Lamb Air Ltd. was a Canadian airline that began operations in 1934 in The Pas, Manitoba, and went out of business in 1981.

History
Tom Lamb was the son of Thomas Henry Peacock (THP) Lamb, who had emigrated from England in the late 19th century. THP Lamb turned from school teacher to fur trader and in 1900, started Lamb's Store in Moose Lake, Manitoba. Tom and his brothers and sisters grew up in northern Manitoba and worked for their father.

Tom Lamb left school before finishing grade 3. Later in life, he would make the comment, while giving his acceptance speech when receiving his honorary Doctorate of law from the University of Manitoba, "If I had only gotten to grade 4". At the age of 10, Tom, who had his own team of horses and sleigh, was competing with grown men in the fish hauling business. He would have to use fish boxes to step up on to be able to load his sleigh.

One of the Lamb family's businesses was "logistics and transportation". Fish, lumber, trees, fur and supplies needed to be hauled by any and all means. Dog teams, horses, boats, trucks and tractors were used. In the 1930s there was a transportation revolution happening. The aircraft was making its way into northern Canada. The first time Tom Lamb saw an aircraft he realized its potential. In 1930, Tom bought his first aircraft - a Stinson SR8. In 1930, Tom Lamb travelled to Winnipeg to learn to fly. To keep costs to a minimum, he lived in a tent behind the Winnipeg Flying Club. When he returned to The Pas and checked himself out on the Stinson.

In 1935, Tom incorporated Lamb Airways Limited. The airline had some name changes throughout the years and Tom became one of the best known Manitobans, if not Canadians, in the world. His adventures have been documented in books, a television documentary and even a song.

Operations
Lambair grew by public demand, as there was no other means of transportation for fish to market at the time except horse-drawn sleighs. Airplanes shortened the time to market and ensured higher quality fish to the large North American market. While transportation of fish, fur, trappers and fisherman were its primary business, the largest expansion of Lambair was during the construction of the Mid-Canada Line during the 1950s. The airline served all of Canada and parts of the United States and Greenland during its years in service. Lambair continued to haul fish, but its primary cargo was people - Inuit families from Resolute, Northwest territories to the far Arctic island hunting camps; equipment - oil drilling rigs to Sable Island from Halifax and food supplies. Medical evacuations and emergency mercy flights also accounted for a substantial amount of the company's traffic from the far north.

As development in the north progressed, Lambair opened new bases and served Wabowden, Thompson, Churchill, Norway House and Gillam as well as The Pas. These bases were established to serve all of northern Manitoba and the North West Territories (and current day Nunavut). It carried out its own maintenance operations in its hangars at Churchill, Thompson and The Pas and in 1965 built a new headquarters at The Pas.

Lambair was Canada's oldest airline still under the original ownership. Upon the death of Tom Lamb in 1969, the founder's six sons, all pilot-engineers, (in order of age, Greg, Donald, Dennis, Jack, Doug and Connie) managed the airline. By 1979, Lambair had a fleet which included Bristol Freighters, Curtis Commandos C-46s, Fairchild F-27, Twin Otters, Otters, Beavers, Cessna 180s, Bell G4A helicopters, BN Islanders, Aztecs and DC-3s. The planes were purchased from all over the world including Norway, England and Afghanistan. This fleet offered the greatest variety of aircraft to look after the traffic of the north, according to Donald Lamb, President of Lambair, in 1973. The combination of heavy freight aircraft with short takeoff and landing aircraft, to the fast light instrument flight rules (IFR) twin engine planes allowed the company to take on assignments for governments, oil companies, mining operations and continue to haul passengers throughout the north. The helicopters were for prospecting, hydro-electric development and forestry operations.

The airline served all of Canada and parts of the United States and Greenland, supporting the isolated communities of northern Canada. Their motto was "Don't ask us where we fly, tell us where you want to go".

Tributes
In 1965, the Canadian Broadcasting Corporation (CBC) produced a television show called "The Flying Lambs". It was shown on the series called Telescope.

On May 22, 1969, Tom Lamb received an honorary Doctor of Laws degree from the University of Manitoba.  He had had less than three years of elementary schooling.

Jack Lamb has recorded his story in a book "My Life in the North".

The four surviving Lamb brothers were recognized for their contributions to the development of northern Canada and received awards for their service from the Government of Nunavut at a banquet on 14 April 2007 in Rankin Inlet.

On July 11, 2008, Tom Lamb was named the #2 Greatest Manitoban by a vote of readers of The Winnipeg Free Press.

On 30 May 2009, Thomas Lamb was inducted posthumously into Canada's Aviation Hall of Fame. The award was accepted by Tom's son Greg at the ceremony in Wetaskiwin, Alberta.

Aircraft operated
Lamb Air operated many aircraft.
Stinson SR-8
C-46 Commandos
De Havilland Canada DHC-3 Otters
De Havilland Canada DHC-6 Twin Otters
De Havilland Canada DHC-2 Beavers
Beech 18
Various Cessnas
Fokker F27 as built by Fairchild
Noorduyn Norseman
Britten-Norman BN-2 Islander
Bristol Freighter
DC-3s
Piper Aztecs

Helicopters:
Aérospatiale Gazelle
Aérospatiale Alouette II
Bell Helicopter

See also
 List of defunct airlines of Canada

References

External links

Lambair History Website
Flight from Kabul by DC-3 (December 15, 1972)
DC-3 Through the Ice at Tadoule Lake (May, 1972)
Keith Olsen - pilot with Lamb Air
Lamb Air's C46 "Miss Piggy" crashed at Churchill, Manitoba
Jack Lamb's book "My Life in the North"
Meredith Lamb's Web Site (Donald's daughter
Thomas Henry Peacock Lamb
Review of Leland Stowe's Book: The Last Great Frontiersman

Defunct airlines of Canada
Aviation in Manitoba
Airlines established in 1934
Airlines disestablished in 1981
Companies based in Manitoba
The Pas
1934 establishments in Manitoba
1981 disestablishments in Manitoba

Defunct seaplane operators
Canadian companies disestablished in 1981
Canadian companies established in 1934
Transport in The Pas

Lamb Air


Adansonia gregorii, commonly known as the boab, is a tree in the family Malvaceae.  Its trunk has a swollen base, which makes it easily recognizable. For this reason, it is also called a bottle tree. It is endemic to Australia, where it mostly occurs in the Kimberley region of Western Australia, east into Northern Territory, parts of western Queensland, and New South Wales.

There are other species of baobabs, which are native to Madagascar (six species) and mainland Africa and the Arabian Peninsula (one species).
Boab ranges from 5 to 15 metres, usually between 9 and 12 metres, with a broad bottle-shaped trunk.  Its trunk base may be extremely large; trunks with a diameter of over five metres have been recorded.  A. gregorii is deciduous, losing its leaves during the dry winter and producing new leaves and large white flowers between December and May.

Malvaceae

Adansonia gregorii


Hervé Fischer (born 1941) is a French artist-philosopher and sociologist. He graduated from the École Normale Supérieure (Rue d'Ulm, Paris, 1964) and defended his Master's thesis on Spinoza's political philosophy with Raymond Aron and devoted his main research to the sociology of colour. For many years he taught the sociology of communication and culture at the Sorbonne, where he was promoted to master lecturer in 1981. At the same time, he developed a career as a multi-media artist and creator of "sociological art" (1971) and initiated many public participation projects with radio, television, and print media in many European and Latin American countries before coming to Quebec. He speaks fluently French, English, German and Spanish.

Biography

Born in 1941 in France, Hervé Fischer, a French and Canadian philosopher and artist, graduated from the École Normale Supérieure (rue d'Ulm, Paris). Hervé Fischer taught sociology of communication and culture at the Sorbonne. He obtained a Masters in philosophy and a PhD in sociology. A multi-media artist and creator of "sociological art" (1971), he initiated many public participation projects with radio, television and print media in many European and Latin American countries before coming to Quebec. He was a special guest at the Venice Biennial in 1976, the Sao Paulo Biennial in 1981, and Documenta 7 in Kassel (Germany) in 1982. He had personal exhibitions at the Musée Galliéra in Contemporary Art in 1976, at the Museum of Contemporary Art in Montreal in 1980 (a retrospective), and Mexico in 1983. In 1985, he organized Franco-Canadian participation in the Marco Polo electronic novel project which involved writers from Africa, Europe and Canada, and was parrained by Umberto Eco and Italo Calvino. Since 1999, he is working again as a painter of the digital age. He had one man shows at the Museo Nacional de Bellas Artes in Buenos Aires, Argentine, (2003), Museo Nacional de Artes Visuales, Montevideo, Uruguay (2004), Museo Nacional de Bellas Artes de Chile, Santiago (2006), Museo Nacional de Bellas Artes, Neuquen, Argentine (2009?), Centro Wifredo Lam in La Havanne, X Biennale de La Havane (2009), Musée d'Art Moderne de Céret (2010–11), Museu de Arte Moderna de São Paulo (1976 and 2012). The Centre Pompidou-Musée national d'art moderne presents a retrospective of his work: Hervé Fischer et l'art sociologique, June to September 2017.

Hervé Fischer is co-founder of La Cité des arts et des nouvelles technologies de Montréal, the Quebec International Science Film Festiva Telesciencel, the Multimedia International Market, and Science Pour Tous. Since 1997, he is also co-founder and president of the International Federation of Multimedia Associations. A member of the Canadian Committee of UNESCO.

He has been elected holder of the Daniel Langlois chair for Fine Arts and Digital Technologies at Concordia University, Montreal, 2000-2002, and developed the concept of a media lab, the Hexagram consortium between Concordia and UQAM Universities. Since 2006, he is associate professor, director-founder of the International Digital Observatory, UQÀM. In 1987 he co-authored and produced the 12-minute computer-animated film "Le Chant des Étoiles," which won a first prize in the international computer animation competition held by the National Computer Graphics Association (USA) in 1988. He was honored by the International Society for the Arts, Science and Technology with the first Leonardo (MIT Press) Makepeace Tsao Award.

In 2011 he starts what he calls tweet art and tweet philosophy, creating small digital icons syndicated on Twitter, with a philosophical and interrogative aim.

A member of the board of Artists for Peace, he received a Doctorate honoris causa from the Quebec Universities and  delivers important lectures about digital technologies, art and mythoanalysis around the world.

Bibliography

He has published numerous articles, papers and books on the sociology of art and communications, notably: Art and Marginal Communication (Balland, Paris, 1974), Théorie de l'art sociologique, Casterman, Paris, 1976; L'Histoire de l'art est terminée, Balland, 1981; Citoyens-sculpteurs, Segedo, 1981; L'Oiseau-chat (on the Quebec identity), La Presse, 1983; La Calle ¿ A dónde Ilega?, Arte y Ediciones, Mexico, 1984; Mythanalyse du futur (400 p., on Internet, 'www.hervefischer.net'), The Digital Shock, McGill and Queen's University Press, 2006, Le romantisme numérique, Fides and Musée de la civilisation, 2002, Les défis du cybermonde, (direction, Presses de l'Université Laval 2003), CyberProméthée, l'instinct de puissance, vlb, 2003), La planète hyper, de la pensée linéaire à la pensée en arabesque, vlb, 2004), The Decline of the Hollywood Empire, Talon Books, Vancouver, 2006), Nous serons des dieux, vlb, 2006, Québec imaginaire et Canada réel : l'avenir en suspens, vlb, 2008, Un roi américain, vlb, 2009, L'avenir de l'art, vlb, 2010. "Nouvelle nature", retrospective catalogue published by the musée d'art moderne of Céret, France, 2010.

 Art et communication marginale, Balland, 1974
 Théorie de l'art sociologique, Casterman, 1976
 L'Histoire de l'art est terminée, Balland, 1981
 Citoyens-sculpteurs, Segedo, 1981
 Mythanalyse et société, in L'oiseau-chat, roman-enquête sur l'identité québécoise 4e partie, éditions La Presse, Montréal, 1983.
 La Calle ¿adónde llega? Arte y Ediciones, Mexico, 1984.
 Mythanalyse du futur, 2000
 Le romantisme numérique (60 p., Fides et Musée de la civilisation, 2002)
 Les défis du cybermonde (direction, P. U. L., 2003)
 CyberProméthée, l'instinct de puissance (éditions vlb, 2003 et UNTREF, Argentine)
 La planète hyper. De la pensée linéaire à la pensée en arabesque (vlb, 2004)
 Nous serons des dieux (vlb, 2006).
 Digital Shock - Confronting the New Reality, McGill Queen's University Press, Montreal, 2006
 The Decline of the Hollywood Empire, Talon Books, Vancouver, 2006
 La société sur le divan. Éléments de mythanalyse (vlb, 2007).
 Québec imaginaire et Canada réel. L'avenir en suspens (vlb, 2008).
 Un roi américain - Denys Premier de l'Anse (vlb, 2009).
 L'avenir de l'art (vlb, 2010).
 Nouvelle nature (Musée d'art moderne de Céret, 2010).
 La Divergence du futur (vlb, 2014).
 La pensée magique du Net (Editions François Bourin, Paris, 2014).
 La postmodernité à l'heure numérique. Regard croisé Michel Maffesoli et Hervé Fischer (Editions François Bourin, Paris, 2016).
 MARKET ART (Editions François Bourin, Paris, 2016).
 L'Âge hyperhumaniste. Pour une éthique planétaire (Editions de l'Aube, 2019).
 Les couleurs de l'Occident. De la préhistoire au XXIe siècle (Bibliothèque illustrée des histoires, Editions Gallimard, Paris, 2019).

Exhibitions

Centre Pompidou
Herve Fischer's work is being exhibited at the Centre Pompidou, in Paris, France, until September 11, 2017. Artist, sociologist, thinker and researcher, Fischer today uses the idea of a sociological art that he developed in the 1970s to explore digital technology. Organised in three parts, the exhibition  opens on the artist's work from the early 1970s to the mid-1980s, goes on to look at his work from the late 1990s to the present, before closing on digital practices and the new habits they bring.

See also
International Federation of Multimedia Associations

References

External links
 Hervé Fischer Official Web Site
 Hervé Fischer Web Site
 Hervé Fischer Market Art
 Tweetart
 Fondation Daniel Langlois
 Hervé Fischer on Youtube
 Blog Avenir de l'Art
 International Federation of Multimedia Associations
 Herve Fischer @ Centre Pompidou

French sociologists
Living people
1941 births
French male writers

Hervé Fischer


Celestus warreni (also known as the Warren's galliwasp or the giant Hispaniolan galliwasp) is a kind of lizard of the Anguidae family.  It can be found in the Dominican Republic and Haiti. Its natural habitat is subtropical or tropical moist lowland forests underneath leaf litter and underneath forest debris. Giant galliwasps are opportunistic predators that feed on insects, earthworms, small mammals, and other reptiles.

It is threatened by habitat loss.

Anguids
Reptiles of North America

Celestus warreni


The Yellow Feather Mystery is Volume 33 in the original The Hardy Boys Mystery Stories published by Grosset & Dunlap.

This book was written for the Stratemeyer Syndicate by William Dougherty in 1954. Between 1959 and 1973 the first 38 volumes of this series were systematically revised as part of a project directed by Harriet Adams, Edward Stratemeyer's daughter. The original version of this book was shortened in 1971 by Priscilla Baker-Carr resulting in two slightly different stories sharing the same title.

Plot summary
The Hardy Boys go skating up Willow River toward Woodson Academy where they meet their chum Gregory Woodson.  Greg tells them about how his grandfather died seven weeks prior but no one has been able to find his will where he presumably leaves the Woodson Academy to Greg.  Greg is also curious about a strange letter that he received which was a blank piece of paper with small rectangular cutouts arranged horizontally and the word 'Hardy' printed on it.

With the grandfather's will missing, the school's headmaster Henry Kurt is trying to assume ownership of the school against Greg Woodson's wishes.  As the story progresses the Hardy Boys and their friends find themselves being attacked by unknown assailants until eventually they are able to locate the missing will and trap the dangerous criminal and solve the Yellow Feather mystery

References

The Hardy Boys books
1954 American novels
1954 children's books
1971 American novels
1971 children's books
Grosset & Dunlap books

The Yellow Feather Mystery


The Fairy Prince is a masque in three acts by composer Thomas Arne. The English libretto, by George Colman the Elder, is based on Ben Jonson's Oberon, the Faery Prince (1611). The work premiered at the Covent Garden Theatre, London, on 12 November 1771.

History
Despite being designated as a masque, the work is sung throughout, and is in many respects reminiscent of a comic opera. It is set by Windsor Castle, and depicts satyrs and fairies who guard the castle and its inhabitants during ceremonial occasions. The masque concludes with a banquet with the King and Queen in attendance. Of particular note is the wood nymphs' aria "Let us play and dance and sing", which has a large range of approximately 2 and a half octaves and has some impressive coloratura passages. The Act 1 choral finale, "Then all the air shall ring", is also particularly fine.

The Fairy Prince was very well received at its premiere and was performed 36 times during the 1771-1772 season. While critics and audiences praised both the music and the elaborate sets of the production, the work was strangely never revived. The masque's score was published in 1771 but without the dance music, recitatives, and some of the choruses.

Sources

1771 operas
Operas
Operas by Thomas Arne
English-language operas
Opera world premieres at the Theatre Royal, Covent Garden
Adaptations of works by Ben Jonson

The Fairy Prince


Marion Klein Sanders (14 August 1905, Lawrence, Long Island, New York – 16 September 1977, New York, New York) was an American journalist, editor, and writer.

Education

She graduated in 1921 from the Horace Mann School in New York, New York and, in 1925, from Wellesley College, from which she received an Alumnae Achievement Award in 1973. While at Wellesley, she edited the College's yearbook.  She also attended the Columbia University Graduate School of Journalism.

Professional

She began her career as a freelance journalist and a political speechwriter. Under the name Marion Klein she was a freelance feature writer for a small news syndicate, as a stringer for The Toronto Star, which published several pieces (November 1925), reviewed  books for The Book Review (March 1926), performed minor editorial chores for the Theater Guild Quarterly for which she also wrote a piece (April 1926), wrote several piece for the Chicago Journal under the byline Marionette (May 29, 1926, June 9, 13, 20 and 27,1926). She also served as a rewrite person and translator (French, German, Italian) for Continental Features, Inc. In 1931 and 1932 she ghost wrote pieces for Howard S. Cullman, a commissioner of the Port of New York Authority.

She did assorted freelance writing and a year's graduate work at the Columbia School of Journalism until 1932 when she took a job as assistant to trustee and public relations director for the Roxy Theater, and later director of public relations Gaumont British Picture, Corp. until 1936 when she became assistant to chief, Bureau of Commerce (1941 title changed to Assistant Director, Public Relations) for the Port of New York Authority, making 3 documentary motion pictures, conducted a large scale educational program and wrote a large illustrated book on the Port of New York, plus many radio scripts, lectures, speeches, pamphlets, and annual reports. In 1939 she took a 6-month leave of absence without pay to serve as Secretary and Director of Public Relations, Non-Sectarian Committee for German Refugee Children.

In 1944 she took a job as a news editor with the Overseas Branch of the Office of War Information, helping run its news service, which fed the overseas psychological warfare program. At the end of the war she was Assistant Chief of the Publications Bureau, which was publishing magazines in over 20 languages.

In 1946 she was hired to head the State Department's New York office which would handle such publications as were to be continued under the permanent overseas information program. She remained Chief, Magazine Branch, Division of International Press and Publications, Office of International Information, until 1952, as Editor-in-Chief of the magazine Amerika . In 1949 the office took over 4 German language magazines from the Army, and also published a History of the U.S. in 10 languages, including Korean and Urdu.

From 1958 until 1970, she was a senior editor of Harper's Magazine, where many of her investigative articles on women, medicine, politics, social welfare, and urban affairs appeared.  She was later a managing editor of World Press Review.

In 1973, she wrote the first biography of Dorothy Thompson, Dorothy Thompson: A Legend in Her Time (Boston: Houghton Mifflin Company, 1973).  After an unsuccessful run for Congress in the former 28th Congressional District of New York, including Rockland, Orange, Sullivan, and Delaware Counties, in 1952, she wrote,The Lady and the Vote (Boston: Houghton Mifflin Company, 1956).  Other works include a series of conversations with Saul Alinsky entitled, The Professional Radical: Conversations with Saul Alinsky, (New York: Harper & Row, 1970), a work of fiction, The Bride Laughed Once co-written with Mortimer S. Edelstein (Farrar & Rinehart,1943), which received the Mary Roberts Rinehart award for mystery writing. She edited The Crisis in American Medicine(Harper and Row, 1961).

Published articles for Harper's

  Enemies of Abortion March 1974
  Addicts and Zealots: The Chaotic War Against Drug Abuse. June 1970
  The Professional Radical:1970. January 1970
  The Sex Crusaders from Missouri. May 1968
  The Doctors Meet the People. January 1968
  The Several Worlds of American Jews. April 1966
  The Professional Radical. June 1966
  A Professional Radical Moves in on Rochester. July 1965.
  The New American Female: Demi-feminism Takes Over. July 1965
  Sweden's Remedy for "Police Brutality". November 1964
  The Next Mayor of New York? February 1963
  A Slight Case of Library Fever. April 1962
  Nobody Here But Us Pompadours. October 1962
  New York is Different. July 1961
  A Proposition for Women. September 1960
  It's Not the Gift, It's the Wrapping. December 1959
  The Cozy Camel of Winston-Salem. February 1959
  Mutiny of the Bountiful. December 1958.[condensed in Reader's Digest, February 1959]
  Country Doctors Catch Up. April 1958
  Social Work: A Profession Chasing Its Tail. March 1957
  Women in Politics. August 1953

Book-Length Special Supplements edited for Harper's

  Crime and Punishment. April 1964
  The American Female. October 1962
  The Mood of the Russian People. May 1961
  The Crisis in American Medicine. October 1960

Articles for other publications

  Requiem for ERA, The New Republic, November 29, 1975
  Narcotics and the Media. Columbia Journalism Review. Fall 1970
  James Houghton Wants 500,000 More Jobs,  New York Times Magazine, Sept 14, 1969
  The Case for a National Service Corps, New York Times Magazine, August 7, 1966 [Reprinted in Social Progress, November–December 1966]
  Issues Girls, Club Ladies and Camp Followers, New York Times Magazine, December 1, 1963
  What's it like to work in the suburbs, Today's Living, May 3, 1959
  The Case of the Vanishing Spinster, New York Times Magazine, September 22, 1963
  Charity Drives? Suburbia Today, October 1963
  The Problem of Labor Union Responsibility, The Society for the Advancement of Management Journal, November 1937 (with V. Henry Rothschild, 2nd)

Books published

  Dorothy Thompson: A Legend in Her Time (Houghton Mifflin 1973)
  The Professional Radical: Conversations With Saul Alinsky (Harper & Row 1970)
  The Crisis in American Medicine (Ed., Harper & Row 1961)
  The Lady and the Vote (Houghton Mifflin 1956)
  With Mortimer S. Edelstein, The Bride Laughed Once (Farrar & Rinehart 1943)

Personal life

On July 3, 1926, she married Theodore Michael Sanders (1890–1965), a physician, in New York, New York.  She had two children, Theodore Michael Sanders, a physicist, Ann Arbor, Michigan (b. 1927, d. 2017) and Mary Sanders von Euler, a lawyer and liberal activist, Bethesda, Maryland (b. 1930).

Political activity

In 1952, she ran a grassroots campaign as a Democrat-Liberal for the U.S. Congress in what was then the 28th Congressional District of New York, at the time a heavily Republican District encompassing Delaware County, Orange County, Rockland County, and Sullivan County.  In a year when  Dwight D. Eisenhower easily won the Presidency, she was unsuccessful in her bid to unseat incumbent Katherine St. George.

Awards

  Kappa Tau Alpha Award for Research in Journalism (1974)
  Front Page award of the Newswomen's Club of New York (1974) for her Harper's piece "Enemies of Abortion, March 1974
  Fellow Society of American Historians (1974)
  Distinguished Alumnae Award, Wellesley College (1973)

External links
 Finding aid to the Marion K. Sanders papers at the Rare Book & Manuscript Library, Columbia University.
 Harper's Magazine's list of Sanders' articles
 October 3, 1977 Time Magazine obituary
 June 6, 1949 Time Magazine article concerning Sanders and Amerika
 June 23, 1952 Time Magazine article concerning Sanders and the demise of Amerika

1905 births
1977 deaths
American women journalists
Horace Mann School alumni
Columbia University Graduate School of Journalism alumni
Wellesley College alumni
People from Lawrence, Nassau County, New York
20th-century American non-fiction writers
20th-century American women writers
People of the United States Office of War Information
American women civilians in World War II

Marion K. Sanders


Whoppers are malted milk balls with an artificial flavored "chocolatey coating" produced by The Hershey Company. The candy is a small, round ball about  in diameter. They are typically sold in various packaging options: either in a small cardboard candy box, in a larger box that resembles a cardboard milk carton, as the 'Fun Size' variety which is a tube-shaped plastic package sealed at the sides and contains twelve Whoppers weighing 21 grams (0.74 ounces), or as an even smaller variety in a tube containing three Whoppers weighing 6.8 grams (0.24 ounces).

History
In 1939, the Overland Candy Company introduced the predecessor to Whoppers, a malted milk candy called "Giants". In 1947, Overland merged with Chicago Biscuit Company, Leaf Gum, and Laf Machinery. Two years later, Leaf Brands reintroduced malted milk balls under the name of "Whoppers". All products manufactured by Leaf Brands were purchased by W. R. Grace in the 1960s; however, they were repurchased by Leaf in 1976. Finally, Hershey Foods Corporation acquired the Leaf North America confectionery operations from Huhtamäki Oyj of Espoo, Finland, in 1996. The company has been producing the Whoppers candy to this day.

Whoppers were first sold unwrapped, two pieces for one cent. But after the creation of cellophane wrapping machines, smaller Whoppers were packaged and sold five for one cent, also known as Fivesomes. Leaf soon introduced the first confectionery milk carton package which would become a hallmark of the candy. Sometime between 1950 and 1952 an egg-shaped Whoppers candy called Mini Robin Eggs were introduced for Easter. They differ from the traditional Whoppers in being egg shaped and having a speckled candy shell.

In 2000, Hershey introduced Mini Whoppers. Traditionally chocolate in flavor, a new strawberry milkshake flavored variant became available in 2006. Soon after they also released Reese's Peanut Butter Cups flavored Whoppers (discontinued sometime between 2014 and 2015). For Easter 2009, three new milkshake flavors were released, which were vanilla, blueberry, and orange cream. The vanilla ones were reintroduced in 2016 as a seasonal product.

Ingredients

Listed in decreasing order by weight: sugar, corn syrup, partially hydrogenated palm kernel oil, whey (milk), malted milk (barley malt, wheat flour, milk, salt, sodium bicarbonate), cocoa, 2% or less of: resinous glaze, sorbitan tristearate, soy lecithin, salt, natural and artificial flavors, calcium carbonate, tapioca dextrin.

Similar products
 Maltesers
 Milk Duds

References

External links

The Hershey Company brands
Products introduced in 1949
Candy
Kosher food
Brand name confectionery

Whoppers


Churchtown Farm is a community nature reserve one mile south of Saltash, Cornwall, England. It is leased from Antony Estate and managed by Cornwall Wildlife Trust, and includes diverse habitats such as grassland, estuarine mudflats, wetland, woodland, disused quarries and hedgerows.

Situated within the Tamar Valley AONB, and positioned between the rivers Tamar and Lynher as well as Forder Creek, the majority of the reserve is farmland. This includes hay meadows and arable fields. At 61 hectares, it is the third biggest reserve that the Cornwall Wildlife Trust owns.

The land on the reserve is being farmed in a way which reflects traditional Cornish farming, benefiting wildlife in many ways. Historically, Churchtown Farm was farmed for dairy and arable production. From the 1960s, most of the fields were intensively managed, being re-seeded with highly productive rye grass mixtures maintained by regular applications of chemical fertilisers and heavy grazing. This intensive management has artificially increased the soil nutrients and encouraged pastures with a very limited range of plant species and little structural variation. In such a field there is little insect, animal or bird life. In an attempt to encourage wildlife back to the farm, Cornwall Wildlife Trust are using a number of less intensive management techniques aimed at reducing the soil nutrient levels and increasing the number of
plant species.

The two disused quarries in the reserve,  Forder and Lowhill, were quarried in the 19th century for roadstone. Lowhill closed in 1915. Hornblende-rich dolerite was quarried for use in road construction. Both quarries are now County Geology Sites.

Oystercatchers, Dunlins, Egrets, Avocets and Greenshank can all be seen on the mudflats.

See also

 List of farms in Cornwall

References

External links
 Churchtown Farm's web site
 BBC News - Lowhill Quarry clean up

Nature reserves of the Cornwall Wildlife Trust
Nature reserves in Cornwall
Farms in Cornwall

Churchtown Farm


Akuol Garang de Mabior  is a South Sudanese filmmaker, model, businesswoman, and women's rights activist.

Early life and family
De Maboir is the daughter of John Garang de Mabior, former commander-in-chief of the Sudan People's Liberation Army and the first Vice President of Sudan, and Rebecca Nyandeng De Mabior, a South Sudanese politician and presidential adviser. Her father died in a helicopter crash in 2005. She is of Dinka ethnicity. De Mabior grew up in Nairobi, Kenya.

Career
De Mabior worked as a fashion model and was signed with Ice Models South Africa, Why Not Model Management Milan, Elite Paris, and MD Management Hamburg. In 2011 de Maboir walked the runway in the spring show for Max Mara and the fall shows for Vivienne Westwood, Sass & bide, Paul Smith, and Valentin Yudashkin.

In 2012 she walked the runway in the fall shows for Hermès, Jasper Conran, Jean Pierre Braganza, Louise Gray, and Emilio de la Moren and walked in the fall shows for Damir Doma, Ingrid Vlasov, Max Mara, Peter Jensen, Aganovich, Dusan, Martin Grant, Jasper Conran, Ashley Isham, Paco Rabanne, Julien David, Issey Miyake, and Maurizio Percoraro. At Paris Fashion Week in 2012 she walked for Vivienne Westwood and Chanel.

In 2012 she appeared in editorials for Elle, L'Officiel Netherlands, Dazed, and was the cover girl for Annabelle. She was also part of Chanel's Little Black Jacket Book short film.

In 2013 she appeared in editorials for The City Magazine and The Ones 2 Watch and walked in the fall shows for Costello Tagliapietra, the Academy of Art University, DVF, Thom Browne, Mara Hoffman, and Custo Dalmau and in the spring show for Marissa Webb.

De Maboir retired from modeling and moved to South Africa, where she worked on three independent films. She directed the film Tomato Soup, which debuted at the Durban International Film Festival.

She sits on the board for Embrace Dignity, a women's human rights organization which advocates for law reform to end sex trafficking and the demand for prostitution.

Personal life
De Maboir is a postgraduate student at the University of Cape Town. As an undergraduate, she studied film and media production and minored in writing and gender studies. She is doing a second degree in film theory and practice. De Maboir is a beekeeper and makes lip balm and other cosmetic products from beeswax.

References

Living people
De Mabior family
Dinka people
South Sudanese female models
South Sudanese women's rights activists
University of Cape Town alumni
Women film directors
Year of birth missing (living people)
South Sudanese beekeepers
Women beekeepers

Akuol de Mabior


Itzhak Avraham ben Zeev Spiegelman ( ; born February 15, 1948), professionally known as Art Spiegelman, is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker. He is married to designer and editor Françoise Mouly, and is the father of writer Nadja Spiegelman.  In September 2022, the National Book Foundation announced that he would receive the Medal for Distinguished Contribution to American Letters.

Spiegelman began his career with Topps (a bubblegum and trading card company) in the mid-1960s, which was his main financial support for two decades; there he co-created parodic series such as Wacky Packages in the 1960s and Garbage Pail Kids in the 1980s. He gained prominence in the underground comix scene in the 1970s with short, experimental, and often autobiographical work. A selection of these strips appeared in the collection Breakdowns in 1977, after which Spiegelman turned focus to the book-length Maus, about his relationship with his father, a Holocaust survivor. The postmodern book depicts Germans as cats, Jews as mice, and ethnic Poles as pigs, and took 13 years to create until its completion in 1991. It won a special Pulitzer Prize in 1992 and has gained a reputation as a pivotal work.

Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. The oversized  and graphics magazine helped introduce talents who became prominent in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English-speaking comics world. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2004), about his reaction to the September 11 attacks in New York in 2001.

Spiegelman advocates for greater comics literacy. As an editor, a teacher, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.

Family history

Spiegelman's parents were Polish Jews  (1906–1982) and  (1912–1968) Spiegelman. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. Władysław was his Polish name, and Władek (or Vladek in anglicized form) was a diminutive of this name. He was also known as Wilhelm under the German occupation, and Anglicized his name to William upon immigration to the United States. His mother was born Andzia Zylberberg, with the Hebrew name Hannah. She changed her name to Anna upon immigrating to the United States. In Spiegelman's Maus, from which the couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would be easier for Americans to pronounce. The surname Spiegelman is German for "mirror man".

In 1937, the Spiegelmans had one other son, Rysio (spelled "Richieu" in Maus), who died before Art was born, at the age of five or six. During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would be safe. In 1943, the aunt poisoned herself, along with Rysio and two other young family members in her care, so that the Nazis could not take them to the extermination camps. After the war, the Spiegelmans, unable to accept that Rysio was dead, searched orphanages all over Europe in the hope of finding him. Spiegelman talked of having a sort of sibling rivalry with his "ghost brother"; he felt unable to compete with an "ideal" brother who "never threw tantrums or got in any kind of trouble". Of 85 Spiegelman relatives alive at the beginning of World War II, only 13 are known to have survived the Holocaust.

Life and career

Early life

He began cartooning in 1960 and imitated the style of his favorite comic books, such as Mad. In the early 1960s, he contributed to early fanzines such as Smudge and Skip Williamson's Squire, and in 1962—while at Russell Sage Junior High School, where he was an honors student—he produced the Mad-inspired fanzine Blasé. He was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets. His talent caught the eyes of United Features Syndicate, who offered him the chance to produce a syndicated comic strip.  Dedicated to the idea of art as expression, he turned down this commercial opportunity.  He attended the High School of Art and Design in Manhattan beginning in 1963. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating from high school. At age 15, Spiegelman received payment for his work from a Rego Park newspaper.

After he graduated in 1965, Spiegelman's parents urged him to pursue the financial security of a career such as dentistry, but he chose instead to enroll at Harpur College to study art and philosophy. While there, he got a freelance art job at Topps, which provided him with an income for the next two decades.

Spiegelman attended Harpur College from 1965 until 1968, where he worked as staff cartoonist for the college newspaper and edited a college humor magazine. After a summer internship when he was 18, Topps hired him for Gelman's Product Development Department as a creative consultant making trading cards and related products in 1966, such as the Wacky Packages series of parodic trading cards begun in 1967.

Spiegelman began selling self-published underground comix on street corners in 1966. He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1967, where the underground comix scene was just beginning to burgeon.

In late winter 1968, Spiegelman suffered a brief but intense nervous breakdown, which cut short his university studies. He has said that at the time he was taking LSD with great frequency. He spent a month in Binghamton State Mental Hospital, and shortly after he exited it, his mother died by suicide following the death of her only surviving brother.

Underground comics (1971–1977)
In 1971, after several visits, Spiegelman moved to San Francisco and became a part of the countercultural underground comix movement that had been developing there.  Some of the  he produced during this period include The Compleat Mr. Infinity (1970), a ten-page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1972), a transgressive work in the vein of fellow underground cartoonist S. Clay Wilson. Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust, Real Pulp, and Bizarre Sex, and were in a variety of styles and genres as Spiegelman sought his artistic voice. He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.

In 1972, Justin Green asked Spiegelman to do a three-page strip for the first issue of Funny  .  He wanted to do one about racism, and at first considered a story with African-Americans as mice and cats taking on the role of the Ku Klux Klan. Instead, he turned to the Holocaust that his parents had survived. He titled the strip "Maus" and depicted the Jews as mice persecuted by die Katzen, which were Nazis as cats. The narrator related the story to a mouse named "Mickey". With this story Spiegelman felt he had found his voice.

Seeing Green's revealingly autobiographical Binky Brown Meets the Holy Virgin Mary while in-progress in 1971 inspired Spiegelman to produce "Prisoner on the Hell Planet", an expressionistic work that dealt with his mother's suicide; it appeared in 1973 in Short Order Comix 1, which he edited.  Spiegelman's work thereafter went through a phase of increasing formal experimentation; the Apex Treasury of Underground Comics in 1974 quotes him: "As an art form the comic strip is barely in its infancy. So am I. Maybe we'll grow up together." The often-reprinted "Ace Hole, Midget Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non sequiturs. "A Day at the Circuits" of 1975 is a recursive single-page strip about alcoholism and depression in which the reader follows the character through multiple never-ending pathways. "Nervous Rex: The Malpractice Suite" of 1976 is made up of cut-out panels from the soap-opera comic strip Rex Morgan, M.D. refashioned in such a way as to defy coherence.

In 1973, Spiegelman edited a pornographic and psychedelic book of quotations and dedicated it to his mother. Co-edited with Bob Schneider, it was called Whole Grains: A Book of Quotations. In 1974–1975, he taught a studio cartooning class at the San Francisco Academy of Art.

By the mid-1970s, the underground comix movement was encountering a slowdown. To give cartoonists a safe berth, Spiegelman co-edited the anthology Arcade with Bill Griffith, in 1975 and 1976. Arcade was printed by The Print Mint and lasted seven issues, five of which had covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to the broader realms of artistic and literary culture. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation. Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski. In 1975, Spiegelman moved back to New York City, which put most of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indifference, led to the magazine's 1976 demise. Spiegelman swore he would never edit another magazine.

Françoise Mouly, an architectural student on a hiatus from her studies at the Beaux-Arts in Paris, arrived in New York in 1974. While looking for comics from which to practice reading English, she came across Arcade.  Avant-garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, but they did not immediately develop a mutual interest.  Spiegelman moved back to New York later in the year. Occasionally the two ran across each other. After she read "Prisoner on the Hell Planet" Mouly felt the urge to contact him. An eight-hour phone call led to a deepening of their relationship. Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course.

Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics. After returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married.  The couple began to make yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends. Mouly assisted in putting together the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977.

Raw and Maus (1978–1991)

Breakdowns suffered poor distribution and sales, and 30% of the print run was unusable due to printing errors, an experience that motivated Mouly to gain control over the printing process. She took courses in offset printing and bought a printing press for her loft, on which she was to print parts of a new magazine she insisted on launching with Spiegelman. With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980. The first issue was subtitled "The Graphix Magazine of Postponed Suicides". While it included work from such established underground cartoonists as Crumb and Griffith, Raw focused on publishing artists who were virtually unknown, avant-garde cartoonists such as Charles Burns, Lynda Barry, Chris Ware, Ben Katchor, and Gary Panter, and introduced English-speaking audiences to translations of foreign works by José Muñoz, Chéri Samba, Joost Swarte, Yoshiharu Tsuge, Jacques Tardi, and others.

With the intention of creating a book-length work based on his father's recollections of the Holocaust Spiegelman began to interview his father again in 1978 and made a research visit in 1979 to the Auschwitz concentration camp, where his parents had been imprisoned by the Nazis. The book, Maus, appeared one chapter at a time as an insert in Raw beginning with the second issue in December 1980. Spiegelman's father did not live to see its completion; he died on 18 August 1982. Spiegelman learned in 1985 that Steven Spielberg was producing an animated film about Jewish mice who escape persecution in Eastern Europe by fleeing to the United States. Spiegelman was sure the film, An American Tail (1986), was inspired by Maus and became eager to have his unfinished book come out before the movie to avoid comparisons. He struggled to find a publisher until in 1986, after the publication in The New York Times of a rave review of the work-in-progress, Pantheon agreed to release a collection of the first six chapters. The volume was titled Maus: A Survivor's Tale and subtitled My Father Bleeds History. The book found a large audience, in part because it was sold in bookstores rather than in direct-market comic shops, which by the 1980s had become the dominant outlet for comic books.

Spiegelman began teaching at the School of Visual Arts in New York in 1978, and continued until 1987, teaching alongside his heroes Harvey Kurtzman and Will Eisner. ": An Idiosyncratic Historical and Aesthetic Overview", a Spiegelman essay, was published in Print. Another Spiegelman essay, "High Art Lowdown", was published in Artforum in 1990, critiquing the High/Low exhibition at the Museum of Modern Art.

In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the parodic trading card series Garbage Pail Kids for Topps in 1985. Similar to the Wacky Packages series, the gross-out factor of the cards was controversial with parent groups, and its popularity started a gross-out fad among children. Spiegelman called Topps his "Medici" for the autonomy and financial freedom working for the company had given him. The relationship was nevertheless strained over issues of credit and ownership of the original artwork. In 1989 Topps auctioned off pieces of art Spiegelman had created rather than returning them to him, and Spiegelman broke the relation.

In 1991, Raw  2,  3 was published; it was to be the last issue. The closing chapter of Maus appeared not in Raw but in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began. Maus attracted an unprecedented amount of critical attention for a work of comics, including an exhibition at New York's Museum of Modern Art and a special Pulitzer Prize in 1992.

The New Yorker and public legitimacy (1992–2001)

Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. His first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Twenty-one New Yorker covers by Spiegelman were published, and he also submitted some which were rejected for being too outrageous.

Within The New Yorkers pages, Spiegelman contributed strips such as a collaboration, "In the Dumps", with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz, "Abstract Thought is a Warm Puppy". Another of Spiegelman's essays, "Forms Stretched to their Limits", in an issue was about Jack Cole, the creator of Plastic Man. It formed the basis for a book about Cole, Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001).

The same year, Voyager Company published The Complete Maus, a CD-ROM version of Maus with extensive supplementary material, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997, issue of Mother Jones.

Spiegelman was comics editor of the New York Press in the early 1990s. He was comics editor of Details magazine in the late 1990s; in 1997 he began assigning comics journalism pieces in Details to a number of his cartoonist associates, including Joe Sacco, Peter Kuper, Ben Katchor, Peter Bagge, Charles Burns, Kaz, Kim Deitch, and Jay Lynch. The magazine published these works of journalism in comics form throughout 1998 and 1999, helping to legitimize the form in popular perception.

Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In "The King of Comix", an article in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to 30 professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal.

In 1997, Spiegelman had his first children's book published, Open Me...I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003, Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.

Post-September 11 (2001–present)

Spiegelman lived close to the World Trade Center site, which was known as "Ground Zero" after the September 11 attacks that destroyed the World Trade Center. Immediately following the attacks Spiegelman and Mouly rushed to their daughter Nadja's school, where Spiegelman's anxiety served only to increase his daughter's apprehensiveness over the situation. Spiegelman and Mouly created a cover for the September 24 issue of The New Yorker which at first glance appears to be totally black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker shade of black.  Mouly positioned the silhouettes so that the North Tower's antenna breaks into the "w" of The New Yorkers logo. The towers were printed in black on a slightly darker black field employing standard four-color printing inks with an overprinted clear varnish. In some situations, the ghost images only became visible when the magazine was tilted toward a light source. Spiegelman was critical of the Bush administration and the mass media over their handling of the September 11 attacks.

Spiegelman did not renew his New Yorker contract after 2003. He later quipped that he regretted leaving when he did, as he could have left in protest when the magazine ran a pro-invasion of Iraq piece later in the year.  Spiegelman said his parting from The New Yorker was part of his general disappointment with "the widespread conformism of the mass media in the Bush era". He said he felt like he was in "internal exile" following the September 11 attacks as the U.S. media had become "conservative and timid" and did not welcome the provocative art that he felt the need to create. Nevertheless, Spiegelman asserted he left not over political differences, as had been widely reported, but because The New Yorker was not interested in doing serialized work, which he wanted to do with his next project.

Spiegelman responded to the September 11 attacks with In the Shadow of No Towers, commissioned by German newspaper Die Zeit, where it appeared throughout 2003. The Jewish Daily Forward was the only American periodical to serialize the feature. The collected work appeared in September 2004 as an oversized board book of two-page spreads which had to be turned on end to read.

In the June 2006 edition of Harper's Magazine Spiegelman had an article published on the Jyllands-Posten Muhammad cartoons controversy; some interpretations of Islamic law prohibit the depiction of Muhammad. The Canadian chain of booksellers Indigo refused to sell the issue. Called "Drawing Blood: Outrageous Cartoons and the Art of Outrage", the article surveyed the sometimes dire effect political cartooning has for its creators, ranging from Honoré Daumier, who spent time in prison for his satirical work; to George Grosz, who faced exile. To Indigo the article seemed to promote the continuance of racial caricature. An internal memo advised Indigo staff to tell people: "the decision was made based on the fact that the content about to be published has been known to ignite demonstrations around the world." In response to the cartoons, Iranian president Mahmoud Ahmadinejad promoted an Iranian cartoon contest seeking anti-Semitic cartoons. The organizers of the contest intended to highlight what they perceived as Western double standards surrounding anti-Semitism and Islamophobia. Spiegelman produced a cartoon of a line of prisoners being led to the gas chambers; one stops to look at the corpses around him and says, "Ha! Ha! Ha! What's really hilarious is that none of this is actually happening!"

To promote literacy in young children, Mouly encouraged publishers to publish comics for children. Disappointed by publishers' lack of response, from 2008 she self-published a line of easy readers called Toon Books, by artists such as Spiegelman, Renée French, and Rutu Modan, and promotes the books to teachers and librarians for their educational value. Spiegelman's Jack and the Box was one of the inaugural books in 2008.

In 2008 Spiegelman reissued Breakdowns in an expanded edition including "Portrait of the Artist as a Young %@&*!" an autobiographical strip that had been serialized in the Virginia Quarterly Review from 2005. A volume drawn from Spiegelman's sketchbooks, Be A Nose, appeared in 2009. In 2011, MetaMaus followed—a book-length analysis of Maus by Spiegelman and Hillary Chute with a DVD update of the earlier CD-ROM.

Library of America commissioned Spiegelman to edit the two-volume Lynd Ward: Six Novels in Woodcuts, which appeared in 2010, collecting all of Ward's wordless novels with an introduction and annotations by Spiegelman. The project led to a touring show in 2014 about wordless novels called Wordless! with live music by saxophonist Phillip Johnston. Art Spiegelman's Co-Mix: A Retrospective débuted at Angoulême in 2012 and by the end of 2014 had traveled to Paris, Cologne, Vancouver, New York, and Toronto. The book Co-Mix: A Retrospective of Comics, Graphics, and Scraps, which complemented the show, appeared in 2013.

In 2015, after six writers refused to sit on a panel at the PEN American Center in protest of the planned "freedom of expression courage award" for the satirical French periodical Charlie Hebdo following the shooting at its headquarters earlier in the year, Spiegelman agreed to be one of the replacement hosts, along with other names in comics such as writer Neil Gaiman.  Spiegelman retracted a cover he had submitted to a Gaiman-edited "saying the unsayable" issue of New Statesman when the management declined to print a strip of Spiegelman's. The strip, "Notes from a First Amendment Fundamentalist", depicts Muhammad, and Spiegelman believed the rejection was censorship, though the magazine asserted it never intended to run the cartoon.

In 2021, Literary Hub announced that Spiegelman was co-creating a work Street Cop with author Robert Coover.

Personal life

Spiegelman married Françoise Mouly on July 12, 1977, in a New York city hall ceremony. They remarried later in the year after Mouly converted to Judaism to please Spiegelman's father. Mouly and Spiegelman have two children together: a daughter, Nadja Rachel, born in 1987, and a son, Dashiell Alan, born in 1992.

Style

Spiegelman suffers from a lazy eye, and thus lacks depth perception. He says his art style is "really a result of [his] deficiencies". His is a style of labored simplicity, with dense visual motifs which often go unnoticed upon first viewing. He sees comics as "very condensed thought structures", more akin to poetry than prose, which need careful, time-consuming planning that their seeming simplicity belies. Spiegelman's work prominently displays his concern with form, and pushing the boundaries of what is and is not comics. Early in the underground comix era, Spiegelman proclaimed to Robert Crumb, "Time is an illusion that can be shattered in comics! Showing the same scene from different angles freezes it in time by turning the page into a diagram—an orthographic projection!" His comics experiment with time, space, recursion, and representation. He uses the word "decode" to express the action of reading comics and sees comics as functioning best when expressed as diagrams, icons, or symbols.

Spiegelman has stated he does not see himself primarily as a visual artist, one who instinctively sketches or doodles. He has said he approaches his work as a writer as he lacks confidence in his graphic skills. He subjects his dialogue and visuals to constant revision—he reworked some dialogue balloons in Maus up to forty times. A critic in The New Republic compared Spiegelman's dialogue writing to a young Philip Roth in his ability "to make the Jewish speech of several generations sound fresh and convincing".

Spiegelman makes use of both old- and new-fashioned tools in his work. He prefers at times to work on paper on a drafting table, while at others he draws directly onto his computer using a digital pen and electronic drawing tablet, or mixes methods, employing scanners and printers.

Influences

Harvey Kurtzman has been Spiegelman's strongest influence as a cartoonist, editor, and promoter of new talent. Chief among his other early cartooning influences include Will Eisner, John Stanley's version of Little Lulu, Winsor McCay's Little Nemo, George Herriman's Krazy Kat, and Bernard Krigstein's short strip "Master Race".

In the 1960s Spiegelman read in comics fanzines about graphic artists such as Frans Masereel, who had made wordless novels in woodcut. The discussions in those fanzines about making the Great American Novel in comics later acted as inspiration for him. Justin Green's comic book Binky Brown Meets the Holy Virgin Mary (1972) motivated Spiegelman to open up and include autobiographical elements in his comics.

Spiegelman acknowledges Franz Kafka as an early influence, whom he says he has read since the age of 12, and lists Vladimir Nabokov, William Faulkner, Gertrude Stein among the writers whose work "stayed with" him. He cites non-narrative avant-garde filmmakers from whom he has drawn heavily, including Ken Jacobs, Stan Brakhage, and Ernie Gehr, and other filmmakers such as Charlie Chaplin and the makers of The Twilight Zone.

Beliefs
Spiegelman is a prominent advocate for the comics medium and comics literacy. He believes the medium echoes the way the human brain processes information. He has toured the U.S. with a lecture called "Comix 101", examining its history and cultural importance. He sees comics' low status in the late 20th century as having come down from where it was in the 1930s and 1940s, when comics "tended to appeal to an older audience of GIs and other adults". Following the advent of the censorious Comics Code Authority in the mid-1950s, Spiegelman sees comics' potential as having stagnated until the rise of underground comix in the late 1960s. He taught courses in the history and aesthetics of comics at schools such as the School of Visual Arts in New York. As co-editor of Raw, he helped propel the careers of younger cartoonists whom he mentored, such as Chris Ware, and published the work of his School of Visual Arts students, such as Kaz, Drew Friedman, and Mark Newgarden. Some of the work published in Raw was originally turned in as class assignments.

Spiegelman has described himself politically as "firmly on the left side of the secular-fundamentalist divide" and a "1st Amendment absolutist". As a supporter of free speech, Spiegelman is opposed to hate speech laws. He wrote a critique in Harper's on the controversial Muhammad cartoons in the Jyllands-Posten in 2006; the issue was banned from Indigo–Chapters stores in Canada. Spiegelman criticized American media for refusing to reprint the cartoons they reported on at the time of the Charlie Hebdo shooting in 2015.

Spiegelman is a non-practicing Jew and considers himself "a-Zionist"—neither pro- nor anti-Zionist; he has called Israel "a sad, failed idea". He told Peanuts creator Charles Schulz he was not religious, but identified with the "alienated diaspora culture of Kafka and Freud ... what Stalin pejoratively called rootless cosmopolitanism".

Legacy
Maus looms large not only over Spiegelman's body of work, but over the comics medium itself. While Spiegelman was far from the first to do autobiography in comics, critics such as James Campbell considered Maus the work that popularized it. The bestseller has been widely written about in the popular press and academia—the quantity of its critical literature far outstrips that of any other work of comics. It has been examined from a great variety of academic viewpoints, though most often by those with little understanding of Maus context in the history of comics. While Maus has been credited with lifting comics from popular culture into the world of high art in the public imagination, criticism has tended to ignore its deep roots in popular culture, roots that Spiegelman has intimate familiarity with and has devoted considerable time to promote.

Spiegelman's belief that comics are best expressed in a diagrammatic or iconic manner has had a particular influence on formalists such as Chris Ware and his former student Scott McCloud. In 2005, the September 11-themed New Yorker cover placed sixth on the top ten of magazine covers of the previous 40 years by the American Society of Magazine Editors. Spiegelman has inspired numerous cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.

A joint ZDF–BBC documentary, Art Spiegelman's Maus, was televised in 1987. Spiegelman, Mouly, and many of the Raw artists appeared in the documentary Comic Book Confidential in 1988. Spiegelman's comics career was also covered in an Emmy-nominated PBS documentary, Serious Comics: Art Spiegelman, produced by Patricia Zur for WNYC-TV in 1994. Spiegelman played himself in the 2007 episode "Husbands and Knives" of the animated television series The Simpsons with fellow comics creators Daniel Clowes and Alan Moore. A European documentary, Art Spiegelman, Traits de Mémoire, appeared in 2010 and later in English under the title The Art of Spiegelman, directed by Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews with Spiegelman and those around him.

Awards

 1982: Playboy Editorial Award, Best Comic Strip
 1982: , Lucca, Italy, for Foreign Author
 1983: Print, Regional Design Award
 1984: Print, Regional Design Award
 1985: Print, Regional Design Award
 1986: Joel M. Cavior, Jewish Writing
 1987: Inkpot Award
 1988: Angoulême International Comics Festival, France, Prize for Best Comic Book, for Maus
 1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus
 1990: Guggenheim Fellowship.
 1990: Max & Moritz Prize, Erlangen, Germany, Special Prize, for Maus
 1992: Pulitzer Prize Letters award, for Maus
 1992: Eisner Award, Best Graphic Album (reprint), for Maus
 1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus
 1992: Los Angeles Times, Book Prize for Fiction for Maus II
 1993: Angoulême International Comics Festival, Prize for Best Comic Book, for Maus II
 1993: Sproing Award, Norway, Best Foreign Album, for Maus
 1993: Urhunden Prize, Best Foreign Album, for Maus II
 1995: Binghamton University (formerly Harpur College), honorary Doctorate of Letters.
 1999: Eisner Award, inducted into the Hall of Fame
 2005: French government, Chevalier of the Ordre des Arts et des Lettres
 2005: Time magazine, one of the "Top 100 Most Influential People"
 2011: Angoulême International Comics Festival, Grand Prix
2011: National Jewish Book Award for MetaMaus: A Look Inside a Modern Classic, Maus
 2015: American Academy of Arts and Letters membership
2018: The Edward MacDowell Medal

Bibliography

Author
 Tijuana Bibles: Art and Wit in America's Forbidden Funnies, 1930s-1950s (Introductory Essay: Those Dirty Little Comics) (1977)
Breakdowns: From Maus to Now, an Anthology of Strips (1977)
 Maus (1991)
 The Wild Party (1994)
 Open Me, I'm A Dog (1995)
 Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001)
 In the Shadow of No Towers (2004)
 Breakdowns: Portrait of the Artist as a Young %@&*! (2008)
 Jack and the Box (2008)
 Be a Nose (2009)
 MetaMaus (2011)
 Co-Mix: A Retrospective of Comics, Graphics, and Scraps (2013)
 Street Cop (with Robert Coover) (2021)
 The St. Louis Refugee Ship Blues, Art Spiegelman recounts a sad story 70 years later.

Editor
 Short Order Comix (1972–74)
 Whole Grains: A Book of Quotations (with Bob Schneider, 1973)
 Arcade (with Bill Griffith, 1975–76)
 Raw (with Françoise Mouly, 1980–91)
 City of Glass (graphic novel adaptation by David Mazzucchelli of the Paul Auster novel, 1994)
 The Narrative Corpse (1995)
 Little Lit  (with Françoise Mouly, 2000–2003)
 The TOON Treasury of Classic Children's Comics (with Françoise Mouly, 2008)
 Lynd Ward: Six Novels in Woodcuts (2010)

Notes

References

Works cited

  (Originally in Oral History Journal  15, Spring 1987)

Further reading

External links

 Lambiek Comiclopedia article.

1948 births
20th-century American artists
20th-century American Jews
20th-century American writers
21st-century American artists
21st-century American Jews
21st-century American writers
Academy of Art University faculty
Alternative cartoonists
American Book Award winners
American comic strip cartoonists
American comics artists
American comics writers
American graphic novelists
American people of Polish-Jewish descent
Artists from New York City
Artists from Stockholm
Comics critics
Grand Prix de la ville d'Angoulême winners
Harpur College alumni
High School of Art and Design alumni
Jewish American artists
Jewish American writers
Living people
Members of the American Academy of Arts and Letters
Novelists from New York (state)
People from Rego Park, Queens
Postmodern writers
Pulitzer Prize winners
Raw (magazine)
The New Yorker people
Underground cartoonists
Will Eisner Award Hall of Fame inductees
Writers from Queens, New York
Writers from Stockholm

Art Spiegelman


Major-General William George Keith Elphinstone CB (26 January 1782 – 23 April 1842) was an officer of the British Army during the 19th century.

Biography

Early life and military career
He was born in Scotland in 1782, the son of William Fullerton-Elphinstone, who was a director of the East India Company, and nephew of Admiral George Keith Elphinstone, 1st Viscount Keith.

Elphinstone entered the British Army in 1804 as a lieutenant; he saw service throughout the Napoleonic Wars, rising to the rank of lieutenant-colonel by 1813, when he became commander of the 33rd Regiment of Foot, which he led at the Battle of Waterloo in 1815. For his actions at Waterloo, Elphinstone was made a Companion of the Bath, as well as a knight of the Dutch Military Order of William and of the Russian Order of Saint Anna 2nd class (6–18 August 1815). He left the regiment in 1822. After Elphinstone was promoted to colonel in 1825, he served for a time as aide-de-camp to King George IV.

In 1837 Elphinstone was effectively retired, as a long term half-pay officer who had not seen active-service since Waterloo. His increasing debts however led him to seek re-employment in the army.

First Anglo-Afghan War
Elphinstone was promoted to major-general in 1837. In 1840 he was, under the patronage of FitzRoy Somerset, Lord Raglan, appointed to command the British Army then occupying Kabul during the First Anglo-Afghan War. In Britain he had been socially acquainted with George Eden, Earl of Auckland and Governor-General of India. Eden had approved Elphinstone's appointment but was disturbed to discover that his state of health had markedly declined. In addition Elphinstone had no understanding of his new environment and appeared prejudiced against the Indian sepoys whom he was to command.

Confirmed in his appointment in December 1840, Elphinstone took command of the British garrison in Kabul, Afghanistan, numbering around 4,500 troops, of whom 690 were European and the rest Indian. The garrison also included 12,000 civilians, including soldiers' families and camp followers. He was elderly, indecisive, weak, and unwell, and proved himself utterly incompetent for the post. The leadership of Elphinstone is seen as a notorious example of how the ineptitude and indecisiveness of a senior officer could compromise the morale and effectiveness of a whole army (though already much depleted). Elphinstone completely failed to lead his soldiers, but fatally exerted enough authority to prevent any of his officers from exercising proper command in his place. His entire command was massacred during the British retreat from Kabul during January 1842.

Death
Elphinstone died as a captive in Afghanistan some months later. Present at his death was the  Military Secretary George Lawrence, who while under no illusions as to Elphinstone's unsuitability for his command, commented "His kind, mild disposition and courteous detachment had made him esteemed by us all".

Elphinstone's body was dispatched with a small guard of Afghan soldiers to the British garrison at Jalalabad. Elphinstone's "faithful" batman Moore who had stayed with the General accompanied the body. En route, they were attacked by a band of tribesmen who stripped and abused the corpse until it was rescued by horsemen sent by the Afghan leader Akbar Khan.
Eventually the body and Moore reached the garrison. Elphinstone was buried with military honours but in an unmarked grave, before the British finally abandoned the fortress.

See also
Flashman

Notes

References

 Macrory, Patrick. 1972. Signal Catastrophe: The Story of the Disastrous Retreat from Kabul 1842. Book Club Associates, London.
 Macrory, Patrick. 2002. Retreat from Kabul: The Catastrophic British Defeat in Afghanistan, 1842. The Lyons Press, Guilford, Connecticut.

1782 births
1842 deaths
British Army major generals
33rd Regiment of Foot officers
Companions of the Order of the Bath
British Army personnel of the Napoleonic Wars
People of the First Anglo-Afghan War
British military personnel of the First Anglo-Afghan War
British prisoners of war
British people who died in prison custody
Knights Fourth Class of the Military Order of William
Recipients of the Waterloo Medal
Recipients of the Order of St. Anna, 2nd class

William George Keith Elphinstone


Tata Amaral (born 1960, in São Paulo) is a Brazilian director, writer, producer and actress. She has won various awards across South America, including 'Best director' and 'Best film'.

At a young age, Tata lost the father of her daughter. As a mother and widow, she struggled financially to pursue a career in filmmaking. Under the military dictatorship (a time that saw a rise to censorship of the arts), she participated in rallies orchestrated by the leftist, student movement. Tata received help from Brazilian state programs that financed films throughout the 1980s. She has remained sided with the Worker's Party, as is evident in her work. She became associated with other directors of the 1990s known for restoring Brazilian cinema to a level of commercial and critical success.

Her trilogy (Um Céu de Estrelas, Através de Janela, Antônia) portrays three different stages in a woman's life: birth, maturity, and death. Antônia was picked up by TV Globo and made into a television series, just as City of God had been adapted for television in City of Men. Tata's films are often politically and/or socially charged. Several themes that are recurring in her films include the Brazilian dictatorship, poverty in the favelas, women's role in society and the contemporary urban culture of Brazil.

Filmography
 2014 - Psi (TV series)
 2013 - Trago Comigo
 2011 - Hoje
 2010 - Carnaval dos Deuses (short)
 2009 - Trago Comigo (TV series)
 2009 - O Rei do Carimã (TV documentary)
 2007 - Antônia (TV series)
 2006 - Antônia
 2000 - Através da Janela
 1996 - Um Céu de Estrelas
 1991 - Viver a Vida (short)
 1988 - História Familiar (short)
 1986 - Poema: Cidade (documentary short)

External links

 Tata Amaral: interview with TimeOut Sào Paulo

Antonia indieWIRE Interview

References
3. Bayman, Louis, and Natália Pinazza. Directory of World Cinema: Brazil. Bristol: Intellect, 2013. Web.

4. Marsh, Leslie Louise. Embodying Citizenship in Brazilian Women's Film, Video, and Literature, 1971 To 1988. Diss. U of        Michigan, 2008. Ann Arbor, MI: UMI Microform, 2009. Print.

5. Marsh, Leslie L. Brazilian Women's Filmmaking: From Dictatorship to Democracy. Urbana: U of Illinois, 2013. Board of Trustees of the University of Illinois. Web.

1961 births
Living people
Brazilian film directors

Tata Amaral


Whipped cream is heavy cream, double cream, or other high-fat cream that is whipped by a whisk or mixer until it is light and fluffy and holds its shape. Cream aerated by the expansion of dissolved gas, forming a firm colloid, is also called whipped cream. It is often sweetened, typically with white sugar, and sometimes flavored with vanilla. Whipped cream is also called Chantilly cream or  ().

Fat content
The cream used as whipping cream has a high butterfat content—typically 30%–36%—as fat globules contribute to forming stable air bubbles.

During whipping, partially coalesced fat molecules create a stabilized network that traps air bubbles. The resulting colloid is roughly double the volume of the original cream. If, however, the whipping is continued, the fat droplets will stick together, destroying the colloid and forming butter.  Low-fat cream (or milk) does not whip well, while high-fat cream produces a more stable foam.

Types

Cream is usually whipped with a whisk, an electric hand mixer, or a food processor. Results are best when the equipment and ingredients are cold. The bubbles in the whipped cream immediately start to pop, and it begins to liquefy, giving it a useful lifetime of one to two hours. Many 19th-century recipes recommend adding gum tragacanth to stabilize whipped cream, while a few include whipped egg whites.  Various other substances, including gelatin and diphosphate, are used in commercial stabilizers.

Instant

Cream aerated by an aerosol can or by a whipping siphon with a whipped-cream charger is sometimes also called whipped cream. Even though it is not whipped, this produces a similar result. A gas dissolves in the butterfat under pressure. When the pressure is released, the gas leaves solution, producing bubbles. The gas is typically nitrous oxide, as carbon dioxide tends to give a sour taste. Other names for cream sold in an aerosol can are skooshy cream (Scottish), squirty cream, spray cream, or aerosol cream. A common brand in the United States is Reddi-Wip. In some jurisdictions, sales of canned whipped cream are limited to avoid potentially dangerous nitrous oxide abuse.

Flavorings

Whipped cream can be flavored with sugar, vanilla, coffee, chocolate, orange, or other flavorings.

History

Whipped cream, often sweetened and aromatised, was popular in the 16th century, with recipes in the writings of Cristoforo di Messisbugo (Ferrara, 1549), Bartolomeo Scappi (Rome, 1570), and Lancelot de Casteau (Liège, 1604). It was called milk or cream snow (neve di latte, neige de lait, neige de crème).  A 1545 English recipe, "A Dyschefull of Snow", includes whipped egg whites as well, and is flavored with rosewater and sugar (cf. snow cream). In these recipes, and until the end of the 19th century, naturally separated cream is whipped, typically with willow or rush branches, and the resulting foam ("snow") on the surface would from time to time be skimmed off and drained, a process taking an hour or more. By the end of the 19th century, centrifuge-separated, high-fat cream made it much faster and easier to make whipped cream.

The French name crème fouettée for whipped cream is attested in 1629, and the English name "whipped cream" in 1673. The name "snow cream" continued to be used in the 17th century.

Various desserts consisting of whipped cream in pyramidal shapes with coffee, liqueurs, chocolate, fruits, and so on either in the mixture or poured on top were called crème en mousse (cream in a foam), crème fouettée, crème mousseuse (foamy cream), mousse (foam), and fromage à la Chantilly (Chantilly-style molded cream), as early as 1768.  Modern mousses, including mousse au chocolat, are a continuation of this tradition.

Cream whipped in a whipping siphon with nitrous oxide was invented in the 1930s by both Charles Getz, working with G. Frederick Smith, and Marshall Reinecke. Both filed patents, which were later litigated. The Getz patents were originally deemed invalid, but were upheld on appeal.

Crème Chantilly

Crème Chantilly is another name for whipped cream. The difference between "whipped cream" and crème Chantilly is not systematic. Some authors distinguish between the two, with crème Chantilly being sweetened, and whipped cream not. However, most authors treat the two as synonyms, with both being sweetened, neither being sweetened, or treating sweetening as optional. Many authors use only one of the two names (for the sweetened or unsweetened version), so it is not clear whether they distinguish the two.

The invention of crème Chantilly is often credited incorrectly, and without evidence, to François Vatel, maître d'hôtel at the Château de Chantilly in the mid-17th century. The name Chantilly, though, is first connected with whipped cream in the mid-18th century, around the time that the Baronne d'Oberkirch praised the "cream" served at a lunch at the Hameau de Chantilly—but did not say what exactly it was, or call it Chantilly cream.

The names crème Chantilly, crème de Chantilly, crème à la Chantilly, or crème fouettée à la Chantilly only become common in the 19th century. In 1806, the first edition of Viard's Cuisinier Impérial mentions neither "whipped" nor "Chantilly" cream, but the 1820 edition mentions both.

The name Chantilly was probably used because the château had become a symbol of refined food; the word Chantilly by itself has since become a culinary shorthand for whipped cream.

Imitation whipped cream

Imitations of whipped cream, often called whipped topping (occasionally whip topping), are commercially available. They may be used to avoid dairy ingredients, to provide extended shelf life, or to reduce the price — although some popular brands cost twice as much as whipped cream.

The earliest known recipe for a nondairy whipped cream was published by Ella Eaton Kellogg in 1904; consistent with her Seventh-day Adventist practices, it replaced cream with almond butter. Based on research sponsored by Henry Ford, a soy-based whip topping was commercialized by Delsoy Products by 1945. Delsoy did not survive, but Bob Rich's Rich Products frozen "Whip Topping", also introduced in 1945, succeeded. Rich Products topping was reformulated with coconut oil replacing soy oil in 1956.

Artificial whipped topping normally contains some mixture of partially hydrogenated oil, sweeteners, water, and stabilizers and emulsifiers added to prevent syneresis. In regulatory contexts, this is called "whipped edible oil topping".

It may be sold frozen in plastic tubs (e.g., Cool Whip), or in aerosol containers or in liquid form in cartons, reminiscent of real whipping cream.

Uses

Whipped cream is a popular topping for fruit and desserts such as pie, ice cream (especially sundaes), cupcakes, cakes, milkshakes, waffles, hot chocolate, cheesecakes, gelatin dessert, and puddings. It is also served on coffee, especially in the Viennese coffee house tradition, where coffee with whipped cream is known as Melange mit Schlagobers. Whipped cream is used as an ingredient in many desserts, for example as a filling for profiteroles and layer cakes.

It is often piped onto a dish using a pastry bag to create decorative shapes.

Mousse is usually based on whipped cream, often with added egg white foam. Similarly, crémet d'Anjou is made of whipped cream and whipped egg whites. Fontainebleau and crémet d'Angers include whipped cream and whipped fromage frais, and are typically served in a cheese drainer (faisselle), recalling the former process of draining whipped cream.

See also

 Alcohol-infused whipped cream
 Dream Whip a powdered dessert topping mix
 Schlagobers Richard Strauss' "Whipped Cream" ballet

References

Dairy products
Desserts
Toppings

Whipped cream