Lucius Junius Gallio Annaeanus or Gallio (, Galliōn; c. 5 BC – c. AD 65) was a Roman senator and brother of the famous writer Seneca. He is best known for dismissing an accusation brought against Paul the Apostle in Corinth.

Life
Gallio (originally named Lucius Annaeus Novatus), the son of the rhetorician Seneca the Elder and the elder brother of Seneca the Younger, was born in Corduba (Cordova) c. 5 BC. He was adopted by Lucius Junius Gallio, a rhetorician of some repute, from whom he took the name of Junius Gallio. His brother Seneca, who dedicated to him the treatises De Ira and De Vita Beata, speaks of the charm of his disposition, also alluded to by the poet Statius (Silvae, ii.7, 32). It is probable that he was banished to Corsica with his brother, and that they returned together to Rome when Agrippina selected Seneca to be tutor to Nero. Towards the close of the reign of Claudius, Gallio was proconsul of the newly constituted senatorial province of Achaea, but seems to have been compelled by ill-health to resign the post within a few years. He was referred to by Claudius as "my friend and proconsul" in the Delphi Inscription, around 52.

Gallio was a suffect or replacement consul in the mid-50s, and Cassius Dio records that he introduced Nero's performances. Not long after the death of his brother, Seneca, Gallio (according to Tacitus, Ann. 15.73) was attacked in the Senate by Salienus Clemens, who accused him of being a "parricide and public enemy", though the Senate unanimously appealed to Salienus not to profit "from public misfortunes to satisfy a private animosity". He did not survive this reprieve long. When his second brother, Annaeus Mela, opened his veins after being accused of involvement in a conspiracy (Tacitus, Ann. 16.17), Gallio seems to have committed suicide, perhaps under instruction in 65 AD.

Gallio and Paul the Apostle
According to the Acts of the Apostles, when Gallio was proconsul of Achaea, Paul the Apostle was brought in front of him by the Jews of Corinth with the accusation of having violated Mosaic Law. This action was presumably headed by Sosthenes, a ruler of the local synagogue. Gallio, however, was indifferent towards religious disputes between the Jews and Jewish Christians; therefore, he dismissed the charges against Paul (denegatio actionis) and had both him and the Jews removed from the Court. As this was being done, Sosthenes was beaten, but Gallio did not intervene (Acts 18:12-17).

Gallio's tenure can be fairly accurately dated to between AD 51–52. Therefore, the events of Acts 18 can be dated to this period. This is significant because it is the most accurately known date in the life of Paul.

See also
 Junia (gens)
List of biblical figures identified in extra-biblical sources
 Delphi Inscription

References

Resources
 Ancient sources: Tacitus, Annals, xv.73; Dio Cassius, lx.35, lxii.25.
 Bruce Winter, "Rehabilitating Gallio and his Judgement in Acts 18:14-15", Tyndale Bulletin 57.2 (2006) 291–308.
 Sir W. M. Ramsay, St Paul the Traveller, pp. 257–261

 An interesting reconstruction is given by Anatole France in Sur la pierre blanche.
 F. L. Lucas's story "The Hydra (A.D. 53)" in The Woman Clothed with the Sun, and other stories (Cassell, London, 1937; Simon & Schuster, N.Y., 1938) focuses on Gallio at the time of Paul's trial. "A Greek trader, a chance acquaintance of Judas Iscariot, comes to tell the Roman Governor of Corinth 'the real truth about this religious quarrel among the Jews', but is dissuaded by the tolerant old man from taking risks for Truth" (Time and Tide, August 14, 1937).
 Rudyard Kipling's Gallio's Song

External links
 Gallio at Bible Study
 Paul's Trial Before Gallio A summary of the historical evidence.
 The Gallio Inscription Greek text and English translation.

5 BC births
65 deaths
1st-century Romans
Ancient Roman adoptees
Suicides in Ancient Rome
Annaei
Gallio, Annaeus, Lucius
People in Acts of the Apostles
Roman governors of Achaia
Romans from Hispania
Suffect consuls of Imperial Rome

Lucius Junius Gallio Annaeanus


Priory Park is an urban park located in the centre of Warwick, England. Originally the land was the grounds of a 12th-century priory dedicated to St Sepulchre and built in 1124 but this was closed down by King Henry VIII during the dissolution of the Monasteries. It was then destroyed and a residential home was built in 1566 by a man named Thomas Fisher known as Hawkins. In the 17th century, the estate was owned by Sir Thomas Puckering, 1st Baronet and his heirs, including Sir Henry Puckering, 3rd Baronet who was MP for Warwickshire and then the borough of Warwick.

By 1850 the property had been taken over by the famous Warwickshire family, the Wises. During that year the Great Western Railway company were allowed to build an embankment to extend the line to Warwick station which was built in 1852 at the north-east of the estate. In 1926 Alexander W. Weddell, an American diplomat and his wife Virginia, a wealthy woman in her own right, purchased the property after seeing the advertisement that Priory House was to be demolished.  They bought the house and shipped several thousand tons of the  stones and other materials for the building of Virginia House, Richmond, Virginia in 1928.  They signed the house to the Virginia Historical Society who still maintain it today.  http://www.vahistorical.org/your-visit/virginia-house

The estate now is owned and managed by Warwick District council and is a public park. (Part of the park is owned by Warwickshire County Council but managed by WDC)  There is very little evidence of the previous buildings in existence. In 1958 and 1979 there were international scout gatherings at the park and a plaque by one of the paths commemorates this.  The AMIKARO referred to on the plaque means Friendship in Esperanto.  Seven trees were planted, although 3 of these have since died and replaced in 2012, to spell AMIKARO.

In the 1970s Warwickshire County Council moved its record offices to the eastern part of the estate into a purpose built building. The public park area is composed of unimproved grass areas that are cut but not landscaped and there are many clumps of trees to explore. Until the late 1990s there was a small children's play area in the middle but this was removed. The nearest play area can be found a minute's walk north west from the park under the railway bridge in a smaller  park called Priory Pools. Because there are many burrows around the park European rabbits are a common sight, even to the casual observer. The total public area of the main park currently stands at 28.7 acres.

Famous artists have visited the park; Canaletto in the 1740s  and in 1809 John Constable made a sketch.
A painting by a Pre-Raphaelite artist John Brett was auctioned in 2018.

A free leaflet has been published which is both a nature and history walk around the Park and Priory Pools.  Available at Warwick Tourist Information Centre, Jury Street, Warwick (with effect from February 2016) and also online.

References

Urban public parks in the United Kingdom
Warwick
Christian monasteries established in the 12th century
1124 establishments in England
Parks and open spaces in Warwickshire

Priory Park, Warwick


Giovanni Gabrieli (/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Biography
Gabrieli was born in Venice. He was one of five children, and his father came from the region of Carnia and went to Venice shortly before Giovanni's birth. While not much is known about Giovanni's early life, he probably studied with his uncle, the composer Andrea Gabrieli, who was employed at St Mark's Basilica from the 1560s until his death in 1585. Giovanni may indeed have been brought up by his uncle, as is implied by the dedication to his 1587 book of concerti, in which he described himself as "little less than a son" to his uncle.

Giovanni also went to Munich to study with the renowned Orlando de Lassus at the court of Duke Albert V; most likely he stayed there until about 1579. Lassus was to be one of the principal influences on the development of his musical style.

By 1584 he had returned to Venice, where he became principal organist at St Mark's Basilica in 1585, after Claudio Merulo left the post; following his uncle's death the following year he took the post of principal composer as well. Also after his uncle's death, he began editing much of the older man's music, which would otherwise have been lost; Andrea evidently had had little inclination to publish his own music, but Giovanni's opinion of it was sufficiently high that he devoted much of his own time to compiling and editing it for publication.

Gabrieli's career rose further when he took the additional post of organist at the Scuola Grande di San Rocco, another post he retained for his entire life. San Rocco was the most prestigious and wealthy of all the Venetian confraternities, and second only to San Marco itself in the splendour of its musical establishment. Some of the most renowned singers and instrumentalists in Italy performed there and a vivid description of its musical activity survives in the travel memoirs of the English writer Thomas Coryat. Much of his music was written specifically for that location, although he probably composed even more for San Marco.

San Marco had a long tradition of musical excellence and Gabrieli's work there made him one of the most noted composers in Europe. The vogue that began with his influential volume Sacrae symphoniae (1597) was such that composers from all over Europe, especially from Germany, came to Venice to study. Evidently, he also instructed his new pupils to study the madrigals being written in Italy, so not only did they carry back the grand Venetian polychoral style to their home countries, but also the more intimate style of madrigals; Heinrich Schütz and others helped transport the transitional early Baroque music north to Germany, a trend that decisively affected subsequent music history. The productions of the German Baroque, culminating in the music of J.S. Bach, were founded on this strong tradition, which had its roots in Venice.

Gabrieli was increasingly ill after about 1606, at which time church authorities began to appoint deputies to take over duties he could no longer perform. He died in 1612 in Venice, of complications from a kidney stone.

Music and style

Though Gabrieli composed in many of the forms current at the time, he preferred sacred vocal and instrumental music. All of his secular vocal music is relatively early in his career; he never wrote lighter forms, such as dances; and later he concentrated on sacred vocal and instrumental music that exploited sonority for maximum effect. Among the innovations credited to him – and while he was not always the first to use them, he was the most famous of his period to do so – were dynamics; specifically notated instrumentation (as in the famous Sonata pian' e forte); and massive forces arrayed in multiple, spatially separated groups, an idea which was to be the genesis of the Baroque concertato style, and which spread quickly to northern Europe, both by the report of visitors to Venice and by Gabrieli's students, which included Hans Leo Hassler and Heinrich Schütz.

Like composers before and after him, he would use the unusual layout of the San Marco church, with its two choir lofts facing each other, to create striking spatial effects. Most of his pieces are written so that a choir or instrumental group will first be heard on one side, followed by a response from the musicians on the other side; often there was a third group situated on a stage near the main altar in the centre of the church. While this polychoral style had been extant for decades (Adrian Willaert may have made use of it first, at least in Venice), Gabrieli pioneered the use of carefully specified groups of instruments and singers, with precise directions for instrumentation, and in more than two groups. The acoustics were and are such in the church that instruments, correctly positioned, could be heard with perfect clarity at distant points. Thus instrumentation which looks strange on paper, for instance, a single string player set against a large group of brass instruments, can be made to sound, in San Marco, in perfect balance. A fine example of these techniques can be seen in the scoring of In Ecclesiis.

Gabrieli's first motets were published alongside his uncle Andrea's compositions in his 1587 volume of Concerti. These pieces show much influence of his uncle's style in the use of dialogue and echo effects. There are low and high choirs and the difference between their pitches is marked by the use of instrumental accompaniment. The motets published in Giovanni's 1597 Sacrae Symphoniae seem to move away from this technique of close antiphony towards a model in which musical material is not simply echoed, but developed by successive choral entries. Some motets, such as Omnes Gentes developed the model almost to its limits. In these motets, instruments are an integral part of the performance, and only the choirs marked "Capella" are to be performed by singers for each part.

There seems to be a distinct change in Gabrieli's style after 1605, the year of publication of Monteverdi's Quinto libro di madrigali, and Gabrieli's compositions are in a much more homophonic style as a result. There are sections purely for instruments – called "Sinfonia" – and small sections for soloists singing florid lines, accompanied simply by a basso continuo. "Alleluia" refrains provide refrains within the structure, forming rondo patterns in the motets, with close dialogue between choirs and soloists. In particular, one of his best-known pieces, In Ecclesiis, is a showcase of such polychoral techniques, making use of four separate groups of instrumental and singing performers, underpinned by the omnipresent organ and continuo.

Works

Concerti (1587)
'Concerti di Andrea, et di Giovanni Gabrieli, organisti della Serenissima Signori di Venetia': A collection of 77 works, the majority of which are by the uncle, Andrea Gabrieli, but also containing some of the younger Gabrieli's polychoral motets.
9.) 	Inclina Domine aurem a 6
19.) 	Ego dixi Domine a 7
33.) 	O magnum mysterium a 8
37.) 	Deus meus ad te de luce a 10
40.) 	Angelus ad pastores ait a 12
77.) 	Sacri di Giove augei a 12

Sacrae Symphoniae (1597)
A collection of: 45 motets for 6, 7, 8, 10, 12, 14, 15 or 16 voices; 14 canzonas in 8, 10, 12 or 15 musical lines; and two sonatas, one in 8 musical lines, the other in 12.
 Motet "Cantate Domino" a 6, Ch.6
 Exaudi Domine, justitiam meam, Ch.7
 Motet "Beata es virgo Maria" a 6, Ch.8
 Motet "Miserere mei Deus" (Psalm 51) a 6, Ch.9
 O quam suavis est, Domine, Ch.10
 Benedixisti Domine terram tuam, Ch.11
 Motet "Exaudi Deus orationem meam" (Psalm 55) a 7, Ch.12
 Motet "Sancta Maria succurre miseris" a 7, Ch.13
 O Domine Jesu Christe, Ch.14
 Domine exaudi orationem meam, Ch.15
 Jubilate Deo, omnis terr, Ch.16
 Misericordias Domin, Ch.17
 Beati immaculati, Ch.18
 Laudate nomen Domini, Ch.19
 Jam non-dicam vos servos, Ch.20
 Beati omnes, Ch.21
 Domine, Dominus noster, Ch.22
 Angelus Domini descendit, Ch.23
 Motet "O Jesu mi dulcissime" a 8, Ch.24
 Motet "Sancta et immaculata virginitas" a 8, Ch.25
 Diligam te, Domine, Ch.26
 Exultate justi in Domino, Ch.27
 Hoc tegitur, Ch.28
 Ego sum qui sum, Ch.29
 In te Domine speravi, Ch.30
 Jubilemus singuli, Ch.31
 Magnificat, Ch.32
 Canzon per sonar primi toni a 8, Ch.170
 Canzon per sonar septimi toni a 8, Ch.171
 Canzon per sonar septimi toni a 8, Ch.172
 Canzon per sonar noni toni a 8, Ch.173
 Canzon per sonar duodecimi toni a 8, Ch.174
 Sonata pian e forte, Ch.175
 Benedicam Dominum, Ch.33
 Domine exaudi orationem meam, Ch.34
 Motet "Maria virgo" a 10, Ch.35
 Motet "Deus qui beatum Marcum" a 10, Ch.36
 Surrexit Pastor bonus, Ch.37
 Judica me, Domine, Ch.38
 Quis est iste qui venit, Ch.39
 Motet "Hodie Christus natus est" a 10, Ch.40
 Canzon per sonar primi toni a 10, Ch.176
 Canzon per sonar duodecimi toni a 10, Ch.177
 Canzon per sonar duodecimi toni a 10, Ch.178
 Canzon per sonar duodecimi toni a 10, Ch.179
 Canzon in echo duodecimi toni à 10, Ch.180
 Canzon sudetta accommodata per concertar con l'Organo a 10, Ch.181
 Plaudite, psallite, jubilate Deo omnis terra, Ch.41
 Virtute magna, Ch.42
 Kyrie (primus), Ch.43
 Christe, Ch.44
 Kyrie (tertius), Ch.45 (Ch.43–45 are a single composition)
 Gloria, Ch.46
 Sanctus, Ch.47
 Magnificat, Ch.48
 Regina cœli, lætare, Ch.49
 Canzon per sonar septimi & octavi toni a 12, Ch.182
 Canzon per sonar noni toni a 12, Ch.183
 Sonata octavi toni a 12, Ch.184
 Nunc dimittis, Ch.50
 Jubilate Deo, omnis terra, Ch.51
 Canzon quarti toni a 15, Ch.185
 Omnes gentes plaudite manibus, Ch.52

Canzoni per sonare (1608)
A collection of 36 short works by Gabrieli, Girolamo Frescobaldi, and others. The first four and the 27th and 28th are by Gabrieli.
 Canzon (I) a 4 "La spiritata", Ch.186
 Canzon (II) a 4, Ch.187
 Canzon (III) a 4, Ch.188
 Canzon (IV) a 4, Ch.189
 Canzon (XXVII) a 8 "Fa sol la re", Ch.190
 Canzon (XXVIII) a 8 "Sol sol la sol fa mi", Ch.191

Canzoni et sonate (written nlt. 1612, publ. 1615)
Collection of 16 canzoni and 5 sonate for 3, 5, 6, 7, 8, 10, 12, 14, 15 and 22 "voci, per sonar con ogni sorte di instrumenti, con il basso per l'organo (musical parts, to sound on all sorts of instruments, with bass by means of the organ)". Published posthumously in 1615. (†)Note that numbering as published (Roman system) does not quite agree with the Charteris catalogue.
 Canzon prima (item I) a 5, Ch.195
 Canzon (II) a 6, Ch.196
 Canzon (III) a 6, Ch.197
 Canzon (IV) a 6, Ch.198
 Canzon (V) a 7, Ch.199
 Canzon (VI) a 7, Ch.200
 Canzon (VII) a 7, Ch.201
 Canzon (VIII) a 8, Ch.202
 Canzon (IX)† a 8
 Canzon (X)† a 8
 Canzon (XI)† a 8
 Canzon (XII) a 8, Ch.205
 Sonata (item XIII) a 8, Ch.206
 Canzon (item XIV) a 10, Ch.207
 Canzon (XV) a 10, Ch.208
 Canzon (XVI) a 12, Ch.209
 Canzon (XVII) a 12, Ch.210
 Sonata (item XVIII) a 14, Ch.211
 Sonata (XIX) a 15, Ch.212
 Sonata (XX) a 22, Ch.213
 Sonata (XXI) per tre violini e basso (a 4), Ch.214

Sacrae Symphoniae II (written nlt. 1612, publ. 1615)
Sacrae symphoniae Liber secundus. Published posthumously in 1615.

 Exultavit cor meum
 Congratulamini mihi
 Ego dixi Domine
 Sancta et immaculata
 O Jesu mi dulcissime
 Hodie completi sunt
 O quam suavis
 Deus in nomine tuo
 Attendite popule meus
 Cantate Domino
 Benedictus es Dominus
 Litania Beatae Mariae Virginis
 Deus Deus meus
 Vox Domini
 Iubilate Deo
 Motet "Surrexit Christus" a 11, Ch.66
 Exaudi Deus
 O gloriosa virgo
 Misericordia tua Domine
 Suscipe clementissime Deus
 Kyrie
 Sanctus
 Magnificat 12 vocum
 Confitebor tibi Domine
 Motet "Quem vidistis pastores" a 14
 Motet "In ecclesiis" a 14
 Magnificat 14 vocum
 Salvator noster
 O quam gloriosa
 Exaudi me Domine
 Magnificat 17 vocum
 Buccinate

References

Further reading
Arnold, Denis. Giovanni Gabrieli and the Music of the Venetian High Renaissance.  London: Oxford University Press, 1979.
Arnold, Denis. Monteverdi.  London, J.M. Dent & Sons Ltd, 1975.
Arnold, Denis. "Giovanni Gabrieli," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.  20 vol.  London, Macmillan Publishers Ltd., 1980.
Bartlett, Clifford & Holman, Peter. Giovanni Gabrieli: A Guide to the Performance of His Instrumental Music. In Early Music, Vol. 3, No. 1 (Jan. 1975), pp. 25–32.
Bryant, David. "Gabrieli, Giovanni." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40693 (accessed 22 September 2009).
Bukofzer, Manfred. Music in the Baroque Era. New York, W.W. Norton & Co., 1947.
Charteris, Richard. Giovanni Gabrieli (ca. 1555–1612): a Thematic Catalogue of his Music with a Guide to the Source Materials and Translations of his Vocal Texts. New York, 1996.
Grout, Donald Jay. A History of Western Music. W.W. Norton & Co., 1980.
Kenton, Egon. Life and Works of Giovanni Gabrieli. American Institute of Musicology, 1967 (Armen Carapetyen).
Ongaro, Giulio, et al. "Venice." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41311 (accessed 22 September 2009).
Reese, Gustave. Music in the Renaissance. New York, W.W. Norton & Co., 1954.
Selfridge-Field, Eleanor,Venetian Instrumental Music, from Gabrieli to Vivaldi.  New York, Dover Publications, 1994.

External links

Listen to  free recordings of songs from Umeå Akademiska Kör.

1550s births
1612 deaths
17th-century Italian composers
16th-century Venetian people
17th-century Venetian people
Renaissance composers
Venetian School (music) composers
Italian Baroque composers
Italian classical musicians
Italian male classical composers
Burials at Santo Stefano (church)
Pupils of Andrea Gabrieli
Pupils of Orlande de Lassus
17th-century male musicians

Giovanni Gabrieli


George Jones Sings is a compilation album released by George Jones in May 1957. The album didn't chart well; however, it plays many of his best early recordings.

The compilation was released in May 1957 when Starday Records was being absorbed by Mercury Records in 1957. It lists his first 6 Top 10 Country charters, including a collaboration with Jennette Hicks, and a rerecording of his very first recording from August 1956.

Background
14 Top Country Song Favorites was compiled from multiple recording sessions throughout 1955–1957. It also included songs that were previously listed on his earlier debut album. It includes Jones' very first charting track, "Why Baby Why" and a popular hit of Jones' from 1956 titled: "You Gotta Be My Baby." The album was produced by Jones' manager, and Starday Records co-founder, Pappy Daily, during a realignment of the top management jobs in Nashville, which would later result in the absorption of Starday to Mercury. During the exchange, multiple releases were made, and the label would print them as a Mercury-Starday printing.

Recording and composition
George Jones made his very first recording on January 19, 1954, with "No Money in This Deal."  This album's version was a rerecording made in August 1956. The first track was a #13 hit titled "Too Much Water" which Jones recorded on March 19, 1957, which was his very first session of Jones' held in Nashville. He later performed the song live on "The Tex Ritter Show."  "Why Baby Why" was recorded on August 27, 1955, and soon after release in September.  The song became Jones' first charting single. It would peak at #4 and remain his highest-charting single until the next year, when "Just One More," which would peak at #2 after release in September 1956. The song became one of Jones' greatest early hits, being covered by multiple artists since. "You Never Thought" was recorded in April 1957 and is the last track on the album to be recorded (ca. April 1957). "Take the Devil Out Of Me" was recorded in January 1957 alongside "Cup of Loneliness," which became his most well known gospel recording during the 1950s. "Ragged But Right" is one Jones' best known songs. Although it didn't chart, the song would become a live favorite and Jones would rerecorded it multiple times. This album's version of the song was his first rerecording of the track, from August 1956.  "All I Want to Do" was recorded in October 1956, and would later become the B-side to "Too Much Water" in April 1957.  Also in April 1957, the song "You Never Thought" was cut. Another song that appeared as a B-side to another track listed in this album was "Gonna Come Get You," released with "Just One More" in late 1956. Also during late 1956, one of Jones' biggest songs became "You Gotta Be My Baby," which Jones would perform live very often during the 1950s (including at his Grand Ole Opry debut in 1957).  It peaked at #7 soon after release in late June, 1956. "Uh, Uh, No" was the B-side to "Don't Stop the Music," recorded in October 1956, and released in January 1957.
Yearning (To Kiss You)
Jones would achieve great success recording duets with Tammy Wynette, but before this Jones recorded with Melba Montgomery and Margie Singleton in the early-mid 1960s. He collaborated with three different artists in the 1950s:  Sonny Burns in 1954, Jennette Hicks in 1956, and Virginia Spurlock in 1957.  In August 1956, he collaborated with his second artist, Jennette Hicks.  With her, Jones would record three songs, including his first charting collaboration single. Jones and Hick's song, "Yearning," peaked at #10 on the US Country chart.

Track listing
Jones would write or co-write all 14 tracks on this LP release.

1957 albums
George Jones albums
Mercury Records albums
Albums produced by Pappy Daily

George Jones Singing 14 Top Country Song Favorites


The Revolutionary War Door is an artwork by American sculptor Thomas Crawford, located on the United States Capitol House of Representatives wing east front in Washington, D.C., United States. This sculptured door was surveyed in 1993 as part of the Smithsonian's Save Outdoor Sculpture! program.

Description

These two elaborate doors consist of six panel medallions that depict activities and events during the American Revolution.

The left panel, top to bottom, depicts:

The Battle of Wyoming
The Battle of Lexington
The presentation of the flag and medal to Major General Nathanael Greene
The death of Major General Richard Montgomery

The right panel, top to bottom, depicts:

The public reading of the United States Declaration of Independence in Philadelphia
The Peace of Paris
George Washington's farewell to his officers in New York at Fraunces Tavern
Benjamin Franklin working in his studio

History
Crawford designed the doors in Rome between 1855 and 1857. Crawford died in 1857, leaving William H. Rinehart to create the models from Crawford's original sketches during the years of 1863–1867. The models were stored in the crypt of the Capitol until they were cast in 1904 and installed in 1905.

Crawford created a companion set of bronze doors for the House wing of the Capitol, the George Washington and the Revolutionary War Door.

In 1993 the door was analyzed by art conservators from the Save Outdoor Sculpture! survey program and was described as well-maintained.

See also
 List of public art in Washington, D.C., Ward 6

Further reading

Allen, William C. History of the United States Capitol: A Chronicle of Design, Construction, and Politics. Architect of the Capitol, 2001.
Wood, James M. Washington Sculpture. Johns Hopkins Press, 2008.

References

1905 establishments in Washington, D.C.
1905 sculptures
American Revolutionary War monuments and memorials
Bronze sculptures in Washington, D.C.
George Washington in art
Bronze doors
United States Capitol art
United States Declaration of Independence in art
Sculptures of men in Washington, D.C.
Cultural depictions of Benjamin Franklin

Revolutionary War Door


The 2016 presidential campaign of Ted Cruz, the junior United States Senator from Texas, was announced through social media and later event at Liberty University on March 23, 2015.  Cruz has been seen as a potential candidate for the Republican nomination for President of the United States since shortly after taking office in 2013.

Background
Leading up the 2016 presidential election cycle, commentators expressed their opinion that Cruz would run for President in 2016. On March 14, 2013, he gave the keynote speech at the 2013 Conservative Political Action Conference in Washington, D.C. He tied for 7th place in the 2013 CPAC straw poll on March 16, winning 4% of the votes cast. He performed even more strongly in the 2014 CPAC straw poll, coming in second with 11% behind Kentucky senator Rand Paul. In the 2015 CPAC poll, he came in third with 11.5% behind Wisconsin governor Scott Walker and Paul.

On April 27, 2016, Cruz named former GOP candidate and businesswoman Carly Fiorina as his running mate.

On May 3, 2016, after losing the Indiana primaries to Donald Trump, Cruz suspended his campaign.

Campaign
Cruz announced his campaign for the presidency on March 23, 2015, at Liberty University in Lynchburg, Virginia, during the student convocation. He became the first announced major Republican presidential candidate for the 2016 campaign.

In the first few months of the campaign, Cruz held campaign rallies in Tulsa, Oklahoma.

References

Cruz

Ted Cruz 2016 presidential campaign


Maria Anna Theresa Vasa (1 July 1650 - 1 August 1651), was a Polish-Lithuanian princess and a member of the House of Vasa.

Born in Warsaw, she was the eldest child and only daughter of John II Casimir Vasa, King of Poland and Grand Duke of Lithuania, by his wife Marie Louise Gonzaga.

Life
The solemn baptism of the Princess took place on 2 August 1650 in St. John's Cathedral in Warsaw, her birthplace. Sacrament was performed by Maciej Łubieński, Primate of Poland. Her godparents were Ferdinand III, Holy Roman Emperor (for whom Prince Karol Ferdynand Vasa stood proxy) and his recently new consort Eleonora Gonzaga (for whom the Princess Theodora Christine Sapieha stood proxy), and Pope Innocent X (represented by Nuncio Giovanni de Torres).

Since her birth, Maria Anna was destined to enter in the Carmelite Order, since her parents were devoted Catholics and planned this for her. Soon her preparation for this began, but she suddenly died aged thirteen months in Warsaw.

Maria Anna's funeral took place on 12 August 1651 in the Church of the Carmelite sisters in Warsaw. The little princess was buried in a carmelite habit at the great altar. Her remains were changed from location several times. In 1652, placed in a golden coffin, she was moved to Church of the Holy Spirit, and in 1663 was finally placed under the altar of the Carmelite convent in the old Kazanowski Palace, where the Charitable Center Res Sacra Miser stands today.

Ancestry

Bibliography
Z. Wdowiszewski, Genealogia Jagiellonów i Domu Wazów w Polsce, Kraków 2005, pp. 238–239.
S. Ochmann-Staniszewska, Dynastia Wazów w Polsce, Warszawa 2006, pp. 205–208, 234–239.
D. Żołądź-Strzelczyk, Dziecko w dawnej Polsce, Poznań 2007, p. 91, 234, 250.

1650 births
1651 deaths
Maria Anna
Polish princesses
Royalty who died as children
Daughters of kings

Maria Anna Vasa


John Swanwick (1760August 1, 1798) was an American merchant, poet and politician. He served in the Pennsylvania General Assembly and from 1795 to 1798 served in the United States representative from Pennsylvania in the 4th and 5th congresses.

Early life and career
Born in Liverpool, England, Swanwick and his family left England for the American colonies about 1770, settling in Caln Township in Chester County. His father was appointed as the commander of a revenue cutter, responsible for enforcing customs on the Delaware River.

In 1774, he became an apprentice to financier Robert Morris. 1781, he was appointed as the Receiver of Continental Taxes for Pennsylvania. His work for Morris later earned him a junior partnership in the firm.

While Morris trusted Swanwick at the company, he was not entirely trusted during the American Revolution or in the newly independent United States. John's father, Richard, was a staunch loyalist, which resulted in the senior Swanwick being forced to flee to New York after the British evacuation from Philadelphia, returning in 1783. In 1778, Swanwick was accused of forwarding secrets to the British via his exiled father. An investigation cleared him and Swanwick joined the second militia of the Sixth Battalion. However, even after the Revolution, he was accused of having British sympathies and wavering loyalty to the United States.

When the Bank of North America was established by Alexander Hamilton, Swanwick joins his partners, Morris and Thomas Willing in investing in the bank's shares. While Willing served as the bank's president, Swanwick ran much of the merchant operations of Willing, Morris and Swanwick.

Political career
Initially, he was not active politically, but supported the Federalist Party and the election of George Washington as President of the United States. But his allegiance began to shift toward the Democratic-Republican Party as he opposed trade policy under Hamilton and Washington that favored British interests. Hamilton's establishment of the First Bank of the United States also helped push Swanwick away from the Federalists as this new national bank threatened his own investment in the Bank of North America.

In 1792, Swanwick was elected to the Pennsylvania General Assembly on a ticket that opposed Federalist policies. This was a heavily contested seat as Federalists had hoped to ensure election of one of the own to fill William Maclay's seat in the United States Senate. In the state assembly, Swanwick chaired the Ways and Means committee, which increased his power. He supported the establishment of a state hospital, public support for schools and the end of debtors' prison. After a dispute with the Bank of North America, Swanwick pushed to re-establish the Bank of Pennsylvania. He later supported establishment of the Insurance Company of North America, which continues to exist as a unit of Chubb Limited.

In the 1794 election, Swanwick ran for the United States House of Representatives against the Federalist Thomas Fitzsimons. As a merchant, Swanwick was opposed to excise taxes, which were supported by the Federalists, however, in the Whiskey Rebellion, he broke with radical factions to support raising a militia to put down the rebellion. He considered the rebellion to be undemocratic and established himself on the side of the rule of law while still opposing the excise tax. His stance, in addition to his personal financial resources, and the unpopularity of Fitzsimmons helped him win the election by 58 votes.

Once in Congress he strongly opposed the Jay Treaty and worked to persuade Washington not to sign it. He organized demonstrations in Philadelphia and supported a move in the House to refuse to fund the money necessary to execute the treaty. The attempted failed in the house 50-49 with Frederick Muhlenberg casting the deciding vote. Swanwick then broke with the Republicans and supported construction of frigates as authorized by the Naval Act of 1794 believing that the United States should have its own Navy and should build ships domestically rather than buying them from overseas. In 1796, he defeated Edward Tilghman by 70 votes to win re-election.

In 1796, Swanwick's personal finances began a slide toward insolvency. The city of Philadelphia suffered recessions in both 1796 and 1797, which resulted in the collapse of a number of trading houses. Swanwick sought financial assistance, but received little. His former partner Thomas Willing, refused to provide debt relief and only offered loans at high rates of interest. In September 1797, he assigned much of his property to trustees in order to settle his debt and in January 1798, his library was auctioned to settle his debts.

Personal life

In addition to his work as a merchant and politician, Swanwick wrote poetry and published his works or presented them at society affairs. His Poems on Several Occasions was compiled in his final year at his home.

With an epidemic of Yellow fever in Philadelphia in 1798, Swanwick spent much of his time at home. However, he ultimately contracted the disease and died on August 1, 1798, in Philadelphia, where he was interred at St. Peter's Church.

See also

 List of United States Congress members who died in office (1790–1899)

References

The Political Graveyard

1760 births
1798 deaths
Anglican poets
American male poets
Democratic-Republican Party members of the United States House of Representatives from Pennsylvania
18th-century American poets
18th-century American male writers
Writers from Philadelphia
Politicians from Philadelphia
Poets from Pennsylvania
Burials at St. Peter's churchyard, Philadelphia
Deaths from yellow fever

John Swanwick


Dove Springs, nicknamed the "44" after the area ZIP Codes, is a neighborhood in Austin, Texas.

Sam Ramos of the Austin Chronicle stated that the unofficial boundaries of Dove Springs are William Cannon, Ben White, an area east of Dove Springs District Park, and Interstate 35. It is  from Downtown Austin.

In 2014 Joy Diaz of KUT stated that the community "had a less than desirable reputation" for a period of several decades and that it "is also one of the poorest parts of Austin."

Demographics
Diaz stated in 2014 that the population historically consisted of renters making low incomes. Of them, a large number had recently immigrated to the United States and lacked English fluency. The Texas Department of Criminal Justice (TDCJ) operates the sole Austin-area parole office at the intersection of Texas State Highway 71 and Woodward in Dove Springs, and because of that many parolees settle in the community.

Government and infrastructure
The community is within the City of Austin Franklin Park planning area with other portions in the McKinney planning area.

Education

The Austin Independent School District operates the public schools.

Elementary schools:

 Blazier Elementary School
 Houston Elementary School
 Langford Elementary School
 Palm Elementary School
 Perez Elementary School
 Rodriguez Elementary School
 Widen Elementary School

Consuelo Mendez Middle School is within Dove Springs. Two high schools serve sections of Dove Springs: Akins High School and Travis High School.

There is an area charter school called the Harmony School of Excellence, which moved into the area around 2009. As of 2014 many students are from Dove Springs and Del Valle.

Recreation
The City of Austin operates the  Dove Springs Recreation Center. The outside of the center has a nature walking trail, one swimming pool, one outdoor tennis court, one sand volleyball pit, one outdoor basketball court, three soccer fields, three baseball fields, and two outdoor tennis courts, one pavilion, and one playscape. There is a building with an arts and crafts room, a full court gymnasium, a television room and lobby, and a weight room.

References
 "The State of Dove Springs" (Archive). Wesley Center for Family and Neighborhood Development.

Reference notes

External links
 Dove Springs Relief Response (of Dove Springs Neighborhood Association)
 McCray, Dr. Talia. "Dove Springs Neighborhood Analysis: A Planning Oriented Study of Public Health & the Built Environment" (Archive). The University of Texas at Austin School of Architecture. Participants: Kate Bedford, Ana Calhoun, Andres Galindo, Sara Hammerschmidt, Lindsey Jones, Katie Mulholland, and Toshiyuki Ogura.
 Toohey, Marty. "Dove Springs residents will have a voice in Austin's new District 2". Austin American-Statesman. Sunday April 6, 2014.

Neighborhoods in Austin, Texas

Dove Springs, Austin, Texas


Josef Konstantin Beer (11 March 1862 – 27 February 1933) was a German Bohemian painter, restorer and art collector.

Biography
Beer was born on 11 March 1862 in Most, Bohemia, Austrian Empire. He left his home city in 1879 and went to Vienna, where he graduated from the School of Arts and then went to the Academy of Fine Arts. In 1886, he studied painting in Karlsruhe and the following year in Lübeck. Already during his studies he had restored some works of art from the 14th to 18th century in the Dean of Most. In 1891 he became assistant to the restoration studio of the Old Pinakothek in Munich. In 1892 he went to Budapest, where he became a leading restorer and conservator of the National Gallery. He worked and lived there until his death on 27 February 1933.

During his life, he assembled a collection of 218 paintings, which included his own works, the works of old masters and paintings by contemporaries. This collection, together with the other items in his will he bequeathed to the museum in his hometown of Most.

In 1935, an exhibition of paintings from his collection took place. In 1993, the legacy of his paintings appeared in an exhibition of European art masters of the 16th to 19th century in the collections of the Museum in Most.

Most of his works are from the period 1881–1892 during his period of studies. During his time in Budapest, he was mainly devoted to restoration work.

See also
 List of Czech painters
 List of German painters

References

1862 births
1933 deaths
People from Most (city)
German Bohemian people
Czech male painters
19th-century German painters
19th-century Czech male artists
19th-century German male artists
German male painters
20th-century German painters
20th-century Czech male artists
20th-century German male artists
Painters from Austria-Hungary
Emigrants from Austria-Hungary to Germany

Josef Konstantin Beer


Evrenos or Evrenuz (died 17 November 1417 in Yenice-i Vardar) was an Ottoman military commander. Byzantine sources mention him as Ἐβρενός, Ἀβρανέζης, Βρανέζης, Βρανεύς (?), Βρενέζ, Βρενέζης, Βρενές.

He served as a general under Süleyman Pasha, Murad I, Bayezid I, Süleyman Çelebi and Mehmed I. Legends stating that he lived for 129 years and had an incredibly long career are inaccurate. These sources of confusion may be linked to the deeds of his descendants becoming intertwined with his own achievements in historical retellings. He was also known as Gavrinos, and believed to descend from a Greek family.

Biography

Οriginally, Gazi Evrenos was a noble dignitary, a bey in the principality of Karasi, joining the Ottomans only after their conquest of the beylik in 1345. A Greek legend maintains that Evrenos' father was a certain Ornos, renegade Byzantine governor of Bursa (Prusa) who defected to the Ottomans, and then on to Karasi, after the Siege of Bursa, in 1326. Stanford J. Shaw states that Evrenos was originally a Byzantine Greek feudal prince in Anatolia who had entered Ottoman service following the capture of Bursa, converted to Islam, and later became a leading military commander under both Orhan and Murat. Joseph von Hammer regarded Evrenos as simply a Byzantine Greek convert to Islam. Peter Sugar considers the family to be of Greek origin as well. Turkish sources report that the family was of Turkish origin. However, others dismiss this, noting that the Evrenos family were certainly of non-Turkish origin.

Evrenos has led many crucial Ottoman campaigns and battles in Bulgaria, Thessaly, and Serbia. After having participated in the Ottoman conquest of Adrianopolis in 1362, Evrenos was appointed to uc beği (frontier warlord) of Thessaly. Evrenos built a hospice in Komotini following his conquest of the area in 1363. Later, Evrenos also led the conquest of Serres.

The most famous battle which of Evrenos participated in the shattering victory of the battle of Maritsa, where the 800 Ottoman warriors launched a devastating night raid where they defeated 70,000 Serbian Empire soldiers. Later, Evrenos and his Akinjis fought in the Battle of Kosovo (1389) and the Battle of Nicopolis (1396). Evrenos conquered Keşan, İpsala, Komotini, Feres, Xanthi, Maroneia, Monastir, and, in 1397, Corinth. He founded the town Yenice-i Vardar, modern Giannitsa.

Gazi Evrenos died at an advanced age in Yenice-i Vardar. He was buried in a mausoleum there in 1417. The mausoleum survives but was badly mutilated in 19th century and served for a time as an agricultural store.

Legacy

As one of the most successful Ottoman commanders, Evrenos acquired a considerable amount of wealth and founded numerous endowments (awqaf). Several monuments attributed to him survive in southeastern Europe. Of primary importance is his mausoleum, or türbe, with its accompanying epitaph in Giannitsa. A hammam of Evrenos stands to the south of the mausoleum. Two other monuments stand in Greek Thrace.

Heritage & descendants

Some argue that the name Evrenos (also Evrenuz) is not Turkish. Heath Lowry theorized that the father of Hayreddin Barbarossa perhaps was a Sipahi cavalry served under Evrenos. What is certain is that Gazi Evrenos was from Ottoman Anatolia and first appears as bey. Lapavitsas even put forward that the founder, Piranki (Prangı) Isa Bey, might've been descended from the mercenaries of the Catalan Company, who razed the coasts of Asia Minor in the early 14th century. But modern historians generally reject these views. In light of a newly discovered vâkfiye (pious endowment charter) drawn up in 1456-1457 by İsa Beğ (one of Evrenos' seven sons), it posits a new explanation for the ethnic origins of the family. In this regard it advances the hypothesis that to his contemporaries 'Evrenos' was actually known as 'Evreniz/Evrenüz' or 'Avraniz/Avranüz.' Further, according to Heath W. Lowry, that his father's actual name was Branko/Pranko Lazart, which, according to Lowry, raises the possibility of a Serbian origin for the family. Others, such as Stanford J. Shaw, Dimitri Kitsikis, Peter Sugar, Joseph Von Hammer propose a Greek origin for the family, with Shaw noting that he was a Byzantine feudal prince in Anatolia who converted to Islam and entered Ottoman service following the capture of Bursa.

Îsâ "Prangi" Bey, Evrenos' father, was, according to some sources, the son of Bozoklu Han, who joined Süleyman Pasha in his conquest of Rumelia. He is said to have been martyred in the village of Prangi (also known as Sırcık or Kırcık in Ottoman sources), a busy ferry-place on the Evros river about  east from Didymoteicho, and that his tomb was built by his son Evrenos (Evrenuz) Bey.

Gazi Evrenos Bey was father of seven sons (Khidr-shah, Isa, Suleyman, Ali, Yakub, Barak, Begdje) and several daughters.

Together with the Mihaloğulları (from the Beylik of Karasi ), Malkoçoğulları (from Serbia), Ömerli/Ömeroğlu, and the Turahanoğulları, Evrenos' descendants, the Evrenosoğulları, constitute one of the Byzantine families that effectively formed the early Ottoman warrior nobility.

References

External links
 Mausoleum of Gazi Evrenos in Giannitsa (Yenitsa), Greece.

See also
 Lala Shahin Pasha
 Çandarlı Kara Halil Hayreddin Pasha
 Umur the Lion

14th-century births
1417 deaths
Military personnel of the Ottoman Empire
People from the Ottoman Empire of Greek descent
Macedonia under the Ottoman Empire
14th-century Ottoman military personnel
15th-century Ottoman military personnel
Greek Muslims
City founders
Ottoman people of the Byzantine–Ottoman wars
People of the Ottoman Interregnum
Converts to Islam from Eastern Orthodoxy

Evrenos


Meilen District is one of the twelve districts of the German-speaking canton of Zurich, Switzerland. It lies to the south of the canton in the Pfannenstiel region, forming much of the northern shore of Lake Zurich. The district capital is the town of Meilen.

Municipalities
Meilen contains a total of eleven municipalities:

References

Districts of the canton of Zürich

Meilen District


Black Car or variant thereof, may refer to:

Music
 Black Cars (1985 album), album by Gino Vannelli
 BlackCar (2003 album), album by the eponymous British rock band 'BlackCar'
 BlackCar (rock band), British rock band

Songs
 "Black Car" (Miriam Bryant song)
 "Black Car", a song from the soundtrack album for the 2019 film Drive
 "Black Car", a song by Beach House from their 2017 album 7
 "Black Car", a song by Quintaine Americana

Vehicles
 black car, the title character of the 1977 horror film "The Car"
 "Black Car", a 1930s race car driven by St John Horsfall
 "The Black Car" (), a 2019 special edition built by Bugatti Automobiles
 Black Prince, a British 4 wheeled cyclecar
 Hackney carriage, the London black taxi cars
 black car, the call-cabs of New York City, see Taxicabs of New York City

Other uses
 black car service, a car service providing limousines
 Black Car Service, a subsidiary of Transdev

See also

 "New Black Car" (2002 song), song off the album Swim by 'July for Kings'
 "Big Black Car" (1985 song), song by 'Big Star' off the album Third/Sister Lovers
 "Big Black Car" (2006 song), song by Dave Palmer off the album Romance (Dave Palmer album)
 Big Black Car, a house improv comedy team at Peoples Improv Theater
 Hearse
 Limousine
 Black Maria police van
 U.S. G-man black Chevrolet Suburbans
 Black (disambiguation)
 Car (disambiguation)

Black Car


Franck Steve Songo'o (born 14 May 1987) is a retired professional Cameroonian footballer who played as either a forward or midfielder. His senior career had been spent primarily in the English and Spanish football league systems, and has also been capped for the Cameroon national team.

Club career

Early career
Born in the Cameroonian capital, Yaoundé, Songo'o began his youth footballing career at Spanish club Deportivo de La Coruña. Franck's father, Jacques, played for Deportivo's senior club and was part of the squad that won the 1999–2000 La Liga championship. At Deportivo, Franck was spotted by Spanish club FC Barcelona. He spent several years at Barcelona's youth facility centre, La Masia, alongside future stars Lionel Messi, Cesc Fàbregas, and Gerard Piqué. Although Songo'o did not make an immediate impact on Barça's first team, he impressed other clubs, drawing interest from the Premier League.

Portsmouth
On 31 August 2005, Songo'o signed for Portsmouth for a fee of £250,000. He made two appearances for Portsmouth in the 2005–2006 season. After several loan spells, on 13 January 2008, he made his third and final Premier League appearance for Portsmouth as a second-half substitute for Arnold Mvuemba against Sunderland while a number of Portsmouth's first eleven were away at the African Cup of Nations in Ghana. He was then loaned out again to Sheffield Wednesday and left England at the end of the season.

Loan spells
On 20 October 2006, Songo'o joined League 1 side AFC Bournemouth on a one-month loan but failed to make an impact.
On 8 March 2007, he signed with Championship club Preston North End on loan until the end of the season.

He became Neil Warnock's first signing at Crystal Palace at the end of October 2007, returning to Portsmouth in the new year.

On 7 March 2008, Songo'o joined Championship side Sheffield Wednesday on an initial one-month loan deal from his parent club. Whilst making his debut for Sheffield Wednesday he showed his wealth of trickery as he performed the rainbow kick skill to bypass two QPR defenders in the last minute of the game. He scored his first goal in English football for Wednesday, scoring a late equaliser against Stoke City.

Spain
In the summer of 2008, Songo'o joined Spanish side Real Zaragoza, where he was given the number 11 shirt. Zaragoza played well in the 2008–09 Segunda División and were promoted to La Liga. Songo'o played limited minutes for Zaragoza in the top flight and was loaned to Segunda División side Real Sociedad.

On 6 September 2010, Zaragoza terminated Songo'o's contract. He then signed for another Segunda División club, Albacete. Songo'o only made six first-team appearances for Albacete, and when the club was relegated at the end of the 2011 season, he was released.

Portland Timbers
In January and February 2012, Songo'o practiced and played as a trialist with the Portland Timbers of Major League Soccer. After assisting on four goals in four preseason games, Songo'o was signed to a contract by the Timbers on 16 February 2012. Songo'o was waived by Portland on 27 February 2013.

Greece
After a short spell with Glyfada in the Football League South, Songo'o signed for Superleague outfit PAS Giannina on 1 January 2014.

International career

France U-19
Although he was born in Cameroon, he has represented the French under-19 international team.

Cameroon national team
In 2008 Songo'o applied to FIFA for a change in nationality to allow him to play in the 2008 Beijing Olympics. The request was granted, and Songo'o was named in the Cameroon national squad for the games. He earned his first cap for Cameroon in the 2010 World Cup Qualifiers match against Cape Verde on 6 September 2008.

In November 2012, Songo'o was called up for the first time in four years. He came on as a second-half substitute in a friendly against Albania on 14 November 2012.

Personal life
The Songo'o family has raised many footballers. Franck is the son of former Cameroonian national team goalkeeper Jacques Songo'o, who featured for Spanish side Deportivo La Coruña in the late 1990s and early 2000s. His brother, Yann Songo'o, was formerly on the books of Blackburn Rovers. Near the end of his playing career it was reported that Franck Songo'o was becoming involved with several businesses in A Coruña owned by his father.

References

External links

 BBC Profile
 Cameroon change Olympic squad
 Fifa clears Songo'o for Cameroon
 Songo'o To Attend Olympics

1987 births
Living people
Footballers from Yaoundé
French sportspeople of Cameroonian descent
Cameroonian men's footballers
Cameroonian expatriate sportspeople in the United States
French men's footballers
Men's association football midfielders
Premier League players
English Football League players
Portsmouth F.C. players
AFC Bournemouth players
Preston North End F.C. players
Crystal Palace F.C. players
Sheffield Wednesday F.C. players
La Liga players
Segunda División players
Tercera División players
FC Barcelona C players
Real Zaragoza players
Real Sociedad footballers
Albacete Balompié players
Major League Soccer players
Portland Timbers players
PAS Giannina F.C. players
Cameroon men's international footballers
Footballers at the 2008 Summer Olympics
Olympic footballers for Cameroon
Cameroonian expatriate men's footballers
French expatriate men's footballers
Expatriate men's footballers in Spain
Expatriate men's footballers in England
Expatriate men's soccer players in the United States
Expatriate men's footballers in Greece
France men's youth international footballers

Franck Songo'o


Vera Frenkel  (born November 10, 1938) is a Canadian multidisciplinary artist based in Toronto. Her installations, videotapes, performances and new media projects address the forces at work in human migration, the learning and unlearning of cultural memory, and the ever-increasing bureaucratization of experience.

Vera Frenkel was born in Bratislava, Czechoslovakia, lived in England during her childhood and resided in Canada for her adult life. Frenkel graduated with a degree in Fine Arts from McGill University in 1959, then pursued further studies in Montreal under Arthur Lismer and Albert Dumouchel.

She has exhibited in solo and group shows in Canada and internationally since the early 1970s. Her work has been exhibited at Documenta IX, the Offenes Kulturhaus, Linz; the Setagaya Art Museum, Tokyo, the National Gallery of Canada, Ottawa, the Museum of Modern Art, New York, and the Biennale di Venezia.

Major exhibitions
Frenkel's solo exhibitions include the following: Likely Stories: Text/Image/Sound Works for Video and Installation (Agnes Etherington Art Centre, Kingston, Ontario, 1982); Raincoats, Suitcases, Palms (Art Gallery of York University, Toronto, 1993); from the Transit Bar (Museum Fridericianum, Kassel, The Power Plant Contemporary Art Gallery, Toronto, 1994–95, and National Gallery of Canada, 1996); and Body Missing (Offenes Kulturhaus, Linz, Austria 1996; Gesellschaft für Aktuelle Kunst, Bremen, Germany, 1996–97). In recent years, Frenkel has exhibited her works at Centre Culturel Canadien (Paris, 2002) and the Freud Museum (London, UK, 2003). Between November 15 and December 28, 2014, the Museum of Contemporary Canadian Art presented Ways of Telling, an exhibition presenting Frenkel's work from the early 1970s to present, including her more recent works. ONCE NEAR WATER: Notes from the Scaffolding Archive (2008) and The Blue Train (2012–2014). The exhibit was curated by the National Gallery of Canada's Associate Curator, Contemporary Art, Jonathan Shaughnessy.

Some examples of Frenkel's group exhibitions include the following: OKanada (Akademie der Künste, Berlin, 1982–83); Vestiges of Empire (Camden Arts Centre, London, UK, 1984); Rebel Girls: A Survey of Canadian Feminist Videotapes 1974-1988 (National Gallery of Canada, Ottawa, Canada, 1989);...from the Transit Bar (Documenta IX, Kassel, Germany, 1992); Shifting Paradigms (Bucharest, 1994); Beyond National Identities (Tokyo, Kyoto, and Sapporo, Japan, 1995); and Archival Dialogues: Reading the Black Star Collection (Toronto, Ontario, Canada, 2012).

Work
In 1974, Frenkel worked with the Bell Canada Teleconferencing Studios to produce the work String Games: Improvisations for Inter-City Video, the first artwork in Canada to use telecommunications technologies. This was an early work of Internet art.

One of Frenkel's major works, ...from the Transit Bar (1992), is a multi-media installation with a functioning bar and video monitors playing individuals testimonials recounting themes such as exile, translation and cultural migration. It was a collaboration between the National Gallery of Canada and The Power Plant. It was initially exhibited in 1992 at documenta IX in Kassel, Germany, toured Europe in the 1990s and has been most recently re-exhibited at the National Gallery of Canada in the spring and summer of 2014.

ONCE NEAR WATER: Notes from the Scaffolding Archive (2008) is a videotape about a city cut off from its lake and uses the scaffolding as a metaphor for both aspiration and loss. In the opening lines, its voice over narrative discusses the lake and sets the stage for the piece.  According to the artist's website, "This report is about a lake, and about longing. Also about greed, and about ways of bearing witness. I don't know the whole story, one never does."

Awards and honours
Frenkel is recipient of the 1989 Canada Council Molson Prize, the 1994 Toronto Arts Foundation Visual Arts Award, the 1993 Gershon Iskowitz Prize, the 1999 Bell Canada Award for Video Art and the 2007 iDMAa Pioneering Achievement Award. In 2005 she was awarded the Governor General's Awards in Visual and Media Arts by the Canada Council for the Arts.  She has received honorary doctorates from the Nova Scotia College of Art and Design (NSCAD) (1996) and the Emily Carr Institute (2004), and is a member of the Royal Canadian Academy of Arts and inducted into the Royal Society of Canada Academies of Arts, Humanities and Sciences in 2006.

Bibliography

References

External links
 Mapping a Practice, SBC Gallery
 Vera Frenkel - National Gallery of Canada
 Ryerson Image Centre

1938 births
Living people
20th-century Canadian women artists
21st-century Canadian women artists
Canadian contemporary artists
Canadian multimedia artists
Governor General's Award in Visual and Media Arts winners
McGill University alumni
Canadian installation artists
Members of the Royal Canadian Academy of Arts

Vera Frenkel


Dagenham East is a London Underground station located on the eastern side of the town of Dagenham in the London Borough of Barking and Dagenham, east London. It is on the District line between  to the west and Elm Park to the east. It is  along the line from the eastern terminus at  and  to  in central London where the line divides into numerous branches. The station has moderate usage for a suburban station, with approximately 3 million exits/entrances per year.

It was opened as a main line station in 1885 and was called Dagenham. The current station buildings date from the introduction of electric services in 1932 and of typical railway architectural style for the period, with little trace remaining of the station's Victorian origins. In 2006 the station was extensively refurbished by Metronet.

History

The station was initially opened as a main line station on the London, Tilbury and Southend Railway in 1885, on a new branch connecting London with Southend by a more direct route than the existing service via Rainham. Dagenham was already served by a station on the original route at Dagenham Dock,  to the south. The new station was opened as Dagenham, with the main station buildings on the up platform, which is now disused. From 1902 to 1905 the station was served by trains of the District Railway, who connected to the main line at a junction at Bow. The station was in a rural location until the building of the Becontree estate, of which it was on the eastern perimeter.

London, Tilbury and Southend Railway operation passed to the London, Midland and Scottish Railway in 1912, and in 1932 an additional set of tracks were constructed between Barking and Upminster. The current station structures originate from this period. The new tracks were electrified and permitted the District line to operate as far Upminster for the first time since 1905. An additional station was opened at Heathway in 1932 and Dagenham East was renamed to its current name in 1949. The station was predominantly served by the electric London Underground services and the main line platforms were eventually decommissioned in 1962, when those lines were overhead electrified. After nationalisation of the railways in 1948 management of the station passed to British Railways and in 1969 ownership transferred to the London Underground.

Design
The station was refurbished by Metronet in 2006 as part of a series of improvements to the London Underground. These works included the installation of CCTV, provision of customer help points connected to a control room, a new public address system, electronic customer information displays on platforms and in the ticket hall, and the erection of new enclosed waiting areas. Ticket barriers are in operation. The station has three working platforms that are used by the District line, one for each direction of travel and another for terminating trains from central London during peak times.

Location
The station serves Eastbrookend Country Park to the east. North of the station is an industrial estate and the Victoria Road stadium. To the south is predominantly residential, including the historic Dagenham village. London Buses routes 103 and 364 serve the station.

Services
The station is in London fare zone 5. The typical off-peak service from the station is twelve District line trains per hour to Upminster and twelve to Earl's Court, of which six continue to Ealing Broadway and six continue to Richmond. At peak periods some trains continue from Earl's Court to Wimbledon. Services towards central London operate from approximately 05:00 to 23:45 and services to Upminster operate from approximately 06:00 to 01:30. The journey time to Upminster is ten minutes; to Barking is ten minutes, and to Tower Hill is approximately 34 minutes. During 2011 there were 2.22 million passenger entries and exits at the station, higher than the annual usage over the preceding two years, and typical for a suburban station.

Railway station proposal
In 2015, Barking and Dagenham London Borough Council proposed the platforms on the National Rail route should be re-opened to provide interchange with c2c services, in connection with the Barking Riverside redevelopment to the south of the station. In 2022 Barking and Dagenham Council restated its aspirations for the reinstated platforms at Dagenham East as well as a new station at Castle Green.

See also
Dagenham East rail crash

References

District line stations
Tube stations in the London Borough of Barking and Dagenham
Former London, Tilbury and Southend Railway stations
Railway stations in Great Britain opened in 1885
Dagenham

Dagenham East tube station


Odell Castle was an 11th-century castle in the village of Odell, in the county of Bedfordshire, England.

The land where Odell Castle stood was originally owned by Levenot, a thegn of King Edward the Confessor. At the time, the land and village were called Wahull. After the Norman invasion, William the Conqueror gave the lands, manor, and title, to Walter de Flandrensis (circa 1068). Walter was titled the Baron of Wahull, and was thus recorded as Walter de Wahul. De Wahul built a motte-and-bailey castle, with a stone keep, on the land.  The family lived here for some 400 years.

In 1542, the title died out with the absence of a male heir and came into the possession of 17-year-old Agnes Woodhall, a descendant of de Wahul's. Upon her death in 1575 it passed to her son Richard Chetwood, who sold it to William Alston in 1633. The family were later created Alston baronets of Odell. By the time of the sale, the castle was already in ruins. Alston built a new residence, incorporating the remains of the keep, the oval motte of the old castle still held up by a retaining wall. Alterations were made by his descendants in the 18th century. It stayed as thus until 24 February 1931, when the manor burnt down. A new manor house was built on the site in 1962; it is currently owned by Lord Luke.

The old stones were used in the construction of the new manor, but otherwise there is little left of the original castle. Only cropmarks and earthworks remain.

See also
Castles in Great Britain and Ireland
List of castles in England

External links
Explore England
Odell History
 English Heritage Monument No. 346782

Castles in Bedfordshire
British country houses destroyed in the 20th century

Odell Castle


Tell Jisr, Tell el-Jisr or Tell ej-Jisr is a hill and archaeological site  northwest of Joub Jannine in the Beqaa Valley in Lebanon.

It was discovered in 1965-1966 by Lorraine Copeland and Peter Wescombe but the perimeter and extent of the find was not fully determined. It is suggested to have been surrounded by fertile arable land suitable for crop cultivation and was likely a river crossing, situated on the east bank of the Litani.

Excavation
A large amount of the material collected by Henri Fleisch and M. Tallon  is now kept by the Museum of Lebanese Prehistory, part of Saint Joseph University. Flint tools were of the heavy type suggested to have been used for deforestation, they included trapezoidal axes, choppers, a variety of scrapers including advanced fan scrapers, segmented sickle blades with fine denticulation and some obsidian.

The range of pottery found included stone and basalt bowls and vessels ranging from coarse White Ware to fine, burnished and decorated sherds. A spectrum of jar designs were found with some having red or cream washes. The materials show an established neolithic settlement with many similarities to Byblos and lower Jordan Valley sites that flourished until the Bronze Age. The tell is also notable as the location of the discovery of a fragment of pottery called the McClelland Sherd, Tell Jisr Sherd or El-Jisr Sherd that shows incisions suggested to be the oldest alphabetic writing yet discovered.

References

External links
 Geographic.org information on Tell ej Jisr

1965 archaeological discoveries
Neolithic settlements
Archaeological sites in Lebanon

Tell Jisr


Standard Telephones and Cables Ltd (later STC plc) was a British manufacturer of telephone, telegraph, radio, telecommunications, and related equipment. During its history, STC invented and developed several groundbreaking new technologies including pulse-code modulation (PCM) and optical fibres.

The company was founded in 1883 in London as International Western Electric by the Western Electric Company, shortly after Western Electric became the telephone equipment supplier for the American Telephone and Telegraph Company (AT&T) in the United States. In 1925, Western Electric divested itself of all foreign operations and sold International Western Electric to International Telephone and Telegraph (ITT), in part to thwart antitrust actions by the American government. In mid-1982, STC became an independent company and was listed on the London Stock Exchange; for a time it was a constituent of the FTSE 100 Index. It was bought by Nortel in 1991.

History

Early days
The company was established in 1883 as an agent for Western Electric, which also had a factory in Antwerp, Belgium. The London operation sold US-designed telephones and exchanges to fledgling British telephone companies.  Because of the costs of importing products, the company purchased a failing electrical cable factory at North Woolwich in London, in 1898. In addition to making lead-sheathed cables, the factory started assembling equipment from components imported from Belgium and the US, and subsequently introduced manufacturing. The company was incorporated as a British legal entity in 1910.

World War I brought its progress to a sudden halt. The company contributed to the war effort in military communications with its cable and wireless technologies. With radio technology rapidly developing in the USA after the war, Western Electric had an advantage when radio broadcasting was introduced in Britain. As well as manufacturing radio receivers, the company, in a consortium with its competitors, set up the British Broadcasting Company (BBC) in 1922. Electron tube technology was commercially exploited.

Inter-war growth

In 1925, Western Electric sold off its international operations, as well as the general electrical equipment merchandizing operations. The buyer of the international operations was the infant ITT Corporation, founded by Sosthenes Behn less than ten years previously with an aggressive and thrusting reputation. To fit with its other worldwide operations, ITT renamed its new UK operation Standard Telephones and Cables, its name implying a standard against which others would be measured. The new organization employed entrepreneurial risk taking, based on solid research and brave innovation.

In 1933, Brimar was established to manufacture American-pattern electron tubes at Foots Cray, adjacent to the Kolster-Brandes factory.

Within a few years, multi-channel transmission (1932), microwave transmission (1934), coaxial cabling (1936), the entire radio systems for the liners Queen Mary and Queen Elizabeth (1936–39), the patenting of pulse-code modulation (1938) all contributed to the hey-day of telephony's development.

Between 1939 and 1945, significant military work was undertaken with many developments particularly with regard to aerial warfare: communications, radar, navigational aids, and especially OBOE

Emergence of telecommunications

The 1950s were characterised by the establishment of television broadcasting. Technical milestones were numerous and were crowned by the coverage of Queen Elizabeth II's Coronation in 1953. The steady spread of TV transmission and availability over Britain very often used STC technology and equipment.

In other areas, ship-to-ship, ship-to-shore and civil aviation communications took on modern characteristics with STC's products. In time, international and intercontinental submarine telephone contact became possible, feasible and then everyday. Questions of product and installation quality and absolute reliability were overcome and STC became a major player with its production unit in Southampton opened in 1956. Coverage graduated from rivers, estuaries, the English Channel, the North Sea, the Atlantic to the Pacific Oceans. STC became the world leader in this field after acquiring Submarine Cables Ltd in 1970.

In the late 1940s and early 1950s, STC also supplied signalbox train describer equipment to British Railways; for the 1949 installation of power signalling in the North and South boxes at Doncaster, STC also provided route setting panels for control of points and signals, using a novel "sequential switch interlocking" format based around telephone exchange switching technology.

Digital technology began to supplant analogue with Bell's invention of transistors. STC's first PCM link in 1964 had waited nearly 30 years for material technology to make it work.

Digital age
In 1966, Charles Kao of STC's Standard Telecommunication Laboratories in Harlow demonstrated that light rather than electricity could be used to transmit speech and (more importantly) data accurately at very high speeds. Again materials technology took time to catch up, but by 1977 a commercial fibre optic link had been installed in England. Within ten years BT abandoned metal cables except at the subscriber's premises. Before STC's demise, its plant at Wednesbury Street, Newport came to dominate the recabling of the UK public telephone system.

In telephone switching apparatus, STC (New Southgate) was also a major player. In 1971 the company installed a fully digital (PCM) controlled telephone exchange at Moorgate in the City of London. It was a tandem exchange, switching PCM multiplexes between several other exchanges.  Until 1980, STC's TXE4 analogue electronic switch was an early replacement for electro-mechanical systems. Before a politically engineered withdrawal in 1982, STC and its (now equally defunct) partners Plessey and GEC, developed the fully digital System X switch which is still in service in the UK as of 2005.

Decline and sale
ITT Corporation needed to raise cash to fund continued development of its System 12 telephone switching system and sold off all but a minority shareholding of STC between 1979 and 1982.

With developments in computer technology influencing and stimulating telecoms, the buzzword of the late 1980s became "convergence". An attempt to enter the mainframe computer market with the takeover of ICL led to financial strains. The rationale was the convergence of computing and telecoms but the vision was too early. Almost immediately, STC had financial problems and ICL was ring-fenced to preserve it as a profit centre.  By 1991, with an ageing workforce, loss of business from the newly privatised BT, production spread over too many expensive sites and no clear leadership succession to its former chairman, Sir Kenneth Corfield, STC was bought by Canadian company Northern Telecom (Nortel).

Operations
The company was based in the United Kingdom but also had an operation in Australia, which was acquired by Alcatel Australia in 1987.

References

Further reading

• Peter Young, 1983, Power of Speech: A History of Standard Telephones and Cables 1883-1983, George Allen & Unwin;.  (London, UK)

External links

ITT Inc.
Defunct computer companies of the United Kingdom
History of computing in the United Kingdom
Defunct telecommunications companies of the United Kingdom
Electronics companies of the United Kingdom
Telecommunications companies established in 1883
Companies formerly listed on the London Stock Exchange
Defunct companies based in London
British companies established in 1883
British companies disestablished in 1991
Telecommunications companies disestablished in 1991
1883 establishments in England
1991 disestablishments in England

Standard Telephones and Cables


Béla Tarr (born 21 July 1955) is a Hungarian filmmaker. Debuting with the film Family Nest (1977), Tarr began his directorial career with a brief period of what he refers to as "social cinema", aimed at telling everyday stories about ordinary people, often in the style of cinema vérité. Over the next decade, he changed the cinematic style and thematic elements of his films. Tarr has been interpreted as having a pessimistic view of humanity; the characters in his works are often cynical, and have tumultuous relationships with one another in ways critics have found to be darkly comic. Almanac of Fall (1984) follows the inhabitants of a run-down apartment as they struggle to live together while sharing their hostilities. The drama Damnation (1988) was lauded for its languid and controlled camera movement, which Tarr would become known for internationally. Sátántangó (1994) and Werckmeister Harmonies (2000) continued his bleak and desolate representations of reality, while incorporating apocalyptic overtones. The former sometimes appears in scholarly polls of the greatest films ever made, and the latter received wide acclaim from critics. Tarr would later compete at the 2007 Cannes Film Festival with his film The Man from London, which opened to moderately positive reviews.

Tarr frequently collaborated with novelist László Krasznahorkai, film composer Mihály Víg, cinematographer Fred Kelemen, actress Erika Bók, and Ágnes Hranitzky (then his partner). She is sometimes credited as a co-director of his last three works.

After the release of his film The Turin Horse (2011), which made many year-end "best-of" critics' lists, Tarr announced his retirement from feature-length film direction. In February 2013 he started a film school in Sarajevo, known as "film.factory", and moved in 2016. He has since created an installation that features newly shot film sequences, presented in a 2017 Amsterdam exhibition called Till the End of the World.

Life
Tarr was born in Pécs, but grew up in Budapest. His parents were in both the theatre and film industry: his father designed scenery, while his mother worked as a prompter at a theatre for more than 50 years. At the age of 10, Tarr was taken to a casting session run by Hungarian National Television (MTV) by his mother, and he ultimately won the role of the protagonist's son in a TV drama adaptation of Tolstoy's The Death of Ivan Ilyich. Other than a small role in Miklós Jancsó's film Szörnyek évadja (Season of Monsters, 1986) and few one-glimpse cameos (such as in Gábor Bódy's Dog's Night Song [1983]), Tarr has sought no other acting roles. By his own account, initially he sought to become a philosopher, and considered film-making as something of a hobby. However, after making his 8mm short films, the Hungarian government would not allow Tarr to attend university so he instead chose to pursue film production.

Early work

Tarr began to realize his interest in film making at the age of 16 by making amateur films and later working as a caretaker at a national House for Culture and Recreation. Most of his amateur works were documentaries, mostly about the life of workers or poor people in urban Hungary. His amateur work brought him to the attention of the Béla Balázs Studios (named in honor of the Hungarian cinema theorist who helped fund Tarr's 1977 feature debut, Családi tűzfészek, which Tarr began filming at age 22.) He shot the film with little budget and using non-professional actors in six days. The film was faithful to the "Budapest school" or "documentarist" style popular at the time within Béla Balázs Studios, maintaining absolute social realism on screen. Critics found the film to suggest the influence of the American director John Cassavetes, although Tarr denied having seen any of Cassavetes's films prior to shooting Családi tűzfészek, which was released in 1979.

After completing "Családi tűzfészek," Tarr began his studies in the Hungarian School of Theatrical and Cinematic Arts. The 1980 film Szabadgyalog (The Outsider) and the following year's Panelkapcsolat (The Prefab People) continued in much the same vein, with small changes in style. The latter was the first film by Tarr to feature professional actors in the leading roles. With a 1982 television adaptation of Macbeth, his work began to change dramatically. The film is composed of only two shots: the first shot (before the main title) is five minutes long, the second 67 minutes long.

Later work

After 1984's Őszi almanach (Almanac of Fall), Tarr (who had written his first four features alone) began collaborating with Hungarian novelist László Krasznahorkai for 1988's Kárhozat (Damnation). A planned adaptation of Krasznahorkai's epic novel Sátántangó took over seven years to realize; the 415-minute film was finally released to international acclaim in 1994. After this epic he released the 35-minute Journey on the Plain in 1995, but fell into silence until 2000's Werckmeister Harmóniák (Werckmeister Harmonies). It was acclaimed by critics and the Festival circuit in general.

Many, if not most, of the shots in these later films are around six to eleven minutes long. It is possible that for some, a month was spent on a single shot. In many of these shots the camera swoops, glides, pans, and/or cranes. Often it circles the characters, and sometimes even spans multiple scenes. A shot may, as in the opening of Sátántangó, travel with a herd of cows around a village, or follow the nocturnal peregrinations of a drunkard who is forced to leave his house because he's run out of alcohol. American writer and critic Susan Sontag championed Tarr as one of the saviors of modern cinema, saying she would gladly watch Sátántangó once a year.

After Werckmeister Harmonies he began filming A Londoni férfi (The Man From London) an adaptation of a Georges Simenon novel. It was scheduled to be released at the 2005 Cannes Film Festival in May, but production was postponed because of the February suicide of producer Humbert Balsan. Additionally, there were disputes with other producers regarding a possible change in the film's financing. It premiered at the 2007 Cannes Film Festival and was released worldwide in 2008. Tarr then began working on a film called A torinói ló (The Turin Horse) which he has said will be his last.

For many years, none of his work was available on DVD (except in Japan), but Werckmeister Harmonies and Damnation have been made available on a two-disc DVD in Europe, courtesy of Artificial Eye (who have also issued The Man From London) and both films are now available in North America on separate DVDs from Facets Video. Tarr's early works; Family Nest, The Outsider, and The Prefab People are also available on DVD in the US, courtesy of Facets. Facets was supposed to release Sátántangó on DVD on 28 November 2006 but was delayed until 22 July 2008. Artificial Eye released the film on 14 November 2006. A comparison of the two DVD editions has been posted at DVD Beaver. In 2020, a 4K restoration of Sátántangó was released on Blu-ray by Curzon Artificial Eye and was made available for online streaming by the Criterion Channel.

In September 2012, he received the BIAFF special award for lifetime achievement.

In June 2017, he received the lifetime achievement at Sardinia Film Festival, XII edition.

In July 2021, he executive-produced the Icelandic-Swedish-Polish horror-drama film Lamb, directed by his former student at film.factory, Valdimar Jóhannsson. It is due to be released on October 8, 2021 by A24.

In December 2022, he received the lifetime achievement award at International Film Festival of Kerala, IFFK, 27th edition.

Influence

Gus Van Sant often cites Tarr as a huge influence on his later work, beginning with Gerry when Van Sant began using very long uninterrupted takes.

Cine Foundation International
In January 2011, Tarr joined the Board of Directors of the recently formed cinema foundation and NGO for human rights Cine Foundation International. In a press release dated 24 January 2011 Tarr made the following statement regarding the imprisonment of filmmakers Jafar Panahi and Mohammad Rasoulof:
Cinematography is an integral part of universal human culture! An attack against cinematography is desecrating universal human culture! This cannot be justified by any notion, ideology or religious conviction! Our friend, brother and esteemed colleague Jafar Panahi is in prison today, based on conjured and fictional accusations! Jafar did not do anything else than what is the duty of all of us; to talk honestly, fairly about our own country and loved ones, to show everything that surrounds us with tender tolerance and harsh austerity! Jafar's real crime is that he did just that; gracefully, elegantly and with a roguish smile in his eyes! Jafar made us love his heroes, the people of Iran; he achieved that they have become members of our families! WE CANNOT LOSE HIM! This is our common responsibility, as despite all appearances we belong together.

Personal views
Tarr is a critic of nationalism. In a 2016 interview said, "Trump is the shame of the United States. Mr. Orbán is the shame of Hungary. Marine Le Pen is the shame of France. Et cetera." In a letter hung near the entrance to a pro-migration exhibition in front of the Hungarian Parliament, Tarr wrote, "We have brought the planet to the brink of catastrophe with our greediness and our unlimited ignorance. With the horrible wars we waged with the goal of robbing the people there. [...] Now we are confronted with the victims of our acts. We must ask the question: who are we, and what morality do we represent when we build a fence to keep out these people?"

Tarr is an atheist.

Filmography

Feature films
 Családi tűzfészek / Family Nest (1979)
 Szabadgyalog / The Outsider (1981)
 Panelkapcsolat / The Prefab People (1982)
 Őszi almanach / Almanac of Fall (1984)
 Kárhozat / Damnation (1988)
 Sátántangó / Satan's Tango (1994)
 Werckmeister harmóniák / Werckmeister Harmonies (2000)
 A londoni férfi / The Man from London (2007)
 A torinói ló / The Turin Horse (2011)

Television films
 Macbeth (1982)

Short films
 Hotel Magnezit (1978)
 Utazás az alföldön / Journey on the Plain (1995)
 Visions of Europe (film) (2004)
 segment: Prologue

Documentary films
 Az utolsó hajó / The Last Boat (1990, 31 min), segment from City Life
 Muhamed (2017, 10 min)
 Missing People (2019, 95 min)

Sources
 Ramón Andrés, «Nada. A propósito de El caballo de Turín de Béla Tarr», en Pensar y no caer Barcelona, Acantilado, 2016, pp. 195–220.
 Thorsten Botz-Bornstein, Organic Cinema: Film Architecture, and the Work of Bela Tarr (New York: Berghahn, 2017)
 Jacques Rancière, Béla Tarr, The Time After (Minneapolis: Univocal, 2013)
 András Bálint Kovács, The Cinema of Béla Tarr: The Circle Closes" (London: Wallflower, 2013)
 Ira Jaffe: Slow Movies, Countering the Cinema of Action'' (New York: Wallflower Press, 2014)

References

External links

 Béla Tarr on the Board of Directors for Cine Foundation International
 Brightlightsfilm.com Interview
 Kinoeye Essay
 Declaration of Solidarity for Béla Tarr, by Fred Kelemen, FIPRESCI website, March 2005, retrieved 17 April 2006
 Vajramedia Presents: Sátántangó Berlinale 1994 Forum Documentation
 Tarr with His DFFB Film Students

1955 births
Hungarian atheists
Hungarian film directors
20th-century Hungarian screenwriters
Living people
People from Pécs
Hungarian experimental filmmakers
Members of the Széchenyi Academy of Literature and Arts
21st-century Hungarian screenwriters
Hungarian male screenwriters

Béla Tarr


Joo Sae-hyuk (Korean 주세혁; born 20 January 1980 in Seoul) is a South- Korean table tennis player. He is right-handed player and uses the Shakehand-grip. He stands at Butterfly under contract and plays on the forhand with Tenergy 64, while he uses on the backhand long pips as the Tibhar Grass D.Tecs or TSP Curl P1R on a Butterfly defensive wood.

Career
Since 1997 he was international activ, at the US Open he won the silver medal in the doubles. 2001 he took part in the World Championships for the first time, where Joo won bronze with the South Korean Team. In the singles he lost early. In October he could push forward to place 50 in the world rankings. Till May he fell back to place 61, in this month he won the silver medal in the singles. In the final he lost to Werner Schlager and moved to place 22, whereby he became best chopper in the world. In October 2003 Joo took part in the World Cup for the first time, but retired in the group qualification. 2004 he reached the semifinals with the team at the World Championships, so they won bronze. At his first Olympics he reached in singles and doubles the round of 16, and at the World Cup he got place 4 after losing Wang Hao in the third place match. In 2005 he doesn't was really activ, so he lost his best defender title to Chen Weixing.

2016 Joo took part in a lot of tournaments: He won silver at the World Championships with the team and at the Asian Games, in the singles he took gold in the Korea Open and qualified self for the Grand Finals. 2007 he reached in the singles and mixed category the quarterfinals at the WTTC and become best defender in the world, again. This position he get to 2017. 2008 he took silver with the team again, at the WTTC. In May this year he came under the top 10 in the world ranings, but doesn't took part in the Olympics. Either at the WTTC and the Grand Finals he reached 2009 the Quarterfinal, 2010 follow bronze (Singles) and silver (Team) at the Asian Games either a bronze medal at the WTTTC. At the Grand Finals either the World Championships he reached the Round of 16, where he lost. At the World Cup he could won bronze in the singles. At the beginning of 2012 he reaclame place number 5 in the world rankings- his best position at all.

At the Olympic Games in 2012 he lost already in the third round, but won silver with the team. At his sixth participation with the team in WTTTC he won bronze. 2014 it doesn't get, because South Korea lost in the Quarterfinals, could win silver in the Asian Games with the team, where Joo won bronze in the singles.

2015 he reached the round of 16 in the WTTC, where Joo lost to Ma Long, 2016 he won bronze with the team. In the Olympics 2016, he doesn't took part in the singles, in the team Joo reached the 4th place. Also Joo won gold at the Croatia Open, 2017 he only played the Hungarian Open and approached then no more.

Titles and Archievement at a glance

Singles

 Asian Games: Bronze 2010, 2014
 World Championships: Silver 2003, Quarterfinals 2007, 2009
 World Cup: 3rd place 2011, 4th place 2004
 Pro Tour: Gold Korea Open 2006, Croatia Open 2016, Quarterfinals Grand Finals 2009, 2012

Team

 Asian Championships: Bronze 2015
 Asian Games: Silver 2002, 2006, 2010, 2014
 Olympic Games: Silver 2012, 4th place 2016
 World Championships: Silver 2006, 2008, Bronze, 2001, 2004, 2010, 2012, 2016
 World Cup: Silver 2009, 2010, 2011, Bronze 2007

Personal life
Since April 2008 Joo is married with Kim Seon-hwa.

References

1980 births
Living people
South Korean table tennis players
Medalists at the 2012 Summer Olympics
Competitors at the 2016 Summer Olympics
Competitors at the 2012 Summer Olympics

Joo Se-hyuk


Caladenia longicauda subsp. extrema, commonly known as the late white spider orchid or Seaton Ross spider orchid is a plant in the orchid family Orchidaceae and is endemic to the south-west of Western Australia. It has a single hairy leaf and one or two mainly white flowers with long, mostly spreading lateral sepals and petals. It is a relatively rare orchid which is similar to the tangled white spider orchid (subspecies redacta) but has larger flowers and a later flowering period.

Description
Caladenia longicauda subsp. extrema is a terrestrial, perennial, deciduous, herb with an underground tuber and which usually grows as solitary plants. It has a single hairy leaf,  long and  wide. One or two mostly white flowers  long and  wide are borne on a spike  tall. The dorsal sepal is erect,  long and  wide. The lateral sepals are  long and  wide and the petals are  long and  wide. The lateral sepals and petals are linear to lance-shaped in the lower quarter of their length, then suddenly taper to downcurved, narrow ends. The labellum is white,  long and  wide with narrow teeth up to  long on the sides. There are four or more rows of pale red calli up to  long in the centre of the labellum. Flowering occurs from November to early December. This subspecies is most similar to subspecies redacta and their distributions sometimes overlap but has larger flowers with a larger labellum and a later flowering period.

Taxonomy and naming
Caladenia longicauda was first formally described by John Lindley in 1840 and the description was published in A Sketch of the Vegetation of the Swan River Colony. In 2001 Stephen Hopper and Andrew Brown described eleven subspecies, then in 2015 Brown and Garry Brockman described three more, including subspecies extrema and the new descriptions were published in Nuytsia. The subspecies had previously been known as Caladenia longicauda subsp. 'Manjimup'. The subspecies name (extrema) is a Latin word meaning "outermost", "farthest" or "last" referring to the late flowering of this subspecies.

Distribution and habitat
The late white spider orchid is only known from a small area near Manjimup in the Jarrah Forest biogeographic region where the type specimen was collected. It usually grows in areas that are swampy in winter.

Conservation
Caladenia longicauda subsp. extrema  is classified as "Priority One" by the Western Australian Government Department of Parks and Wildlife, meaning that it is known from only one or a few locations which are potentially at risk.

References

longicauda subsp. extrema
Endemic orchids of Australia
Orchids of Western Australia
Plants described in 2015
Taxa named by Andrew Phillip Brown

Caladenia longicauda subsp. extrema


Michael John Anderson (born October 16, 1988, in Savage, Minnesota) was convicted of having murdered Katherine Ann Olson in October 2007. Because Anderson met Olson through Craigslist, a popular classified advertising website, the media dubbed him a Craigslist Killer, a generic term for murderers who find victims by placing or responding to ads in Craigslist. Anderson was the first killer given this title in news accounts.

The crime
Michael John Anderson, age 19, murdered Katherine Anne Olson (1983–October 25, 2007), a 24-year-old theater and Hispanic studies graduate of St. Olaf College and temporary nanny, on October 25, 2007, in Savage, Minnesota, after seeing an ad for her services as a nanny on Craigslist.

The prosecution charged that Anderson created and posted a fake advertisement on Craigslist "in order to lure a woman to his home so he might experience what it felt like to kill."

Posing as a married woman named "Amy" who was looking for nanny services, Anderson exchanged emails with Olson. When she arrived at his parents' house for an interview, he shot her in the back with a .357 Magnum and put her body into the trunk of her car. He then drove to Burnsville Nature Preserve, where he abandoned it. The car containing Olson's body was discovered on October 26, 2007.

Conviction
Psychiatrists hired by the defense diagnosed Anderson with Asperger syndrome, a form of autism. Anderson's attorneys contended that the disorder played a key role in the shooting and explained Anderson's behavior after the shooting. The judge refused to allow evidence of the diagnosis to be presented in court, ruling there was no proof the disorder was connected to the crime and that it could invite jurors to speculate about diminished capacity, which is "not recognized in Minnesota."

Anderson, who was the first murderer referred to by the media as a "Craigslist Killer", was found guilty of first degree murder and received a life sentence without parole on April 1, 2009.

Alan Margoles, the lead attorney arguing in Anderson's defense, stated that the killing of Olson was "accidental" and that he plans an appeal because during the trial he had not been allowed to present evidence that Anderson has Asperger syndrome. The Supreme Court of Minnesota affirmed the verdict and sentence on appeal in October 2014.

Anderson is currently incarcerated at Oak Park Heights prison.

References

1983 births
2007 deaths
People from Scott County, Minnesota
2007 murders in the United States
2007 in Minnesota
People murdered in Minnesota
October 2007 crimes in the United States
Violence against women in the United States
Women in Minnesota

Murder of Katherine Ann Olson


Pablo Chinchilla Vega (born December 21, 1978 in Escazú) is a Costa Rican footballer who currently is the player-manager of Austrian lower league side FC Koblach.

Career

Club
Chinchilla began his career in the youth system of Primera División de Costa Rica team Alajuelense. He was loaned to Austrian side Altach for a season before summoned back by Liga and he eventually graduated to their senior side making his professional debut for them on 15 August 1999 against Carmelita. He then scored his first goal on 12 September 1999 against San Carlos. After five years with the Rojinegros, during which time he won the 2004 CONCACAF Champions' Cup, he joined Los Angeles Galaxy of Major League Soccer prior to the 2005 season. His stay in the USA was largely unsuccessful and he returned to Alajuelense after just one season.

In summer 2006 Chinchilla rejoined Austrian club SC Rheindorf Altach, and spent two years playing with them in the Austrian Football Bundesliga. After a brief spell back home in Costa Rica at Liberia Mía Chinchilla returned to Austria by signing with LASK Linz in January 2009. He went amateur when he joined lower league side Lochau.

In summer 2013, Chinchilla left Lochau and moved to Austrian Landesklasse side Koblach to become player manager and extended his contract with a year in March 2014.

International
At junior level, Chinchilla played at the 1995 FIFA U-17 World Championship and the 1997 FIFA World Youth Championship.

He made his debut for Costa Rica in a November 1999 friendly match against Slovakia and earned a total of 39 caps, scoring 1 goal. He was a late addition to their 2002 World Cup squad, replacing the injured Reynaldo Parks and represented his country at the 2003 UNCAF Nations Cup as well as at the 2000 and 2003 CONCACAF Gold Cups. He was a non-playing squad member at the 2007 CONCACAF Gold Cup.

His final international was a February 2008 friendly game against Jamaica.

International goals
Scores and results list Costa Rica's goal tally first.

Honours
Alajuelense
 CONCACAF Champions' Cup: 2004

Los Angeles Galaxy
 Major League Soccer MLS Cup: 2005

References

External links

 Player bio – MLSnet
 Austrian Bundesliga stats - Bundesliga

1978 births
Living people
People from Escazú (canton)
Sportspeople from San José Province
Men's association football defenders
Costa Rican men's footballers
Costa Rica men's international footballers
2000 CONCACAF Gold Cup players
2002 FIFA World Cup players
2003 CONCACAF Gold Cup players
2007 CONCACAF Gold Cup players
Liga Deportiva Alajuelense footballers
LA Galaxy players
SC Rheindorf Altach players
A.D. Municipal Liberia footballers
LASK players
Liga FPD players
Costa Rican expatriate men's footballers
Expatriate men's soccer players in the United States
Expatriate men's footballers in Austria
Major League Soccer players
Austrian Football Bundesliga players
Central American Games gold medalists for Costa Rica
Central American Games medalists in football

Pablo Chinchilla