Guy Rewenig (born 31 August 1947) is a Luxembourg author and novelist. In 1984, he wrote the first novel in the Luxembourgish language although poems and theatrical works had appeared in the 19th century. Together with Roger Manderscheid, he is credited for initiating the current trend for novels written in Luxemburgish.

Biography

Born on 31 August 1947 in Luxembourg City, Rewenig completed his secondary school education at the Athénée de Luxembourg before being trained as a schoolteacher at the Institut pédagogique. He taught first in the primary school at Bettembourg and from 1971 in Esch-sur-Alzette. In 1984, he gave up teaching to become a full-time independent writer and moved to Nospelt.

Career as a writer

In 1963, Rewenig published his first film reviews in the Luxemburger Wort. His first play "Interview" appeared in 1970 as did Als der Feigenbaum verdorrte, a collection of essays. From 1973, he also began to write for children, his highly successful collection of children's stories Muschkilusch. Geschichte fir Kanner appearing in 1990. In 1985, Guy Rewenig published Hannert dem Atlantik, the very first novel to appear in Luxembourgish, paving the way for other works of fiction to be written in the local language. Rewenig writes in German, Luxembourgish and French. His novel Roman Mass mat dräi Hären was translated into French by Jean Portante  as La cathédrale en flammes. He has also written many satirical works criticizing the social and political shortcomings of Luxembourg life and has frequently contributed articles to Luxembourg newspapers and periodicals.

In 1974, he was a founding member of the Association de soutien aux travailleurs immigrés and in 2000, together with Roger Manderschied, he founded the publishing house Ultimomondo where his works now appear. In 2010, he published the novel Sibiresch Eisebunn under the penname Tania Naskandy.

Awards

Rewenig has received many awards in Luxembourg including the first prize for the Concours littéraire national in 1984, 1988 and 1991; the Batty Weber Prize in 2005; and the Prix Servais in 2006 and 2010.

External links
CNL page on Guy Rewenig with complete bibliography
Guy Rewenig at Ultimomondo

References

Luxembourgian writers
Luxembourgian novelists
1947 births
Living people
Luxembourgian schoolteachers
Writers from Luxembourg City
Alumni of the Athénée de Luxembourg

Guy Rewenig


The common bluestripe snapper (Lutjanus kasmira), bluestripe snapper, bluebanded snapper,  bluestripe sea perch, fourline snapper, blue-line snapper or moonlighter, is a species of marine ray-finned fish, a snapper belonging to the family Lutjanidae. It is native to the Indian Ocean from the coast of Africa and the Red Sea to the central Pacific Ocean. It is commercially important and tried to get as a game fish. It can also be found in the aquarium trade.

Perciformes

Bluestripe snapper


Franklin Rio also known as "Frank Rio" and "Frank Cline" (June 30, 1895 – February 23, 1935) was a member of Al Capone's Chicago-based criminal organization known as the Chicago Outfit. He was also an alleged gunman in the famous 1929 St. Valentine's Day Massacre.

Early life
According to his birth certificate, Frank Rio was born July 2, 1895, in Oliveto Citra, Italy, to Antonio and Rosa (Costa) Rio.

Rio married the former Anna Chapele in the mid-1910s. The couple had one son, Lawrence, born 1922.

Organized crime involvement
Rio's involvement in crime began early in life, and included robbery, burglary, and auto theft. In 1918, he was arrested several times in connection with several different hold-ups. In September 1918, he was arrested for robbing a bank in Maywood, but never convicted. On November 10, 1919, Rio was arrested after police caught him loading stolen furs into a stolen vehicle. On January 17, 1921, Rio—along with Robert O'Neill and Thomas Dyer—robbed a mail train at Chicago's Union Station, stealing bonds worth $482,000. Although indicted for the daring daylight robbery, Rio was never brought to trial and the charges dropped. Rio's ability to escape punishment could not be attributed to good luck or innocence but rather to the bribing of judges and the intimidation and murder of witnesses. In time, criminal elements dubbed him "Slippery" Frank Rio for his knack of evading trial.

Capone gang
Rio's criminal exploits brought him to the attention of Al Capone, leader of the Chicago Outfit. Capone quickly came to trust Rio's judgment, and Rio became intensely loyal to Capone. Rio eventually became one of Capone's personal bodyguards and took care of some of Capone's personal needs and business. Capone himself is rumored to have said that Jack McGurn and Rio were his "golden boys".

Rio became one of Capone's most recognizable and loyal hitmen. He allegedly once threw Capone to the ground during a hit by Earl "Hymie" Weiss. Rio also is said to have foiled a plot by Albert Anselmi, John Scalise and Joseph Guinta to depose Capone and take over the Chicago Outfit. Underworld figures later claimed that Rio was one of the trio's executioners.

In 1929, Rio was suspected as possibly one of the hitmen who murdered five rival gang members, a gang "hanger on" and the gangs occasional auto mechanic in the St. Valentine's Day Massacre. Posing as police officers, four men entered a warehouse at 2122 N. Clark Street used by George "Bugs" Moran and his gang. The men lined their seven victims against a wall as if to frisk and handcuff them. They then pulled Thompson submachine guns from their overcoats and murdered the men.  Two of the men also suffered shotgun blasts to the head. Rio has always been a strong suspect as one of the shooters, but notwithstanding good circumstantial claims for more than a dozen different men (there were only four shooters), it is still not known for certain who any of the four shooters were.

Rio also attended the 1929 Atlantic City Conference with Capone. Capone arranged to have himself jailed in Philadelphia after the conference in order to avoid the numerous "murder-for-hire" rackets that were hunting him. Rio served time alongside Capone to protect him and see to his needs.

Rio was allegedly one of the few members of Capone's gang who understood the seriousness of the tax evasion charges made against Capone by the federal government in 1931. However, he was unable to convince Capone of this, and Capone was convicted and imprisoned.

After Capone was sent to federal prison, Rio was considered as his successor. But Rio was opposed by many high-level mobsters in the Capone organization. Many thought he had too little leadership experience. Several gangsters also accused Rio of having "gone soft" due to his years of "high living" he had enjoyed alongside Capone. Rio was eventually passed over in favor of another Capone hitman and lieutenant, Frank Nitti.

Post-Capone activities
Although Rio never left the Capone mob, his association with it dwindled over the next several years. In 1932, the Chicago Outfit sent Rio to New Jersey to offer the mob's assistance in helping Charles Lindbergh find his kidnapped baby son. His assistance was refused.
Rio's health also began to deteriorate. He suffered from heart disease, which caused severe shortness of breath and physical weakness. Beginning in 1933, he rarely left his Oak Park home. However, he maintained financial interests in a number of cafes, nightclubs and casinos.

Death

Frank Rio died at noon on February 23, 1935. The cause of death was a coronary occlusion, causing a heart attack.

Associates in the Chicago Outfit took charge of his remains and had him buried. Police later said that gang members became involved in his burial because they wanted to divide up Rio's gang-owned assets before news of his death hit the streets.

Although Rio was a Roman Catholic, the Church denied him a church funeral. A priest said prayers over his body at a local undertakers instead. As befitting a high-level mobster, his funeral was an exceedingly large one. Several hundred automobiles bearing mourners comprised the funeral cortege. He was interred in Mount Carmel Cemetery in Hillside, Illinois.

Rio's widow, Anna, got re-married on November 29, 1935, to Charles Taskoski. She died shortly after the marriage in an automobile accident on December 26, 1935. She left behind a large amount of jewelry and cash. According to family members, mobsters later intimidated the family into turning the valuables and cash over to the Chicago Outfit.

In popular culture
Frank Rio was portrayed by Ron Smith in the 2017 film Gangster Land

Notes

References
"Capone Allies See His Finish and Dispute for Gang Throne." Chicago Daily Tribune. June 15, 1931.
"Capone Takes Cover In Jail." Chicago Daily Tribune. May 18, 1929.
Eghigian, Mars. After Capone: The Life and World of Chicago Mob Boss Frank 'the Enforcer' Nitti. Nashville, Tenn.: Cumberland House, 2006.
Evans, Arthur. "Continuances Aid Criminals to Flout Justice." Chicago Daily Tribune. February 14, 1922.
"Frank Rio, Once Bodyguard for Al Capone, Dies." Chicago Daily Tribune. February 24, 1935.
Johnson, Curt and Sautter, R. Craig. The Wicked City: Chicago from Kenna to Capone. Paperback ed. Chicago: Da Capo Press, 1998.
Kobler, John. Capone: The Life and Times of Al Capone. New York: Da Capo Press, 2003.
Nash, Jay Robert. World Encyclopedia of Organized Crime. Chicago: Da Capo Press, 1993.
Russo, Gus. The Outfit. New York: Bloomsbury USA, 2003.

1895 births
1935 deaths
Al Capone associates
American gangsters of Italian descent
Chicago Outfit mobsters
Prohibition-era gangsters
Burials at the Bishop's Mausoleum, Mount Carmel Cemetery (Hillside)
Italian emigrants to the United States

Frank Rio


Tyrannosaur Canyon is a novel by Douglas Preston published on August 11, 2005, by Forge Books. It is the first book in the Wyman Ford series. The story revolves around the search for a mysterious item buried in the New Mexico desert.

Plot summary
The novel opens with a lunar find by the Apollo 17 astronauts, which is suppressed.

Tom Broadbent (who first appeared in Preston's novel The Codex) is riding in the New Mexico desert when he hears gunshots coming from Tyrannosaur Canyon (a fictional canyon east of the Rio Chama Gorge, on Mesa Viejo, and north of the Monastery of Christ in the Desert). Following the sound, he comes upon an old prospector who has been shot by a sniper. He gives Tom a notebook just before he dies, and Tom rides off on his horse to find help. The murderer, Jimson Maddox, is furious that the notebook is gone by the time he reaches the body; he has been hired to retrieve it at any cost. He does, however, find an interesting rock sample. When Tom returns to Tyrannosaur Canyon with the police, the prospector's body has disappeared without a trace.

The notebook is filled with numbers, a code Tom is unable to decipher. He brings the book to Wyman Ford, a monk in training at a nearby monastery. Ford is a retired CIA analyst and he takes the notebook to try to decipher it. Ford discovers that the numbers are not a code but a sequence of ground-penetrating radar readings. When processed, they form the image of a fully intact Tyrannosaurus.

The rock sample Maddox found turns out to be a fragment of the Tyrannosaurus. Maddox's employer, Iain Corvus, a curator at the American Museum of Natural History, convinces a lab assistant, Melodie Crookshank, to examine the sample in secret. Corvus intends to steal her research, acquire a permit to excavate the Tyrannosaurus, and thus secure tenure at the museum, as well as wealth and fame.

Melodie discovers tiny particles within the sample which she calls "Venus particles". Upon making this discovery, Melodie calls Corvus to describe it to him, and the NSA hears the call. They initiate a black op led by J.G. Masago to cover up evidence of the particles, kill any witnesses, and retrieve the specimen.

Meanwhile, Ford goes into the desert to look for the dinosaur. At the same time, desperate to recover the notebook, Maddox kidnaps Tom Broadbent's wife, Sally. He takes her to an abandoned mine to use as a bargaining chip, forcing Tom to hand over the notebook. Now that Maddox has the notebook, however, he intends to kill Sally so he can not be identified. She manages to break free, Tom rescues her, and the two of them escape into the desert on foot, pursued by Maddox and his rifle.

Masago infiltrates the museum and kills Corvus, stealing the samples and his research. But Melodie, realizing previously that Corvus would try to steal the credit from her, had made copies of everything and hid them, along with more samples of the dinosaur. When she sees that he has been murdered and that his work is missing, she realizes she is the next likely target. Her only chance is to complete the research and post it to the Internet, so killing her would no longer serve the purposes of a cover-up. During her final research, she discovers that the 65-million-year-old Venus particles are still alive. They are a type of virus that destroys the cell structure of reptiles, evidently introduced to the earth by the Chicxulub meteorite. She posts her findings to the web to show the world.

Back in the desert, the black ops team has tracked Ford down, and Maddox is gaining on Tom and Sally. They manage to overpower Maddox and kill him, retrieving the notebook, and Ford leads them out of the canyon in an effort to evade the government assassins. Trapped in an old Anasazi cave, they discover the partially excavated Tyrannosaurus rex just before Masago's team converges on their location. Ford repeatedly reminds the team commander, Hitt, that Masago is ordering them to kill unarmed American civilians on American soil without first explaining to them why, which convinces Hitt and the rest of the team to turn on him. They then force Masago to tell them about the lethal Venus particles, which had also been found on the moon, thus establishing their extraterrestrial origin. As the entire team takes off in the helicopter, Masago breaks free and kills the pilot before being restrained by Ford and Broadbent. Despite the co-pilot's attempts, the helicopter crashes into a cliff. Though Tom and Sally manage to escape first and rather quickly, Tom heads back into the burning wreckage to save Ford and Hitt. With Sally's help, the four manage to get away just before the helicopter explodes, killing Masago, the co-pilot, and all of the other soldiers on board.

By the time they arrive with news about the dinosaur's location, Melodie's research has spread across the Internet. All those involved are made famous, including Robbie Weathers, the old prospector's daughter. The Smithsonian Institution funds a program to research the Venus particles and the dinosaur itself, which is christened by Robbie and named after her. At the reception, Ford makes an off-hand remark where he speculates that the particles may have been intentionally developed by an alien race, so as to destroy the dinosaurs and allow humans to begin their evolution.

Timeline
The events in this novel follow the events in The Codex and predate the events in Blasphemy.
Tom Broadbent and Sally Broadbent (formerly Sally Colorado) return from the previous novel, while the characters of Maxwell, Philip, and Vernon Broadbent (Tom's father and brothers, respectively), as well as the events of The Codex in general, are repeatedly hinted at earlier in the novel.
This book marks the first appearance of Wyman Ford, who subsequently serves as the main protagonist of Preston's solo works.

References

American thriller novels
Techno-thriller novels
Novels about dinosaurs
Novels by Douglas Preston
2005 American novels
Novels set in New Mexico
Forge Books books

Tyrannosaur Canyon


Tom Cole (born  1827) was the Professional Single Sculls World Champion from 1852 to 1854. He resided in Chelsea. At the time, he became the Champion of the Thames which was effectively the Champion of England. After the English title gained world status in 1876, earlier winners were retrospectively given the World Champion Title.

Early races
Cole won the Doggett's Coat and Badge on 1 August 1849. His father, also Tom, had won the Coat and Badge in 1821. In a scratch match on 25 June 1850 the younger Cole was beaten by A Chitty for £25 a side over the Championship Course, that is on the Thames between Putney and Mortlake.

First title match
Cole's first attempt at the Championship was when he challenged Robert Coombes with the match taking place on 24 May 1852. The stake was £200 a side. By this stage Coombes was about forty-four years old and past his prime and although he put a gallant fight to lose by only half a length, the much younger Cole took the prize. The course was the usual Championship Course and the time was 25m.15s.

Second title match
Coombes was still of the opinion that he could again be the Champion and challenged Cole to another match. This took place on the same course on 14 October 1852 and although the time was faster than the previous race at 23m.35s the men crossed the finish line in the same order as the last time.

Third title match
Cole's final Title match was against James Messenger which was raced on 20 November 1854 on the usual Championship Course with a stake of £200 a side. The day was cold and foggy. Cole took the early lead and retained it to the Crab Tree at which point Messenger began to gradually overhaul him. By Hammersmith Bridge Messenger had obtained a good lead which he maintained with ease to the finish. The time was 24m.45s

See also World Sculling Championship and English Sculling Championship.

References
"The Aquatic Oracle or Record of Rowing from 1835 to 1851" published 1852.
The New York Clipper 13 June 1857.
Professional World Rowing History http://www.rowinghistory-aus.info/world-pro-sculling/index.php

English male rowers
Year of birth uncertain
Year of death missing
1820 births
Professional rowers
Sportspeople from Chelsea, London
Rowers from Greater London
19th-century sportsmen
19th-century English people

Tom Cole (rower)


Cleo is an Australian monthly women's magazine. The magazine was founded in 1972 in Australia; the Australia and New Zealand editions were discontinued in February 2016. Aimed at an older audience than the teenage-focused  Australian magazine Dolly, Cleo was published by Bauer Media Group in Sydney and was known for its Cleo Bachelor of the Year award. In June 2020, Cleo was acquired by the Sydney investment firm Mercury Capital.

History and profile
Launched in November 1972 under the direction of Ita Buttrose, the magazine's founding editor, Cleo became one of Australia's most iconic titles due to its mix of seemingly controversial content, including the first nude male centerfold (following American Cosmopolitan's nude centerfold of Burt Reynolds six months' earlier) and detailed sex advice.

According to the magazine's editorial philosophy, "Cleo gets women, and it also strikes the perfect balance, offers a bright, light-hearted tone and aesthetic without shying away from the more serious issues that are important to their readers.".

Audited circulation in June 2014 was 53,221 copies monthly. Readership numbers for September 2014 are estimated to be 173,000.

With a strong online presence of 300,000+ visitors monthly, the magazine successfully established its brand online. In addition, Beauty Bites, Cleos digital app, offered an interactive component to technologically minded Gen Y readers, including how-to video tutorials, expert advice and reader-generated content.

Cleo Singapore was launched in 1994, Cleo Malaysia in 1995, and Cleo Indonesia was launched in 2007 as an international license under the Femina Group.
Cleo Thailand operated sometime before 2014.

Bauer announced on 20 January 2016 that the March issue of Cleo would be its last Australian edition.

Launch
In the early 1970s, journalist and editor, Ita Buttrose, and Kerry Packer, heir to what was then Australia's most influential publishing house, Australian Consolidated Press (ACP), created a new and bold Australian women's magazine which would become an instant sensation.
Cleo was modelled in a large part on Cosmopolitan after the Packers lost the rights to the latter title to rivals Fairfax. The first issue was launched in November 1972, the same month that Gough Whitlam came to power in Australia.

In the original promotional video for Cleo, Buttrose observes "the rapidly changing personality of the Australian woman." In an era when hopes for social and political change were high, Cleo was a fitting and welcome addition for women aged between 20 and 40 who were looking for something more than the recipes, knitting tips and coverage of royal births and weddings that the Australian Women's Weekly focused on at the time.

Cleo was politically provocative (but not aggressive) with its journalism. Alongside articles on group sex, contraception, "happy hookers" and Jack Thompson as the first nude "Mate of the Month", the launch issue featured tips on "How to be a sexy housekeeper."  In stark contrast to the lack of literary content in modern glossy magazines, Buttrose ran a short story by Norman Mailer, a prominent author at the time. This trend continued in subsequent issues.

In two days, 105,000 copies of the first issue were sold and by the end of its first year circulation reached 200,000. When the magazine conducted the first national readership survey in 1974, figures revealed that 30 percent of women aged between 13 and 24 read Cleo every month.

Cleo as a form of popular feminism
Through Cleo, feminism became a part of women's everyday lives and of their identity.

Ita Buttrose and her staff were committed to many of the ideas of women's and sexual liberation. However, it is important to note that Cleo'''s editorial agenda was that of liberal rather than radical feminism. In her first editorial letter, Buttrose described who she thought the Cleo reader was: "You're an intelligent woman who's interested in everything that's going on, the type of person who wants a great deal more out of life. Like us, certain aspects of Women's Lib appeal to you but you're not aggressive about it." (1972).

The feminist tone and ideas proliferated on the pages of Cleo throughout the 1970s. Every month, there were feature articles covering issues including: the work/life balance, the pressure to get married and raise a family, abortion, contraception, women's education, domestic violence and rape. "The celebrities Cleo chose to interview were women who had succeeded in politics, business and culture. There were also discussions of the Women's Liberation Movement itself, with writers for and against".

Ordinary, every-day women gained knowledge and understanding of feminism through the pages of Cleo. The magazine helped create the feminist public sphere, opening doors for discussions about new ideas which modern women treat as mainstream today.

Cleo jump starts the sexual revolutionCleo pushed boundaries in mainstream publishing with candid articles on topics ranging from sex toys, fantasies and orgasms, to lesbianism and contraception. "We wrote about sex as if we had discovered it", recalls Buttrose.Cleo was the first Australian women's magazine to feature non-frontal nude male centrefolds in 1972, with Jack Thompson, a prominent Australian actor at the time, the magazine's first Mate of the Month. What Buttrose thought would be a light hearted, one-off feature became an essential component of what made Cleo so popular. Other mates were Alby Mangels, Eric Oldfield, Peter Blasina and the band Skyhooks. The centrefold feature was discontinued in 1985, the last being a bare-chested picture of Mel Gibson.

University of Sydney media academic Megan Le Masurier interprets the centerfold phenomenon as an incentive for popular feminist desire. The centerfold attempted to reverse the dominant tradition of representing men as viewers, and women as viewed. The representation of the male nude "offered women the chance to imagine themselves as active sexual agents, quite capable of holding the gaze". The naked man was a reminder that women could, and should, enjoy sex, and reaffirmed their right to talk about sex.

Sex no longer sells
In 2013, new editor Sharri Markson announced there would be no mention of sex on the cover of Cleo. More than 40 years after revamping women's magazines with male centrefolds, it was the first time that sex had not been used as a selling point.

The move came as a result of research conducted by the magazine which revealed a conservative streak among Generation Y readers – Cleos largest audience demographic – most of whom still live at home.

As Markson explained: "They are embarrassed to be sitting at home with their parents reading a magazine which has the word 'orgasm' in bold print on the cover".

In the pages of Cleo, all the racy content of the earlier, more progressive era was replaced with celebrity news and fashion, beauty and fitness tips.

Now sexy, according to December 2014 cover girl Taylor Swift is "knowing who you are and not needing to defend yourself."

As seen through the pages of Cleo, there was a shift away from sexual liberation to personal gratification and self-improvement, a maxim characteristic of Generation Y.

Bauer: new owner, new direction
In October 2012, multinational publisher Bauer Media purchased Australian magazine publisher ACP, which controls titles ranging from Cleo magazine to The Australian Women's Weekly This change of ownership meant drastic changes for the staff and readers of Cleo magazine.

Merge of editorial staff: Dolly and Cleo
A primary cost-cutting measure taken by Bauer was to merge the editorial staff of Dolly and Cleo magazines, reducing the staff size by half and appointing a single Editor-in-Chief for both magazines.

This was presented as a move to unite the two magazines under a "young women's lifestyles division".

Observers argue that these two magazines are in fact not directed at the same generalised market. Where Dolly targets teenage girls, Cleo focuses on an older group, women in their twenties and thirties.

Imported content
Bauer Media also now uses "content translated from Bauer's youth titles Joy and Bravo which the publishing house produce in Germany", reducing the amount of original Australian content across the magazines, but reducing the cost of producing issues across their titles.

Lucy Cousins appointed Editor-in-Chief
In 2014, Lucy Cousins was appointed Editor-in-Chief of Bauer's newly merged Dolly and Cleo magazines. Cousins was previously employed as Deputy Editor at Bauer's Women's Fitness magazine.

Cousins says of Cleo magazine:"CLEO magazine is and has always been a bible of all things fashion, beauty and celebrity for young Australian women. And now we've added travel, lifestyle, music and the new CLEO man section. We have attitude and aren't afraid to push the boundaries."Past editors' opinions on Bauer's changes
Mia Freedman: "Like most Australian women, Dolly and Cleo in particular were my lifeblood growing up and sparked my love of women's media back in the 80s and 90s. [I'm] frustrated and disappointed at the lack of business foresight that has brought those titles to this point. One of the reasons I left magazines was because I was so tired of trying to get my bosses to understand that Armageddon was coming in the form of online. I knew the young women's market was the most vulnerable. But nobody would listen so I left and started Mamamia...Publishers didn't realise they were content producers, they kept acting like magazine makers"Lisa Wilkinson on Twitter: "Very sad to hear news that Dolly & Cleo magazines are merging, with expected losses of half the staff. End of an era. And a personal one."Wilkinson believes that it will take "somebody who is an incredibly smart magazine editor and someone who understands the subtle but very important differences that are going to have to exist between those two magazines" to ensure the survival of both Dolly and Cleo magazines.

Readership figures 2013–14
It appears that Bauer's changes did not improve the continuing drop in circulation of Cleo magazine. Cleo suffered a steady decline in circulation due to changes in the way media was consumed and the failure of publishers in the 1990s and 2000s (decade) to follow their readers online. Statistics showed Cleo suffered a 28.2% drop between September 2013 and September 2014, with a readership size of 173,000 in September 2014.

Bauer Media however argued that it experienced a 100% increase in "social media growth" in that time period, suggesting that indeed the reason why readership figures fell was due to the movement from print media to the online world of blogs, forums and Facebook. They also stated that the best that Bauer Media could do to ensure the continuation of Australian magazines like Cleo was to minimise its production costs and hope that it can catch up with digital media.

Final issue 2016
On 20 January 2016, Bauer Media Group confirmed that Cleo magazine would close in Australia after more than 40 years of publication, with the final issue being March, on sale 22 February. Cleo magazine's final cover, for the March edition, would feature Jesinta Campbell.

Mercury Capital acquisition
In June 2020, Cleo was acquired by the Sydney investment firm Mercury Capital as part of its acquisition of several of Bauer Media's former Australian and New Zealand titles.

Noteworthy editors

Ita Buttrose

Ita Buttrose started as a copy girl at the Australian Women's Weekly, she quickly became a cadet journalist at The Daily Telegraph and its sister newspaper Sunday Telegraph before taking over as women's editor at the age of 23. Buttrose would go on to become the first female Editor-in-Chief of these two newspapers and the first woman appointed to the board position with News Limited.

Her arguably most well known role began in 1972, as the founding editor of Cleo magazine where she achieved such great success that it led to a promotion in 1975, editing the Packers' flagship magazine at the time, the Australian Women's Weekly. She subsequently became editor-in-chief of both publications.

Buttrose played an important role in shaping women's identity in the 1970s through the pages of Cleo.  She had the talent and conviction to take advantage of this period of social and political change, with new ideas about sexual freedom, female independence and gender equality heavily promoted in her magazine.

Despite scepticism from Sir Frank Packer, the Publisher, Buttrose's hunch that Cleo would appeal to modern Australian women proved to be right, with the magazine becoming the top selling monthly women's title and elevating Buttrose to the status of a feminist icon and magazine queen.

Andrew Cowell, the art director on the debut edition of Cleo said: "Ita's always had a talent to tap into a real need. She's always been a forward thinker, which keeps her ahead of the curve and able to make instinctive decisions. If Ita had a gut feeling for something, you were best to go with it."

Since 2011, Buttrose has been National President of Alzheimer's Australia and is also Vice-President of Arthritis Australia. In 2013, she was named Australian of the Year. Buttrose uses her high-profile to champion social issues such as women's education and raise awareness of breast cancer and HIV/AIDS.

Lisa Wilkinson

Lisa Wilkinson's career in magazine publishing started at age 19 with no university education, as the enthusiastic secretary/editorial assistant/Girl Friday at Dolly magazine. After rising to the editorship of Dolly in only 5 years, Wilkinson took over the position of Cleo magazine editor in 1984, and reigned there for ten years. Later she became Cleo's International Editor-in-Chief, running editions in New Zealand, Singapore, Malaysia and Thailand. Under Wilkinson, Cleo magazine became the highest selling women's magazine per capita in the world.

A significant change made by Wilkinson at Cleo was the replacement of the Cleo centerfold with the Bachelor of the Year competition in 1985. Cleo magazine presents an annual round up of the 50 most eligible bachelors in Australia, and encourages readers to vote for their favourite eligible bachelor.

Wilkinson also mentored numerous high-profile women in Australian media today. Nicole Kidman, Miranda Kerr, Deborah Thomas, Paula Joye and Mia Freedman all credit her as a long-time supporter.

After her career as a magazine editor, Wilkinson established her own media consultancy business and hosted breakfast talk show Today on the Nine Network, with Karl Stefanovic, before joining A Current Affair's program The Project on Network Ten.

Deborah Thomas

Deborah Thomas' career in magazine publishing started at Cleo magazine as Beauty and Lifestyle editor in 1987. She became deputy editor at Cleo in 1990, and was editor at Mode (now Harper's Bazaar) and Elle magazines until she took over the Editorship at Cleo from 1997 to 1999 where she "revive[d] the magazine's falling circulation and advertising revenue".

After Cleo magazine, Thomas became Editor-in-Chief of The Australian Women's Weekly and was awarded Editor of the Year in 2002 for her efforts at the iconic magazine. Later, Thomas was Director of Media, Public Affairs and Brand Development across Bauer Media's portfolio of 70-plus titles. In April 2015 she was appointed as CEO (chief executive officer) of Ardent Leisure.

Mia Freedman
Mia Freedman's first foray into magazine publishing was also at Cleo – doing work experience under then-editor Lisa Wilkinson. Freedman became the youngest ever editor of Cosmopolitan magazine at age 24, and at 32 became Editor-in-Chief of Dolly, Cleo and Cosmo.
Freedman moved away from magazine publishing in 2007 and is now the publisher and editor behind popular women's interest website Mamamia, while continuing to write articles and books across numerous publications.

 Sarah Oakes
Sarah Oakes is an experienced editor who has worked on a number of Australian publications such as K-Zone and Girlfriend and received many accolades throughout her career. She was the youngest ever recipient of the Magazine Publishers' Awards, Editor of the Year Award in 2005. Oakes was the editor-in-chief of Cleo between 2008 and 2010, where she repositioned the title and had great success with the Cleo 'Bachelor of the Year' campaigns. While at Cleo, Oakes was also a finalist in the Good Editor Awards. Oakes currently holds the position of editor of Sunday Life, a Fairfax publication that has a readership of more than 1.6 million.

 Oakes' innovative changes for Cleo

 New editorial line-up
Oakes presided over the relaunch and repositioning of Cleo in October 2009. She has signed-up a veteran magazine editor and fashion stylist Aileen Marr as the new Fashion Director and Pip Edwards as Contributing Fashion Editor. The October issue in 2008 hence started to feature more fashion pages up front, introduce new sections and launch more beauty pages, including a market-first beauty panel. Such a strong fashion editorial team cemented Cleo's status as an invaluable source of information for women who want to stay on top of fashion trends.

 "Models only" policy overturned
Oakes also brought celebrities back to the Cleo cover instead of "models only" policy introduced in the late 2007.

 New "honesty policy"
Introduced in the August 2008 issue, this policy was designed to appeal to Generation Y, with readers invited to critique each issue in return for prizes such as iPhones and designer bags. As then editor Oakes explained, "Every month we will ask our readers online to give feedback (which will be) incorporated into the magazine the following month. We are doing all the things that motivate Generation Y: instant gratification and personalisation."

 Sales trend Cleo experienced an Average Net Paid Sales (ANPS) decline from 149,256 in 2008 to 134,286 in 2009, with a rate dropped by −10.03% and the number of copies sold decreased by 14,970-year-on-year. Meanwhile, the cover price of Cleo increased by $0.2 from $7.00 in 2008 to $7.20 in 2009. The circulation of Cleo decreased from 128,183 in 2009 to 110,081 in 2010.

In popular culture
ABC mini-series, Paper Giants: The Birth of Cleo dramatises the emergence of the magazine. Screened over two nights in April 2011, the series was a ratings winner, with an average of 1.34 million viewers tuning in on the opening night to watch Ita Buttrose (played by Asher Keddie) navigate the male dominated world of Australian publishing in the 1970s as she fights to get Cleo off the ground. For many avid readers of Cleo, the idea that the magazine almost did not exist made for exciting television.

Most critics praised Asher Keddie's convincing portrayal of Buttrose as an ambitious leader and supportive mentor. According to producer John Edwards, Buttrose was a significant contributor to the script. "When I went to meet her, she was tentative, nervous and fearful but also flattered".

Feminist representational techniques
Academic Margaret Henderson argues that just as Cleo made feminist ideas popular, Paper Giants uses "feminist representational techniques" to make the 1970s era of social and political change accessible to modern audiences. For many avid readers of Cleo, the idea that the magazine almost did not exist made for exciting television.

A feminist approach to relationships is shown through the many scenes of the staff gathered around the table brainstorming. The impression given is that the evolution of editorial ideas is very much a collective work process, and the women's relationship to each other is supportive rather than competitive.

The typical Cleo reader is represented by Ita's shy assistant, Leslie (played by Jessica Tovey) who begins the series faking orgasms and running errands, and by the end, escapes her dead-end relationship to begin working as a journalist in London.

Women's sexual liberation is highlighted in playful tones. There is plenty of joking, bantering, and double entendres among the female characters who use humour to deal with obstacles that come their way from the suits upstairs when creating the magazine. When we are shown the discomfort expressed by Kerry Packer (played by Rob Carlton) and Sir Frank when the female staff have frank discussions with them regarding the sexual content of Cleo, the scene is meant to be funny.

"Paper Giants' recruitment of humour…is an important corrective to the cliché of humourless feminists and to po-faced and hubristic accounts of radical political movements".

Cleo Bachelor of the Year winners
2017 - Marcus Courts 21
2016 –  Jaryd Robertson, 25
2015 – Matthew Buntine, 22
2014 – Thien Nguyen
2013 – Trent Maxwell, 23
2012 – Hayden Quinn, 26
2011 – Eamon Sullivan, 25
2010 – Firass Dirani, 26
2009 – Axle Whitehead, 28
2008 – Jason Dundas, 25
2006 – Andy Lee, 25
2005 – Ryan Phelan, 29
2004 – Andrew G, 30
2003 – Geoff Huegill, 24
2002 – Paul Khoury, 28
2001 – David Whitehill, 26
2000 – Craig Wing, 21
1999 – Anthony Field, 35
1998 – Kyle Vander Kuyp, 27
1997 – Kyle Sandilands, 26
1996 – Eric Bana, 28
1994 – Aaron Pedersen, 24
1993 – Grahame Smith, 36

Cleo New Zealand Bachelor of the Year winners
2012 – John Templeton2011 – Nick Oswald
2010 – Philipp Spahn
2009 – please expand2008 – please expand2007 – Brad Werner
1993 – Matthew Rodwell

See also
 List of men's magazines
 List of women's magazines
 Paper Giants: The Birth of Cleo''

References

External links

CLEO Singapore Official Website
CLEO Malaysia Official Website
CLEO Indonesia Website
CLEO Thailand Website

1972 establishments in Australia
2016 disestablishments in Australia
ACP magazine titles
Mercury Capital
Monthly magazines published in Australia
Women's magazines published in Australia
Defunct magazines published in Australia
Magazines established in 1972
Magazines disestablished in 2016
Magazines published in Sydney
Women's magazines published in New Zealand
Multilingual magazines

Cleo (magazine)


Meicuchuca (died 1470) was the first ruler (zipa) of Bacatá, as of around 1450. His zaque counterpart ruling over the northern area of the Muisca territory was Hunzahúa.

Biography
Little is known about Meicuchuca and many stories about his reign are more mythical than historical. He ruled the southern Muisca territory from around 1450 to 1470 and was succeeded according to Muisca heritage laws by his nephew Saguamanchica.

Meicuchuca and the snake
The legend of Meicuchuca and the snake tells the story of the zipa who already had many wives. Polygamy was common practice with the Muisca and the higher the rank, the more wives could be held. The highest position of zipa could allow to have and sustain 300 wives, while the lower rank cacique "only" made 100 wives possible.

Meicuchuca allegedly fell in love with a woman outside of the Muisca community. He only had eye for her and spent day and night with the beautiful stranger, forgetting all his other wives.

His primary wife (Chibcha: gui chyty) became very jealous and sought the help of a Muisca priest; chyquy. He recommended her to fast and not bathe herself for twelve days. The first wife did what the priest had told her but the lack of food brought her close to death. The priest offered golden figures to the gods and ordered the wife to take a bath, put on new clothes and head to the bed of her husband. She was surprised to find Meicuchuca sleeping in the bed and next to him an enormous snake.

The primary wife returned to the priest and told him what happened. The priest ordered the wife next day to take a bath in the Bogotá River close to the Tequendama Falls with the lover of Meicuchuca and other women of Bacatá. The women went bathing in the river and suddenly the lover of Meicuchuca transformed in a snake again and disappeared in the water. Meicuchuca, terrified by the snake transformation, found the love for his wives again.

Meicuchuca in Muisca history

See also

Muisca rulers, history of Bogotá

References

Muisca rulers
Muisca mythology and religion
1470 deaths
15th century in Colombia
15th-century South American people

Meicuchuca


In Etruscan mythology and religion, Selvans is god of the woodlands and boundaries, including sacred boundaries.  He is possibly cognate with Roman Silvanus. As the god of boundaries, he is known by the epithet tularias as stated by a dedication of a statue to the god. His name is 10th on the list of 16 gods on the outer rim of the Piacenza Liver (a bronze model of a sheep's liver used as a reference or teaching tool for divination). Votive inscriptions from the liver show that he was a popular god in Etruria.

Only one certain representation of Selvans has been found, alongside a statue of Culśanś. He is portrayed as a naked youth wearing a hide of a bear's cap and high boots. This contrasts from the Roman Silvanus, who is usually shown as a bearded man.

See also
 Etruscan civilization
Etruscan religion
Culśanś

References

Etruscan gods
Etruscan religion
Nature gods

Selvans


An urn is a vase, often with a cover, with a typically narrowed neck above a rounded body and a footed pedestal.  Describing a vessel as an "urn", as opposed to a vase or other terms, generally reflects its use rather than any particular shape or origin. The term is especially often used for funerary urns, vessels used in burials, either to hold the cremated ashes or as grave goods. The history of cremation urns dates back to ancient civilizations. Cremation as a funerary practice has been prevalent in various cultures throughout history. The use of urns for holding cremated remains can be traced to ancient Greece, where elaborate pottery urns were crafted to house the ashes of the deceased. In ancient Rome, urns made of materials such as marble or bronze became popular, showcasing intricate designs and symbols associated with the deceased. Over time, different cultures and time periods have influenced the design and materials used for cremation urns, reflecting the artistic and cultural preferences of each era. Today, cremation urns continue to serve as meaningful vessels for preserving the memory and legacy of loved ones. But it is used in many other contexts; in catering large vessels for serving tea or coffee are often called "tea-urns", even when they are metal cylinders of purely functional design.  Large sculpted vases are often called urns, whether placed outdoors, in gardens or as architectural ornaments on buildings, or kept inside.

Other websites

 Daily Mail article on a Roman cinerary urn
 Getty. Art & Architecture Thesaurus. Urns

Containers
Death customs
Ancient Greek pottery

Urn


Wolfgang Tschirk (born 1956) is a retired Austrian high jumper.

He finished thirteenth at the 1981 European Indoor Championships. He also competed at the 1983 World Championships without reaching the final.

He became Austrian high jump champion eleven times in a row from 1974 through 1984 as well as in 1990 and 1991, his winning streak only broke by rivals
Gottfried Wittgruber and Markus Einberger. He also became indoor champion in 1982, 1983, 1986, 1990 and 1991.

References

1956 births
Living people
Austrian male high jumpers

Wolfgang Tschirk


For Horowitz () is a 2006 South Korean drama film directed by Kwon Hyung-jin and starring Uhm Jung-hwa, Shin Eui-jae and Park Yong-woo.

Plot
Kim Ji-soo is a 30-year-old single woman who once dreamed about becoming a world-class pianist, but ends up opening a small neighborhood piano school on the outskirts of Seoul, where she teaches children to play.

She then meets Yoon Gyung-min, a 7-year-old orphaned boy who starts pestering her for no apparent reason. Gyung-min's parents died in a car accident, and he now lives with his uncaring grandmother. He is a troublemaker, emotionally distant from his peers, and possibly autistic.

When Ji-soo discovers that Gyung-min has untapped musical genius, she becomes determined to turn him into a renowned pianist like Vladimir Horowitz. She does this for her own selfish reasons, because if she gains the reputation of being a great piano teacher, that would lead to her school's success.

She uses music to communicate with her gifted student, ruthlessly giving him intensive piano lessons to prepare him for competitions. But their relationship turns maternal when Ji-soo realizes what the boy really needs is love.

Cast
 Uhm Jung-hwa as Kim Ji-soo
 Shin Eui-jae as Yoon Gyung-min
 Park Yong-woo as Shim Kwang-ho
 Choi Seon-ja as Gyung-min's grandmother
 Yoon Ye-ri as Jung-eun
 Jung In-gi as Ji-soo's older brother
 Yang Kkot-nim as Ji-soo's sister-in-law
 Park Young-seo as Pizza shop employee
 Ko Tae-ho as Bo-ram
 Lee Seung-hyun as Yoo-sik
 Kang Soo-jin as Ye-ri
 Choi Yoon-sun as So-young
 Kim Bo-ra as Min-hee
 Seo Ji-ah as Mi-ra
 Lee Oi-seon as Cleaner Lee
 Kim Jong-min as Taekwondo Kim
 Jo Seok-hyun as Video Park
 Julius Jeongwon Kim as Adult Gyung-min (cameo)

Box office
For Horowitz was released in South Korea on May 25, 2006. It drew 544,656 admissions during its theatrical run.

Awards and nominations

References

External links

2006 films
2000s musical drama films
South Korean musical drama films
2000s South Korean films
2000s Korean-language films

For Horowitz


Nothing in Common is a 1986 American comedy-drama film directed by Garry Marshall. It stars Tom Hanks and Jackie Gleason in Gleason's final film role; he was suffering from cancer during the production and died less than a year after the film's release.

The film was not considered a big financial success on initial release, though it became more popular as Hanks' fame grew. It is considered by some to be a pivotal role in Hanks' career because it marked his transition from less developed comedic roles to leads in more serious stories, and many critics also praised Gleason's performance.

Plot

David Basner, a shallow, childish yuppie recently promoted at his Chicago ad agency, returns to work from a vacation. His parents have separated after 36 years of marriage and he must care for his aging, bitter father, Max, and support his emotionally fragile mother, Lorraine. His father has just been fired after 35 years in the garment industry.

Although his ex-girlfriend, Donna, is sympathetic, she tells him he ought to "grow up". David believes that if he became less child-like, his advertising work could be adversely affected.

David is developing a commercial for Colonial Airlines, owned by the rich and bullish Andrew Woolridge. A successful ad campaign would likely gain him a partnership in his company. David develops a physical relationship with Woolridge's daughter, Cheryl Ann Wayne. His father is well aware of his playboy nature, and is critical of his frivolous lifestyle.

His parents each begin to rely more on David. His mother needs help moving to a new apartment. His father needs to be driven to his doctor. David is awakened late one night when his mother's date ends badly, and she reveals that Max humiliated her sexually and was unfaithful. Confronting his father, he tells him, "Tomorrow I'm shooting a commercial about a family who loves each other, who cares about each other. I'm fakin' it." David becomes distracted by his attention demanding parents, which affects his work.

As a peace offering, David takes Max out to a club to hear some jazz music. He discovers he is severely diabetic and hasn't been following his diet. As a result, Max requires amputation of some toes and a foot. He and Lorraine discuss their life together, and she condemns him for his abuse. Privately, Max is overwhelmed with regret.

Woolridge insists that David accompany him to New York to promote the new ad campaign, which would prevent him from being present for Max's surgery. When David refuses, he loses the account. His boss Charlie is sympathetic and assures him he will intercede with Woolridge, giving David time to be with his father.

Confiding with Donna about the situation at work and his father's health problems, she gives David a sympathetic ear. He reaches out for her hand, and they show to be mutually interested again.

David brings Max home from the hospital, who tells him, "You were the last person I thought would ever come through for me." When David returns to his job, he takes him along while he shoots commercials.

Cast
 Tom Hanks as David Basner
 Jackie Gleason as Max Basner
 Eva Marie Saint as Lorraine Basner
 Héctor Elizondo as Charlie Gargas
 Barry Corbin as Andrew Woolridge
 Sela Ward as Cheryl Ann Wayne
 Bess Armstrong as Donna Mildred Martin
 Dan McGuire as The Caddie

Critical reception
The film received mixed reviews from critics. Review aggregator Rotten Tomatoes reports that 54% out of 24 professional critics gave the film a positive review, with an average score of 5.9/10.

Roger Ebert of The Chicago Sun-Times awarded the film a 2.5 out of 4 stars and stated in his review, "The movie splits in two, starting out as a wise-guy comedy and ending up as the heart-breaking story of a yuppie who is trying to understand his bitter, lonely parents."

Stanley Kauffmann of The New Republic while praising the work of Glesson and Hanks was not impressed by Héctor Elizondo's perfomance. Kauffmann summed up his review writing- 'Nothing in Common is a jigsaw puzzle with several parts missing at the end, parts that would explain why the puzzle was worth assembling'.

Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.

Soundtrack

 "Nothing in Common" by Thompson Twins - 3:30
 "Burning of the Heart" by Richard Marx - 4:15
 "If It Wasn't Love" by Carly Simon - 4:18
 "Over the Weekend" by Nick Heyward - 3:58
 "Loving Strangers" (David's Theme From Nothing In Common) by Christopher Cross - 4:03
 "Until You Say You Love Me" by Aretha Franklin - 4:50
 "Don't Forget to Dance" by The Kinks - 4:35
 "No One's Gonna Love You" by Real To Reel - 4:12
 "Seven Summers" by Cruzados - 4:38
 Instrumental Theme by Patrick Leonard - 2:08

The soundtrack was released on LP, CD and cassette in 1986 by Arista Records.

Television series

The movie inspired a short-lived NBC sitcom in 1987 that was scheduled to follow the highly rated Cheers. Due to audience drop-off, the sitcom was cancelled. The series starred Todd Waring as David Basner and Bill Macy as his father Max Basner.

See also
 List of films featuring diabetes

References

External links

1986 films
1980s romantic comedy-drama films
American business films
American romantic comedy-drama films
Films about father–son relationships
Films about advertising
Films adapted into television shows
Films directed by Garry Marshall
Films set in Chicago
Films shot in Illinois
Films shot in Chicago
TriStar Pictures films
1980s English-language films
1980s American films
Films about disability

Nothing in Common


Hjálmar Jónsson (29 September 1796 – 25 July 1875), better known as Bólu-Hjálmar (after his homestead in Bóla), was a 19th-century Icelandic farmer and poet, known for his sharp style and biting wit and for his mastery of the short Icelandic poetic narrative style known as Rímur.

Hjálmar was born in Hallandi in Eyjafjörður. His parents, Marsibil Semingsdóttir and Jón Benediktsson, were poor and unmarried, and he spent the first eight years of his life at the farm of Dálksstaðir, where he was raised by the widow Sigríður Jónsdóttir. He had little formal education, but he soon became an avid reader of the sagas and eddas. Hjálmar married Guðný Ólafsdóttir, and the pair began farming at Bakki in Öxnadalur. In 1829, they moved to Bóla (Bólstaðargerði) in Skagafjörður, from whence his nickname Bólu-Hjálmar was derived. The family had difficulty making ends meet, and Hjálmar was constantly engaged in disputes with his neighbours, who accused him of stealing sheep. He was found innocent but in 1839 left Bóla with his family. Their farmstead at Bóla is now deserted but a memorial to Bólu-Hjálmar has been erected there in a small grove. After his wife's death in 1845, Hjálmar gave up farming altogether.

In his own way, Hjálmar was an artistic and creative soul. His style of poetry is marked by economy and clever use of metaphors. Many of his poems are pointedly and unsentimentally critical and tinged with bitterness, which may partly be attributed to his constant rows and disputes, and partly to what seems to have been a general dislike of humanity.

An example of his bitterness, is this stanza, composed after he had received an anonymous donation. The stanza is the beginning of a longer poem, To an anonymous benefactor:
 Víða til þess vott ég fann,
 þótt venjist oftar hinu,
 að guð á margan gimstein þann,
 sem glóir í mannsorpinu.

The benefactor eventually turned out to be bishop :is:Pétur Pétursson.

He could also be tender in his poems, although examples are rare. But this is one, called Mannslát (News of a death):
 Mínir vinir fara fjöld,
 feigðin þessa heimtar köld.
 Eg kem eftir, kannske í kvöld
 með klofinn hjálm og rofinn skjöld,
 brynju slitna, sundrað sverð og syndagjöld.

Here are sorrow and remorse woven together.

Bólu-Hjálmar was also a master of rímur and the associated rímnahættir, as in this example from Göngu-Hrólfs rímur:
 Fárleg vóru fjörbrot hans.
 Fold og sjórinn léku dans.
 Gæfusljór með glæpafans
 Grímur fór til andskotans.

Hjálmar's talent extended to the on-the-spot verses. This is one example, where he met a rather tragic household on the move:
 Aumt er að sjá í einni lest
 áhaldsgögnin slitin flest,
 dapra konu og drukkinn prest,
 drembinn þræl og meiddan hest.

References

1796 births
1875 deaths
Bolu Hjalmar
Bolu Hjalmar
Bolu Hjalmar

Bólu-Hjálmar


Pegasus Mail is a proprietary email client for Microsoft Windows. It was originally released in 1990 on NetWare networks with MS-DOS and later Apple Macintosh clients, before being ported to Windows which is now the only platform actively supported. Since its inception it has been developed by David Harris and is donationware after having previously been freeware.

The software has been described as "one of the web's oldest and most respected email clients". It is supported by an official community-driven forum.

History
Pegasus Mail (also shortened to Pmail) was originally launched as ComNet Mail for Novell NetWare MS-DOS workstations in February 1990, a text-mode application for networks. Harris designed it first at the University of Otago's NetWare network. He soon afterwards started developing the Mercury Mail Transport System.

Pegasus Mail pioneered many features now taken for granted with other email clients, such as filtering and simultaneous access to multiple POP3 and IMAP4 accounts. Its extensive array of features coupled with a simple user interface provided an ideal mix for most users' needs. However, the free distribution of Microsoft Outlook Express or later email client as a standard part of Microsoft Windows since Windows 98, and the distribution of Microsoft Outlook, initially free of charge with PC magazines and then as an integral part of Microsoft Office, from 1997 dealt a significant blow to the market share of Pegasus Mail for Windows and other email clients, from which many never fully recovered.

Pegasus Mail for Microsoft Windows was first released in 1993. The development of versions for DOS (MS-DOS and PC DOS 5.0 and higher), Apple Macintosh and 16-bit Windows (Windows 3.1 and higher) stopped in or before 2000.

Move to donationware
Until 2006 all versions of Pegasus Mail were supplied free of charge, and printed user manuals were available for purchase. In January 2007 it was announced that distribution and development of Pegasus Mail had ceased due to inadequate financial support from the sale of the manuals. Harris stated:

Later in the month, due to an "avalanche" of support from the user community, it was announced that development would resume. However, Pegasus Mail would change from freeware to donationware and Mercury would change to a licence for fee for configurations with more than a certain number of email boxes.

In 2009, Pegasus Mail launched its own Wiki (WikiPmail), used as an online knowledge and documentation resource. A few years later it crashed and has not been restored, but the WikiPmail remains accessible at the Internet Archive.

Features

Pegasus Mail is suitable for single or multiple users on stand-alone computers and for internal and Internet mail on local area networks. Since Pegasus Mail does not make changes to the Windows registry or the system directory, it is suitable as a portable application for USB drives.

A significant feature of Pegasus Mail in Windows is that users have the choice not to use Microsoft Internet Explorer's HTML layout engine when displaying HTML email. Malicious HTML tends to be highly dependent on the exact target application and OS, therefore by avoiding both the ubiquitous HTML renderer supplied with Windows and not allowing automation commands such as ActiveX and JavaScript to execute from within an email in its inbuilt renderer, Pegasus reduces substantially the risk of infection from viewing email. (Note that this is not the same as the risk of malicious email or email attachments if opened outside Pegasus.)

Pegasus has the facility, not provided by all mail clients, optionally to download headers only, allowing the user to select mail to ignore for now and deal with later, download and delete from the server (normal mail operation for POP3 access), download a copy of a message while leaving it on the server, or delete without downloading. Mail may be marked by the user as read or unread, overriding the default setting.

Trends in interface design also changed over the years, and Pegasus Mail did not follow those changes, still having essentially the same user interface it had in its first Windows version, with very few later additions (such as the "preview window" mode).

Supported protocols
Pegasus Mail supports the POP3, IMAP, and SMTP protocols as well as Novell's MHS. Release 4.41 added support for filtering of spam with header and body checking for key phrases (already before download). Release 4.41 also has, amongst other features, an improved HTML rendering engine, better support for special character encoding (especially with UTF-8), phishing protection, and a full-fledged Bayesian spam filter.

Pegasus Mail for Windows can be used as a standalone mail client using POP3 or IMAP for incoming mail and SMTP for outgoing, or on a NetWare or Windows network in conjunction with the Mercury Mail Transport System for Windows or NetWare, also by David Harris, running on a network server to receive mail and distribute it to users. While Pegasus Mail and Mercury handle email only, the function of Pegasus Mail is comparable to Microsoft Outlook's mail handling, and Mercury to Microsoft Exchange Server.

Advanced features
Pegasus Mail's takes an "old-fashioned" approach with advantages for knowledgeable users with complex email usage patterns, or who need special features. Some examples include:
 support for three encoding standards (MIME, uuencoding and BinHex);
 a powerful filtering system, so much so that it is possible to run a fully automated client-based electronic mailing list (including processing subscribe and unsubscribe requests and forwards to moderation) using solely Pegasus Mail;
 the ability to automatically select which email address to send a reply from, based on the mail folder containing the original received message;
 the ability to include custom e-mail header lines (useful for tracking emails, for example);
 the ability to delete attachments without deleting the message's text body, or to delete the HTML version of a message while keeping the plain-text version, or vice versa, saving disk space;
 easy access to a message, including all headers, in raw form, which is difficult or impossible in some other clients;
 a "tree view" of the structure of a multipart message with all its sections and attachments, giving access to view or save any of the parts separately
 support for downloading headers only, then deciding for each message whether to download, delete, or leave for later ("Selective mail download"). It is possible to download a message in full without deleting it from the server.

Version history
The early versions of Pegasus were installed on MS-DOS or Mac workstations on a NetWare network (and their Message Handling System (MHS) mail system), and supported only mail between network users; for external (Internet), Mercury for Netware was required. A cut-down MHS-only version called FirstMail was bundled with NetWare.

Early versions used only a proprietary non-standard format (.pmj, .cnm). for mail folders; later versions offer the standard Unix mailbox format (.mbx) as an alternative.

The latest released versions for DOS (3.50, released in or around June 1999) and 16-bit Windows (3.12b, released on 24 November 1999) are available for download. (Version 3.12c for 16-bit Windows was in beta-testing during 2000 but has not been released.) The Mac version (2.21 from 1997) can be found on some FTP servers that in the past offered an official Pegasus mirror service.

Pegasus runs under Linux using the Wine compatibility layer.

Version 4.x
Pegasus Mail v4.0 was released at the end of 2001, with "more than 2500 changes or fixes". All versions since have been 4.xx; David Harris has been continously developing v5.0 but it has been delayed. Version 5 is slated to have a completely overhauled contactbook and mail folder system.

A public beta test version of version 4.5 was announced on 3 October 2008 which is stated to be "very complete and stable, but is provided without formal technical support - you should almost certainly apply due diligence testing to it before using it in a production environment". The new version has not only been developed further beyond earlier versions, but has been ported from now obsolete v5.02 of Borland C++ to Microsoft Visual Studio 2008, a major undertaking in itself. On 3 July 2009 Pegasus Mail 4.51. On 23 January 2010 Pegasus Mail 4.52 was released, which included improvements for Windows 7.

On 2 November 2010 Harris posted a message regarding the progress of development
on the next release of Pegasus Mail, PMail Version 5.0. He said "We hope to release an initial version of Pegasus Mail version 5 with the new contact manager in place either late in December this year, or early in 2011. A subsequent version with the entirely-new message store I have been working on for over a year will follow at a later stage. I'm personally very excited about the new contact manager - I believe it could have an enormous impact on the way many people work in a world of e-mail overload"

On 23 February 2011 Pegasus Mail 4.61 was released. It includes a new HTML renderer which uses the built-in Windows renderer of Internet Explorer, but the BearHTML renderer has also been improved and can be used instead. V. 4.61 included new graphics and an updated interface. v4.62 had improvements to the editor and elsewhere. On 22 December 2011 bug fix version 4.63 became available.

On 8 March 2014 version 4.70 was released. This version includes Hunspell for spelling check and OpenSSL for encryption besides further improvements. v4.71 was released in January 2016. Version 4.72 was released in April 2016. On 7 June 2018 version 4.73 was released. This includes a much improved help file.

On 25 December 2019 Harris said that, while there has been a delay due to health issues, he "can only promise you that there is progress, and that [he is] totally committed to getting these new versions released" and he is working, among others, on support for OAuth2 and OpenSSL v 1.1.1.

On 14 February 2022 a new version 4.80 was released. There were several overall improvements. Some are: OpenSSL was updated to version 1.1.1k, new support for 120dpi screens and an optimization for the HTML editor for better rendering. The anticipated support for OAuth2 was delayed into later this year.

See also
 Comparison of e-mail clients
 Comparison of feed aggregators
 Mercury Mail Transport System

Further reading

Notes and references

External links

 Official Wiki (archived)

Windows email clients
Freeware
Portable software
Information technology in New Zealand

Pegasus Mail


Sotol is a distilled spirit from the Chihuahuan desert (northern Mexico, western Texas) sourced from the plants of the genus Dasylirion, most commonly:  Dasylirion wheeleri, Dasylirion durangense, Dasylirion cedrosanum, and Dasylirion leiophyllum, less commonly with Dasylirion texanum and Dasylirion lucidum (commonly known as Desert Spoon or, in Spanish, sotol, sereque, cucharilla, or palmilla), plants that grow in the Chihuahuan desert of northern Mexico, New Mexico, Arizona, and west and central Texas. Sotol liquor is known as the state spirit of Chihuahua; however, the drink is also consumed in Durango and Coahuila. Sotol has its own appellation of origin since 2002, and may be produced only in Chihuahua, Coahuila and Durango. There are dozens of commercial examples available.
Production of sotol spirits exists outside the Sotol Denomination of Origin in several regions such as Sonora where it is known as Palmilla, Oaxaca (Cucharillo), and the Texas Hill Country (Texas Sotol). With Sotol on the rise in terms of its popularity, more brands are beginning to come onto the scene.  Los Magos Sotol from Los Magos Spirits International Inc. has produced a Sotol from Chihuahua with a focus on trailblazing a path for the category into the United States market as well as international.  Los Magos Sotol is currently the most awarded Sotol in the world.

It is produced in a manner similar to the more common artisanal mezcals of central Mexico.

History

The Indigenous People of the Chihuahuan Desert, such as the Jumano Pueblos and the Lipan Apache have made this traditional drink for centuries. Other Natives of Chihuahua, such as the Rarámuri, fermented sotol juice into a beer-like alcoholic beverage as early as 800 years ago.

Distillation technology was introduced in the 16th century by early Filipino immigrants who arrived via the Manila galleons to the coastal regions of western Mexico. Distinctive Filipino-type stills were initially used by Filipino coconut farmers in distilling tubâ into "vino de coco" (coconut sap liquor). This technology and the knowledge of liquor production were acquired by the indigenous peoples who worked in the coconut plantations. They were then used to distill native drinks, resulting in the mezcal and the sotol.

The beverage was illegal in Mexico until 1994, and it was granted a denomination of origin (DO) in 2002. According to the DO authorized by the Mexican Institute of Industrial Property, Sotol can only be produced in Chihuahua, Coahuila, and Durango. In 2020 The United States refrained from recognizing Mexico's DO during the final drafting of the United States–Mexico–Canada Agreement. This edit was made at the request of Texas Senator John Cornyn. Distilleries in Texas produce the spirit under the same name, to the chagrin of Mexican Sotoleros, the  Mexican state and Federal governments, and their supporters. Accusations of unsustainable harvesting of the Dasylirion plants, and cultural appropriation are the principle criticisms. One Mexican sotolero stated "The Americans can make what they want, but they cannot call it sotol, Sotol belongs to us."

Production

The Desert Spoon takes approximately 15 - 25 years to mature and yields only one bottle of sotol per plant. It typically grows on rocky slopes in the Chihuahuan desert grassland between 3,000 and 6,500 feet above sea level. Unlike agave, which flowers only once in its lifetime, sotols produce a flower stalk every few years. Once the plant matures, it is harvested like agave plants when mezcal or tequila are to be made. The outer leaves are removed to reveal the center core, which is taken back to the distillery. The core can then be cooked and/or steamed, shredded, fermented, and distilled.

Types
Age classifications:
 Plata – Un-aged, straight from distillation to the bottle.
 Reposado (rested) – Aged several months to a year.
 Añejo – Aged for at least one year

References

External links
Reviews of several commercially produced brands of Sotol.
Presence in American Market.

Mexican distilled drinks
Mexican Designation of Origin
Distilled drinks
+

Sotol


The Dakar Conference (also known as the Dakar Dialogue and the Dakar Initiative) was a historic conference between members of the Institute for Democratic Alternatives in South Africa (IDASA) and the African National Congress (ANC). It was held in Dakar, Senegal between 9 and 12 July 1987. The conference discussed topics such as strategies for bringing fundamental change in South Africa, national unity, structures of the government and the future of the economy in a free South Africa. The IDASA delegation from South Africa, participated in the conference in their private capacity and would later be condemned by the South African government for meeting a banned organization. The future indirect result of the conference was South African government talks with Nelson Mandela and his eventual meeting with P. W. Botha in 1989.

Background
Frederik van Zyl Slabbert, a member of the opposition resigned from the Progressive Federal Party and the South African parliament in January 1986, describing it as irrelevant and that he would explore other avenues of negotiations between white and black South African's.  Dr. Alex Boraine would also leave with him. Van Zyl Slabbert and Boraine would the establish The Institute for Democratic Alternatives in South Africa (IDASA), a non-partisan organization that aimed to promote inclusive democracy in South Africa by talking to people of all races within and outside the country. Slabbert, in communication with Thabo Mbeki, member of the ANC National Executive, discussed the change in attitude amongst some of the Afrikaner elite towards Afrikaner Nationalism and Apartheid. Out of these discussions and meetings, an idea was generated for a possible meeting between them and the ANC. This would be a change from the opposition White liberals attempting to force political change from within the parliamentary system, to the Afrikaner elite taking direct action in shaping the future direction of South Africa.

Later in 1986, Slabbert and Breyten Breytenbach met on Gorée Island of Dakar in Senegal and decided that the city should be the location of the conference. One third of the conference's cost was financed by the German Friedrich Naumann Foundation and further support was provided by George Soros, who however he was skeptical that the conference would achieve anything for South Africa. Breytenbach then approached Danielle Mitterrand, the French president's wife who headed the France-Libertés Foundation and who was well acquainted with Abdou Diouf, the Senegalese President, and asked her to intercede with him to allow the South African delegates to enter Senegal and ensure the security of the conference. The African Jurists' Association would also play a role in the conference's organisation. By 3 June 1987, more than a month before the start date, the South African press had caught wind of the proposed conference and published stories about a group of South Africans who were going to have a meeting with the ANC.

The IDASA delegation personally invited by Slabbert consisted of 61 delegates with at least half consisting of Afrikaner academics, teachers, journalists, artists, directors, writers and professionals and the group had Afrikaans speaking Coloureds, ten English-speaking businessmen and academics and three German academics working on South Africa. The South African delegation attended in their private capacity and did not represent the organisations they worked for. The seventeen ANC delegates would be led by Thabo Mbeki in his capacity of ANC Director of Information and four other members of the ANCs National Executive Committee while the other twelve were made up of ANC members based in Zambia, Scandinavia, UK, Ireland, United States and West Africa.

The IDASA delegation flew into Dakar from London and were met at the airport by the Senegalese Head of Protocol in the VIP lounge and then escorted by motorcycle riders to their hotel where the conference would take place and were met there by the ANC delegation. During the conference, the delegates would attend receptions at Presidential Palace and the Minister of Educations residence. The conference began on 9 July and would end on 12 July.

Conference
The conference was opened by President Abdou Diouf and attended by his cabinet and members of the diplomatic community and then an address was given by Danielle Mitterrand. The delegates would then return to their hotel and the conference venue. Four major topics had been agreed upon and the delegates had submitted the papers prior to conference and had been viewed by the ANC and they would respond to them after their presentation. The four major topics included, strategies for bringing fundamental change in South Africa, national unity, structures of the government and the future of the economy in a free South Africa. Informal topics were also discussed and included the armed struggle, violence, negotiations, political pluralism, a Bill of Rights, future of Afrikaans and its culture, a future economy, distributive justice and other topics.

The delegates in their presentation expressed their concern about violence in South Africa and its impact on civilians while the ANC members outlined why they had begun an armed struggle when all other peaceful strategies to bring about racial policy change in South Africa had failed and that attacks on soft targets was not a policy and that control over its armed cadres in the country was not always possible. It was clear to the delegates during the discussions that the ANC was prepared to negotiate with the government but that certain preconditions would have to be met which included the release of political prisoners and the unbanning of banned organisation's in the country.

With regards to pluralism, the ANC expressed a commitment of political pluralism in a new South African political system and that racism and fascism would be outlawed in the political system. It expressed a belief that the groups committed to the ending of Apartheid would in a new South Africa political system would split into its own organizations expressing their own ideas and beliefs.

The ANC in the discussion concerning a Bill of Rights said it did not have a problem with it but would not guarantee privileges in such a bill. It expressed a reassurance that the Afrikaans language would be safeguarded as well as its cultural identity and that all people's cultural heritages should be protected.

Concerning the future South African economy the ANC's policies were still governed by the Freedom Charter and that some form of nationalization would be required to redress the economic and wealth imbalances and that any nationalization would not occur instantly and consultation would take place between business and the future government. Health housing and education were key areas that the ANC would be readdressing.

At the conclusion of the conference, a declaration was released by the participants stating that a negotiated settlement in South Africa was preferred and that main obstacle was the South African government's unwillingness to negotiate, and the delegates concern about the level of uncontrolled violence in the country. A ferry trip was then organized to the Gorée Island and they visited the Maison des Esclaves and its museum in remembrance to the Dutch slave trade in West Africa.

Known participants

ANC
 Thabo Mbeki
 Kader Asmal
 Selwyn Gross
 Pallo Jordan
 Brigitte Mabandla
 Lindiwe Mabuza
 Penuell Maduna
 Mac Maharaj
 Francis Melli
 Reggie Mbono
 Alfred Nzo
 Tom Sebina
 Essop Pahad
 Albie Sachs
 Tony Trew
 Steve Tshwete

IDASA
 Frederick Van Zyl Slabbert
 Dr. Alex Boraine
 Professor Andre Du Toit - political scientist University of Stellenbosch
 Professor Jaap Durand - academic
 Jakes Gerwel - academic
 Professor Lourens Du Plessis - University of Potchefstroom
 Abraham Viljoen - brother of Constand Viljoen
 Tommy Bedford - former rugby captain
 Andre Brink - writer
 Breyten Breytenbach - poet
 Leon Louw - director Free Market Foundation
 Lawrence Schlemmer
 Christo Nel
 Theuns Eloff - religious leader
 Hermann Giliomee
 Riaan de Villiers
 Revel Fox - architect
 Grethe Fox - actress
 Manie van Rensburg - film director
 Max du Preez - journalist

Others
 Abdou Diouf -  Senegalese President
 Danielle Mitterrand - Wife of the French President
 Dr. Klaus Baron von der Ropp - German Institute for International and Security Affairs

Conclusion
At the end of the conference, the two groups left Senegal on a visit to Burkina Faso and Ghana. Forty South African delegates would return on 21 July 1987 and were met at the airport by a hundred demonstrators from the Afrikaner Resistance Movement (Afrikaner Weerstandsbeweging) led by Eugene Terre Blanche. Posters would accuse the delegates of being traitors, communists and terrorists. No news conference was held by the delegates, having been banned by the police and they were escorted via a back entrance from Jan Smuts International Airport. Frederick Van Zyl Slabbert and Dr. Alex Boraine would return to South Africa on 31 July.

The ruling National Party condemned the talk, worried about the legitimacy the conference gave to the ANC and the government controlled South African Broadcasting Corporation (SABC) and Afrikaner newspapers were critical. English newspapers were said to be critical and lukewarm to the conference. Government officials would express their opinion privately that they thought the conference would hinder the government's own initiates.

In the end, the conference had broken the ice and would make it acceptable for an Afrikaner government to negotiate in the future with the ANC as well as the ANC to understand the Afrikaner. Further meetings were held when South African businessmen met with the ANC, Stellenbosch University students would meet in Lusaka and IDASA would organize further meetings in Germany, United States, France, Zambia and Zimbabwe.

References

1987 conferences
Events associated with apartheid
Anti-Apartheid organisations
1987 in South Africa
Political history of South Africa

Dakar Conference


Jacob Magraw-Mickelson (born 1982) is an American artist who lives and works in Pasadena, California. He graduated with a BFA in illustration from the Art Center College of Design, in Pasadena, in 2004. His work includes paintings, illustrations, and silk-screen prints.

Work
Most of Magraw-Mickelson's paintings and drawings depict brightly colored organic forms, sometimes interlaced with architectural scenes. His work is characteristically detailed and his forms delicate and often plant-like. His drawings have accompanied several articles in The New York Times. His paintings have been featured in Anthropologie's 2007 Summer catalog and on the cover of Chuck Palahniuk's book, Rant: An Oral Biography of Buster Casey. Magraw-Mickelson's work has also appeared in Fishwrap Magazine, McSweeney's Quarterly, and Dear New Girl, or Whatever Your Name Is, edited by Lisa Wagner (McSweeney's, 2005).

Exhibitions
Magraw-Mickelson has shown work in numerous group exhibitions and in the following solo exhibitions:
2006 Tiny Island, Motel, Portland, OR
2006 Marvelous Sea, Giant Robot, Los Angeles, CA
2007 Richard Heller Gallery, Los Angeles, CA

External links
Richard Heller Gallery

References

American illustrators
Artists from California
1982 births
Living people
Place of birth missing (living people)

Jacob Magraw-Mickelson


Johan Afzelius (13 June 1753 in Larv – 20 May 1837 in Uppsala) was a Swedish chemist and notable as the doctoral advisor of one of the founders of modern chemistry, Jöns Jacob Berzelius. He was the brother of botanist Adam Afzelius and physician Pehr von Afzelius.

Afzelius received his PhD at Uppsala University in 1776 under Torbern Olof Bergman. In 1780 he became a lecturer at Uppsala and in 1784 a professor of chemistry. From 1792 to 1797 he undertook research trips to Norway, Denmark and Russia in order to study mineral deposits and to visit scientific institutions. His remarkable mineral collection became part of Uppsala University's mineral cabinet.

Afzelius did mineral analyses, and made contributions to the journal Afhandlingar i fysik, kemi och mineralogi (Treatises on physics, chemistry and mineralogy). He is notable for having isolated formic acid
from ants and showing that formic acid was different from the closely related acetic acid. He also studied the chemistry of nickel and oxalic acid.

In 1801, he was elected a member of the Royal Swedish Academy of Sciences.

Published works
 Dissertatio chemica de niccolo, (with Torbern Bergman), 1775 – dissertation on nickel.
 Dissertatio chemica de acido sacchari (with Torbern Bergman), 1776 – dissertation on saccharinic acid.
 Dissertatio chemica de acido formicarum, (with Petrus Öhrn), 1777 – dissertation on formic acid.
 Dissertatio chemica de baroselenite (with Axel Fryxell) 1788 – dissertation on barium selenite.

References
 J.R. Partington, A History of Chemistry, Macmillan: 1962, vol. 3, p. 200.
 Svenskt biografiskt lexikon, Albert Bonniers: 1918–1985, vol. 1, pp. 218–224.

1753 births
1837 deaths
People from Vara Municipality
Swedish chemists
Swedish mineralogists
Uppsala University alumni
Academic staff of Uppsala University
Members of the Royal Swedish Academy of Sciences

Johan Afzelius