was a different pianist.
Schonberg added:
 His proclamation in the cadenza-like opening was big and bold, featured by a penetrating though glassy tone. This set the stage for a fiery performance that was consistently interesting. It may have been banged out a bit, it may have been lacking in color resource, but it did have propulsion, and it did have ideas. And it had superb momentum aside from a few bad rhythmic groupings in the slow movement.

The following year, Lupu recorded the piano concertos of Schumann (Op. 54) and Grieg (Op. 16) with the London Symphony Orchestra conducted by André Previn, a recording described by Gramophone as "grandly commanding". In February 1974, Lupu performed a recital at Hunter College in New York, which was praised by Allen Hughes of The New York Times. Hughes declared Lupu "no ordinary pianist" and wrote about Lupu's performance of Schubert's Piano Sonata in B flat major (D. 960).

In November 1974, Lupu made his debut with the New York Philharmonic, performing Mozart's Piano Concerto No. 21 (K. 467) conducted by James Conlon. In 1975, Lupu debuted with the Concertgebouw Orchestra and gave the premiere of the André Tchaikowsky Piano Concerto, Op. 4 with the Royal Philharmonic Orchestra conducted by Uri Segal at the Royal Festival Hall. In 1976, Lupu recorded Brahms' 6 Klavierstücke (Op. 118) and 4 Klavierstücke (Op. 119), which was described by Stereo Review as "a glowing realization of what Brahms set down that leaves one at a loss for words and simply glad to have ears." In 1978, he gave his debut with the Berlin Philharmonic conducted by Herbert von Karajan at that year's Salzburg Festival. Reviewing a recital Lupu gave at Avery Fisher Hall in 1980, Andrew Porter of The New Yorker hailed Lupu as "a master of the most satisfying kind". By 1981 he had played with every major orchestra.

Remainder of the 20th century
In June 1982, Lupu made a critically acclaimed recording of Schubert's Impromptus (D. 899 & 935). John Rockwell wrote in The New York Times that Lupu's "singing tone here must be heard to be believed. Without belittling the other facets of Schubert's musical personality, he captures the composer's songful essence with a rare beauty – and, in so doing, he reaffirms once more the ability of present-day performers to do ample justice to the music of the past." In addition, Gramophone said about the recording:

In 1989, Lupu was awarded the Franco Abbiati Prize by the Italian Critics' Association; he was awarded the prize again in 2006. In 1995, he won an Edison Award for his album of Schumann's Kinderszenen (Op. 15), Kreisleriana (Op. 16) and Humoreske (Op. 20) which was also nominated for a Grammy Award. In the Grammy Awards of 1995, he won a Grammy Award for Best Instrumental Soloist Performance (without orchestra) for his album of Schubert's Piano Sonatas in B flat major (D. 960) and A major (D. 664).

21st century
In 2006, Lupu was awarded the Premio Internazionale Arturo Benedetti Michelangeli and in 2016 was named a Commander of the Order of the British Empire (CBE) in the 2016 New Year Honours for services to music.

In June 2019, Lupu's agent announced that the pianist would retire from the concert stage at the end of the 2018–2019 season.

Musical style

Lupu used a regular, straight-backed chair at the piano as opposed to a standard piano bench. He told Clavier in 1981 that while sitting on a bench he tended to lean forward, raise his shoulders, become impossibly stiff and develop pains all over. He also said that he practiced with a chair at home and found it natural for him. Although Lupu was an admirer of the pianism of Arthur Rubinstein and Vladimir Horowitz, he named Mieczysław Horszowski as having the largest influence on his playing, saying that Horszowski "speaks to me like no one else". Lupu's initial approach to new music was to read it away from the piano, saying that he "reads more easily away from the instrument" and that "it is the only way to learn". Lupu said in regards to tone production that "everything in music comes from the head", adding: "If you have any concept of sound, you hear it in your inner ear. All you have to work for is to match that sound on the instrument. The whole balance, the line, the tone, is perceived and controlled by the head." He further described tone production as a "matching process for which [one] practices", and the physical contact of the keyboard as "a very individual thing determined by the color or timbre you hear and try to get, the piece you are playing, the phrase".

Lupu's playing garnered admiration not only from music critics, but also by fellow major artists. In a 2002 interview Mitsuko Uchida said that "there is nobody on earth who can actually get certain range of colour, and also the control – don't underestimate this unbelievable control of his playing". Nikolai Lugansky said in an interview that Lupu "possesses the rare power of letting the music speak for itself", and András Schiff stated that Lupu had the "rare gift to illuminate anything that he plays with rare musical intelligence".

Other pianists who expressed admiration for Lupu or cited him as an inspiration in their music-making include Emanuel Ax, Daniel Barenboim, Seong-Jin Cho (who named Lupu's recording of the Schubert Impromptus as his favourite), Kirill Gerstein, Stephen Hough, Robert Levin, Maria João Pires, and Daniil Trifonov. In addition, the conductor Yannick Nézet-Séguin cited Lupu as an inspiration while he was a piano student, saying that listening to recitals and recordings by Lupu "shaped my conception of sound from a very young age", and the cellist Steven Isserlis called him "one of the greatest artists I have ever heard or known".

Repertoire and recordings
In the span of 23 years, Lupu made over 20 recordings for Decca Records. His first recording was made in the spring of 1970. Lupu's solo recordings, which have received considerable acclaim, include works by Beethoven, Brahms, Grieg, Mozart, Schubert, and Schumann. His solo recordings without orchestra include 5 Beethoven piano sonatas (Opp. 13, 27/2, 49, and 53), as well as Beethoven's two rondos for piano (Op. 51) and 32 Variations in C minor; Brahms' Piano Sonata No. 3 in F minor (Op. 5), Two Rhapsodies (Op. 79), Intermezzi (Op. 117), 6 Pieces for Piano (Op. 118) and 4 Pieces for Piano (Op. 119); nine piano sonatas of Schubert (D. 157, 557, 664, 784, 845, 894, 958, 959, 960) as well as the Impromptus (D. 899, 935) and Moments musicaux (D. 780); and Schumann's Humoreske (Op. 20), Kinderszenen (Op. 15) and Kreisleriana (Op. 16). His concerto recordings include the complete cycle of Beethoven piano concertos with the Israel Philharmonic Orchestra conducted by Zubin Mehta; the Brahms Piano Concerto No. 1 (Op. 15) with the London Philharmonic Orchestra conducted by Edo de Waart; the Grieg and Schumann piano concertos with the London Symphony Orchestra and André Previn; and two Mozart piano concertos (K. 414 and 467) with the English Chamber Orchestra conducted by Uri Segal. His chamber music recordings for Decca include all of Mozart's sonatas for violin and piano with Szymon Goldberg; the violin sonatas of Debussy and Franck with Kyung Wha Chung; the quintets for piano and winds of Beethoven (Op. 16) and Mozart (K. 452) with Han de Vries, George Pieterson, Vicente Zarzo, and Brian Pollard; and various works by Schubert for violin and piano with Goldberg. He additionally recorded works of Mozart and Schubert for piano four-hands and two pianos with Murray Perahia for the CBS Masterworks, two albums of Schubert songs with Barbara Hendricks for EMI, and a disc of works by Schubert for piano four-hands with Daniel Barenboim for Teldec.

In addition to the composers he has recorded, Lupu is also noted for his performances of Bartók, Enescu, and Janáček.

Personal life
Lupu's first marriage was in 1971 to the cellist Elizabeth Wilson (born 1947), daughter of diplomat Sir Archibald Duncan Wilson. He lived in Lausanne, Switzerland, with his second wife Delia, a violinist in the Orchestre de Chambre de Lausanne. He had a son, Daniel.

For most of his career, Lupu often refused to grant interviews to the press out of "fear of being misunderstood or misquoted". His aversion to the press and publicity has prompted them to label him as "the reclusive Radu Lupu", with The Independent referring to him as a "woolly recluse" and "like someone dragged unwillingly into the concert hall but asked to leave his begging-bowl outside." In addition, Lupu usually did not allow radio broadcasts of his performances. In 1994, Chicago Tribune noted that Lupu's press kit then contained one single interview he granted to Clavier magazine in 1981. Other published interviews include a "conversation" that Lupu granted to Clavier in 1992 and an interview from 1975 that was aired on BBC Radio 3.

Lupu died in Lausanne, after a long illness, on 17 April 2022, aged 76.

Footnotes

References

External links

  Radu Lupu biography at Decca

1945 births
2022 deaths
20th-century classical pianists
21st-century classical pianists
Commanders of the Order of the British Empire
Grammy Award winners
Honorary Members of the Royal Academy of Music
Jewish classical pianists
Male classical pianists
Moscow Conservatory alumni
Naturalised citizens of the United Kingdom
People from Galați
Prize-winners of the Leeds International Pianoforte Competition
Prize-winners of the Van Cliburn International Piano Competition
Pupils of Maria Curcio
Romanian classical pianists
Romanian Jews

Radu Lupu


Paweł Mateusz Machcewicz (born April 27, 1966, in Warsaw) is a Polish historian and university professor.

Biography
Machcewicz graduated in 1989 from the Department of History at the University of Warsaw. In 1990 he became a research analyst at the Institute of History of the Polish Academy of Sciences. In 1993 Machcewicz defended the doctorate, and in 2000 received a post-doctoral degree in humanities in the field of Political Theories. He was a grant recipient from the Fulbright Foundation of the Georgetown University and from the Spanish Ministry of Foreign Affairs among others. In 2009 Machcewicz received a title of the Professor of Humanities at the Nicolaus Copernicus University in Toruń. He lectures also at the Collegium Civitas.

Career
In 1999-2006 Paweł Machcewicz acted as the editor of one of the featured departments of the historical magazine "Mówią wieki". From 2000 to 2006 he served as president of the Biuro Edukacji Publicznej (Bureau of Public Education) at the Institute of National Remembrance (IPN). In 2007 he ran as candidate to the Kolegium office of the IPN from the recommendation of Members of Parliament of the Civic Platform.

On September 1, 2008, Machcewicz became one of principal advisers to the Prime Minister of Poland Donald Tusk, and an attorney in the Office of the President of Rada Ministrów (Council of Ministers) appointed to the Museum of the Second World War in Gdańsk. He was honoured with a Jerzy Giedroyc prize among others. Married, with two children.

Selected publications
Der Beginn der Vernichtung. Zum Mord an den Juden in Jedwabne und Umgebung im Sommer 1941 (co-author), 2004
Emigracja w polityce międzynarodowej, 1999
Historia Hiszpanii (co-author), 1998
"Monachijska menażeria", walka z Radiem Wolna Europa 1950–1989, 2007
Polski rok 1956, 1993
Władysław Gomułka, 1995
Wokół Jedwabnego vol. 1-2 (ed.), 2002
Zranione miasto. Poznań w czerwcu 1956 roku (co-author), 2003
Rebellious Satellite: Poland 1956, 2009

References

Living people
20th-century Polish historians
Polish male non-fiction writers
1966 births
University of Warsaw alumni
Academic staff of Nicolaus Copernicus University in Toruń
Writers from Warsaw
People associated with the Institute of National Remembrance
21st-century Polish historians
Fulbright alumni

Paweł Machcewicz


George Thomas Morgan (November 24, 1845 – January 4, 1925) was a United States Mint engraver who is famous for designing many popular coins, such as the Morgan dollar, the reverse of the Columbian Exposition half dollar, and the reverse of the McKinley Birthplace Memorial gold dollar.

Biography
Morgan was born in Birmingham, England where he worked for many years as a die engraver. He came to the United States in 1876 and was hired as an assistant engraver at the Mint in October under William Barber.  He figured very prominently in the production of pattern coins from 1877 onward, and designed several varieties of 1877 half dollars, the 1879 "Schoolgirl" dollar, and the 1882 "Shield Earring" coins. He became the seventh Chief Engraver of the United States Mint following the death of Charles E. Barber in February 1917.

Morgan is most famous for designing the Morgan dollar, one of many namesakes, as well as the never-released $100 Gold Union coin.

Morgan married and had three children, Mrs. C. M. Morgan, Leonard P. and Phyllis. He died on January 4, 1925, at his son-in-law's home in Germantown, Philadelphia.

References

External links

1845 births
1925 deaths
American people of Welsh descent
United States Mint engravers
Artists from Birmingham, West Midlands

George T. Morgan


The Agreement for the Control of Opium Smoking in the Far East, also known as the Agreement concerning the Suppression of Opium Smoking, was a treaty concluded in Bangkok on 27 November 1931 and at Lake Success, New York on 11 December 1946. The treaty was signed and ratified by the State of Vietnam, France, British India, Japan, Laos, Netherlands, Thailand, and United Kingdom.

Article I provided that retail sale and distribution of opium would be limited to Government shops. Fixed salaries were mandated for retailers; sales commissions were abolished. A system of licensing and rationing smokers was permitted as an alternative to the Government retail provisions.

Article II prohibited minors under the age of 21 from smoking opium or entering smoking establishments, and mandated prison sentences for inducing minors to smoke opium, to enter an opium-smoking establishment, or to procure opium.

Other provisions mandated that opium be sold for cash only, allowed governments to establish monopolies on opium production, and limited the application of the agreement to the Far East.

The Agreement was superseded by the 1961 Single Convention on Narcotic Drugs.

References
Agreement concerning the Suppression of Opium Smoking, United Nations Treaty Collection.
Ratifications.
Unification of Conventions on Narcotic Drugs, Bulletin on Narcotics, 1950.

Drug control treaties
Treaties concluded in 1931
Treaties entered into force in 1937
History of opium
Treaties of the French protectorate of Cambodia
Treaties of the French Fourth Republic
Treaties extended to British India
Treaties of Japan
Treaties of the Kingdom of Laos
Treaties of the Netherlands
Treaties of Thailand
Treaties of the United Kingdom
League of Nations treaties
Treaties of the State of Vietnam
1931 in Siam


Gilad Janklowicz (;  ; born July 27, 1954) is an Israeli-born fitness personality best known for the longest running fitness show in the United States, Bodies in Motion, and for his show Total Body Sculpt with Gilad.

Raised in Israel, Janklowicz has been an athlete devoted to fitness since his high school days. He became a renowned Olympic hopeful in the decathlon, and a fitness instructor in the Israeli military. Janklowicz later moved to Los Angeles to attend the UCLA film school. In Los Angeles he built up a following as a fitness instructor. Janklowicz is the creator of more than 30 workout video titles. He has also been featured in many print publications.

Bodies in Motion is a half-hour aerobic workout show that launched in 1983. It was the first fitness show to air on ESPN, where it aired from 1985 to 1996. Most recently, it aired on Discovery Fit and Health. Gilad also hosted a game show where contestants had to guess by looking at a monitor which Body in Motion cast member the muscles or six pack belonged to (after every round the contestants were shown less and less body so it got harder as the game progressed). This show was called 'Gilad's Minds In Motion' and it aired on the History Channel 2.5 Network from 1999 to 2002. "Total Body Sculpt with Gilad" is a half-hour sculpting workout show. From 2004 to 2010 the series ran on FitTV until Discovery put their health and fitness channels together. It's currently seen on JLTV Jewish Life Television. In April 2020 the show also started airing again on Vice on TV in the Netherlands, presumably to compensate for a lack of exercise due to the partial lockdown measures against the COVID-19 pandemic.

In March 2007 Janklowicz was inducted into the National Fitness Hall of Fame. In September 2007 he released 3 new fitness DVDs from his Total Body Sculpt Series as seen on FiTV. In January 2008 Gilad's Express Workouts was released.

References

External links

Living people
1954 births
Israeli television presenters
Jewish sportspeople
Aerobic exercise
Exercise instructors

Gilad Janklowicz


George Wrottesley (15 June 1827 – 4 March 1909) was an English army officer, known as a biographer and antiquary.

Early life
Born at 5 Powys Place, London, on 15 June 1827, he was third son of John Wrottesley, 2nd Baron Wrottesley, by Sophia Elizabeth, third daughter of Thomas Giffard of Chillington. He was educated at Blackheath Proprietary School.

Entering the Royal Military Academy, Woolwich, in 1842, Wrottesley obtained a commission in the Royal Engineers in 1845. He was ordered almost immediately to Ireland for famine relief works, and in 1847 to Gibraltar, where he remained till 1849. In 1852 he joined the Ordnance Survey.

Crimean War
Wrottesley took part in the Crimean War, sailing for the Dardanelles on survey work in January 1854. With Sir John Fox Burgoyne he went on the mission to Omar Pasha at Shumla. He afterwards became A.D.C. to General Richard Tylden, officer commanding Royal Engineers in Turkey, and in this capacity he accompanied Lord Raglan to Varna. He was engaged at Varna on plans and reports on the Turkish lines of retreat from the Danube River, when he was struck down by dysentery, which ultimately caused complete deafness. In October 1854 he was invalided home and promoted to captain.

Later life
On Burgoyne's return from the Crimea to the war office in 1855 as inspector-general of fortifications, Wrottesley was appointed his A.D.C., and he stayed with the field marshal, acting as his secretary on commissions and confidential adviser till Burgoyne's retirement in 1868. Wrottesley accompanied Burgoyne to Paris in 1855, when he presented to Napoleon III the funeral car of Napoleon I from St. Helena.

Wrottesley was secretary of the defense committee of the war office, 1856–60; of the committee on the influence of rifled artillery on works of defense, 1859; and of the committee on the storage of powder in magazines, 1865. In 1863, then a major, he presided over the committee on army signaling which introduced the use of the Morse system. He was made lieutenant-colonel in 1868, and on Burgoyne's retirement took over the command of the engineers at Shorncliffe. In 1872 he commanded at Greenwich, and in 1875 became officer commanding R.E. at Woolwich, retiring from the army in 1881 with the rank of major-general.

Wrottesley died on 4 March 1909, and was buried in the Wrottesley vault in Tettenhall church.

Works
Wrottesley collected and edited The Military Opinions of Gen. Sir J. F. Burgoyne in 1859; and published Life and Correspondence of Field Marshal Sir J. F. Burgoyne (2 vols.) in 1873. But his main interest lay in genealogy. In 1879 he founded with Robert William Eyton the William Salt Society, of which he was secretary from 1879 till his death. His genealogical work is embodied in the 34 volumes of the Staffordshire Collections of the society. His major contributions were those on the Liber Niger (1880), his Pleas of the Forest (1884), the Military Service of Knights in the 13th and 14th centuries, Crecy and Calais (1897). The last, together with Pedigrees from the Plea Rolls, The Giffards from the Conquest (1902), The Wrottesleys of Wrottesley (1903), The Okeovers of Okeover (1904), and The Bagots of Bagots Bromley (1908), were republished separately.

Family
Wrottesley married (1) on 7 January 1854 Margaret Anne, daughter of Sir John Fox Burgoyne; she died on 3 May 1883; and (2) on 21 February 1889 Nina Margaret, daughter of John William Philips of Heybridge, Staffordshire, who survived him. He had no issue by either marriage.

References

Attribution

1827 births
1909 deaths
British Army major generals
Royal Engineers officers
English antiquarians
Graduates of the Royal Military Academy, Woolwich
Younger sons of barons

George Wrottesley


Paroo Shire Honour Board is a heritage-listed memorial at the Civic Centre, Louise Street, Cunnamulla, Shire of Paroo, Queensland, Australia. It was built in 1918 by Wunderlich. It was added to the Queensland Heritage Register on 21 October 1992.

History
The Paroo Honour Board commemorates those from Paroo Shire who served in World War I and was unveiled in 1918 by the then Queensland Governor, Sir Hamilton John Goold-Adams. It was originally located in the old Paroo Shire Hall, but is now in the current Civic Centre.

Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.

Australian war memorials are distinctive in that they commemorate not only the dead, but also those who fought and returned. Australians were proud that their first great national army was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.

Many communities honoured their volunteers after the war ended, but the Paroo board is early and was installed before the close of hostilities. It has the date of the commencement of the war, 1914, on the left hand side of the memorial, but the corresponding space on the other side is empty. Spaces have also been left for names to be added. The design selected is a handsome, but standard type of Wunderlich honour board found in a number of other towns in Queensland. It commemorates all those from Paroo Shire who served in World War I, the dead not being indicated in any way.

Beneath the standard words "Roll of Honor" and British and Australian flags is a plaque on which "Paroo Shire" is encircled by the commemorative inscriptions "Brave hearts and true, God guide them" and "Shall their sacrifice be in vain?" This is an uncommon challenge; a more usual inscription on similar Wunderlich honour boards is 'Those who answered the Empire's call'.

The Honour Board was relocated to the public foyer of the new Civic Centre in 1971. This was officially opened by the then Queensland Premier, Hon Joh Bjelke-Petersen on 23 April 1971.

Description
The Paroo Honour Board is a panel of pressed copper; richly decorated in low relief with patriotic symbols such as flags, laurel wreaths and cannons. This decoration provides a rich frame for columns of names, each on an individual brass strip. The honour board is mounted on a marble slab, measuring , which is in turn mounted on a wooden frame with a bronze edge trim.

A total of 370 names of those who served in World War I are listed alphabetically with further spaces indicating that hostilities had not yet ceased at that time. In the tradition of memorials, the rank of the deceased is not indicated.

Heritage listing

Paroo Shire Honour Board was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.

The place is important in demonstrating the evolution or pattern of Queensland's history.

War memorials, including honour boards, especially those dating from the Boer and First World Wars, are a local tribute to war dead and are an important element of Queensland towns and cities. They represent a conscious expression of emerging Australian nationhood and reflect public taste and social attitudes of their time. Such memorials are important in demonstrating the pattern of Queensland's history, as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.

The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage.

It has an unusual inscription that has not been found on another honour board in Queensland.

The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The memorials manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.

Unveiled in 1918, the Paroo Shire Honour Board is an intact example of a lavish, though typical Wunderlich honour board; richly decorated, it is a good example of the work of this firm.

The place is important because of its aesthetic significance.

Unveiled in 1918, the Paroo Shire Honour Board is an intact example of a lavish, though typical Wunderlich honour board; richly decorated, it is a good example of the work of this firm.

The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

The Paroo Shire Honour Board has strong association with the community as evidence of the impact of a major historic event. It is also associated with the work of Wunderlich, a company that was part of the fabric of the Australian building industry for much of the twentieth century.

References

Attribution

External links

Queensland Heritage Register
Cunnamulla
World War I memorials in Queensland
Articles incorporating text from the Queensland Heritage Register

Paroo Shire Honour Board


Patricia Bosworth (née Crum, April 24, 1933 – April 2, 2020) was an American journalist, biographer, memoirist, and actress. She was a faculty member of Columbia University's school of journalism as well as Barnard College, and was a winner of the Front Page Award for her journalistic achievement in writing about the Hollywood Blacklist.

Early life
Born Patricia Crum in Oakland, California, Bosworth was the daughter of prominent attorney Bartley Crum and novelist Anna Gertrude Bosworth. She grew up especially close to her younger brother, Bartley Crum Jr. Their father was active in politics as a confidant to Wendell Willkie during the 1940 U.S. presidential election, and he served on the 1945 Anglo-American Committee of Inquiry into Palestine that advised President Harry Truman to support the creation of a Jewish state. The elder Crum gained renown for being one of the six lawyers who defended the Hollywood Ten during the Red Scare at the start of the Cold War in 1947. His career suffered during the fallout from the Blacklist, and the family moved from California to New York in late 1948.

In California, Bosworth was educated at Miss Burke's School and the Convent of the Sacred Heart. At age 13, intending to become an actress, she adopted her mother's maiden name as her surname. When the family moved to New York, Bosworth first attended the Chapin School; later, she went to the Ecole International in Geneva, Switzerland. Bosworth studied at Sarah Lawrence College, graduating in 1955 with a major in dance and writing.

Career

Acting
While still a student at Sarah Lawrence, Bosworth began modeling for the John Robert Powers Agency. She was hired by Diane and Allan Arbus to pose for a magazine ad for the Greyhound bus company. Allan drove everyone, including his and Diane's assistant Tad Yamashiro (who later became an exhibited photographer himself), from Manhattan to the Ardsley Acres section of Ardsley, New York for the photo shoot.

Shortly after her college graduation, Bosworth became a member of the Actors Studio in Manhattan, where she studied under Lee Strasberg. Arthur Penn cast her as the lead in her first professional play, a pre-Broadway tryout of James Leo Herlihy's Blue Denim, about the consequences of teenage pregnancy and abortion. Bosworth appeared in several Broadway shows during the 1950s and 1960s, including Inherit the Wind, Small War on Murray Hill (directed by Garson Kanin), and Jean Kerr's Mary, Mary (where she understudied from 1961 to 1965 before being cast as the lead for the end of the play's run). She played Elaine Stritch's sister in the drama The Sin of Pat Muldoon and a motormouthed teen based on the young Nora Ephron in Phoebe Ephron's comedy Howie. During this period, Bosworth toured in The Glass Menagerie, playing Laura to Helen Hayes's Amanda and Remains to be Seen with Tommy Sands. She worked regularly on popular television series, including Naked City, Kraft Theater (The Man That Didn't Fly - 1958) The Secret Storm, Young Dr. Malone, and The Patty Duke Show. Bosworth can be seen in the film Four Boys and a Gun as James Franciscus's wife and as a disgruntled redhead in the audience of Bert Stern's 1960 cult documentary Jazz on a Summer's Day, about the 1958 Newport Jazz Festival.

As an actress, Bosworth is perhaps best known for playing Sister Simone, the young friend of Audrey Hepburn's character Sister Luke, in The Nun's Story (1959). Directed by Fred Zinnemann, the film was a box-office success and nominated for multiple Academy Awards. In 1958, upon learning she was cast in The Nun's Story, she learned she was pregnant. She received an abortion at an underground abortionist in Manhattan. Shortly after, she boarded a plane to Rome to meet Fred Zinnemann, where she began to hemorrhage. In Rome, she was sent to a hospital convent where she was to learn about being a nun. The nun discovered she wasn't feeling well due to the abortion and rushed her to the hospital for care. The film was delayed for her recovery.

Journalist
In the mid-1960s, Bosworth left acting to become a journalist. She gained notice as a writer with several Broadway-focused features and interviews published in New York magazine and The New York Times. In November 1965, she was one of three people on the staff of Screen Stars magazine. Subsequently she worked at Magazine Management Company with Mario Puzo, who was then beginning drafts of his novel The Godfather. From 1969 to 1972, Bosworth was senior editor of McCall's; she served as managing editor of Harper's Bazaar from 1972 to 1974. Penthouse founder Bob Guccione hired Bosworth as executive editor of the erotic women's magazine Viva from 1974 to 1976. During the 1970s and 1980s, Bosworth reviewed numerous books for The New York Times, wrote freelance art pieces for the Times, Time Life, and other national magazines, and she contributed a monthly column on arts and entertainment to Working Woman magazine.

Bosworth was an editor at Mirabella from 1993 to 1995. She was first hired as a contributing editor at Vanity Fair in 1984 under Tina Brown's editorship of the magazine, and she served in this capacity until 1991. She continued to freelance for the magazine until 1997 when she rejoined as contributing editor under Graydon Carter's leadership, a position she held to the end of her life. Her profile of Elia Kazan and his reflections on the Hollywood Blacklist, published in a spring 1999 issue of Vanity Fair, won Bosworth the Front Page Award from the Newswomen's Club of New York.

Author
Bosworth was the author of bestselling biographies on Montgomery Clift (1978), Diane Arbus (1984), Marlon Brando (2000) and Jane Fonda (2011). Her book, Montgomery Clift: A Biography explores how the actor's introverted approach to his craft influenced James Dean and many others. Bosworth, whose father had been Clift's lawyer in the late 1940s, had total access to Clift's family while doing research for the project. She also spoke to many of Clift's close friends and colleagues. Conversations between Bosworth and Brooks Clift appeared in Montgomery Clift's nephew documentary Making Montgomery Clift.

Bosworth's biography of Arbus, a photographer known for her poetic approach to eccentric and abnormal subjects, was a nuanced appraisal of the artist that also investigated the lurid details of her life, culminating in Arbus's 1971 suicide. The book was critically acclaimed. Andrew Holleran of New York magazine said it was "a biography that seems to have...more than enough material for several art legends...Patricia Bosworth has created a spellbinding portrait." Washington Post Book World reviewed it as "fascinating" and "a compelling biography.. as valuable in its insights into the cultural history of the 50s and 60s as its understanding of the special place Arbus occupies in it." However, the book proved to be extremely controversial, and it did not receive formal approval from the Arbus estate. Bosworth's work is still widely considered to be the definitive biography of Arbus; it was the inspiration for Steven Shainberg's 2006 film Fur, which starred Nicole Kidman as Diane Arbus and Ty Burrell and Robert Downey Jr. as her husband and lover respectively.

According to Publishers Weekly, Bosworth's biography on Marlon Brando "offers a vivid reminder of the personal and professional highlights of Brando's life...[It is] an informative biography of Brando that, because of the limited format of the Penguin Lives series, hints at but cannot do justice to the great unruliness of Brando's career and life. She provides a fine, detailed sketch of his New York days when he took acting classes with Harry Belafonte, Elaine Stritch, Gene Saks, Shelley Winters, Rod Steiger and Kim Stanley, and presents a great portrait of the craziness on the set of Last Tango in Paris (co-star Maria Schneider announced that they got along 'because we're both bisexual')", but in only 228 pages, the author "can't approach the complexity of her earlier work."

Bosworth spent 10 years completing a biography of Jane Fonda, with whom she had attended sessions at the Actors Studio in the 1950s and 1960s. Fonda granted Bosworth total access; they met frequently throughout the research process for the book. Bosworth's biography Jane Fonda: The Private Life of a Public Woman was on the New York Times bestseller list in 2011 and was named one of Kirkus Reviews' Best Six Books of the Year.

In addition to her biographies, Bosworth was the author of two memoirs. The first, Anything Your Little Heart Desires: An American Family Story, was published by Simon & Schuster in 1997. It tells the story of Bosworth's father Bartley Crum and how his decision to defend the Hollywood Ten at the height of McCarthyism destroyed his career, ultimately leading to his suicide. Anything was featured on the front page of the New York Times Book Review, and it was named a Notable Book of the Year in 1997. Following publication of this memoir, Bosworth became an active spokeswoman for suicide survivors and suicide prevention. She received the American Foundation for Suicide Prevention's Lifesavers Award in 1998.

Her book The Men in My Life: A Memoir of Love and Art in 1950s Manhattan was published by HarperCollins in 2017. It examines Bosworth's career as an actress, her early transition into journalism,  her first and second marriages, and ways she survived the suicides of both her brother and father.

In 2018, Bosworth released Dreamer with a Thousand Thrills: The Rediscovered Photographs of Tom Palumbo, published by powerHouse Books. The book features Palumbo's fashion photographs and celebrity portraits from the 1950s and 1960s as well as several works that never were published during his lifetime.

Bosworth was working on Protest Song at the time of her death. Protest Song (Farrar, Straus, & Giroux) is about Paul Robeson's work to create federal anti-lynching legislation, which her father collaborated, and J. Edgar Hoover's successful campaign to blacklist Robeson. Similar anti-lynching legislation to that proposed by Robeson and Crum was passed by the U.S. House of Representatives on February 26, 2020.

Personal life and death
During Bosworth's sophomore year at Sarah Lawrence, her brother Bart Jr. committed suicide in 1953 at Reed College in Portland, Oregon. This event, and their father's suicide six years later in 1959, informed Bosworth's work throughout her life.

During her first year at Sarah Lawrence, Bosworth eloped with an art student. The marriage turned abusive, and it was annulled after 16 months. Bosworth married novelist and playwright Mel Arrighi in 1966; the two collaborated on several projects outside of their individual work. Arrighi died due to cardiac arrest and complications from emphysema on September 17, 1986.

Bosworth learned that she was pregnant on the same day that she was cast as Simone for the film The Nun's Story (released 1959). She underwent an underground abortion immediately before leaving for Rome and began to hemorrhage while on the plane. Production of the film was delayed as she recovered.

In the late 1980s, Bosworth was reintroduced to photographer Tom Palumbo, whom she had met decades earlier when Palumbo had been on staff at Harper's Bazaar and Vogue. Palumbo was then moving from photography into directing theatre. He and Bosworth worked on a number of plays together for the Actors Studio and Lincoln Center, including a production of The Seagull starring Laura Linney as Nina and Tammy Grimes as Arkadina. They married in 2000. Palumbo died due to complications from Lewy Body Dementia on October 13, 2008. After Palumbo's death, Bosworth joined the board of the Lewy Body Dementia Resource Center.

Bosworth died from pneumonia and complications of COVID-19 at Mount Sinai West hospital in New York City on April 2, 2020.

Works
 Montgomery Clift: A Biography. New York: Harcourt Brace and Bantam, 1978. (Reissued by Limelight Press, 1980)
 Diane Arbus. New York: Alfred Knopf and Avon, 1984. (Reissued by W.W. Norton, 1995 and 2005)
 Making Contact (play) in Best One-Act Plays of 1991-1992. New York: Applause Books, 1992
 Anything Your Little Heart Desires: An American Family Story. New York: Simon and Schuster, 1997. (Reissued by Touchstone, 1998)
 Marlon Brando. New York: Viking/Penguin, 2001. (Part of the Lives series)
 Jane Fonda: The Private Life of a Public Woman. New York: Houghton Mifflin Harcourt, 2011
 John Wayne: The Legend and the Man: An Exclusive Look Inside Duke's Archive. John Wayne Enterprises, with contributions by Bosworth, Ron Howard, Ronald Reagan, and Martin Scorsese. New York: PowerHouse Books, 2012
 The Men in My Life: Love and Art in 1950s Manhattan. New York: HarperCollins, 2017
 Dreamer with a Thousand Thrills: The Rediscovered Photographs of Tom Palumbo. New York: powerHouse Books, 2018

Filmography

References

External links

Official website

 Patricia Bosworth papers, 1932-1984, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
Web Site of Ms. Bosworth's husband Tom Palumbo
New York Public Library: Patricia Bosworth papers

1933 births
2020 deaths
American biographers
American women biographers
American film actresses
American stage actresses
Columbia University faculty
Journalists from Oakland, California
Sarah Lawrence College alumni
Chapin School (Manhattan) alumni
20th-century American actresses
American women journalists
Actresses from Oakland, California
Barnard College faculty
Historians from New York (state)
Deaths from the COVID-19 pandemic in New York (state)
American women academics

Patricia Bosworth