The Battle Over Citizen Kane is a 1996 American documentary film directed and produced by Thomas Lennon and Michael Epstein, from a screenplay by Lennon and Richard Ben Cramer, who also narrates. It chronicles the clash between Orson Welles and William Randolph Hearst over the production and release of Welles's 1941 film Citizen Kane, which has been considered the greatest film ever made.

The Battle Over Citizen Kane was released as an episode of the eighth season of the television series American Experience, airing on PBS on January 29, 1996. It was nominated for Best Documentary Feature at the 68th Academy Awards. The documentary was the basis for the 1999 film RKO 281, which won Best Miniseries or Television Film at the 57th Golden Globe Awards.

Synopsis
In Citizen Kane, Welles plays Charles Foster Kane, whose fictional life partially mirrors that of Hearst's, as well as Hearst's longtime rival, Joseph Pulitzer. However, Chicago inventor and utilities magnate Samuel Insull, Chicago Tribune publisher Robert R. McCormick, and even Welles's own life were used in creating Kane.

In 1939, based partly on the strength of his imaginative and successful New York plays, which were produced under the aegis of the Mercury Theatre (such as an adaptation of William Shakespeare's Macbeth, which featured an all-black cast and was set in the jungle), and the infamy of his October 30, 1938, radio broadcast of H. G. Wells' The War of the Worlds, which sent residents of Grover's Mill, New Jersey into a panic, Orson Welles was able to negotiate a virtually unheard-of two-picture deal with RKO Pictures, the smallest of the 'big five' major studios in this era. The deal gave him creative control under a budget limit.

The Battle Over Citizen Kane also details the lives of Orson Welles and William Randolph Hearst before Citizen Kane, and Hearst's manipulation of the heads of the four largest Hollywood studios—Columbia Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, and Warner Bros.—to combine their efforts and financial strength to buy the camera negative of the film from RKO with the express purpose of destroying it, and how the film affected their lives after the release of the film.

During this period, however, William Randolph Hearst was actually millions of dollars in debt, mainly owing to his excessive spending, particularly on his continuing construction of his already sprawling mansion near San Simeon, California, which was located on a property approximately half the size of the state of Rhode Island.  While married to Millicent Hearst, he kept a mistress over twenty years his junior, the actress Marion Davies.  Davies had been a silent film-era star, who worked on a number of talkies, but with less success.

After the release of Citizen Kane to relatively positive critical reviews and largely indifferent popular response, Orson Welles moved on to his second project, The Magnificent Ambersons.  However, after Citizen Kane did not become a money-maker, The Magnificent Ambersons was wrested from his control; this time he did not have the right of final cut. RKO re-edited the film itself and released it. William Randolph Hearst died in 1951; Orson Welles died in 1985.

Reception
The Battle Over Citizen Kane was extremely well received by critics, and nominated for the 1995 Academy Award for Best Documentary Feature.

The documentary received some criticism by scholars and critics, including Jonathan Rosenbaum, for trying to tie the personalities of Welles and Hearst too closely together. "Perhaps the cardinal failing of The Battle Over Citizen Kane, a 1996 Oscar-nominated documentary, is its nearly groundless argument that Hearst and Welles had a lot of things in common," Rosenbaum wrote.

David Walsh observed, "This sort of superficial comparison—a cat has a head, a dog has a head, therefore a cat equals a dog—conceals far more than it reveals. … The documentary filmmakers fail to make any reference to this social and political context. Furthermore, because they identify success with a stable career and a steady income, they think Welles's subsequent work hardly worth considering."

Film scholar James Naremore served as a consultant for The Battle Over Citizen Kane but condemned it after seeing the finished film. While praising its use of archival footage, he dismissed the central thesis that Welles and Hearst were alike, which he described as "a tabloid trick worthy of 'News on the March'. … Among the many things it ignores or obfuscates is the fact that Welles was a political progressive who used most of the money he earned in the movies to create some of the most important works of art of the twentieth century (including the films he directed after Kane). Hearst, on the other hand, was a political reactionary who used the vast fortune he had inherited to assemble a relatively unremarkable private art collection."

"We can only hope that someday a good documentary on the making of Kane will be available", Naremore concluded.

Home media
On September 25, 2001, Warner Bros. Home Entertainment released a restored version of Citizen Kane taken from the best available print (the original nitrate print was destroyed in a fire) and released with The Battle Over Citizen Kane as a two-DVD set. The documentary was subsequently included in both the DVD and Blu-ray editions of the 2011 70th anniversary re-issue of the film (although in the case of the Blu-ray release, the documentary was retained in standard definition and included as a bonus DVD).

References

External links

Amazon.com
The Battle Over Citizen Kane at American Experience

1996 films
1996 documentary films
American documentary films
American Experience
Citizen Kane
Documentary films about films
Documentary films about mass media owners
Documentary films about Orson Welles
Peabody Award-winning broadcasts
Works about William Randolph Hearst
1990s English-language films
1990s American films

The Battle Over Citizen Kane


Itihaas paile ke baare me study hai. Admii log itihaas ke baare me kitaabs, newspapers and patras. Libraries, archives aur museums se jankari pawe hai.

Pre-itihaas
 Purana itihaas
 Sumer
 Praacheen Egypt
 Babylonia
Purana Armenia
 Purana Greece
 Purana India
 Purana China and Japan, Korea, Mongolia
 Purana Southeast Asia - Cambodia - Thailand - Indonesia
 Purana North America - Iroquois, Mohawk, Huron, Haida, Lenape, Mohican, Cree, Sioux, Inuit, Dene
 Purana Central America - Aztecs, Maya, Olmecs, Toltecs, Teotihuacan, Mixtecs
 Purana South America - Inca, Chimu, Tihuanacu, Huari
 Purana Africa
 Purana Australia
 Roman Empire
 Christian Rome - Justinian to the rise of Byzantium
 Chinese Dynasties
 Byzantine Empire
 Early Islamic Caliphate - Muhammad to The Crusades
 Early Middle Ages - end of European Dark Ages to rise of Roman Catholic Church
 High Middle Ages and the Crusades - conflict with Islam, Cathars, pagan tribes in Lithuania, etc.
 Late Middle Ages - 13th century to 15th century
 Late Islamic Caliphate - to fall of Muslim Spain
 Renaissance - 15th century renewal of science etc., based on texts from Ancient Greece and Roman Empire that were preserved by Muslims and captured by Christians
 Colonizing the Americas - 15th sadi ka impact America pe
 Baroque era - mid 16th century to mid-late 18th century - conflict of Ottoman Empire with Austria-Hungary
 Enlightenment - mid 17th century to late 18th century
 19th century
 20th century
History of Australia since colonizing Australia
History of the United States since American Revolution
 Modern History and origins of modern world power structure
 World War I
 World War II
 United Nations ascendance - how it became so central.
 Chinese Revolution, Partition of India, North Atlantic Treaty Organisation (NATO)
 US-Soviet Cold War including Korean War, Vietnam War, Soviet-Afghan War
 Recent conflicts in the Muslim World - Arab-Israeli Wars, UN-Iraq War, US invasion of Afghanistan, US invasion of Iraq
 Recent conflicts in West Africa - Uganda, Chad, Rwanda, Congo, Liberia, Ivory Coast, and so on

Current events, modern economic history, modern social history and modern intellectual history take very different views of the way history has affected the way that we think today.

See also

 List of historians
 World History

Basic English 850 words

Itihaas


A Son Called Gabriel is the 2004 debut novel by author Damian McNicholl. It was a finalist for a Lambda Award in 2005.

Set in Northern Ireland in the sixties and seventies, this novel describes the coming-of-age and sexual awakening of Gabriel Harkin. Gabriel, a working class Catholic boy, writes in the first person and talks about his life from the age of six to sixteen and there is a dark family secret involving his Uncle Brendan who is a priest in Kenya.

Gabriel's story is set against the backdrop of the Troubles and the religious bigotry of the Province.

Development
McNicholl started writing the novel in 1990, after moving to the United States. It took him 6 months of full-time writing to compose the novel, and another 18 to find a Literary agent and get the novel to publication with CDS books, after the editor at GreyCore Press liked the book, but couldn't publish it.

Plot summary

As he grows up, Gabriel starts to suspect that he is not like other boys, and engages in a series of sexually oriented games with Noel, a young male friend. He is later caught in the act by his childhood friend Fergal. During adolescence, Gabriel is convinced by his cousin Connor to sexually experiment with him, learns he is attracted to his own sex, and tries to fight it by trying to make himself attracted to girls. At sixteen, he is also abused at school by a priest Father Cornelius.

The story ends with Brendan's revelation and Gabriel about to leave Ireland to go to University in England, and the reader has to draw his or her own conclusions about whether Gabriel will continue his relationship with Fiona – with whom he is in love but can't have a sexual relationship – or reconcile with his homosexual leanings.

Style
The novel's first person voice is a defining stylistic trait. In an interview for Conversational Reading, McNicholl noted that the voice was very deliberately constructed: "I wanted the narration and dialogue to portray the boy's innocence and growth in awareness as he matures, but I had to be careful because the book is intended for an adult audience and thus had to be sophisticated and credible simultaneously." Publishers Weekly emphasized how this voice does a good job representing its adolescent narrator: Awkward, sometimes tender sex scenes—with both genders—recall all the clumsy uncertainties of adolescence."

Reception
Publishers Weekly called the novel "a worthy debut", noting that McNicholl is a "graceful writer".

See also

Roman Catholicism
Northern Ireland

References

2004 Irish novels
Irish LGBT novels
Novels set in Northern Ireland
Novels set in the 1960s
Novels set in the 1970s
2000s LGBT novels
Books about the Troubles (Northern Ireland)
Novels with gay themes
Irish historical novels
2004 LGBT-related literary works

A Son Called Gabriel


The Bunurong Marine and Coastal Park () collectively are a marine park and a coastal park located along the reef and coast of Harmers Haven, Cape Paterson and Inverloch in the South Gippsland region of Victoria, Australia. Collectively, the parks are located approximately  southeast of Melbourne, between Coal Point in the west to Wreck Creek in the east, and are used for walking, picnicking, boating, education and research.

The  Bunurong Marine Park comprises two separate areas along  of coastline and was gazetted on . The broad rock platforms and underwater reefs of Bunurong Marine Park support a remarkable range of habitats, containing a diverse array of plants and animals.

The  Bunurong Coastal Park includes the narrow strip of public land adjacent to Bunurong Marine Park and Bunurong Marine National Park, between the eastern boundary of the Cape Paterson Foreshore Reserve at Undertow Bay in the west and Wreck Creek in the east, and was gazetted in June 1984.

Both parks draw their name from the Australian Aboriginal Bunurong people who are the traditional owners of the land and water in the region.

Etymology
The Bunurong parks are named after the Bunurong Aboriginal people who owned this stretch of coast for thousands of years prior to colonisation. The Boakoolawal clan lived in the Kilcunda area south of the Bass River, and the Yowenjerre were west of the Tarwin River along what is now the Bunurong Marine and Coastal Parks near Wonthaggi. Middens containing charcoal and shellfish mark the location of their campsites along the coast.

Features
The principal features of the park are the striking rock formations including the large rock structure called Eagles Nest, located adjacent to the coastline at the eastern end of the marine national park. Eagles Nest also resembles the top half of a map of Australia. Other attractions include Flat Rocks where there are large rockpools for rockpool rambling and direct access from Cape Paterson-Inverloch Road. The Bunurong Marine National Park is accessed at many different points along this coast, a popular one being near Cape Paterson caravan park on Surf Beach Road as it has a modified rockpool for swimming. Direct and more difficult access to the marine national park is via car parks off Cape Paterson-Inverloch Road. Exploring, snorkelling and scuba diving are popular. There are boat launching facilities at Inverloch on Anderson Inlet.

Australia's first dinosaur bone, the Cape Paterson Claw, was discovered in 1903 by William Ferguson at what is now Bunurong Marine Park at Eagles Nest beach in Inverloch. Since then more than  bones and teeth of small dinosaurs, mammals, birds, turtles and fish have been excavated. There is a dinosaur exhibition at the Inverloch Shell Museum.

Ecology
Together with the Bunurong Marine National Park, the Bunurong Marine and Coastal Parks support many marine animals including seastars, featherstars, crabs, snails, 87 species of fish, whales and seals. It has the highest recorded diversity of intertidal and subtidal invertebrates in eastern Victoria. The range of seaweed species is large.

Restrictions
It is prohibited to kill or take any matter (i.e., catch fish, collect seashells or kill or take any sea or land creature, living or dead) from the Bunurong Marine National Park, but fishing (only with a rod) is permitted in the Bunurong Marine Park.

See also

 Protected areas of Victoria

References

External links

Parks of Gippsland (region)
Marine parks in Victoria (state)
Coastline of Victoria (state)

Bunurong Marine and Coastal Park


John Leith Craxton RA, (3 October 1922 – 17 November 2009) was an English painter. He was sometimes called a neo-Romantic artist but he preferred to be known as a "kind of Arcadian".

Biography

Career

John was the son of musician Harold Craxton and his wife Essie. His older brother Harold Antony Craxton (1918–1999) became a leading television producer and outside broadcaster. His sister Janet became a notable oboist.

He went to Clayesmore School but left without qualifications. He applied for Chelsea School of Art but was considered to be too young to attend nude life classes. Instead he studied at the Académie Julian and the Académie de la Grande Chaumière in Paris during 1939, until the outbreak of war meant he had to complete his studies in London, at Westminster School of Art and the Central School of Arts and Crafts. Between 1941 and 1942, having been rejected for military service on medical grounds, he attended Goldsmiths College, then toured the wilds of Pembrokeshire with Graham Sutherland in 1943. His first solo exhibition was in London in 1942 at the Swiss Cottage Café, and his first major solo show at the Leicester Galleries in 1944. His work was seen as part of the neo-romantic revival, and his early pre-1945 work shows the influence of Sutherland and Samuel Palmer, and he was also heavily influenced by friend and patron Peter Watson.

After the war he travelled to the Isles of Scilly, Switzerland, Istanbul, Spain, Italy, but mainly Greece especially Crete, from 1946 to 1966.  He moved permanently to Crete from about 1970, and switched between living in Crete and in London. The writer Richard Olney remembered Craxton in Paris, en route to Greece during the summer of 1951;

"Most nights, John Craxton, a young English painter, arrived to share my bed; we kept each other warm. He moved in a bucolic dreamworld, peopled with beautiful Greek goat herders. Soon he left for Greece."

In 1951 Craxton was a ballet designer for the production of Daphnis et Chloé by the Sadler's Wells Ballet (now The Royal Ballet) at Covent Garden, at a time when ballet stage design provided a haven for the neo-Romantic arts. He was able to use his first-hand experience of Greece to inform his ballet designs.

He had numerous shows of his paintings in both England and Greece. A major retrospective show was held at Whitechapel Art Gallery in 1967. His later work became more formal, structured and decorative, although still expressing Romantic pastoral themes.

He produced the scenery and costumes for the Royal Opera House's 1968 production of Igor Stravinsky's Apollo.

His work was also reproduced in magazines such as New Writing, Horizon, and he has illustrated the books of Patrick Leigh Fermor.  He produced lithographs for several anthologies edited by Geoffrey Grigson, including Visionary Poems (1944).

He was elected Royal Academician in 1993. Craxton lived and worked in both Chania, Crete and London. His love of Crete extended to his being one of the British Honorary Consuls there. He died aged 87, survived by his long-term partner Richard Riley.

A monograph by Ian Collins about Craxton's work, John Craxton, was published by Lund Humphries in 2011. The Fitzwilliam Museum in Cambridge held an exhibition of his work from December 2013 to 21 April 2014. In 2021, Ian Collins published a full biography: John Craxton: A Life of Gifts (Yale University Press); this book won the Runciman Award in 2022.

References

External links

 Fitzwilliam Museum on-line gallery of Craxton's work
 Work by Craxton in the British Council collection;
 Royal Academy Magazine, Spring 2007, No. 94: Interview by Sarah Greenberg.;
 Some works Offer Waterman website;
 Several works at Jonathan Clark Fine Art;
 Six works at the Tate Gallery;
 John Craxton – Daily Telegraph obituary, 18 November 2009;

 John Craxton – The Times obituary;
 John Craxton – The Guardian′s obituary by Ian Collins;
 D.J. Taylor's review of a book (August 2008) on John Murray by Humphrey Carpenter that mentions the recent rejection by Waterstone's of a Craxton book cover;
 Obituary of Christopher Hull in the Independent of 26 April 2007.
 Brian Sewell in the Evening Standard early 2010;
 Photographic portrait (1960) in the National Portrait Gallery;
 "A painter's paradise: the life of John Craxton" by Ian Collins; Minerva, 29 December 2021

1922 births
2009 deaths
20th-century English painters
20th-century British printmakers
21st-century English painters
Alumni of the Académie de la Grande Chaumière
Alumni of the Central School of Art and Design
Alumni of Chelsea College of Arts
Alumni of Goldsmiths, University of London
Alumni of the Westminster School of Art
British expatriates in Greece
Artists from Crete
English lithographers
English male painters
English gay artists
Landscape artists
People educated at Clayesmore School
Royal Academicians
20th-century English LGBT people
20th-century English male artists
21st-century English male artists
20th-century lithographers

John Craxton


Raoul de Ferrières (fl. 1200–10), originally de Ferier, was a Norman nobleman and trouvère. He was born in Ferrières in what is today the département of Eure. A total of eleven chansons courtoises have been attributed to him.

In 1209, Raoul was mentioned in a donation to the Abbey of Noé.

The most famous of Raoul's songs is unquestionably Quant li rossignols jolis ("When the pretty nightingales"), which is probably the song Johannes de Grocheo (c.1300) describes as a cantus coronatus (crowned, meaning probably that it had received a prize in a competition). This song is ascribed to the Chastelain de Couci in another manuscript. It was used as a model for the anonymous L'autrier m'iere rendormis. Musically, it starts at the upper octave, flows downwards, and establishes a centre on d.

All of Raoul's melodies, including Quant li rossignols, were recorded in bar form, save two readings Si sui du tout a fine Amour (possibly later revisions). None are recorded in mensural notation. Most of the melodies are in the D modes (authentic and plagal), but three are in the authentic G mode. Poetically, all but one of Raoul's compositions use the ABABBAAB rhyme scheme and all of his works are also octosyllabic, with the heptasyllabic exceptions of Quant ivers a tel poissance and Quant li rossignols and the mixed octo- and heptasyllabic verses of the disputed Quant il ne pert fueille ne flours.

List of songs

Assigned works
Encore m'estuet il chanter
Par force chant conme esbahis
Quant ivers a tel poissance
Quant je voi les vergiers florir
Se j'ai chanté, ce poise moi
Si sui du tout a fine Amour
Une haute amour qui esprent

Doubtful works
J'ai oublié paine et travaus
On ne peut pas a deus seigneurs servir
Quant li rossignols jolis
Quant il ne pert fueille ne flours

References
Karp, Theodore. "Raoul de Ferrières." Grove Music Online. Oxford Music Online. Accessed 20 September 2008.

Trouvères
12th-century Normans
Male classical composers

Raoul de Ferrières


John Law is a British jazz pianist and composer, born in London to British and Austrian parents.

Biography
He started classical piano at the age of four, playing in public at the age of six. With early encouragement from the Austrian concert pianist Alfred Brendel he was awarded a scholarship to study piano and composition at the Royal Academy of Music where he studied from 1979–1983, winning prizes for piano playing. After being awarded an Austrian government scholarship to study with the Viennese pianist Paul Badura-Skoda he studied for a year in Vienna at the Hochschule für Musik und darstellende Kunst, Wien. It was in Vienna that he first came across jazz and decided to pursue a career in this field, hoping to combine his love of the piano and performing with his interest in composition.

After some initial studies with Simon Purcell his early interest lay in freely improvised music. He performed with Evan Parker, Louis Moholo and Barry Guy, among others. In 1990 he began a long-term musical relationship with the saxophonist and composer Jon Lloyd, recording with Lloyd's quartet his first CD, Syzygy, for the Leo Records label. More recently Law appeared on Jon Lloyd's Vanishing Points (2013). Later John Law was to turn back to an exploration of his classical roots with a four-CD solo piano set entitled Chants, which was a series of compositions/improvisations based on early music and plainchant. Later still John turned towards a more recognisably contemporary jazz area, working with Tim Garland, Tim Wells, Dave Wickins, Steve Watts, Martin Speake, Paul Clarvis, Julian Siegel, Julian Nicholas and others, though his work has continued to include references to classical music, freely improvised music and the avant garde.

After 2005 Law was most widely known for his project The Art of Sound. The name of the trio, as well as the resulting series of four CDs, was taken from the name of the Italian studio where the recordings were all made: Artesuono in Udine, Italy. Playing almost exclusively Law's original, sometimes complex, sometimes extremely melodic, compositions, the trio, with Asaf Sirkis on drums and Sam Burgess on bass, recorded two highly successful albums: The Art of Sound, Volume 1 and Congregation, The Art of Sound Volume 4.  Of The Art of Sound Vol 1, John Fordham in The Guardian wrote "As well as being a formidable thematic improviser, whose phrasing constantly opens up new twists, Law writes beautiful romantic ballads" and awarded 4 stars. Volumes 2 and 3 were both solo piano recordings. Later, the Russian bass virtuoso Yuri Goloubev came into the trio and it changed to John Law's Congregation. Known for incorporating subtle effects into the piano and bass sound and for the addition to the drum kit of glockenspiel, hang and other sounds, the trio became known as much for the wide palette of sound colours, within a conventional jazz piano trio, as for the instrumental virtuosity of the individual players and the intricate, intense atmosphere of Law's compositions.  In All About Jazz Jakob Baekgaard wrote "Three Leaps of the Gazelle finds Law and his cohorts at the top of their game. It would be hard to find a more innovative and sympathetic trio working in jazz today." He awarded 5 stars. The same reviewer awarded 5 stars for John Law/Mark Pringle This Is.   Jazzwise wrote "[Law, a] pianist with an international reputation, unleashes an unstoppable flow of ideas with whatever band he puts together, constantly trying new things."

Law also performs solo piano concerts. During 2002/3 he performed in a two piano project with the UK pianist Jason Rebello.

In 2001 Law's recording Abacus, featuring the American drummer Gerry Hemingway was awarded a prize, a Choc, as one of the best CDs of the year, by the French jazz magazine Jazzman. In 2005 Law was awarded a distinction at classical piano diploma level, gaining dipABRSM.

Law has also composed for, toured and recorded a large suite for large ensemble, Out of the Darkness, with Andy Sheppard and members of the London Sinfonietta.  At the Purcell Room in London, John Fordham described Out of the Darkness as "an ambitious piece combining rich and slowly transforming (sometimes rather Mike Gibbs-like) harmonic movements, sudden clustered ensemble sprints, and systems-music overlays of phrasing deploying bassoon, brass and strings lines against the jazz instruments... A rich and completely distinctive contemporary music programme."

John Law has also performed classical music projects, mainly the solo piano and visuals Goldberg, where he played J.S.Bach's Goldberg Variations (on the modern grand piano) with live accompanying visuals by graphic artist David Daniels, adapted live to the music by Patrick Dunn; also his two piano project Sacre, with fellow pianist David Gordon, where they played a selection of Stravinsky's Rite of Spring with original jazz re-interpretations of some of the key movements interpolated in-between the Stravinsky.

His current three main projects are his original quartet Congregation, featuring James Mainwaring on saxophones, guitar and effects, his quartet Re-Creations, which plays creative arrangements of well known tunes by other people, and Renaissance, an ambient duo with saxophonist Jon Lloyd, with John Law on midi keyboards and laptop, playing improvised music over looped pads derived from early sacred vocal music, put together by Jasper Law, with live visuals by Patrick Dunn.

He has performed at over 50 festivals worldwide and made over 40 recordings. In 2020 he was awarded a prestigious Paul Hamlyn Foundation Award for Artists.

Selected discography
 Syzygy (Jon Lloyd Quartet, 1992),
 Exploded on Impact (John Law Quartet, 1993)
 Head (Jon Lloyd Quartet, 1993)
 Talitha Cumi (John Law solo piano, 1994)
 The Boat is Sinking, Apartheid is Sinking (John Law, Louis Moholo Duo, 1994)
 Pentecost (John Law solo piano, 1996)
 The Onliest (John Law Trio, 1996)
 Giant Leaves (John Law Trio, 1996)
 By Confusion (Jon Lloyd Quartet, 1997)
 The Hours (John Law solo piano, 1997)
 Songs Without Words (John Law Trio 1998)
 Strange Stories (John Law Trio, 2000)
 Thanatos (John Law solo piano, 2000)
 Abacus (John Law Quartet featuring Jon Lloyd, Gerry Hemingway, 2001)
 The Moment (John Law Trio/Quartet featuring Tim Garland, 2001)
 Monk 'n' Junk (John Law Trio/Quartet featuring Julian Siegel, 2002)
 Out of the Darkness (Cornucopia Ensemble featuring Andy Sheppard, 2004)
 Mimesis (Jon Lloyd/John Law Duo, 2006)
 The Art of Sound Volume 1 (John Law/Sam Burgess/Asaf Sirkis, 2007)
 The Ghost in the Oak, The Art of Sound Volume 2 (John Law solo piano, 2008)
 Chorale, The Art of Sound Volume 3 (John Law solo piano, 2008)
 Congregation, The Art of Sound Volume 4 (John Law/Sam Burgess/Asaf Sirkis, 2009)
 The Journey Home (Nick Sorensen/John Law Duo, 2010)
 This Is (John Law, Mark Pringle duo, 2011)
 Three Leaps of the Gazelle (John Law/Yuri Goloubev/Asaf Sirkis, 2012)
 Vanishing Points (Jon Lloyd Group, 2013)
 Boink! (John Law featuring Jon Lloyd, Rob Palmer and Laurie Lowe, 2014)
 These Skies In Which We Rust (John Law's New Congregation featuring Josh Arcoleo, Yuri Goloubev and Laurie Lowe, 2014)
 Goldberg (John Law, 2014)
 Re-Creations Volume 1 (John Law Quartet featuring Sam Crockatt, James Agg, Billy Weir, 2017)
 Re-Creations Volume 2 (John Law solo piano, 2019)
 Re-Creations Volume 3 (John Law Quartet featuring Sam Crockatt, James Agg, Billy Weir, 2019)
 CONFIGURATION (John Law's Congregation, featuring James Mainwaring, Ashley John Long, Billy Weir, 2020)
 Renaissance - Live at Malmesbury Abbey (John Law/Jon Lloyd/Jasper Law, 2022)

References

Sources
 Cadence interview by Ludwig van Trikt
 Baekgaard, Jakob. All About Jazz

External links
 John Law official website

Living people
British jazz pianists
British jazz composers
Avant-garde jazz musicians
Alumni of the Royal Academy of Music
21st-century British pianists
Year of birth missing (living people)
FMR Records artists
Leo Records artists

John Law (musician)


38 Special (often stylized as .38 Special or spelled out as Thirty-eight Special) is an American rock band formed by singer-guitarists Donnie Van Zant and Don Barnes in Jacksonville, Florida, in 1974.

They are best known for their early 1980s hit songs, including "Hold On Loosely" and "Caught Up in You", along with various other Top 40 hits on the US Billboard Hot 100 in the 1980s and early 1990s, including "Rockin' into the Night", "You Keep Runnin' Away", "If I'd Been the One", "Back Where You Belong", "Teacher, Teacher", "Like No Other Night", "Second Chance" and "The Sound of Your Voice".

History

1970s
Donnie Van Zant, the younger brother of Lynyrd Skynyrd founder Ronnie Van Zant, began playing music during his teen years, forming the band Standard Production in 1968, which paved the way for Sweet Rooster, Donnie's first professional group that he formed in 1969 with guitarist Jeff Carlisi and bassist Ken Lyons, soon joined by drummer Steve Brookins. Carlisi left Sweet Rooster after graduating high school to study architecture at Georgia Tech and was replaced by Don Barnes in 1970. Brookins also left to work as a truck driver and Sweet Rooster was defunct by 1973.

Nevertheless, Van Zant, Barnes and Lyons, while continuing their day jobs and working in other bands, began composing original songs in their spare time. By 1974, they decided to form "the ultimate band" that would be their "one last shot" at success. Briefly, Van Zant was considering a higher-paying position for the railroad at which he worked, but was finally convinced by brother Ronnie to stick with music since it was "in his blood".

The new group comprised Van Zant, Barnes, Lyons, Brookins, second drummer Jack Grondin and a returning Carlisi. The band's name was thought up after an incident which found the boys practicing in a warehouse out in the middle of nowhere. When police arrived after being notified by locals of the noise, the band members were unable to come out because of a padlock on the door. One of the cops said, "That's all right. We'll let this .38 special do the talking", and shot off the lock.

Now that they had their name, the group spent most of 1975 and 1976 playing a steady grind of one-nighters, mostly in the South and the Midwest. Eventually, big brother Ronnie figured Donnie and the gang had paid enough dues and set them up with Skynryd's manager Peter Rudge, who also handled the Who and was tour manager for the Rolling Stones. Rudge quickly set the group up to open shows for red-hot acts, like Peter Frampton, Foghat and Kiss, and got them signed to A&M Records, who assigned Dan Hartman (of Edgar Winter Group fame) to produce their first album, .38 Special, which was released in May 1977.

Just before the record's release, bassist Ken Lyons decided to leave the band. He was replaced by their friend and original Lynyrd Skynyrd member Larry Junstrom.

Also in 1977, the band added two female backup singers, Carol Bristow and Dale Krantz. Krantz was replaced by Nancy Henderson (1979–1981), Lu Moss (1981–1984) and then Lynn Hineman (1986–1987), before backup singers were dispensed with in 1987.

In October 1977, Ronnie Van Zant was killed when Skynyrd's plane crashed. Donnie wrote "Take Me Back" as a tribute to his brother, which appeared on the band's second album, Special Delivery (March 1978), also produced by Hartman.

1980–1999
The band's first two albums had a strong Southern rock influence. By the early 1980s, .38 Special had shifted to a more accessible guitar-driven arena rock style without completely abandoning its Southern rock roots. This shift helped to usher in a string of successful albums and singles. Engineer Rodney Mills, who had worked with Atlanta Rhythm Section and others, assumed the producer's reins, and Survivor co-founder Jim Peterik became a frequent songwriting collaborator of the band's from 1979 on, which helped account for this change in sound and subsequent success.

"Rockin' into the Night", the title track from the group's third album (released in October 1979), which Peterik and his bandmates had originally written for Survivor, found its way to 38 Special's manager, Mark Spector, and was given to the band. Sung by 38's guitarist Don Barnes (who would sing lead vocals on all of the band's hits through 1987), the tune became their first song to receive national airplay, peaking at No. 43 on the Billboard Hot 100 in early 1980.

This paved the way for their platinum-selling fourth record, Wild-Eyed Southern Boys (January 1981), and its bigger hit "Hold On Loosely" (which reached No. 27 in 1981).

Their next release, Special Forces (May 1982), contained the Top 10 hit "Caught Up in You" (just like "Hold On Loosely", composed by Barnes, Carlisi, and Peterik), which hit No. 1 on the Billboard Rock Tracks chart, as did the single "If I'd Been the One" (October 1983) from their November 1983 release Tour de Force. "You Keep Runnin' Away" (August 1982) and "Back Where You Belong" (February 1984) continued the sequence of hit radio favorites.

In the fall of 1984, they had another hit with "Teacher, Teacher", from the soundtrack of the 1984 film Teachers, written by Jim Vallance and Bryan Adams. The song climbed to No. 4 on the Billboard Top Tracks Chart, spending ten weeks on the chart.

In 1984 38 Special toured with the up-and-coming Huey Lewis and the News, who were just breaking huge with their Sports album, and in 1986 they shared the bill with the soon-to-be-platinum-selling hard rock band Bon Jovi.

By 1987, Don Barnes had decided to leave the band to go out on his own. He recorded an album called Ride the Storm, which, though slated for release in 1989, was shelved after A&M Records was sold, and was not released until 2017 – some 28 years later.

In the meantime, the group moved on, bringing in guitarist Danny Chauncey, after drummer Steve Brookins also decided to leave, and singer/keyboardist Max Carl, from West Coast rhythm and blues group Jack Mack & the Heart Attack.

The next release, Rock & Roll Strategy (June 1988), saw the group playing down their heavy guitar sound and putting forth a more 1980s pop keyboard-oriented approach, led by Carl's more R&B-style voice. "Second Chance" (taken from Rock & Roll Strategy) was a No. 1 hit on Billboards adult contemporary chart in early 1989.

Carl was also lead singer on "The Sound of Your Voice" (Billboard Hot 100 No. 33 in 1991) from Bone Against Steel (July 1991), which saw the group moving from A&M to the British label Charisma Records. That same year, Bobby Capps came aboard as keyboardist/co-singer, and drummer Scott Meeder replaced Jack Grondin after Grondin decided to leave the music business. The band found themselves without a home after Charisma folded in 1992.

After touring with the band through the spring of 1992, Max Carl decided to depart, making way for the return of Don Barnes. Since that time, the band has mostly concentrated on touring, with an occasional release of new material. Scott Hoffman took over the drum chair from Meeder later in 1992. Donny Baldwin (ex-Jefferson Starship) filled in for Hoffman on some 1996 tour dates after Hoffman was down with a broken arm, but Gary "Madman" Moffatt (formerly of Cactus) has been the band's drummer since 1997.

In early 1997, 38's long time guitarist/co-founder Jeff Carlisi, tired of the endless touring, decided to leave to form the Bonnie Blue Band, which led to the supergroup Big People, which also featured Benjamin Orr (from the Cars), Liberty DeVitto (from Billy Joel's band), Derek St. Holmes (ex-Ted Nugent) and Pat Travers. Unfortunately Big People failed to launch after the death of Benjamin Orr in 2000.

Through the small Razor & Tie label, 38 Special released "Fade to Blue" from the album Resolution (The last album to feature Carlisi, released in June 1997). The single hit No. 33 on the Mainstream Rock chart in 1997.

Since 1997's Resolution, two more releases have followed on the CMC International and Sanctuary Records labels, respectively A Wild-Eyed Christmas Night (September 2001) and Drivetrain (July 2004).

 2000s–present
In 2007 .38 Special was the opening act on Lynyrd Skynyrd and Hank Williams Jr.'s Rowdy Frynds Tour. Also, on September 27, 2008, they filmed a CMT Crossroads special with country singer Trace Adkins, performing both artists' hits from over the years.

In 2009 .38 Special opened for REO Speedwagon and Styx as part of the "Can't Stop Rockin' Tour".

Van Zant missed a handful of shows in 2011, and in 2012 a notice was posted on 38 Special's website saying Donnie Van Zant would not tour with the band due to health issues related to inner-ear nerve damage, although he would continue to write and record with the band. In 2013, after nearly a year of missing performances, Van Zant officially left 38 Special after 39 years and retired from music.

In 2012 original bassist Ken Lyons died at age 59.

In 2014 longtime bassist Larry Junstrom was replaced by Barry Dunaway (a veteran of many classic rock groups, including Pat Travers Band, Yngwie Malmsteen and Survivor). Dunaway had previously filled in for Junstrom for a handful of shows in 2011, and a few shows in 2013 as well. Junstrom was then forced to retire due to a hand injury that required surgery.

Since 2019, the band's lineup has consisted of Don Barnes, keyboardist/vocalist Bobby Capps, drummer Gary Moffatt, Dunaway, and guitarist Jerry Riggs. This leaves Don Barnes as the only original member, although Barnes was absent from the band from 1987 until 1992.

Larry Junstrom died on October 6, 2019, at age 70.

In 2022 bassist Paul Drennan filled in for Barry Dunaway.

 Band members
 Musicians Current members Don Barnes – lead and backing vocals, lead and rhythm guitar, harmonica, mandolin, keyboards (1974–1987, 1992–present)
 Bobby Capps – keyboards, backing and lead vocals (touring member 1987–1992; 1992–present)
 Gary "Madman" Moffatt – drums, percussion (1996–present)
 Barry Dunaway – bass, backing vocals (2014–present; touring substitute 2011, 2013)
 Jerry Riggs – lead guitar, backing vocals (2019–present)Touring musicians Carol Bristow – backing vocals (1977–1987)
 Dale Krantz Rossington – backing vocals (1977–1979)
 Nancy Henderson – backing vocals (1979–1980)
 Lu Moss – backing vocals (1981–1984)
 Lynn Hineman – backing vocals (1986–1987)Touring substitutes Donny Baldwin – drums, percussion (1996; filled in for Scott Hoffman)
 Paul Drennan (Drennen) – bass, backing vocals (2022; filled in for Barry Dunaway)Former members'''
 Donnie Van Zant – lead and backing vocals, guitar (1974–2013)
 Jeff Carlisi – lead guitar (1974–1997)
 Jack Grondin – drums, percussion (1974–1991)
 Steve Brookins – drums, percussion (1974–1987)
 Ken Lyons – bass (1974–1977; died 2012)
 Larry Junstrom – bass, occasional guitar (1977–2014; died 2019)
 Steve McRay – keyboards, harmonica, backing vocals (1986–1987)
 Max Carl – lead and backing vocals, keyboards (1987–1992)
 Danny Chauncey – lead guitar, backing vocals, keyboards (1987–2019)
 Scott Meeder – drums, percussion (1991–1992)
 Scott Hoffman – drums, percussion (1992–1997)

 Lineups

 Timeline

 Discography

 Studio albums
 38 Special (1977)
 Special Delivery (1978)
 Rockin' into the Night (1979)
 Wild-Eyed Southern Boys (1981)
 Special Forces (1982)
 Tour de Force (1983)
 Strength in Numbers (1986)
 Rock & Roll Strategy (1988)
 Bone Against Steel (1991)
 Resolution (1997)
 A Wild-Eyed Christmas Night (2001)
 Drivetrain'' (2004)

References

External links

38 Special live photo gallery

A&M Records artists
Southern rock musical groups from Jacksonville
American blues rock musical groups
American country rock groups
Hard rock musical groups from Florida
Musical groups established in 1974
American musical sextets
1974 establishments in Florida

38 Special (band)


Pintupi is an Australian Aboriginal group who are part of the Western Desert cultural group. Their homeland is in the area west of Lake MacDonald and Lake Mackay in Western Australia. This is a very remote part of Australian desert. Because of this, the Pintupi were among the last Aboriginals in Australia to leave their traditional way of life. Most of the Pintupi were displaced (forced to leave) their homeland in the middle the 20th century, because of sti testing being done at Woomera. They were moved into settlements to the east and west of their country, such as Papunya, Balgo, Haasts Bluff and even as far away as Hermannsburg. They ended up scattered into different communities. Within a few years, several hundreds of Pintupi had died from foreign disease and infection. Others had problems with alcoholism and violence – having lived in small groups for most of their lives, they found it hard to deal with conflict.

During the 1960s, the assimilationist policies of the Menzies government had a major effect on the mentality of many Pintupi. Part of the policy led to hundreds of Pintupi children being taken away from their parents and put into missions or foster care (this is now known as the Stolen Generation).

Beginning in the 1970s, there was a strong push within the Pintupi community at Papunya to return to their historical lands. They moved back west in 1981 to set up Kintore (Waḻungurru). Further west, Kiwirrkurra was founded in 1983, close to Lake Mackay.

Skin groupings

The Pintupi have a complex kinship system, with eight different skin groups. Males and females have different prefixes ("Tj" for males, "N" for females). These names define kinship relationships. They dictate who can marry whom. Although they may be used as terms of address, they are not surnames in the sense used by Europeans.

{| class="wikitable sortable"
|- bgcolor=#efefef
!Gender
!Skin name
!Can marry only
!Children will be
|-
|Male
|Tjapaltjarri
|Nakamarra
|Tjungurrayi, Nungurrayi
|-
|Female
|Napaltjarri
|Tjakamarra
|Tjupurrula, Napurrula
|-
|Male
|Tjapangati
|Nampitjinpa
|Tjapanangka, Napanangka
|-
|Female
|Napangati
|Tjampitjinpa
|Tjangala, Nangala
|-
|Male
|Tjakamarra
|Napaltjarri
|Tjupurrula, Napurrula
|-
|Female
|Nakamarra
|Tjapaltjarri
|Tjungurrayi, Nungurrayi
|-
|Male
|Tjampitjinpa
|Napangati
|Tjangala, Nangala
|-
|Female
|Nampitjinpa
|Tjapangati
|Tjapanangka, Napanangka
|-
|Male
|Tjapanangka
|Napurrula
|Tjapangati, Napangati
|-
|Female
|Napanangka
|Tjupurrula
|Tjakamarra, Nakamarra
|-
|Male
|Tjungurrayi
|Nangala
|Tjapaltjarri, Napaltjarri
|-
|Female
|Nungurrayi
|Tjangala
|Tjampitjinpa, Nampitjinpa
|-
|Male
|Tjupurrula
|Napanangka
|Tjakamarra, Nakamarra
|-
|Female
|Napurrula
|Tjapanangka
|Tjapangati, Napangati
|-
|Male
|Tjangala
|Nungurrayi
|Tjampitjinpa, Nampitjinpa
|-
|Female
|Nangala
|Tjungurrayi
|Tjapaltjarri, Napaltjarri
|}

Related pages
Pintupi Nine
Papunya Tula
Luritja

References

Pintupi


Lazzaro Vasari (1399–1468), also known as Lazzaro Taldi and as Lazzaro di Niccolò de' Taldi, was an Italian painter who was born in the Province of Arezzo.  His father was a potter, as was Lazzaro Vasari's son, Giorgio Vasari I.  The painter Luca Signorelli (1441–1523) was Lazzaro Vasari's nephew, and the art historian Giorgio Vasari was his great-grandson.

Lazzaro Vasari's best-known work is the fresco of Saint Vincent Ferrer in the Basilica of San Domenico in Arezzo, Italy.  He died in Arezzo in 1468 and was buried at the Chapel of San Giorgio in the same city.

References

 Bénézit, Emmanuel, ed., Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Originally published 1911-1923, Paris, Librairie Gründ, 1976.
 Thieme, Ulrich and Felix Becker, editors, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Reprint of 1907 edition, Leipzig, Veb E.A. Seemann Verlag, 1980-1986.
 Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations.

15th-century Italian painters
Italian male painters
Painters from Tuscany
1399 births
1468 deaths

Lazzaro Vasari


The Williams River is a  river in the US state of Vermont.  It is a tributary of the Connecticut River. Its watershed covers 117 square miles; land use is about 80% forested and 4% agricultural, and the upper river supports wild brook trout and brown trout.

The river was named for John Williams of Deerfield, Massachusetts. He preached the first Christian sermon in what would become Vermont near the mouth of the river on March 5, 1704. His text was from Lamentations 1:18: "Hear now, all peoples, And behold my sorrow; My virgins and my young men Have gone into captivity." A historical marker was placed near the site of the sermon in 1912 (see photo). At the time, he and part of his congregation were captives of the French, the Mohawk and the Abenaki after the Deerfield Raid, being marched from Deerfield, MA to Quebec, Canada.

The Williams River rises in the northern part of the town of Andover and flows east through a corner of Ludlow and into Chester, where it turns southeast.  The river then flows in a narrow valley near Vermont Route 103 between rolling hills into the town of Rockingham, where it joins the Connecticut River at Herricks Cove. Its major tributaries (from upriver to downriver) include Wheaton Brook, Lovejoy Brook, and Bear Brook in Andover and Ludlow. In Chester, it is joined by the Middle Branch Williams River, which starts in Windham; the tributaries of the Middle Branch include Lyman Brook, Andover Branch, and South Branch Williams River. Named tributaries in Rockingham include Wright Brook, Stearns Brook, Wiley Hill Brook, and Divoll Brook (flowing north), and Skunk Hollow Brook, Petty Brook, Brockways Mills Brook, Lillie Brook, Locke Brook, and O'Brien Brook (flowing south). The lower part of Petty Brook (in Bartonsville) was the mainstem of the river until a flood in 1869 changed its course. The Williams River watershed lies south of the Black River watershed, which includes most of Springfield, and north of the Saxtons River watershed.

In Rockingham it is crossed by the Bartonsville Covered Bridge that was washed away in Hurricane Irene in August 2011, rebuilt in 2012, and reopened in January 2013, as well as the Worrall Covered Bridge, the only 19th century covered bridge left in town. Below those bridges, it flows over Sokoki Falls, named for the local band of the Abenaki, and through Brockways Mills Gorge.

The river is a target for prospectors who can be seen panning for placer gold, south of the Town of Ludlow, near the site of the Rio Tinto open-pit talc mine.

See also
List of rivers of Vermont

References

 US Geological Survey topographic maps, 1:100,000-scale series, Claremont (NH) quadrangle

Rivers of Vermont
Tributaries of the Connecticut River
Rivers of Windsor County, Vermont
Rivers of Windham County, Vermont

Williams River (Vermont)


Luigi "Gigi" Riva (; born 7 November 1944) is an Italian former professional footballer who played as a centre-forward.

Considered to be one of the best players of his generation, as well as one of the greatest strikers of all time, Riva enjoyed a remarkable scoring record for Cagliari, thanks to his composure in front of goal, powerful left foot and aerial ability; his speed, strength and eye for goal led the Italian journalist Gianni Brera to nickname him "Rombo di Tuono" (Roar of Thunder). Aside from his debut season with Legnano, Riva remained with the Sardinian club for his entire career: he helped Cagliari achieve promotion to the Italian top-flight for the first time in 1964, and later led the club to their only Serie A title in 1969–70.

At international level, Riva won the 1968 UEFA European Championship and was runner-up at the 1970 FIFA World Cup with the Italy national team; he also took part at the 1974 FIFA World Cup. With 35 goals in 42 appearances (in all official competitions) between 1965 and 1974, he is Italy's all-time leading goalscorer.

After retiring in 1976, Riva briefly served as the president of Cagliari during the 1986–87 season, and was later the team manager and director of the Italy national team from 1988 until 2013.

Early life

Riva was born into a poor family in Leggiuno, a small town in the northern Italian province of Varese, Lombardy, near the Swiss border, on 7 November 1944. His mother, Edis, was a housewife, while his father, Ugo, worked several jobs, firstly as a hairdresser, then as a tailor, and subsequently in a factory, where he died in a work-related accident on 10 February 1953, when Luigi was nine. Edis began working as a maid, while Luigi was sent to a strict religious boarding school, where he remained for three years, before finding a job in a lift-factory and beginning to play football; his mother died soon afterwards.

Club career

1962–1964: early years, debut with Legnano, and promotion with Cagliari
Riva started playing amateur football for the Laveno Mombello youth side in Lombardy, scoring 30 goals in 1961 and 33 the following season. He began his professional career in 1962, at the age of 18, when he joined Serie C side Legnano-Ivrea, scoring 6 goals in 22 appearances in his debut season. The youngster's promising performances attracted the attention of Cagliari president Enrico Rocca, and he was acquired by the Serie B side the following year for a notable sum of 37 million Lire, at the age of 19; Riva remained with the Sardinian team for the rest of his career. In his first season with the club, he scored 8 goals in 26 appearances and helped Cagliari to a second-place finish in the league behind Varese, which enabled the team to achieve promotion to the top-flight for the first time in their 40-year history.

1964–1970: Serie A debut with Cagliari and road to the Serie A title

The following season, Riva made his Serie A debut for Cagliari on 13 September 1964, in a 2–1 loss against Roma, and also helped the club avoid relegation, leading the team to a comfortable sixth-place finish in the table, scoring an encouraging 9 goals in 32 appearances at the age of 20. This was followed by eleventh, sixth, and ninth place finishes in the league between 1965 and 1968, while Riva also finished as the league's top-scorer for the first time during the 1966–67 season with 18 goals, as the club began to build a potential title winning side around their star striker: Riva attracted several notable footballers to Cagliari, and the team during this period featured key players such as Enrico Albertosi, Roberto Boninsegna, Ricciotti Greatti, Comunardo Niccolai, Mario Martiradonna, Mario Brugnera, Pierluigi Cera, and Nené. Riva subsequently helped Cagliari to a second-place finish in both the Coppa Italia, behind Roma, and the league, four points behind Fiorentina, during the 1968–69 season, winning the capocannoniere title for a second time with 20 goals in 29 appearances; Cagliari had been leading in the league until the 21st matchday, when a loss at home to Juventus caused the team to surrender their lead.

Following the arrival of fellow forwards Angelo Domenghini and Sergio Gori from Inter in the summer of 1969, in exchange for Boninsegna, Riva finally won his maiden career Serie A title with Cagliari during the 1969–70 season; under the guidance of manager Manlio Scopigno and his offensive tactics, Riva led the team's front line, scoring several decisive goals that ultimately helped the club win the championship. On 15 March 1970, with Cagliari having climbed to the top of the table with six league games remaining, Riva scored two goals to help Cagliari come back twice from behind in a 2–2 away draw against second placed Juventus; his second, equalising goal came from a penalty, with eight minutes remaining, and the result allowed Cagliari to maintain their lead over the Turin side in Serie A. Cagliari headed into April still in first place by three points, with three matches remaining; in order to clinch the Scudetto, Cagliari needed to win their next match at home against Bari, while Juventus, who were still in second place, needed to lose away against Lazio. On 12 April, Riva opened the scoring with a diving header in an eventual 2–0 win over Bari at the Stadio Amsicora, while Juventus suffered a 2–0 defeat to Lazio in Rome, with goals from Gian Piero Ghio and Giorgio Chinaglia; as a result, Cagliari were crowned Serie A champions for the first time in their history, with two games to spare, also sealing a place in the European Cup the following season. This was the first time a club south of Rome had ever won the league title; Riva once again finished the season as top-scorer, with 21 goals. During this period, Riva's skill, prolific goalscoring, and decisive performances in leading a small, provincial club like Cagliari from Serie B to the Serie A title saw him become one of the best strikers in the world: he was the Serie A top-scorer on three occasions, in 1966–67, in 1968–69 and in 1969–70, and he placed 2nd in the 1969 Ballon d'Or, behind compatriot Gianni Rivera, and 3rd in the 1970 Ballon d'Or, behind Gerd Müller and Bobby Moore.

1970–1976: final years with Cagliari

Riva's season immediately following Cagliari's league triumph took off to a promising start: in the opening weeks of the season, he helped Cagliari to the top of the league table with a series of impressive results, including a 3–1 away win over Inter at the San Siro stadium on 29 October 1970, scoring twice, and earning his famous nickname "Rombo di Tuono" (Roar of Thunder) from journalist Gianni Brera as a result of his dominant performance. He also made his debut in the European Cup that season, helping Cagliari to the second round with two goals in a 3–0 home win against Saint-Étienne in the first leg of the first round of the competition; he later added a third goal in the tournament in the club's 2–1 home victory over Atlético Madrid in the first leg of the second round. However, Riva's season was ended prematurely by a serious injury which he endured in a European qualifying match with the Italy national team in late October; in his absence, Cagliari were soon eliminated from the European Cup in the round of 16, and dropped down the domestic table, eventually finishing the season in seventh place. After recovering from his injury, Riva managed 21 goals in 30 games during the 1971–72 season, finishing the season as the second highest goalscorer in the league, and helping Cagliari to a fourth-place finish and a spot in the next season's UEFA Cup. With the departure of Scopigno, Cagliari's results declined during the next two seasons, with the club only managing low mid-table finishes, although Riva's goalscoring output still remained consistent, as he scored 12 goals during 1972–73 season, and 15 during the 1973–74 season. Despite having already established himself as a world class player, while Cagliari struggled in the league during the mid 70s, Riva remained loyal to the Sardinian side, and turned down many bids from larger clubs, in particular from northern Italy. During his time with Cagliari, he demonstrated his attachment to the club when he refused several lucrative offers from Serie A giants Juventus in order to remain in the Sardinian capital, despite numerous rumours in the press which stated that he had already signed with the Turin side in exchange for large, record-breaking sums and several of their own players.

Despite his talent and goalscoring prowess, Riva's career was blighted by several major injuries, in particular with the Italy national side, and which greatly limited his playing time in later seasons; he missed 35 games in the five seasons leading up to 1971, and only appeared in 24 matches for Cagliari between 1974 and 1976, which saw an overall decline to his goalscoring rate and the club's performances during this period. During the 1974–75 season, a calf injury limited him to 8 appearances and 2 goals with the club, and on 1 February 1976, while playing in a match for Cagliari against Milan, Riva ruptured a tendon and tore an adductor muscle in his right thigh, following a physical shoulder challenge near the corner flag from Aldo Bet, after being chased down by the Milan defender; he never successfully recovered and, despite several comeback attempts over the next year and a half, was eventually forced to retire in 1978, at the age of 33, having played his last game at the age of 31 in 1976. The injury limited Riva to only 15 appearances during the 1975–76 Serie A season; despite his run of six goals in a span of eight games during the final season of his career, Cagliari finished in last place in the league in his absence, and were relegated to Serie B. In total, Riva scored 248 goals for club and country throughout his career in 439 appearances, scoring 164 league goals with Cagliari in 315 appearances, 156 of which came in 289 Serie A appearances. Overall, he scored 207 goals in 374 appearances in all competitions during his thirteen seasons with Cagliari, and 213 career club goals in 397 appearances.

International career

Early years and Euro 1968 champion
Following some impressive performances for the Italian youth side, Riva made his senior international debut with Italy at the age of 20, on 27 June 1965, in a 2–1 friendly defeat against Hungary, coming on for the injured Ezio Pascutti in the eighth minute; he was the first Cagliari player to be capped at senior international level. His international career took off to a difficult start, as his performance in his second appearance for Italy, a 0–0 friendly draw against France in Paris on 19 March 1966, was criticised by noted journalist Gianni Brera, who initially described Riva as a "one-footed" and "incomplete player". He was subsequently controversially excluded from the 22-man 1966 FIFA World Cup squad, although he was still brought to England by manager Edmondo Fabbri, along with Mario Bertini, as an additional reserve, in order to gain experience with the national side; Italy were eliminated in the first round of the tournament. After breaking both his left tibia and fibula in his third international appearance, a 1–1 friendly home draw against Portugal on 27 March 1967, Riva returned to the national team as a starter seven months later, and finally scored his first goal for Italy in his fourth international appearance, a 5–0 home win over Cyprus on 1 November 1967, in a UEFA Euro 1968 qualifying match, later completing a hat-trick in the same game. Riva was a member of the Italian side that won the 1968 European Championships on home soil under manager Ferruccio Valcareggi; after recovering from a leg injury, he returned to the starting line-up and scored the opening goal in the twelfth minute of the final replay in Rome on 10 June, which ended in a 2–0 victory over Yugoslavia; Riva was named to the Team of the Tournament for his performance during the match.

1970 World Cup runner-up

On 22 November 1969, Riva scored a famous diving header in a 3–0 away win in a World Cup qualifying match against East Germany, at the Stadio San Paolo in Naples, which sealed Italy's place at the 1970 World Cup; prior to the tournament, he had scored 19 goals in only 16 matches. At the 1970 World Cup in Mexico, much was expected of Riva; however, he initially underperformed in the first round, failing to score in each of Italy's three group matches, although both Riva and his strike-partner Angelo Domenghini saw their goals wrongly disallowed for offside in Italy's final group match, a 0–0 draw against Israel on 11 June. Following his disappointing and goalless performances in the group stage, and much media criticism and scrutiny, Riva finally opened his account in the World Cup in the second round. On 14 June, he helped Italy defeat the hosts Mexico 4–1 in the quarter-finals, scoring two goals, both from Gianni Rivera assists, forming a notable offensive partnership with the Milan playmaker in the knock-out rounds of the competition. Riva subsequently netted a crucial extra-time goal – his 22nd in 21 international appearances – against West Germany in Italy's 4–3 semi-final victory on 17 June, which is colloquially known as the "Game of the Century". The Italian team finished runners up in the tournament after losing 4–1 to Brazil in the final; Riva finished the competition as Italy's top-scorer, with three goals. After the tournament, Riva broke his right leg while on international duty in a European qualifying match later that year; he was forced off in the 76th minute of a 2–1 away win against Austria on 31 October, at the Praterstadion, in Vienna, following a hard challenge from Austrian defender Norbert Hof.

Later years, Italy's all-time goalscorer and 1974 World Cup
On 31 March 1973, Riva scored four goals in a 5–0 home win over Luxembourg, in a World Cup qualifying match, becoming one of only six players to accomplish this feat with the Italy national side. On 9 June, he became Italy's all-time leading goalscorer, equalling the record of 33 goals held by Giuseppe Meazza, scoring in a 2–0 friendly against Brazil in Rome; Meazza reportedly stated after the match "That Riva is good, he scored a lot of goals against Cyprus and Turkey. Surely my goals were much more important." Riva later surpassed Meazza's record with his 34th international goal in a 2–0 home win in a friendly against Sweden on 29 September 1973, and scored his final and 35th goal for Italy later that year, on 20 October, in a 2–0 home win over Switzerland in a World Cup qualifying match. Despite his initial dominance for Italy, Riva's struggles with injuries subsequently saw him display a series of disappointing performances at the 1974 World Cup in West Germany, along with many other members of the Italian squad, which led him to be dropped for the last group game against Poland, which saw Italy eliminated in the first round of the tournament following a 2–1 defeat; he made his 42nd and final appearance for Italy at the age of 29, in Italy's second group match of the tournament, a 1–1 draw against Argentina, on 19 June. Riva is currently still Italy's top-goalscorer of all-time, with 35 goals in just 42 matches, with an average of 0.83 goals per game. In addition to being Italy's all-time leading goalscorer, Riva is also the highest goalscorer in combined goals scored at the FIFA World Cup and FIFA World Cup qualifier matches with 17 goals, and Italy's highest goalscorer in FIFA World Cup qualifiers, with 14 goals. Furthermore, alongside Silvio Piola, he co-holds the national team's record for most goals on opposition soil with 13.

After retirement

After retiring, Riva remained in Cagliari, and founded the first school of football in Sardinia in 1976, which bears his name. He later became an executive with his former club; he also briefly served as Cagliari's president during the 1986–87 season, but stepped down from this position in December 1986, after only a few months, and was replaced by Lucio Cordeddu. He later served as a director and subsequently as a team managing staff member for the Italy national football team from 1988 until 2013, and was also a member of the technical staff for the Italy national team that won the 2006 FIFA World Cup under his supervision; he drew praise from captain Fabio Cannavaro for his role in Italy's fourth World Cup title victory.

On 5 January 2005 Cagliari retired Riva's number 11 jersey to honour him and his achievements with the club; Rocco Sabato, the last holder of the number 11 shirt, presented Riva with his jersey in the official ceremony held at the Stadio Sant'Elia of Cagliari, ahead of Italy's friendly match against Russia. Riva's jersey was the first to be retired by the Sardinian club.

Style of play

Regarded as one of Italy's greatest players, and as one of the best strikers of his generation, Riva was a well rounded, brave, prolific, and opportunistic forward, with an astonishing finishing skill; due to his dominance and skill, he is considered by some in the sport to be Italy's greatest player ever. He was initially deployed as a winger on the left flank early in his career, although he would often cut into the centre of the pitch in order to strike on goal; as a result, he was later played in a more offensive and central role, as a main striker, where he excelled, due to his eye for goal. A naturally left footed player, he had a very powerful and accurate shot from both inside and outside the area, which led Gianni Brera to nickname him "Rombo di Tuono" (Roar of Thunder); although he was predominantly left-footed, he was also capable of scoring with his right foot on occasion.

Due to his height, powerful physique, elevation, and his heading accuracy, Riva excelled in the air, and he also had a penchant for scoring spectacular, acrobatic goals from bicycle kicks, courtesy of his athleticism and volleying ability. Despite his tall build and strong physical attributes, he also possessed excellent technical ability, creativity, and good dribbling skills, as well as a very delicate first touch and notable elegance on the ball. In addition to his goalscoring prowess and technique, he was also an extremely fit, hard-working, and fast player, with notable stamina, who excelled during sprints and at making attacking runs. He was also an accurate free-kick and penalty kick taker. Despite his ability, his career was often marked by injuries, which later affected his mobility, continuity, and fitness, and eventually forced him to retire prematurely.

Career statistics

Club

International

Honours
Cagliari
Serie A: 1969–70

Italy
FIFA World Cup runner-up: 1970
UEFA European Championship: 1968

Individual
Serie A top scorer: 1966–67, 1968–69, 1969–70
Ballon d'Or: runner-up: 1969; third place: 1970
UEFA European Championship Team of the Tournament: 1968
World Soccer's 100 Greatest Footballers of All Time: 1999
Golden Foot "Football Legends": 2005
Inducted into the Italian Football Hall of Fame: 2011
Inducted into the Walk of Fame of Italian sport: 2015
Inducted into the Cagliari Hall of Fame
Cagliari Greatest All-time Starting XI

Orders
  3rd Class / Commander: Commendatore Ordine al Merito della Repubblica Italiana: 1991

  2nd Class / Grand Officer: Grande Ufficiale Ordine al Merito della Repubblica Italiana:2000

  CONI: Golden Star of Sports Merit: 2006

  CONI: Golden Collar of Sports Merit: 2016

See also
 List of top international men's football goalscorers by country

References

External links

Official website
Profile at EnciclopediaDelCalcio.it
Record for Italy
Profile at Italia1910.com
Profile at FIGC

1944 births
Living people
Footballers from the Province of Varese
Italian men's footballers
Men's association football forwards
Cagliari Calcio players
AC Legnano players
Serie A players
Serie B players
Serie C players
Italy men's international footballers
Cagliari Calcio presidents
UEFA Euro 1968 players
European champions for Italy
1970 FIFA World Cup players
1974 FIFA World Cup players
UEFA European Championship-winning players

Gigi Riva


Candidatus  is a term in the taxonomy (scientific classification) of bacteria.

It is a label put before the name of a bacterium which cannot be grown on an agar plate or in any other bacteriology culture. An example would be "Candidatus Phytoplasma allocasuarinae". Candidatus status may be used when a species or genus is well studied but cannot be cultured. Nowadays much information is got by 16S ribosomal RNA sequence analysis.

History
For correct publication of a species, bacteria must be isolated, cultured, described, and deposited in a bacteriology culture collection. However, some bacteria require special tissue culture conditions and cannot be maintained in Bacteriology Culture Collections. This includes bacteria which live inside other organisms or cells. These include obligately intracellular pathogens and endosymbionts, insect symbionts, and populations from oceans or sludge.

In 1994, Murray and Schleifer published a taxonomic note. They recommended that the new category of indefinite rank (Candidatus) be established for certain putative taxa that could not be described in sufficient detail to warrant establishment of a new taxon. It was also recommended that a Candidatus list should be established in the International Journal of Systematic and Evolutionary Microbiology.

According to the "IRPCM Phytoplasma/Spiroplasma Working Team – Phytoplasma taxonomy group" the abbreviation for Candidatus should be Ca.

References

Bacteria
Taxonomy

Candidatus


The  National Quilt Museum, located in Paducah, Kentucky, is an art museum that exhibits fiber art and quilting from around the world. The museum is recognized by USA Today as one of the world's top quilt displays. This textile museum supports local and expert quilters by providing workshops and other educational activities.

The National Quilt Museum was established by Bill and Meredith Schroeder of Paducah and opened to the public on April 25, 1991.  It is the only museum dedicated to contemporary quilts and quiltmakers. The main gallery is devoted to a rotating selection from the museum's collection of over 600 quilts.  Its two other galleries exhibit rotating fiber art exhibits throughout the year. Its founding executive director was Victoria Faoro. The museum also features a traveling exhibit that is made up of quilts and fiber art.

In addition, the museum also offers educational opportunities for adults and kids at all skill levels.  In 1993 the museum hosted the first African American Quilters Forum and in 1995 the museum developed "Gatherings", an exhibit and conference celebrating quilt documentation projects completed across the country.

The museum was honored in May 2008 when the U.S. Congress designated it the National Quilt Museum of the United States. May Louise Zumwalt, former executive director of the museum, said "Though it does not mean we will receive national funding, it does recognize that we are a quilt museum with national significance." This designation brings additional attention and helps increase the number of visitors. The museum averages 40,000 visitors per year.

In July 2021 Matt Collinsworth became chief executive officer of the museum.

See also
 Quilt Museum and Gallery in England

References

Buildings and structures in Paducah, Kentucky
Art museums established in 1991
Quilt museums in the United States
Textile museums in Kentucky
Folk art museums and galleries in Kentucky
Museums in McCracken County, Kentucky
1991 establishments in Kentucky

National Quilt Museum


Olga de Amaral (born 1932) is a Colombian textile and  visual artist known for her large-scale abstract works made with fibers and covered in gold and/or silver leaf. Because of her ability to reconcile local concerns with international developments, de Amaral became one of the few artists from South America to become internationally known for her work in fiber during the 1960s and '70s. She is also considered an important practitioner in the development of postwar Latin American Abstraction. She currently lives and works in Bogotá, Colombia.

Biography and education

Olga de Amaral was born Olga Ceballos Velez in 1932 in Bogotá, Cundinamarca, Colombia, to parents from Colombia's Antioquia region. She was raised in a traditional religious family with 5 sisters and 2 brothers. She grew up in a traditional neighbourhood in Bogotá in a warm, safe family atmosphere, maintaining a special relationship with her loving and caring mother. Upon graduating from high school, in the years 1951–52 she got a degree in Architectural Design at the Colegio Mayor de Cundinamarca in Bogotá. After graduation, the future textile artist worked for a year as a director of the Architectural Drawing Faculty at the same school.

In 1954, de Amaral went to New York City to study English at Columbia University. From 1954 to 1955, she studied fiber art at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. She stated about her time there as a student: "In Cranbrook, the textile workshop had eight looms placed against the windows: one of them, in the corner, would be my home for a year. There, I lived my most intimate moments of solitude; there was born my certainty about color; its strength; I felt as if I loved color as though it were something tangible. I also learned to speak in color. I remember with nostalgia that experience in which souls touched hands". At Cranbrook, de Amaral met Jim Amaral and they became close friends.

In 1955, after a year in Cranbrook, she returned to Colombia and started to make decorative textiles on commission for her architect friends. Meanwhile, Jim Amaral served in the U.S. Navy on a base in the Philippines. In 1956, Jim Amaral visited Colombia to see Olga, initially for a few weeks. They married in 1957 and settled in Bogotá. They had two children, Diego and Andrea, and started a workshop for handwoven textiles. During that period, Jack Lenor Larsen visited Colombia and the Amaral's workshop. He expressed interest in Olga's tapestries. Their professional and artistic relationship became crucial in projecting her work into the international world of contemporary tapestry. In 1965, de Amaral founded and taught at the Textile Department at the University of Los Andes (Colombia) in Bogotá.

In 1966-1967 the Amaral family lived in New York. There, Olga de Amaral met Eileen Vanderbilt from the World Crafts Council and became the Council's Colombian representative. With Larsen's collaboration, Olga de Amaral displayed her tapestries in New York City (during a 1967 solo exhibition in Larsen's New York showroom), and taught at Penland School of Crafts in North Carolina and at Haystack Mountain School of Crafts in Maine. After returning to Colombia, the Amarals travelled to Popayán and Tierradentro region with its must-see San Agustín. Later Olga visited Peru as the WCC representative. On a rapid visit to Ireland to participate in a WCC conference, Olga met Lucie Rie, a British ceramist who inspired her to incorporate gold into the tapestries. At the beginning of the seventies, the Amarals moved to Barcelona and then to Paris. They visited Greece, Italy, the Netherlands, Belgium, Switzerland, Sweden, and England. They made contacts with the centres of European art. They lived for a time in Europe, then returned to Bogotá, visited different areas of Colombia, and then went back to France, amid exhibits, work, and new friendships. Another important journey for the artist was her travel to Japan.

Art
"I am not familiar with current tendencies in textile design. It seems to me that those who weave artistically base themselves only partially on fiber craft, which in my opinion, makes no sense. I consider that one must base oneself on precision, on mathematics, on color theory. What is woven, does not occur by chance, but totally the opposite - it is very calculated. I can't do that because I am not trained and because I am in the midst of an abstraction. Finally, my work is nothing more than my way of telling how I feel about life, about the soul of things." –Olga de Amaral

From the beginning, Olga de Amaral's art has been driven by the creation of works that redefine our notions of unity, concept, representation, and personal expression. de Amaral explores and revisits ideas, techniques, and processes, looking for subtle and intricate variations within her own artistic process. She is an important figure among a globally dispersed group of artists who are deconstructing and rethinking the structure, surface, and support of painting by adding sculptural dimensions and atypical materials. Her work takes the elements of painting off the stretcher and into space, approaching the problem of the superposition, of layering in a painting form the point of view of the material itself – the painting's support, the canvas, the fabric or texture.

At first categorised as two dimensional, representational wall hangings, in the late 1960s her works entered the genres of sculpture, installation, abstract and conceptual art:

"De Amaral's art deftly bridges myriad craft traditions; it's concerned with process and materiality, with the principles of formalism, abstraction and metaphysicality. The artist has developed a distinct voice in her field through her command of conventional techniques for constructing textile objects while progressively pushing the boundaries of orthodox understanding of how textiles work as objects in space. She has gradually moved fabric-based works beyond the category of woven tapestry - one that privileges flatness, adherence to the wall, pictorials, and an obsession with the organic and the physical properties of materials - into a more conceptual practice that embraces strategies otherwise found in painting, sculpture, and architecture."

The way the artist incorporates the materials, natural and man-made fibres, paint, gesso, and precious metals (gold and silver leaf mostly), through the handcraft, artisanal process and techniques, reference Colombia's pre-Hispanic art, indigenous weaving traditions, and the Spanish Colonial Baroque legacy, brought to the New World by the Catholic colonists. As Twylene Moyer indicated, this inspiration is "a true mestizaje, or mixing of cultures." What those cultures had in common, was that they all attributed great expressive power to the visual, just as de Amaral's work embody visual and tactile content "reconnecting us to an ancient understanding and appreciation of images as presences unto themselves, capable of transcending materiality to express truth through beauty". This ability to connect the ancient and the contemporary has allowed the artist to create works on the premise that "art has the power to transcend representation and embody spiritual and emotional values through form. (...) Her tapestries are nothing less than meditations on the illusive nature of meaning."

Thread, color and light determine the visual and metaphorical aspect of de Amaral's works. "I began to work with fiber by coincidence - a sought coincidence - and have continued with it because it has never disappointed me. As I get to know it better, the better it knows me. In briefer words, it has never stopped arousing my curiosity. Fiber is like an old pencil: one has used it for so long that you take it for granted. I am made of fiber because I have embraced it and because I know it". Olga de Amaral on color: "When I think about color, when I touch color, when I live color - the intimate exaltation of my being, my other self - I fly, I feel as another, there is always another being next to me."

de Amaral's art is most often interpreted through the themes of architecture, mathematics, and socio-cultural dichotomies in Colombia, but mostly landscape: "Fascinated by the shapes of rocks, streams, hills, mountains, and clouds, she finds inspiration in the broken textures and movements of the landscapes surrounding her home in Bogotá. From the geometric designs of medieval cosmological diagrams to the grids of Mondrian, harmonious symmetry of form has alluded to and partaken of perfection and the absolute." Her oeuvre is characterized by various series, each with a particular essence or technique that encompass a plethora of intricate variations developed throughout her career. The titles of de Amaral's numerous series reveal the themes behind her weavings: Alchemies, Moonbaskets, Lost Images, Ceremonial Cloths, Writings, Forests, Rivers, Mountains, Moons, Square Suns, Umbras, Stelae, etc. As Amparo Osorio pointed out, "much of poetry (...) emerges from these images in movement, whose titling (…) is another referent for us to achieve an understanding of this recondite sense, of that desire to say in the language of symbols all that is beyond words."

Early work from the 1960s
The early period of de Amaral's oeuvre is characterised by visually relatively traditional tapestries, but already presenting the search for an individual language through formal experimentations. Since the mid60s, she worked mostly with hand-spun wool, cotton, linen, and dyes. Vivid colors and bold combinations and the exploration of the structure and edges of weaving characterize some of her small scale early work of this period. The geometric conception and composition of these works reveal a profound awareness and understanding of the modern artistic tendencies of the time, bringing to mind the De Stijl abstraction current among others.
In 1966 the Amarals were invited by Miguel Arroyo to show their work at the Fine Arts Museum in Caracas, Venezuela. It was the first solo show by Olga de Amaral outside her native country. In 1967 Olga presented her work for the first time at the prominent Lausanne Biennale in Switzerland, the first out of six later appearances at that event. In 1969 Olga de Amaral took part in a collective exhibition of 27 fiber artists at MoMA New York entitled "Wall Hangings". It was an international exhibition curated by an architecture and design curator Mildred Constantine organised with Jack Lenor Larsen and presented not in the architecture and design lobby as usual for the fiber artists, but in the art section of MoMA, that up until then was reserved only for painting or sculpture. This was the importance of that exhibition - it addressed the transformations in the medium of fiber art, noted differences between the continents and anticipated the experimentation to come.

In the late 60's, with the creation of the piece Entrelazado en naranja, gris, multicolor (1969), de Amaral eventually "exploded the picture plane from inside out". At the end of this period, the artist left the fundamental concept of fabric weaving (the opposition between warp and weft), by leaving only the warp (in the form of braiding) and letting it float freely. The full form or volume stressed in the composition of the pieces from this period, make them look almost like thread sculptures. However, after this period of pushing the art of weaving to its boundaries, in the next decade, the issue of the flat surface will emerge again in de Amaral's art. Olga's massive hangings called Muros tejidos (Woven Walls), solid bulwarks built from stiff wool and horsehair, debuted at a solo exhibit at the Museum of Contemporary Crafts in New York in 1970. In 1971 Olga took part in an exhibition "Deliberate Entanglements" at the University of California, Los Angeles organised by its art professor Bernard Kester. It showed American and Eastern European fiber art for the first time in Southern California. It reflected the era's revolutionary fiber sculpture, particularly its tendency towards monumentality. "When I started to show my work in Europe and the USA, it was considered art, not crafts. And it was then that I realised that it was not the weaving, but the visual quality that now mattered in my creations."

The shift from crafts to fine art in the 1970s
In the 1970s Olga de Amaral started the following series: Muros, Corazas, Hojarascas, Marañas, Estructuras, Fragmentos completos, the Calicanto series, Farallones and Eslabones. "From the beginning of her career in the 1960s, certainly from the Muros and Hojarascas of the 1970s, Amaral had made it clear that the debate over whether weaving was art or craft would be, in her case at least, moot. From the onset, there has been a distinct sense in her work that it could, and did, embody important ideas and reflections of an existential and historical character".

The Muros
The Walls was the first series where the artist started to take more risks that led her to break with predictable geometric patterns and replace them by rhythms that for the first time engaged the eye into the work. The inclusion of the viewer in the experience, together with the growing dimensions of de Amaral's works, marked a threshold in the artist's career and put her on the international fine arts map: "(…) in the late 1960s through the mid-70s (…) fiber artists became more attentive to the shape and dimensions of the architectural context and the phenomenological experience of the viewer.(…) So when a work like Olga de Amaral's six-story El Gran Muro was installed in 1976 in the lobby of the Westin Peachtree Plaza in Atlanta, the wall functioned less as a backdrop or frame than a determinant of the wool-and-horsehair tapestry's monumental, vertical form".

The Fragmentos Completos
During her stay in Paris in the early 1970s, living in small spaces, Olga created a series of small pieces entitled Complete Fragments (1975). In this series the artist used gold for the first time, playing and experimenting with it. She also started to paint fibres with acrylic paint and gesso to obtain colors directly on the finished woven piece in order to dissolve the geometry imposed by the rigid structure of warp and weft. These poetic sketches were shown at the Rivolta Gallery in Lausanne, Switzerland. This technical innovation gave the artist much more freedom with the final surfaces of the works than the color-dyed fibres. It also moved her tapestries from the "crafts" to the "fine-arts" category. "Color is language common to all cultures. Color helps me to distance myself from the surface to add different meanings to the tapestry." The Fragments begin a period of mostly monochromatic works culminating with the Calicanto series.

The Calicanto series
The title of the series refers to the stones used for building. The series includes the works Vestiduras de Calicanto, Paredes de Calicanto and Paisajes de calicanto and has been started in 1977. The pieces in this series are larger weavings in grass, light earth tones and sandy hues.

The new materials of the 1980s
This period is characterized by enthusiastic experimentation and the introduction of new materials. During her visit to Japan for an exhibition at the National Museum of Modern Art in Kyoto, de Amaral begins to explore the use of gold and gesso inspired by Kintsugi, the Japanese art of repairing broken pottery with gold. Her exploration of gold as a material and as a color begins. She also continues to explore the possibilities of structure. Light and air filtering through woven constructions become major players. In the 1980s Olga de Amaral started the following series: Riscos, Tejidos policromos, Tierras, Tablas, Entornos, Cestas lunares, Lienzos ceremoniales, Alquimias and Montañas.

The Riscos
The title of this series alludes to cliffs. The segmented vertical bands also make allusion to the Inca quipus (khipus/talking knots) - recording devices used to collect data and keep records of time and chores. The quipus were made of colourful threads or cotton/fiber strings. The pieces in the Riscos series are mostly rectangular forms and in contrast with the vertical chained, undulated braids that hang from top to bottom, they create a sense of movement, a nearly kinetic effect. In terms of style the organic effects resemble much a living form, but the works in this series are strictly conceptual - based on the possibilities and changes in fiber structure.

The Lienzos Ceremoniales
The series Ceremonial Cloths was started in 1986 and continued through 1998. The title refers to ceremonial garments. Each piece in this series is "infused" with strong, deep color that emerges from the unified background surface. This series explores the way in which images emerge from a woven surface and the creation of a sense of depth. The superpositions of layers of thread create an aerial interplay of light that connects this series with Op Art's artistic problems.

The Cestas lunares
The Moonbaskets explore the same problems as the Ceremonial Cloths - the depth and the abstract colourful images. Each piece within its unique composition studies textural and chromatic shifts on the woven surfaces (each cotton fiber is coated with gesso and paint), where the geometric images emerge  - the circle of sun and moon, the arc and swirl of energies and water. The pieces from this series express feelings that arose when the artist saw the baskets made by the Yanomami, a tribe on the border between Venezuela and Brazil, also known as the Children of the Moon. This tribe creates straw baskets with circular decoration that the artist saw as a unification of the mind and the moon they worship. This inspiration can be seen in the plaiting of the Moonbaskets.

The Alquimias
On a rapid visit to Ireland to participate in a World Craft Council conference in 1970, on her way back to Colombia, Olga passed by Lucie Rie's studio in London (she met the British ceramist at the conference). She inspired her to incorporate gold into tapestries: "That afternoon in London I noticed a break in a ceramic vase. Lucy Rie explained to me that the breakage didn't exist for her because she transformed the piece when she mended it with gold leaf, as do the Japanese when prized porcelain breaks. The concept touched me in some mysterious place of my mind". The Alchemies series, started in 1983/84 and ongoing, was the first series made entirely with gold leaf, which the artist considered, just as the alchemists did, as a symbol of knowledge. The pieces from this series are rectangular mini "canvases" made out of cotton and prepared with white-washed gesso to be covered with acrylic paint and gold/silver leaf. After experimenting with the large scale, Olga de Amaral wanted to return to a human scale. The first 13 works in the series are based on the proportion of the human figure and inspired by the ancestral culture of Peru - its objects and science, especially mathematics. Also, when the artists visited the village of Barichara in northern Colombia, the architectural landscape of that beautiful town inspired the materials and colors used in the first pieces in the series too - clay-colored linen predominantly with white, gold and blue tones. Gold has played an important role both in various Native American cultures and in the Catholic religion. The artist realised that the application of gold made the weaving appear heavy and flexible, a quality she was looking for after the early large scale weavings that had an architectural and sculptural intention. Unlike those massive constructions woven with heavy fibres such as horsehair and coarse hand-spun wool, the Alchemies are more concerned with how surfaces, textures and finishes transform the space they occupy or contain. The pieces from this series hang in a vertical, gravitational way and separated from the wall, as if they were living in their own unique space. The effect, the atmospheres they create when hung together are similar to when you enter a colonial church or the burial chambers of pre-Columbian cultures. "It has always been my desire to induce a (…) state of silence in the places where I install my pieces."

Fiber as canvas. The 1990s
In the 1990s Olga de Amaral started the following series: Vesitigios, Ríos, Puertas, Pueblos, Cajas, Umbras, Bosques, Segmentos, Mementos, Imágenes perdidas, Entornos quietos, Sombras, Lunas, Paisajes heredados, Estelas and the series Prosa and Soles cuadrados.

The Umbras
The title refers either to the area of the shadow of an eclipse or the dark center of a sunspot. Although the pieces in this series are rigid and immobile structures, they create vibrant, visually fluid surfaces through the use of silver or gold leaf that shade or reflect light. Together with the way the woven strands bend, the effect of each piece of this series is undefinable. Another particularity of this is series is bound to the outside and inside in the process of weaving. "In the Umbras the reverse is always the hidden layer. The back of each strand supports the color that the face reflects, and the entire back is the skeleton of the visible surface."

The Bosques
This series consists of diptychs whose rigor of surface departs radically from the abundance of the previous decade of Amaral's work. Bridging the spaces is a square or a rectangle, in some cases with a shift in color but not in form. The geometric forms seem to be in movement from one plane to another.

The Estelas
In the series of the Estelas started in 1996, just like with the Umbras, the inside and outside again came to the artist's consideration. The title refers to the Spanish word estrella that stands for star and "es tela" that stands for "is [made of] fabric". Olga de Amaral has always considered the back of her pieces as a side to experiment, but in this series she decided to work on both sides as equal. The front of the Stelae is luminous gold and the back dark silver, still maintaining the vestiges of the original experimental function of this side. "I think of them as stones full of space, each one a presence full of secrets. Many together, like mounds of stones or rocks, point to an answer, an unknown order, a hidden history". These pieces gained a three-dimensional character as they are always exhibited suspended from the ceiling at different elevations and angles and in a group, with each side (golden or silver) facing in one direction. The effect of these pieces is contradictory - being both solid surfaces, bringing the solidity of the ruins of past civilisations, and at the same time floating and immutable. The Stelae were shown at Galería Diners in Bogotá and in museums in the United States and Europe in 1999.

2000-2010 and recent work
After the year 2000 Olga de Amaral started the following series: Ombríos, Mapas, Escritos, Aguas/Aquas, Glyphs, Alforjas, Espejos, Piedras, Stratas, Nudos, Memorias, Policromos, Entre ríos, Pozos azules, the series Sol rojo, Árboles, Brumas, Dos mitades, Moyas, Nébulas, Fósiles, Núcleos, Rocas, Minutas, Improntas and Lienzos.

Collections
de Amaral;s work is in the collection of the Art Institute of Chicago, the Cleveland Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the Smithsonian American Art Museum, and the Tate.

de Amaral's work, Montaña #13, was acquired by the Smithsonian American Art Museum as part of the Renwick Gallery's 50th Anniversary Campaign.

Awards and recognitions
 1973 Guggenheim Fellowship, New York, USA.
 2010 Member of the Academia Nacional de Bellas Artes in Buenos Aires, Argentina.
 2011 Honoree of the Multicultural Benefit Gala at the Metropolitan Museum of Art, New York, USA.

References

External links

 Video, The House of My Imagination
 Video from the exhibition at Latin American Masters in 2012.
 Video from the exhibition in London in 2013.
 Video from the exhibition "Color Sombra" in Galería La Cometa in Bogotá, Colombia.
 "Form and Fiber: Olga de Amaral's Textiles Weave Craft with Abstraction", 2016 article on Phillips.com.

1932 births
Living people
20th-century women textile artists
20th-century textile artists
20th-century Colombian women artists
21st-century women textile artists
21st-century textile artists
21st-century Colombian women artists
Cranbrook Academy of Art alumni
Colombian weavers
Colombian expatriates in the United States

Olga de Amaral


Walter Harold Nagle [Lucky] (March 10, 1880 – May 26, 1971) was a pitcher in Major League Baseball who played for the Pittsburgh Pirates and Boston Red Sox during the  season. Listed at , 176 lb., Nagle batted and threw right-handed. He was born in Santa Rosa, California.

In one season career, Nagle posted a 5–3 record with a 3.48 ERA in 13 appearances, including four starts, one complete game, one save, 23 strikeouts, 12 walks, 60 hits allowed, and 54⅓ innings of work.  He later was player/manager of the San Jose Bears in the California State League in 1913.

Nagle wrote a book, titled Five Straight Errors On Ladies Day, about his life experiences including his friendship with baseball legend Ty Cobb.

Nagle died at the age of 91 in his homeland of Santa Rosa, California. (obit in "Santa Rosa Recorder", 27 May 1971)

External links
Baseball Reference
Retrosheet

Boston Red Sox players
Pittsburgh Pirates players
Major League Baseball pitchers
Baseball players from California
1880 births
1971 deaths
Minor league baseball managers
Oakland Commuters players
San Francisco (minor league baseball) players
Fresno (minor league baseball) players
Los Angeles Angels (minor league) players
Stockton Millers players
San Jose Bears players

Judge Nagle