Carlos Dittborn Pinto (1921–1962) was a Chilean football administrator. In his lifetime, he served as president of Universidad Católica and of CONMEBOL (the governing body of football in South America) and was the head of the organizing committee of the 1962 FIFA World Cup in his home country.

Biography

Early life
Son of Eugenio Dittborn, Consul general of Chile in Brazil in the mid-1920s, Carlos Dittborn was born in Rio de Janeiro in 1921, but returned to Chile when he was 4 years old. He became involved with football from a young age. Between 1953 and 1954, he was president of Santiago multi-sports club Universidad Católica, most famous for its football branch. During Dittborn's two-years term, La Católica won the national league once, in 1954.

1962 FIFA World Cup
In 1954, the Chilean Football Federation launched Chile's bid to host the FIFA World Cup in 1962. Dittborn travelled to many nations presenting the country as a good host for the tournament. The following year, Dittborn was elected president of CONMEBOL, succeeding fellow countryman Luis Hermosilla. In this post, he attended the 30th FIFA Congress, in Lisbon, Portugal, where he made a passionate speech to convince the delegates to vote for Chile. At the end, he famously pronounced the phrase "Porque nada tenemos, lo haremos todo" ("Because we have nothing, we will do everything"). This was a response to Raúl Colombo, representative of Argentina—one of Chile's opponents in the bidding—who ended his own speech with "Podemos hacer el Mundial mañana mismo. Lo tenemos todo" ("We can start the World Cup tomorrow. We have it all").

Chile won the bid 32 votes to 11 against Argentina (another contestant, West Germany, withdrew before the voting could take place), and Dittborn was selected head of the World Cup organizing committee. With full support from the federal government, work was started in Chile. However, on May 21, 1960, a massive earthquake struck the country, followed by an even bigger one the next day. The second one was the most powerful earthquake ever recorded on Earth, peaking at 9.5 on the Richter scale.

The earthquakes destroyed many cities that were supposed to host World Cup matches, such as Concepción, Talca and Valdivia. Other options, like Antofagasta and Viña del Mar, could not handle the expenses involved in being a host city. Dittborn even had a meeting with president Jorge Alessandri to return the money lent by the government. But help came from various football federations and even from FIFA - with whom Dittborn personally pleaded to keep the tournament in the country - and the organizing committee was able to put the event running again. In face of the situation, Dittborn's words at the FIFA Congress became somewhat of a slogan for Chile's recovery, as well as for the tournament.

Death
Dittborn would not live to see his biggest accomplishment come to life. On April 28, 1962 (one month and two days before the start of the World Cup), at age 38, he suffered a fatal heart attack. A different source, the 2010 book 1962: El mito del Mundial chileno, written by Chilean journalist Daniel Matamala, states that Dittborn's death was actually caused by severe pancreatitis. Whatever the reason, it is believed that the excessive amount of effort he put in making the World Cup ended up causing his untimely death.

In Dittborn's honor, each player of the Chile national team played the World Cup with a black stripe taped under his uniform's badge. One of the stadiums used in the competition, in Arica, was posthumously named after him. In addition, a friendly tournament between Argentina and Chile was established in 1962, and it was named Copa Carlos Dittborn Pinto.

Personal life
He was the great-uncle of the Chilean professional footballer Santiago Dittborn, since he was the cousin of the grandfather of Santiago.

References

Football in Chile
1962 FIFA World Cup
Presidents of CONMEBOL
Association football executives
1921 births
1962 deaths
Chilean people of German descent
Chilean expatriates in Brazil
Sportspeople from Rio de Janeiro (city)
Sportspeople of Chilean descent

Carlos Dittborn


Miguel Mateo Maldonado y Cabrera (1695–1768) was a Mestizo painter born in Oaxaca but moved to Mexico City, the capital of Viceroyalty of New Spain. During his lifetime, he was recognized as the greatest painter in all of New Spain.  He created religious and secular art for the Catholic Church and wealthy patrons.  His casta paintings, depicting interracial marriage among Amerindians, Spaniards and Africans, are considered among the genre's finest. Cabrera's paintings range from tiny works on copper to enormous canvases and wall paintings. He also designed altarpieces and funerary monuments.

Biography

Cabrera was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodríguez Juárez brothers or José de Ibarra.  Cabrera was a favorite painter of Archbishop Manuel José Rubio y Salinas, whose portrait he twice painted, and of the Jesuits, which earned him many commissions.

In 1756 he created an important analytical study of the icon of the Virgin of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura ("American marvel and ensemble of rare wonders observed with the direction of the rules of the art of painting", often referred to in English simply as American Marvel). Cabrera and a group of six other painters analyzed the painting, with scientific eyes, not religious, identifying four different substances used in the painting: "oil, tempera with agglutinates, an aguazo, and a fresco-like tempera." In Cabrera's assessment, no painter was capable of using such techniques in the eighteenth century, much less in the sixteenth century, when the image was created. Cabrera was concerned that there was a proliferation of inferior copies of the painting, and let it be known that the noted seventeenth-century painter, Juan Correa, used a waxed paper template of the image, so that down to the last detail, copies were faithful to the original.  Cabrera's atelier created many copies of the image, some of which were signed by Cabrera himself. He sought faithfulness to the original image but to add luster and power to the copies, some paintings had the notation "touched to the original," [Tocada a su Original] with the date.  In 1752 he was again permitted access to the icon of Our Lady of Guadalupe to make three copies with the aid of fellow painters, José de Alcíbar and José Bentura Arnáez. The copies were for his patron Archbishop José Manuel Rubio y Salinas, one for Pope Benedict XIV, and a third to use "as a model for further copies."

The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers.

His involvement in the analysis of the Guadalupe image was part of his long term campaign to raise the status of painters from mere artisans to respected practitioners of the liberal arts. It came at the same time that Mexican archbishop Manuel José Rubio y Salinas (1749-1765) sought the designation of the Virgin of Guadalupe as a universal patron.  Jesuit Francisco López was the advocate in Rome for her cause. Benedict XIV recognized Guadalupe with her own feast day, starting in 1754.

In 1753, he founded the second Academy of Painting in Mexico City and served as its director.

Most of the rest of his works are also religious in nature; as the official painter of the Archbishop of Mexico, Cabrera painted his and other portraits.  In 1760, Cabrera created The Virgin of the Apocalypse, which describes the chapter 12 of the Book of Revelation.  He is also known for his posthumous portrait of the seventeenth-century poet Sor Juana Inés de la Cruz.

Cabrera is currently most famous for his casta paintings. One of the sixteen in the set that was missing for many years was purchased by the Los Angeles County Museum of Art in 2015. The museum received information that the last of the sixteen, thought lost, may be in Los Angeles, California.

In the 19th century, the writer José Bernardo Couto called him "the personification of the great artist and of the painter par excellence; and a century after his death the supremacy which he knew how to merit remains intact." His remains are interred at the Church of Santa Inés in Mexico City.

Gallery

See also
Casta painting
Mexican art

References

Further reading
Bailey, Gauvin Alexander. Art of Colonial Latin America. London: Phaidon Press 2005.
 Carrillo y Gariel, Abelardo. El pintor Miguel Cabrera.  México, Instituto Nacional de Antropología e Historia, 1966.
 Castro Mantecón, Javier; Manuel Zárate Aquino Miguel Cabrera, pintor oaxaqueño del siglo XVIII,. México, Instituto Nacional de Antropología, Texas Press 1967.
 Katzew, Ilona. Casta Painting. New Haven: Yale University Press 2004.
 Peterson, Jeanette Favrot. Visualizing Guadalupe. Austin: University of Texas Press 2014.
 Toussaint, Manuel. Colonial Art in Mexico. Translated and edited by Elizabeth Wilder Weisman. Austin: University of Texas Press 1967.

External links
 Historia del Convento de Sta. Ines y creación del Museo JLC,; Beatriz del Carmen Cuevas
 Maravilla Americana at Internet Archive

Colonial Mexico
Zapotec people
Mestizo painters
18th-century Mexican painters
18th-century male artists
Mexican male painters
Mexican male writers
Artists from Oaxaca
Writers from Oaxaca
1695 births
1768 deaths
Latin American artists of indigenous descent
18th-century indigenous painters of the Americas
18th-century Indigenous Mexican painters
People from New Spain
Religious painters

Miguel Cabrera (painter)


John Almon (17 December 1737 – 12 December 1805) was an English journalist and writer on political subjects, notable for his efforts to secure the right to publish reports on the debates in Parliament.

He was born in Liverpool and came to London, where in 1761 he was a reporter for the Gazetteer, and published A Review of Mr. Pitt's Administration, which was popular with the opposition. In 1770 he reprinted a letter of "Junius", for which he was put on trial and by a jury found guilty, although it is unclear what, if anything, was his punishment.

During the American Revolution, in the year 1776, J. Almon published the "Journal of the Proceedings of the Congress Held at Philadelphia May 10, 1775", which was originally published in Philadelphia in 1775 by order of the Congress. He also published a monthly series of papers entitled The Remembrancer on events in America. A new edition of Thomas Paine's 'Common Sense' was re-printed in London, with much censorship, for 'J. Almon' in May 1776. In 1784 he established a newspaper, the General Advertiser, but it was unsuccessful. He published Biographical, Literary, and Political Anecdotes in 1797, and his Correspondence with friend John Wilkes appeared posthumously.

See also

 Letters of Junius

External links

A Review of Mr. Pitt's Administration From the Collections at the Library of Congress
 Eighteenth-century German edition of the Junius letters: "Die Briefe des Junius nach der zwoten ächten und vermehrten Ausgabe, aus dem Englischen übersetzet", Mietau und Leipzig, 1776
 Political opposition and publishing – the trial of bookseller and journalist John Almon in 1770
 Deborah Rogers, John Almon:  Bookseller as Rogue https://www.amazon.com/Bookseller-Rogue-Eighteenth-Century-Publishing-University/dp/0820402214/ref=sr_1_1?ie=UTF8&qid=1490715002&sr=8-1&keywords=john+almon%3A++bookseller+as+rogue

References

English male journalists
English political writers
1737 births
1805 deaths
Journalists from Liverpool
English male non-fiction writers

John Almon


Agbu Kefas  (born 12 November 1970) is a Nigerian politician and retired Nigerian army lieutenant colonel who has served as governor of Taraba State since 2023.

Early life and education
Agbu Kefas was born on 12 November 1970, in Wukari, Taraba State (formally Gongola State), Nigeria to the family of Mr. and Mrs. Kefas. His family is renowned for great strides and achievements in the military and public service. He is a product of some of the most reputable institutions of learning in Nigeria, namely; the Nigerian Defence Academy in Kaduna where he obtained a Bachelor of Science degree in Political Science and Defense Studies in 1994, the University of Ibadan in Oyo State, where he bagged a Masters Degree in Legal Criminology & Security Psychology in 2005 and the Delta State University, Abraka where he obtained a Masters Degree in Public Administration in 2008. Also, he has a number of prestigious Executive education certifications from global institutions like Harvard Kennedy School in US.

Political career
Agbu Kefas retired from the Nigerian army after 21 years of service. Upon his retirement, he was appointed chairman Governing board of directors Nigerian Maritime Administration and Safety Agency (NIMASA) between 2013 and 2015. He was also a member of the Presidential Committee on North-East Initiative from 2016 to 2019 before he fully joined politics by emerging the State Chairman of the Peoples Democratic Party, Taraba State in 2020. In 2022, Agbu Kefas contested in the Taraba State PDP gubernatorial primary election and won. Kefas ran for office of the Governor of Taraba State in March 2023 as a member of the Peoples Democratic Party, the state's ruling party. He won the election, defeating second-place Muhammad Yahaya of the Nigeria People's Party by just 100,337 votes.

Personal life
Agbu is married to Patience and they have four children.

References

1970 births
Living people
Peoples Democratic Party (Nigeria) politicians
Nigerian Defence Academy alumni
People from Taraba State

Agbu Kefas


Shyam Saran (born 4 September 1946) is an Indian career diplomat. He joined the Indian Foreign Service in 1970 and rose to become the Foreign Secretary to the Government of India. Prior to his appointment as the Foreign Secretary he served as India's ambassador to Myanmar, Indonesia and Nepal and as its High Commissioner to Mauritius. Upon finishing his tenure as the Foreign Secretary, he was appointed the Prime Minister's Special Envoy for Indo-US Civil Nuclear Issues and later as Special Envoy and Chief Negotiator on Climate Change.

Until 2015, Shyam Saran was the Chairman of the National Security Advisory Board under the National Security Council. He also served as the Chairman of Research and Information System for Developing Countries — an autonomous think tank specializing in studies on economic and trade related issues. He regularly comments and speaks on politics and foreign policy issues and is a contributor to multiple magazines and newspapers.

In 2011, in recognition of his contribution to the civil service, he was awarded the Padma Bhushan - third highest civilian honor in India.

Early career
He joined the Indian Foreign Service in 1970 and subsequently served in different capacities in the Indian diplomatic missions in several capitals of the world including Beijing, Tokyo and Geneva.  Prior to his appointment as the Foreign Secretary, he was India's Ambassador to Myanmar, Indonesia and Nepal and High Commissioner to Mauritius. In the Ministry of External Affairs, New Delhi, he headed the Economic Division and the Multilateral Economic Division and also headed the East Asia Division which handles relations with China and Japan. As a Joint Secretary in the Prime Minister's Office in 1991/92, he advised the Prime Minister on foreign policy, nuclear and defense related issues. As foreign secretary and later as the special envoy on nuclear issues, he made a significant contribution to the Indo-US nuclear deal.

Foreign Secretary

China
As foreign secretary, he visited China in March 2005 for the 15th meeting of the India-China Joint Working Group on the boundary issue.

Stance on nuclear weapons
In April 2006, he said that India has no obligation to define its minimum credible nuclear-deterrent after United States Assistant Secretary of State Richard Boucher suggested that India "further define" its minimum deterrent. During his tenure, Saran helped negotiate the U.S.–India Civil Nuclear Agreement. In December 2012, he wrote a research article in which, he pointed out that Pakistan's nuclear arsenal expansion has been extended, this time, not to deter India but to deter possible American attack on Pakistan.

Later career
Even though the Prime Minister's Office was willing to extend his tenure as foreign secretary when he was set to retire in September 2006, Amb. Saran did retire. He was an advisor to the Prime Minister specializing in nuclear issues, as well as the Indian envoy on climate change. He quit office on 19 February 2010. He was the Chairman of the Research and Information System for Developing Countries (RIS) thinktank and a Senior Fellow at the Centre for Policy Research in New Delhi.
He is also on the Advisory Board of World Development Forum, an upcoming forum that aims to bring together citizens' groups, development organizations, businesses and governments, to a common platform to produce, evidence-based politically actionable guidance and unlock greater value, through human enterprise. Additionally, Saran is a Member of the Board of Advisors of the Global Panel Foundation, a respected NGO that works behind the scenes in crisis areas around the world.

Bibliography

Essays and reporting

Books
How India Sees The World: Kautilya To The 21st Century.

See also
Navtej Sarna
Vikas Swarup
Taranjit Singh Sandhu
Harsh Vardhan Shringla

References

External links

 Profile on website of Ministry of External Affairs of India

Indian civil servants
Living people
Ambassadors of India to Nepal
1997
Ambassadors of India to Indonesia
Indian Foreign Secretaries
1946 births
Recipients of the Padma Bhushan in civil service
High Commissioners of India to Mauritius
Indian Foreign Service officers
20th-century Indian politicians

Shyam Saran


Victor Biaka Boda (February 25, 1913 – January 28, 1950) was an Ivorian politician. Originally a shaman, he adopted the name Victor and ventured into politics as a member of the Democratic Party of Côte d'Ivoire - African Democratic Rally, and in 1948 was elected to the French Senate.

He is best known for the unusual circumstances of his death.  His death took place at the end of a year of severe repression of his political party in the colony. In January 1950, while touring Bouaflé, his car broke down. As his chauffeur repaired it, he strolled off into the jungle, never to return. His charred bones were recovered the following November. Time magazine reported in July 1951 that the most popular belief among French politicians was that "the Senator had been eaten by his constituents."

Stade Victor Biaka Boda, a stadium in Gagnoa, and École Biaka Boda, an elementary school in Bouaflé, are named in his honor.

Notes

References
 Devalois Biaka, La "disparition" du patriote ivoirien Victor Biaka Boda: Plaidoyer pour libérer sa dépouille mortelle, Editions L'Harmattan, Paris, 1997

External links
  Notre Voie article
  French Senate file

1913 births
1950 deaths
Assassinated Ivorian politicians
Cannibalised people
French senators of the Fourth Republic
Democratic Party of Côte d'Ivoire – African Democratic Rally politicians
Shamans
People murdered in Ivory Coast
Senators of French West Africa
1950s assassinated politicians

Victor Biaka Boda


The HomePNA Alliance (formerly the Home Phoneline Networking Alliance, also known as HPNA) is an incorporated non-profit industry association of companies that develops and standardizes technology for home networking over the existing coaxial cables and telephone wiring within homes, so new wires do not need to be installed.

HomePNA was developed for entertainment applications such as IPTV which require good quality of service (QoS).

History

HomePNA 1.0 technology was developed by Tut Systems in the 1990s. The original protocols used balanced pair telephone wire.

HomePNA 2.0 was developed by Epigram and was approved by the ITU as Recommendations G.9951, G.9952 and G.9953.

HomePNA 3.0 was developed by Broadcom (which had purchased Epigram) and Coppergate Communications and was approved by the ITU as Recommendation G.9954  in February 2005.

HomePNA 3.1 was developed by Coppergate Communications and was approved by the ITU as Recommendation G.9954  in January 2007. HomePNA 3.1 added Ethernet over coax. HomePNA 3.1 uses frequencies above those used for digital subscriber line and analog voice calls over phone wires and below those used for broadcast and direct-broadcast satellite TV over coax, so it can coexist with those services on the same wires.

In March 2009, HomePNA announced  a liaison agreement with the HomeGrid Forum to promote the ITU-T G.hn wired home networking standard. In May 2013 the HomePNA alliance merged with the HomeGrid Forum.

Technical characteristics

HomePNA uses frequency-division multiplexing (FDM), which uses different frequencies for voice and data on the same wires without interfering with each other. A standard phone line has enough room to support voice, high-speed DSL and a landline phone.

Two custom chips designed using the HPNA specifications were developed by Broadcom: the 4100 chip can send and receive signals over 1,000 ft (305 m) on a typical phone line. The larger 4210 controller chip strips away noise and passes data on.

A HomePNA setup would include a HomePNA card or external adapter for each computer, an external adapter, cables, and software. A low-pass filter may be needed between any phones and their respective jacks to block noise. HomePNA adapters come in PCI, USB, and PC Card formats.

Process

HomePNA does not manufacture products, although its members do. HomePNA creates industry specifications which it then standardizes under the International Telecommunication Union (ITU) standards body. The HomePNA Alliance, tests implementations, and certifies products if they pass.

Members

HomePNA promoter companies are AT&T Inc., Technicolor SA, Pace plc, Sigma Designs, Motorola, Cisco Systems, Sunrise Telecom and K-Micro.

Applications

Devices that use HPNA technology as part of whole-home multi-media content products include Advanced Digital Broadcast, Inneoquest and NetSys.

Alternatives

Alternatives to HomePNA include power line communication, Wi-Fi, data over cable, and multimedia over coax.

See also

References

External links

 ITU-T Recommendation G.9951 : Phoneline networking transceivers - Foundation (HomePNA 2.0)
 ITU-T Recommendation G.9952 : Phoneline networking transceivers - Payload format and link layer requirements (HomePNA 2.0)
 ITU-T Recommendation G.9953 : Phoneline networking transceivers - Isolation function (HomePNA 2.0)
 ITU-T Recommendation G.9954 : Phoneline networking transceivers - Enhanced physical, media access, and link layer specifications (HomePNA 3.0 and 3.1)
 ITU-T Recommendations: Series G

Computer network organizations
Local loop

HomePNA


Castello Ursino (), also known as Castello Svevo di Catania, is a castle in Catania, Sicily, southern Italy. It was built in the 13th century as a royal castle of the Kingdom of Sicily, and is mostly known for its role in the Sicilian Vespers, when it became the seat of the Sicilian Parliament. The castle is in good condition today, and it is open to the public as a museum.

History

Construction
Castello Ursino was built between 1239 and 1250, as one of the royal castles of Emperor Frederick II, King of Sicily, closing a chapter on the turbulent time in Sicily that followed the death of his predecessor, William II. Local lords had attempted to assert independence, and in 1220 Frederick II had ordered the destruction of all non-royal castles in Sicily. Castello Ursino was built to stress royal power as well as for the defence of the capital, and was considered impregnable at the time.

Sicilian Vespers
In 1295, during the Sicilian Vespers, the Parliament which declared deposed James II of Aragon as King of Sicily, replacing him with Frederick III, was held here.  The following year it was captured by Robert of Anjou but was later again in Aragonese hands.

Royal seat
King Frederick III resided in the castle, as well as his successors Peter II, Louis, Frederick IV and Maria. Here the latter was kidnapped by Guglielmo Raimondo III Moncada to avoid her marriage with Gian Galeazzo Visconti (1392).  King Martin I held also his court in the castle.

Decline
After the move of the capital away from Catania and the appearance of powder weapons, the castle lost its military role and was used as a prison.  It is one of the few buildings in Catania to have survived the earthquake of 1693.

When the castle was first built, it was on a cliff looking out to sea, however as the result of volcanic eruptions, and earthquakes, it is now a kilometre inland.  The former moat too in the 17th century was filled with lava from an eruption by Mount Etna.  Its present location, surrounded by streets and shops in a typical Catania piazza, may strike some visitors as unusual.

Present day
The castle was acquired by the city of Catania in 1932, and it was restored. The Museo Civico opened in the restored castle on 20 October 1934. Today, the museum houses artifacts and artwork from the castle as well as the greater geographical area. These items date from the Classical era onward, representing the diverse influences throughout Sicilian history. Frequently, the castle hosts also temporary exhibitions or artistic events (theatrical representations and concerts). It is also possible to use the historical site to celebrate a civil union.

Further restoration work was carried out in November 2009.

Layout
The castle has a rectangular plan, with a large circular tower at each corner and an open-air inner court

Museum layout

Ground floor

Salone d'Armi
This houses the museum's ticket office as well as Jewish inscriptions and inscriptions from the medieval senate-house where the decision was taken to expel the city's Jewish population in 1492, including a copy of the Julia Fiorentina inscription from the Louvre. It also houses a medieval keystone, a 16th-century cannon, parts of an ancient Roman mosaic showing the months, a 16th-century inscription mentioning a castellan from Toledo and a statue of Ignazio Paternò Castello Principe di Biscari, by Antonio Calì, displayed with a copy of his book Viaggio per le Antichità della Sicilia.

The room is, however, named after its large collection of weapons.

Sala di raccordo nord
This room and those following it display finds from the city's Roman theatre, including a huge headless statue, a torso of Hermes and a plinth found by Biscari in 1770 showing a trophy crowned by two Victories and two barbarian prisoners on its sides.

Torre delle Bandiere
This houses fragments of Roman mosaic, statue of Hercules and a plaster copy of Costanza d'Aragona's sarcophagus.

Salone delle scuderie

The main works exhibited here include:
 a mosaic of putti from the Terme Achilliane, showing them inviting you to enjoy your stay in the baths ("Vtere Feliciter")
 fragment of a frieze showing Apollo and Artemis in a gigantomachy, 3rd century AD
 male torso, dedicated to Jupiter, found near the monastery of Sant'Agostino by principe Biscari in 1737.
 statue of Hercules in a lionskin just after killing the Nemean Lion
 statue of Hercules resting, Farnese Hercules type, holding one of the apples of the Hesperides
 plinth with dolphins

Sala
This houses displays of clay statues of subjects such as Aphrodite, a small dog fighting a cockerel, a nymph on a rock and a prehistoric head. Particularly notable is a colossal ram, whilst the most important work in the room is a fragment of a cavalryman, probably from a historiated column, found near porta Carlo V.

Torre del Sale
Named after its previous use as a storehouse for salt, it now houses a mosaic showing a head, thought to be an allegory for Africa, and a bust of an Egyptian woman.

Sala di San Giorgio / Sala della Cappella
This displays around 2000 bronze figurines, of which 1600 are from the Benedettini collection and the rest from the Biscari collection. They date to the Archaic, Siceliot, Greek, Etruscan-Italic and Hellenistic eras. It also houses a 420 BC marble relief of Demeter and Kore found on Montevergine hill in 1930 and several Greek vases such as the red-figure Crater with Perseus and Medusa from excavations in Camarina.

Other rooms
These house inscriptions and statues, together forming the permanent "Voci di Pietra" display:

First Floor

Sala
This houses:
 two tomb reliefs (one for a 16th-century recipient of the Order of the Golden Fleece and the other of a sleeping figure)
Byzantine icons
 a Limoges enamel plaque of the crucifixion
 a 'smalto' of The Virgin in Glory
 Portrait of a Gentleman by El Greco (recently restored using funds from OperaTua)
 a 15th-century painting of Madonna with Saint Lucy and Saint John
 parts of a polyptych by Antonello de Saliba from Santa Maria di Gesù church: Madonna and Child, St Anthony, St Francis of Assisi, Resurrection
St Onufrius by Bernazzano.
 17th century chess set from the Benedettini
 Last Supper by Luis de Morales.

Salone dei Parlamenti
This mainly houses 17th and 18th century works, including masterpieces by Matthias Stomer from the collection donated to the city by Giovan Battista Finocchiaro in 1826 such as Death of Cato, Crucifixion of St Peter, Suicide of Seneca and Christ Mocked. It also displays works by Pietro Novelli such as St Christopher, St John the Baptist, Madonna and Child with St Louis of France and The Good Samaritan. Also notable are:
 the only surviving copy of Caravaggio's Nativity with St. Francis and St. Lawrence, the original of which was stolen by the Mafia and has never been recovered - the copy was produced in 1627 by Don Gaspare Orioles da Paolo Geraci.
 Christ at the Column by Mario Minniti
 Penitent Mary Magdalene, school of Giovanni Lanfranco
 St Luke Painting the Virgin Mary by Mattia Preti
 St Catherine in Ecstacy, previously attributed to Giulio Cesare Procaccini and later to Pier Francesco Mazzucchelli.
 Prophet, St Francis with a Crucifix and Lament over the Dead Christ by Jusepe de Ribeira and his school
 Mary Magdalene by Andrea Vaccaro
 Three Kings by Simone de Wobreck
 St Januarius attributed to Francesco Solimena

Sala
This room houses 18th century works:
 Coronation of Saint Agatha, Death of Saint Joseph and Saint Francesco Caracciolo, oil sketches by Marcello Leopardi
 Martyrdom of Saint Agatha, oil sketch by Mariano Rossi.
 Still Life with Fruit and a Landscape and Still Life with Fruit and a Fountain by Aniello Ascione.
 Landscape with Ruins, anonymous west Italian painter, one of five paintings from Villa Scabrosa; a pair withNaval Battle
 Woman Selling Fish by Giuseppe Bonino (1760)
 Kneeling Aphrodite, statue by a central Italian artist in classical style
 Mary Magdalene, attributed to Guglielmo Borremans
 St Agatha Before Quintianus, wax sculpture
 St Agatha Crowned in Prison, wax sculpture
 door sculpture in the style of the Gagini family
 Portrait of Prior Placido Scammacca, shown holding an ancient Greek vase
 Birth of Venus, small painting by Michele Rocca
 Birth of Adonis, small painting Michele Rocca

Sala Michele Rapisardi
As its name suggests this room mainly displays paintings by Michele Rapisardi, including his The Sicilian Vespers, Head of Ofelia Pazza, a self-portrait and a study for Vespers. It also houses works by Natale Attanasio (Sunt Lacrima Rerum, best known as "Le Pazze"; Women in the Fields; Tasso and Cardinal d'Este) and Bernardo Celentano (Provenzan Salvani in the piazza del Campo).

Second floor

Sala

This houses several 19th century portraits by Rapisarda, Giuseppe Rapisardi, Giuseppe Sciuti, Natale Attanasio, Calcedonio Reina, Francesco Lojacono, Pasquale Liotta, Domenico Morelli, Alessandro Abate, Antonino Gandolfo and Giuseppe Gandolfo, along with a number of 18th century Chinese vases, violins produced by Andrea Amati, Caltagirone ceramics, 17th century bronze statuettes of Venus and Vulcan and an 18th-century bronze statuette of Perseus.

Open space
This large room houses temporary exhibitions as well as sculptures, bas-reliefs, inscriptions from Certosa di Nuovaluce and an urn by the Gaginian school. A room beside it houses some of the numismatic collection and the whole Fondo Sebastiano Ittar, including engravings by Ittar showing studies of monuments and works of art in Catania.

References

Ursino
Royal residences in the Kingdom of Sicily
Buildings and structures in Catania
Museums in Sicily
Local museums in Italy
13th-century establishments in Italy
Defunct prisons in Italy
Medieval Italian architecture

Castello Ursino


ހަގީގީ މަސީހީ ކަނީސާ އަކީ 1917 މ. ވަނަ އަހަރު ސީނުކަރައިގެ ބީޖިން ގައި ގާއިމު ކުރެވުނު ކަނީސާ އެކެވެ. ހމކ ގެ ބައިނަލްއަގުވާމީ ނަދުވާ ގެ ޗެއަރމަން ކަމުގެ މަގާމަށް މިވަގުތު އިންތިހާބު ކުރެވިފައިވަނީ ޕްރީޗަރ ޔުން-ޖިން ލިން އެވެ. ހަ ބައްރު ގައި މިވަގުތު މި ކަނީސާ އަށް ތަބާވާ މީހުންގެ އަދަދަކީ ގާތްގަނޑަކަށް 1.5 މިލިއަންއެވެ.

މައިގަނޑު ފަސް ރުކުން
ހަގީގީ މަސީހީ ކަނީސާގެ މުހިއްމު ފަސް ރުކުނަކީ:-

ރޫޙުލްޤުދުސް

"Receiving the promised Holy Spirit, evidenced by speaking in tongues, is the guarantee of our inheritance of the Kingdom of Heaven".

ބެޕްޓިޒަމް
"Water baptism is the sacrament for the remission of sins and for regeneration. The baptism takes place in natural living water, such as the river, sea, or spring. The Baptist, whom already had received baptism of water and the Holy Spirit, conducts the baptism in the name of the Lord Jesus Christ. And the person receiving the baptism should be completely immersed in water with head bowed and face downward".

ފައިދޮވުން
"The sacrament of washing of feet enables one to have a part with the Lord Jesus. It also serves as a constant reminder that one should have love, holiness, humility, forgiveness and service. Every person who has received water baptism should have their feet washed in the name of Jesus Christ. Mutual feet washing can be practiced whenever is appropriate".

ކީރިތި މުވާޞަލާތު
"The Holy Communion is the sacrament to commemorate the death of the Lord Jesus Christ. It enables us to partake of the flesh and blood of our Lord and to be in communion with Him so that we can have eternal life and be raised on the Last Day. This sacrament is held as often as possible. Only one unleavened bread and grape juice is used".

ސަބަތުގެ ދުވަސް
"The Sabbath day, the seventh day of the week (Saturday), is a Holy Day, blessed and sanctified by God. It is observed under the Lord's grace for the commemoration of God's creation and salvation and with the hope of eternal rest in the life to come".

އިތުރު ފާލަންތައް
 TJC Evangelical site

Pentecostal denominations

ހަގީގީ މަސީހީ ކަނީސާ


Abraham Auerbach (middle of the 1700s – November 3, 1846) was a German rabbi.

A descendant of an old rabbinical family, he was destined from his childhood for the rabbinate, and was educated first by his grandfather at Worms, and later by his uncle, Joseph David Sinzheim, subsequently president of the Central Consistory at Paris. Under the latter's direction, Auerbach acquired not only extensive Talmudic knowledge, but a secular education as well. When, owing to the efforts of Herz Cerfbeer of Medelsheim, a Jewish community had been formed at Strasbourg, Auerbach was charged with its administration.

At the outbreak of the Reign of Terror in France, Auerbach, on account of his connection with Cerfberr (who as former contractor to the royal army was suspected by the revolutionists), was thrown into prison where he remained for a year. On leaving Strasbourg he was appointed rabbi at Forbach, then at Neuwied, and in 1809 at Bonn. In 1837 he resigned the position, ostensibly on account of his great age, but really to have his son succeed him in his place.

Auerbach was the author of several liturgical poems and prayers, and of a poem on the abolition of the poll tax, entitled Dibre ha-Mekes we-Beṭuloh (History of the Tax and its Abolition), still extant in manuscript. The poem was dedicated to Cerfbeer, who by his intervention brought about the abolition. A specimen of the poem was given by Samuel Joseph Fuenn, who was the possessor of the manuscript.

Auerbach left seven sons, among whom the best known was Benjamin Hirsch Auerbach, rabbi at Darmstadt and Halberstadt.

References
Samuel Joseph Fuenn, Keneset Yisrael, p. 277;
Allgemeine Zeitung des Judenthums, 1839, No. 98, p. 593.

18th-century French rabbis
19th-century German rabbis
Alsatian Jews
18th-century births
1846 deaths

Abraham Auerbach


Keeley Halswelle (1831–1891), born John Keeley Haswell, was an English artist.

Life

Keeley Halswelle was born John Keeley Haswell, son of David and Elizabeth Haswell, at Richmond, Surrey on 23 April 1831 and baptized 6 July 1831 at St. Dionis Blackchurch, London. At an early age he contributed drawings to the Illustrated London News, and took up book illustration. Work for the Illustrated Shakespeare of Robert Chambers took him to Edinburgh, where he found a good friend in William Nelson, the publisher. In 1863 he is listed as living at Bellfield House in Duddingston Village on the southern outskirts of Edinburgh.

In 1869 Halswelle left Britain for Italy, and during the next few years concentrated on subjects found there. He was elected a member of the Institute of Painters in Oil Colours in 1882.

Halswelle lived his later years at Stoner House, Steep, near Petersfield in Hampshire, where he was a ruling councillor of the Primrose League. He died of pneumonia in Paris on 11 April 1891, and was buried at Steep on 20 April.

Works

Among the books which Halswelle illustrated were:

The Falls of Clyde, 1859;
Byron's Poems, 1861;
Scott's Poems, 1861;
Thomas Morris's Poems, 1863;
Wordsworth's Poems, 1863; and
The Knight of the Silver Shield, 1885.

In 1857 a painting of his was exhibited at the Royal Scottish Academy, and in 1866 Halswelle was elected associate. The Roba di Roma, exhibited at Burlington House, gained a prize at Manchester; but the popular work of this period was Non Angli sed Angeli, painted in 1877, which was exhibited at the Royal Scottish Academy in 1878.

Halswelle in later life added to his reputation, as a landscapist. A painting in oil of the River Thames above Maidenhead was included in Henry Tate's gift to the nation, and went to the Millbank Gallery. In 1884 some of his views of the Thames, Six Years in a Houseboat, were shown in London; and he wrote a book under the same title.

Family
Halswelle first married clandestinely on 25 May 1852 at the Independent Chapel, Bethnal Green, to Mary Jane Blackwood Gilbert, but they never lived together and Halswelle broke off contact the following November due to her infidelity and left London for Scotland in 1854. In 1859 he successfully petitioned for divorce. He next married at Edinburgh, 18 June 1861, to Maria Browne, daughter of the advocate James Browne, and Isabella Stewart. Following her death, in 1873 he married Helen, daughter of Major-General N. J. Gordon, who survived him with two sons, Major Gordon Halswelle (1874–1935) and Wyndham Halswelle.

Notes

External links

Attribution

1831 births
1891 deaths
19th-century English painters
English male painters
English illustrators
Deaths from pneumonia in France
People from Steep, Hampshire
People from the London Borough of Richmond upon Thames
19th-century English male artists

Keeley Halswelle


Hakalau is a small unincorporated community located along the Hamakua coast about  north of Hilo on the Big Island of Hawaii in the U.S. state of Hawaii at .

The Hakalau Stream flows from the slopes of Mauna Kea, in the area of   and flows into the Pacific Ocean.

Hakalau was once a thriving, multiethnic sugarcane plantation town up until the early 1960s when the plantation originally called Hakalau Plantation Company began to decline. In 1963 it was merged into the Pepeekeo Sugar Company, in 1973 merged into the Mauna Kea Sugar Company, and the mill shut down in 1974.

Small family farms grow tropical fruits, taro, flowers, coffee, or cattle. Some historic sites remain from the plantation era. The privately owned sugar plantation manager's home, built in the early 20th century, still exists, along with two warehouses built in 1920 and an old theater, operating as the Hakalau post office, postal code 96710. Located just below the ocean cliff where the Hakalau stream meets the bay, the old sugar mill ruins are still visible.

During the 19th century the Hakalau Bay was used to transfer goods and passengers from smaller boats to larger ships. Today, the bay is used mostly by local surfers and fisherman. Hakalau now has a small, day use, county owned park with picnic tables and ocean access for recreational use, located at the bottom of the Hakalau gulch.

The Hakalau Forest National Wildlife Refuge protects , located on the Mauna Kea slopes above the town.

Located nearby is the World Botanical Gardens (WBGI).

Origins and early history of Hakalau
Until Captain Cook made contact with Hawaiʻi (1778) the islands were inhabited by Native Hawaiians. The place-name traces to a couple of possible origins, the leading meaning is thought today to be a literal one, "many [bird] perches."

After 1778, as with most of Hawaii, people from China and elsewhere came to the Hawaiian Islands. The initial Chinese immigrants to Hawaii Island were Punti and landed at Kohala on Hawaii Island. One immigrant in particular, Lau Sung Iu, was Hakka ("the guest people" of China) and came to Hawaii Island in this manner. He was ethnic northern Chinese, tall for his people at around . In China, he was an officer in the Chinese army, involved in one of the many conflicts involving the Qing Dynasty. He and another were smuggling powder across the Yalu River when they were discovered. He was shot and wounded but succeeded in escaping by hiding among the reeds in the river. He was later picked up by an American ship and did odd jobs aboard the vessel for passage. He made his way to Hawaii via Hong Kong. Being Hakka and tall, he attracted attention among the shorter and linguistically different Punti, who had also immigrated to Hawaii Island. He later became a merchant and opened a store outside of Hilo along the Hamakua Coast. The area where the store was located became a gathering or stopping point along the Hamakua Coast for travelers. The store, and later the area, became known as Hakalau, named after the tall Hakka proprietor and his actual name of Lau Sung Iu, owner of the general store. Thus, the name Hakalau.

See also

 List of places in Hawaii

References

External links

Unincorporated communities in Hawaii County, Hawaii
Populated places on Hawaii (island)
Unincorporated communities in Hawaii
Populated coastal places in Hawaii

Hakalau, Hawaii


Sword of Vengeance (Serbian: Mač osvete) is a 2014 British-Serbian historical action film directed by Jim Weedon, his first feature film, and starring Stanley Weber, Annabelle Wallis, and Ed Skrein. Weedon's action sequences, and the overall look of the film, were inspired by samurai films. While the action sequences and Weber's performance were reasonably well received by critics, most felt the film's dialogue and overall story were subpar, with the caveat that aficionados of the genre would appreciate it far more.

Synopsis
In Northern England, about 1089, some twenty years after the genocidal "Harrowing" (the Harrying of the North ordered by William the Conqueror to quell a series of rebellions), a former slave and Norman princeling has taken the name Shadow Walker (Stanley Weber) upon returning to his father's former lands. There the earl Durant (Karel Roden) rules as a despot with his equally cruel sons Lord Artus (Gianni Giardinelli) and Lord Romain (Edward Akrout).

Shadow Walker makes common cause with and rallies a large band of exiled rebel Anglo-Saxon farmers led by Anna (Annabelle Wallis).
Durant is his treacherous uncle, who murdered his own brother and usurped the power of the earldom, his nephew's birthright. One way or another, the question will be decided through battle.

Cast

 Stanley Weber as Shadow Walker
 Annabelle Wallis as Anna
 Ed Skrein as Treden
 Dave Legeno as Osgar
 Karel Roden as Durant
 Edward Akrout as Romain
 Gianni Giardinelli as Artus
 Peter J. Chaffey as Lucan
 Nenad Pecinar as Kenway
 Milica Jevtic as Udela
 Misa Beric as Marin
 Vid Krkeljic as Wann
 Vahidin Prelic as Pestilence

Genre and influences
Sword of Vengeance is influenced by samurai films and the Hollywood western movies and spaghetti westerns which  evolved from them. Director Jim Weedon has been a fan of the chambara style from childhood: "I was intrigued with the idea of creating a medieval world that tonally sat within this style. Immediately we gave the film a very distinct and unexpected look and style." The influence of chambara is particularly evident in the choreography of the sword fights:Often when watching medieval sword fights they become tedious, clumsy and dull. Whereas the samurai films with their shorter swords lent themselves to... much faster and action orientated aspects in any given fight sequence... I was constantly looking for quick kills, sword slices that were hard and fast for the visual impact and to give us the energy and excitement of the battles as the heroes cut through cipher after cipher.

Production
Sword of Vengeance was produced by Vertigo Films and Red Production, "which has a long tradition of cooperation with foreign productions". Vertigo producer Huberta Von Liel noted that except for a few leading actors, the director, and the director of photography, everyone else involved, about 150 cast and crew, were from Serbia.

Background
Jim Weedon began his career as a film editor, and was encouraged to try directing by Ridley Scott. While Sword of Vengeance was his first feature film, this was "after cutting his teeth editing music videos and television commercials." He had won awards for his previous work. Weedon was approached by Von Liel, who asked if he would be interested in making a period revenge drama: "I was incredibly interested in the opportunity but also the fact that Vertigo Films allowed me total creative control visually."

Writing and characterisation
When Julian Unthank joined the project to develop the script, he and Weedon "stripped back the dialogue to a minimum, something that was used a fair amount in the Spaghetti Westerns."We didn't want the film to fall into the standard cinematic tropes, although the script is a basic premise of revenge we wanted the story to unfold in more unexpected prose, especially the ending. I also wanted our hero to be an antihero, rather than the man that saves the day. His character although conflicted tries to atone for his sins but it comes too late, however, his absolution from Anna in the final scene allows him to find peace and solace from his chosen path of revenge.

Design
Aesthetically, Weedon went for what he called a "bleach bypass approach" to grading "to achieve very little colour in the film." Wardrobe was designed to be "muted," working with blues, greys and black; "the only real colour coming through is the inherent hues from the fur that the heroes wore." The film's already low colour palette was accentuated by principal photography taking place in winter, as Jennie Kermode notes; everything appears dark, the sky a "miserable grey," and the land "hard and unyielding." Weedon said he wanted the film to "look and smell of the dark ages."Every aspect of the film from locations to clothing had to look worn, beaten and broken. I had shot some commercials in Serbia and found that they had very talented crew in all departments. Milos Djukelic had just co-produced Ironclad 2 so was ahead in terms of the requirements we needed to create this harsh and foreboding world.

Filming and editing
Location scouting took place in July 2013. Sword of Vengeance was filmed in thirty days in four locations in Serbia. These were the forest of Bojčinska Šuma, in the Progar area of Belgrade, as well as the fortress in Kalemegdan, Deliblato and Pancevo Reva. Weedon said he lost half a stone (seven pounds) the first four weeks into the shooting schedule, which was five to six days a week, in harsh weather, wading through mud every day, and later it snowed: "days and nights were spent knee deep in mud that at dawn was dangerously frozen ice and by mid morning a muddy mass that was equally harsh." However, the most difficult part was actually the first two days:Ridiculously we decided to shoot the opening sequence which involved rain fx, horses, stunts, and prosthetics. It was the crew's first two days together, suddenly we are in the rain with actors who can't ride, horses that won't stand still, actors who are going into hyperthermia, and prosthetic limbs that refuse to come apart properly, add in stunts that could only be repeated three to four times, blood that wouldn't squirt sufficiently and the opening crane move into scene that kept breaking down. I did ask myself how the hell did I get into this mess.

Weedon described the editing of the film with Tom Boulding as "incredibly fast".

Sound and music
With so little dialogue in the film, it fell to the sound designer, Roland Heap, and the composer, Stephen Hilton, to "convey the unsaid." Weedon wanted the audience to have a "musical roller-coaster ride": "Sound is integral to my commercial work and something that always creates the unexpected in the visuals."

Release and reception
The world premiere of Sword of Vengeance took place at the Sitges Film Festival, where it was in competition, on 10 October 2014. It had its Serbian premiere on 5 March 2015 at the Belgrade International Film Festival. The British theatrical release did not follow until 29 May.

Home media and streaming
Sword of Vengeance has been available on DVD and DVD/Blu-ray (Well Go USA Entertainment, Universal Studios Home Entertainment) and streaming services (Google Play, iTunes, Hulu) since May 2015.

Critical response

The review aggregator Rotten Tomatoes assigns Sword of Vengeance a rating of 13% based on eight reviews. Critics gave faint to fair praise to the fight scenes, and to Stanley Weber's performance, but found the film wanting otherwise, though acknowledging at the same time that the fighting sequences would be enjoyed by action film fans.

Allan Hunter's review following the world premiere at Sitges set the tone for critics into 2015:The only things that appear to be lacking is an original story and some decent dialogue... Stanley Weber's Shadow Walker is very much in the Eastwood tradition down to the squint in his eye and the poncho-like garment draped over his strapping shoulders. He is a man with no name but a remarkably good hair stylist to maintain those immaculate cornrows... The plot is pretty basic but served up with some style by Weedon... His vision of England is bleak, oppressive and uniformly monochrome.  It sometimes seems as if the only colour in the palette of cinematographer August Jakobsson is the crimson of fresh blood. There is a good deal of blood though as limbs are hacked off, throats are slit and eyes plucked out with merry abandon.  Weedon keeps it tight and spare but the real drawbacks are the weary plotting and cheesy dialogue.

Frank Scheck, writing for The Hollywood Reporter, opines that the title "pretty much says it all": there are "enough clanging sword fights, severed limbs, slit throats and bare-bones dialogue to satisfy genre fans while pretty much failing to provide something of interest to anyone else"; the film, while "admirably stylish", has the feel of an 11th century-set video game. Stanley Weber stands out among the cast, "even managing to make such declarations as "Vengeance is my only belief" sound convincing." Josh Oakley complains that the dialogue is "overwrought and bland, with the actors apparently instructed to take long pauses between each line" and "much of the cast" seem to have accents like Tommy Wiseau's. Ernest Hardy of The Village Voice said the film "hits its mark of being a popcorn action flick just fine."

James Luxford of the Radio Times said there is a "brutal simplicity to the action that will appeal to some," but otherwise, Sword of Vengeance "seems stretched even for a relatively short film." Jennie Kermode assigned the film 2 stars out of 5, saying the fight scenes were uneven but: "Weber's work is carefully choreographed and will please fans of fighting films even if it does sometimes take liberties with physics. This is important because there really isn't much else in the film at all." Geoffrey Macnab of The Independent agreed: "The ritualised action sequences work well enough. It's just a pity the film-makers did not pay as much attention to the plotting as to the design of the movie." Mike McCahill, writing for The Guardian, found the film "perversely watchable" and "modest post-pub fun"; while it is a "low-budget" Game of Thrones "cash-in", it at least improves upon its producers' previous effort, the "risible" Hammer of the Gods.

Critics at Time Out and The Daily Star characterised the film as a "daft" slasher.

References

External links
Official trailer on MetaTube
Official trailer on YouTube

2014 films
2010s English-language films
English-language Serbian films
2010s historical action films
Serbian historical action films
British historical action films
Films set in England
Films set in the 11th century
2010s British films

Sword of Vengeance (film)


Piperales is a botanical name for an order of flowering plants. It necessarily includes the family Piperaceae but otherwise has been treated variously over time. Well-known plants which may be included in this order include black pepper, kava, lizard's tail, birthwort, and wild ginger.

Piperales


A hunt ball is an annual event hosted by a mounted fox hunting club, most of which are located in Britain and the United States. These balls are traditionally held around the holiday season, which is why many American Hunts mark the end of the hunting year. In the 19th century, hunt balls were not unlike other country dances. Although not as formal as the London Balls that characterized "The Season," they were still elegant by local standards.

Today, most hunt balls consist of a cocktail hour, followed by dinner and dancing. They are typically "black tie" events. Attendees are invited to wear scarlet tail coats produced specifically for hunt ball attendees. Although the dancing was once limited to traditional forms, these days styles vary widely between hunts. At some balls, the dancing is preceded by an auction in which items donated by members are sold to raise money for the care and feeding of the hounds. Ticket sales for the ball are also an important aspect of fundraising.

While hunt balls are invitational events, they are rarely exclusive. Most hunts are happy to sell additional tickets to members of the community who are interested in being part of the evening.

References

Hunting and shooting in the United Kingdom
Balls (dance party)

Hunt ball


James R. Lewis (November 3, 1949 - October 11, 2022) was an American philosophy professor at Wuhan University. Lewis was an academic, scholar of religious studies, sociologist of religion, and writer, specializing in the academic study of new religious movements, astrology, and New Age.

Early life
Lewis was born in Leonardtown, Maryland, and raised in New Port Richey, Florida. In his youth, in the early and mid-seventies, he was a member of Yogi Bhajan's 3HO, a new religious movement combining the teachings of kundalini yoga and Sikhism. Feeling disenchanted with the organization, he formed a small and short-lived breakaway movement.

Education
Lewis received his Ph.D. in Religious Studies from the University of Wales, Lampeter, in the United Kingdom, and pursued a career as a professional reference book writer in the 1990s.

Works
In 1992, he formed an academic association called AWARE, with the primary goal "to promote intellectual and religious freedom by educating the general public about existing religions and cultures, including, but not limited to, alternative religious groups." Describing its outlook as "scholarly and non-sectarian", AWARE stated that it sought to educate scholars and the general public about the persecution of religious and cultural minorities in the United States and abroad, and to assist the United States in its efforts to counter prejudice.

Other scholars involved in the formulation of AWARE as an "anti-anti-cult organization" included Eileen Barker, David G. Bromley, and Jeffrey Hadden, who felt a need for an organization of academics prepared to appear as expert witnesses in court cases. AWARE proved controversial; critics complained that Lewis associated too closely with NRM members, and Lewis dissolved the body in December 1995 after concerns from members of its advisory board.

Some months prior, in May 1995, Lewis, fellow scholar Gordon Melton and religious freedom lawyer Barry Fisher had flown to Japan in the early stages of investigations into the sarin gas attack on the Tokyo subway to voice their concern that police behaviour, including mass detentions without charge and the removal of practitioners' children from the group, might be infringing the civil rights of Aum Shinrikyo members. They had travelled to Japan at the invitation and expense of Aum Shinrikyo after they had contacted the group to express concern over developments, and met with officials over a period of three days. While not having been given access to the group's chemical laboratories, they held press conferences in Japan stating their belief, based on the documentation they had been given by the group, that the group did not have the ability to produce sarin and was being scapegoated. Lewis likened the group's treatment to a Japanese Waco. The scholars' defense of Aum Shinrikyo led to a crisis of confidence in religious scholarship when the group turned out to have been responsible for the attack after all.

Lewis edited a series on Contemporary Religions for Brill, and co-edited a series on Controversial New Religions for Ashgate. He was a co-founder of the International Society for the Study of New Religions and editor-in-chief of the Alternative Spirituality & Religion Review (ASSR). He taught in the University of Wisconsin System, where he edited a book titled Scientology, and, on an adjunct basis, at DePaul University.  Lewis was an Associate Professor of Religious Studies at the University of Tromsø and Honorary Senior Research Fellow at the University of Wales, Lampeter, before becoming a professor at Wuhan University in Wuhan, Hubei, China.

Reception
A prolific author, Lewis won a Choice Outstanding Academic Titles award in 1999 for Cults in America. The Choice review described it as a "very readable book" that offered a "balanced overview of controversies centering on cults in America", containing basic information on several dozen groups, as well as the more general conflict between "anti-cultists" seeking government assistance to eliminate cults, and religious "libertarians" defending religious liberty even for disliked groups. The review stated that while Lewis differed with the anti-cult view, he presented "arguments and references from both sides – respectfully and in language free from insinuation or invective. Strongly recommended". Lewis won another Choice Outstanding Academic Title award, for The Oxford Handbook of New Religious Movements, with a second edition of this handbook published in 2016 with Inga Tøllefsen as co-editor. He has also won New York Public Library and American Library Association awards for his reference book Violence and New Religious Movements.

The work of AWARE in the 1990s was criticized by Benjamin Beit-Hallahmi, who alleged that Lewis was disseminating movement "propaganda", and used poor research methods. This echoed earlier criticisms in a Skeptic article by Stephen A. Kent and Theresa Krebs, who felt that materials produced by Lewis and J. Gordon Melton on the Church Universal and Triumphant and The Family in their joint work Sex, Slander, and Salvation, were "as much an apology as a social scientific product". Anson Shupe and Susan E. Darnell in turn characterised Kent's and Krebs' paper as an ad-hominem attack, and part of a pattern of accusing scholars of bias when their field research produced findings at variance with anti-cult stereotypes. Melton defended their joint work , stating that far from being a public relations exercise, the AWARE report on the Church Universal and Triumphant had "startled and upset" the group's leadership, and led to wide-ranging changes in the organization. Jeffrey Kaplan stated that the aims of AWARE had been "laudable", but that the risks involved for academics in joining the "cult wars", as well as the organization's apparently unsuccessful appeals for funding from new religious movements, led to controversy.

In December 2017 conference, Lewis was quoted by Xinhua News Agency as claiming that Falun Gong-founded media Sound of Hope and New Tang Dynasty Television "are in fact manipulated and sponsored by international anti-China forces". In 2018, Lewis authored Falun Gong: Spiritual Warfare and Martyrdom. Lewis edited Enlightened Martyrdom: The Hidden Side of Falun Gong (2019).

References

External links
 James R. Lewis publications list

1949 births
2022 deaths
American astrologers
American religion academics
Researchers of new religious movements and cults
Alumni of the University of Wales, Lampeter
People associated with the University of Wales, Lampeter
DePaul University faculty
University of Wisconsin–Madison faculty
Western esotericism scholars
People from Leonardtown, Maryland

James R. Lewis (scholar)


Philippe Bérot (born 29 January 1965 in Tarbes) is a former French rugby union player and a current coach. He played as a fullback and as a wing.

Bérot first youth team was Lannemezan, from 1980/81 to 1982/83, moving to SU Agen in 1983/84, where he would play until 1991/92. He won the French Championship in 1987/88, was runners-up in 1983/84, 1985/86 and 1989/90, and won the Cup of France in 1991/92. He moved afterwards to FC Auch Gers, where he played from 1992/93 to 1999/2000. He finished his player career aged 35 years old.

He had 19 caps for France, from 1986 to 1989, still scoring 3 tries, 24 conversions and 33 penalties, 159 points on aggregate. He played and was a three times winner at the Five Nations Championship, in 1987, with a Grand Slam, being the top scorer, with 37 points, in 1988, ex-aequo with Wales, and in 1989, once again with a Grand Slam. He scored an aggregate of 1 try, 7 conversions and 13 penalties, 57 points, in the three presences at the competition. Despite this he wasn't called for the 1987 Rugby World Cup.

Bérot started a coach career, after ending his player career, being in charge of FC Auch, from 2000/01 to 2001/02, of the centres of Castres Olympique, from 2002/03 to 2005/06, Stade Montois, in 2006/07, and Tarbes Pyrénées Rugby, from February 2008 to 2011/12.

On 19 May 2012, he became an assistant coach for the Italian national side, coaching the backs and working the defence, under head coach Jacques Brunel.

References

External links
 Philippe Bérot International Statistics

1965 births
Living people
Sportspeople from Tarbes
Rugby union players from Occitania (administrative region)
French rugby union players
France international rugby union players
French rugby union coaches
Rugby union fullbacks
Rugby union wings
CA Lannemezan players

Philippe Bérot


The Enfer (; , literally, Inferno or Hell) is a special department of the Bibliothèque nationale de France in Paris. It is a special collection of books and manuscripts of an erotic or pornographic character which, because of their rarity and value, may be seen only with authorization. The Enfer was established 1836–1844 and is one of the most famous private case collections. In 2013, the Enfer contained about 2,600 volumes, dating from the 16th century to the present.

Meaning
The roots of the Enfer at the Bibliothèque nationale de France date to the end of the 17th century. The catalogue, which was introduced in the then Bibliothèque du Roi ("Royal Library"), already separated "good" and "bad" books. In 1702, orthodox and heterodox theological treatises, literary and entertaining novels, love and adventure stories were given different Library classification press marks (or "call numbers"). By the mid-18th century, there were 24 "ouvrages licencieux" ("scandalous works"), including Pietro Aretino's prostitute dialogue "Ragionamenti". These scandalous works were kept mostly in a special "cabinet" (a bookcase), and there are likely to have been fewer than 50 before the French Revolution of 1789 – although legal deposit was introduced  in 1537 by François I. However, "ouvrages licencieux" were banned in France generally; so clandestine editions were printed in Holland or Switzerland and distributed and sold in secret. Such books found their way into the Royal Library only after seizures of banned books or, more rarely, as gifts or purchases. Such books were not made available to the reading public, although they appeared in library catalogues.

During the French Revolution, the book collections of fleeing aristocrats and secularized monasteries contributed significantly to the growth of public libraries. However, as a result of strict censorship under Napoleon, many banned books were destroyed. In the Bibliothèque nationale particularly notable books were first separated from the general library in 1795, and the foundations of the later Réserve (Rare Books collections) was established.  Between 1836 and 1844, the concept (not the press mark) "Enfer" appeared for the first time in the library inventories for morally dubious writings. The library director, Joseph Naudet, characterized these works as follows: "fort mauvais, mais quelquefois très précieux pour les bibliophiles, et de grande valeur vénale; cet enfer est pour les imprimés ce qu'est le Musée de Naples pour les antiques." ("extremely reprehensible from a book collector's view but sometimes highly valuable and of great resale value; this hell is for the pamphlets, what the Naples Museum is for ancient art.").  The exact circumstances under which this closed-collection of books was built up during the reign of Louis Philippe are not known. However, a significant influence was likely to have been the increasing prudery of the bourgeoisie in post-revolutionary France. By establishing a sequestered collection of erotic material, the ordinary reader was screened from works that were considered objectionable and detrimental to the moral health of readers.

Name
The first collection of books called an Enfer is attributed to the Feuillants convent in Paris, on the Rue Saint-Honoré. These monks reportedly kept in the attic, ironically described as "hell", a large number of Protestant writings that had been given to the convent in 1652. The name apparently played on the fate that frequently befell the authors and readers of forbidden and heretical works (i.e., burning). Collections of theological writings of a similar character, not always carrying this title, were widely used, most famously in the Vatican Library.

At the time of the Second Empire, at the latest, the word "enfer" was widely used to refer to a clandestine or sequestered collection. Pierre Larousse's Encyclopedia Grand dictionnaire universel du XIXe siècle (Paris 1866–1877) defined the word as "endroit fermé d'une bibliothèque, où l'on tient les livres dont on pense que la lecture est dangereuse; exemple: l'Enfer de la Bibliothèque nationale." ("A closed area in a library, containing books whose reading is considered dangerous, for example: The 'hell' of the Bibliothèque nationale."). In 1913, the Bibliothèque nationale received a huge book collection from Auguste Lesouëf and his sister (whose married name was Smith); 34 of these items were given the press mark Enfer Smith-Lesouëf. The prints and photographs of the Bibliothèque nationale also received a special press mark, if they were seen as morally questionable.

Other libraries separated their Erotica from their general collections, in a similar way to the Bibliothèque nationale. These libraries often used obscure collection names and press marks, such as the Private Case at the British Museum, the *** (or Triple star) collection at the New York Public Library, the Δ (Greek Delta) collection in the Library of Congress and the Φ collection (Greek Phi) at the Bodleian Library.

Inventory and cataloguing

After the establishment of the Enfer, the public were curious about which, and how many, works were contained in the collections. It was assumed to be a very impressive collection, as many books had been seized during the French Ancien Régime, at the peak of literary libertinism, during the life of authors such as the Comte de Mirabeau, the Marquis de Sade or Rétif de la Bretonne. From 1848 to 1850, the Enfer was subject to a public attack, accused of the negligent loss of a large numbers of books. Two-thirds of original 600 books were rumoured to have been lost, not least because unsupervised young employees had acted as attendants. In fact, the library then had, at most, 150 books. The first supplementary volume of the Grand dictionnaire universel du XIXe siècle of 1877 discuss the popular opinions about the Enfer:

"Il existe à la Bibliothèque nationale un dépôt qui n'est jamais ouvert au public; c'est l'Enfer, recueil de tous les dévergondages luxurieux de la plume et du crayon. Toutefois, le chiffre de ce recueil honteux n'est pas aussi élevé qu'on l'imagine généralement, puisque le nombre des ouvrages n'y est que de 340 et celui des volumes de 730. Mais il est bon de noter que cette catégorie ne comprend que les livres d'une obscénité révoltante, ceux qu'il est défendue de communiquer sous quelque prétexte que ce puisse être."
("In the Bibliothèque nationale there is a stock that is not open to the public; it is the Enfer, the rendezvous of all the excesses of the pen and the pencil. However, the size this shameful collection is not as high as one generally imagines, as the number of books is only 340 and the volumes only 730. But it is good to note that this category includes only the repulsive obscene books, those that are forbidden to circulate under any pretext.")

The Enfer experienced renewed growth during the Second Empire, particularly due to the tightened censorship. In 1865 and 1866, the collection grew by more than 330 items; in 1876, there were 620 titles, of which more than half originated from seizures. In 1886, the collection had increased to slightly more than 700, including many cheap reprints of Libertine novels from the Ancien Régime. The Enfer remained virtually inaccessible. To be allowed to consult one of his books a strongly reasoned application needed to be made to the head office, and the decision of a committee was required.

Between 1876 and 1886, the original press mark for the Enfer, which had been in use since the late 17th century, was replaced with Y2. This press mark is used in 1896 in the general catalogue of the Bibliothèque nationale. From 1909 to 1913, Guillaume Apollinaire and others prepared, without the support or knowledge of library management, a special bibliographic catalog, which recorded 854 titles and described the works. (The library had managed to stop the first, less well disguised start, made by the linguist Robert Yve-Plessis after 1900.) Apollinaire's catalog was issued in an edition of 1,500 copies, a second edition of 1919 sold 2,000 copies, clearly showing the scale of the public interest in the Enfer. The 1978 catalog of the Enfer by Pascal Pia added around 700 titles.

Repurposing
The work of Apollinaire and Pia contributed largely to publicising the Enfer and the literature it contains. The stock of the Enfer was enlarged in the 20th century mainly through acquisitions from ordinary bookstores. In the 1980s, the renowned publishing firm Fayard published a seven-volume collection of out-of-copyright novels held in the Enfer, with contemporary photographs and explanatory introductions. Book historians are concerned with the material that is preserved in the Enfer, while new cultural historians study the pre-revolutionary pornography found in it. A prominent example is Robert Darnton, who points to the emancipatory potential of the texts in which social and religious criticism are often embedded in moral transgressions.

The development of the book market, changing moral standards and the widespread repeal of censorship regulations have changed the character of the Enfer. Through the mass availability of erotic and pornographic works it has lost a sense of purpose. Already in 1909, serial fiction was kept in it to protect it against theft. The further growth of this cheaply produced literature led, in 1932, to a separate press mark within the collection, replaced between 1960 and 1969 by two more specific signatures of the general catalog, which in turn were abandoned without being replaced.

The Bibliothèque nationale closed the Enfer press mark in 1969, but opened it again in 1983, for practical reasons; for librarians and library users, it was easier to find all the erotic works under a single press mark. The acquisition policy of the Bibliothèque nationale is, however, no longer based only on genre. While efforts are made to continue collecting erotic material, the decisive factor now is rarity or bibliophilic quality. Besides older works that were missing from the Enfer, contemporary and foreign books are added to the Enfer. By 2013, the collection had grown to 2,600 volumes, dating from the 16th century. Since 1977, access to the Enfer is no longer stricter than for the rest of the Réserve collections.

Bibliography
 Guillaume Apollinaire, Fernand Fleuret, Louis Perceau: L'Enfer de la Bibliothèque Nationale. Paris 1913. – The first catalog of the Enfer, now outdated. (Nouvelle èdition, 1919, available online via the Internet Archive and Wikisource.)
 Pascal Pia: Les livres de l'Enfer: bibliographie critique des ouvrages érotiques dans leurs différentes éditions du XVIe siècle à nos jours. Fayard, Paris 1998 (2., erweiterte Auflage), . – The standard bibliography of the Enfer, contains additional information on the collection and on individual works.
 L'Enfer de la Bibliothèque Nationale. Fayard, Paris 1984–1988. – Seven-volume selection of 29 novels from the collection of Enfer.
 Jeanne Veyrin-Forrer: L'Enfer vu d'ici . In: Revue de la Bibliothèque Nationale, 14 (1984),  S. 22–41. – A history of the Enfer, current state of knowledge.
 Robert Darnton: The Forbidden Best-Sellers of Prerevolutionary France. Norton, New York, 1996. An essay on the Enfer and pornographic literature of the Enlightenment.
 Marie-Françoise Quignard, Raymond-Josué Seckel: L'Enfer de la Bibliothèque. Éros au secret. Paris 2007. – Exhibition catalogue.

Websites
 Darstellung des Enfer mit einem längeren Zitat der Rechtsabteilung der Bibliothèque nationale zur Anschaffungspolitik
 Informationen zur Ausstellung der Bibliothèque nationale über den Enfer (4. Dezember 2007–2. März 2008)
 Artikel der Neuen Zürcher Zeitung über den Enfer und die Ausstellung der Bibliothèque nationale (4. Dezember 2007–2. März 2008)

References

Pornography
Erotic literature
Book censorship
History of censorship
France
Library cataloging and classification
Research libraries in France

Collection de l'Enfer


Eva María Muñoz Ruíz (November 26, 1936 – August 23, 2016), known professionally as Evita Muñoz "Chachita", was a Mexican actress and comedian. Her professional career began in 1941, when she was only four years old, and she continued performing through, and contributing to, the Golden Age of Mexican cinema. Muñoz was still four years old when she played the character Chachita in her second film, ¡Ay, Jalisco, no te rajes! (Ay! Jalisco, don't back down) (1941), and went on to play Chachita in eight more films and numerous television roles over the subsequent decades, and would be credited as Eva Muñoz "Chachita" in other appearances. For more than 75 years, "Chachita" was recognized as a successful artist in cinema, television, theater, radio, nightclub and circus shows.

Career
At a little under four years old, Muñoz shot her first motion picture, starting a career of starring roles as a child talent; beginning with a minor role in El secreto del sacerdote in 1941. After playing the character Chachita in her second movie, ¡Ay, Jalisco, no te rajes! (1941), she received the nickname "Chachita".

Around 1944, her popularity in starring in her movies led to her starting a radio career in the radio show La legión de madrugadores on the XEQ radio station. In 1947, she signed a contract with CBS in New York to star in the radio serial: Aventuras de una niña, which was broadcast in all Central and South America, and produced by Carlos Montalbán. During the mid-1950s, she played all the female roles in Panzón Panseco's radio sketches, along with Pedro Vargas, and Juan García Esquivel's orchestra (1957): "Ahora es la hora". In the late 1950s, she starred in the show El Risámetro.

To promote her movie La Hija del Payaso (1946), in which she performed along with trained elephants and dogs, Muñoz learned to play the marimba and the xylophone. She made personal appearances with the Atayde Circus when she was only eight years old. During her teenage years, she costarred with Pedro Infante in the trilogy: Nosotros los pobres (1948), Ustedes los ricos (1948) and Pepe el Toro (1952).

She was invited by Pérez Prado as a mambo dancer for a tour all over the Philippines and Japan where she became a sensation. During that tour they also performed in USO shows during the Korean War for the Hispanic-American soldiers.

In the 1970s Muñoz played the role of "Sister Carmela", a novice nun in the Mexican versión of the soap opera Mundo de Juguete. In 1975, she starred in the variety show Un hombre y una mujer with Fernando Allende. She appeared as a guest star on episodes of various American television shows, including Columbo and I Spy, as well as live performances in the Million Dollar Theatre in Los Angeles, California. During the 1980s, she played the role of the witch Hermelinda Linda in several films. On television, she co-starred with Jorge Ortiz de Pinedo in the sitcom Dos mujeres en mi casa. In 1986, she co-starred in the sitcom Nosotros los Gómez.

In the 1990s, Muñoz continued working in a series of soap operas for Televisa, as well as making films such as De lengua me como un plato. She played a nun from northern Mexico in Cambiando el destino with the band Magneto. In the 2000s, Muñoz starred in several episodes of Mujer: Casos de la vida real and lent her voice to CGI animated characters.

2010s
In 2008, Muñoz played a role in Televisa's soap opera Cuidado con el ángel that was broadcast all around the globe and appeared in the 2011 season of Sesame Street – Mexico. In 2016, Muñoz celebrated 75 years of an uninterrupted artistic career.

For her countless contributions to the Television, Theater and Motion Picture industries, Muñoz' handprints have been embedded onto the Paseo de las Luminarias in Mexico City.

Personal life
Muñoz married Hugo Macías when she was 22, and they had three children.

Muñoz died in Mexico City, Mexico on August 23, 2016, due to complications from pneumonia. She was 79.

Filmography

Cinema

El secreto del sacerdote (1941) – Martita
¡Ay, Jalisco, no te rajes! (1941) – Chachita
Beautiful Michoacán (1943) – Chachita
Morenita clara (1943) – Chachita
La pequeña madrecita (1944)
La hija del payaso (1946)
¡Qué verde era mi padre! (1947) – Chachita
Yo vendo unos ojos negros (1947) – Carmencita Sandoval
Chachita la de Triana (1947) – Chachita
Nosotros los pobres (1948) – Chachita
Ustedes los ricos (1948) – Chachita
Guardián, el perro salvador (1948) – Chachita
The Two Orphans (1950) – Elvira Pérez
El Cristo de mi cabecera (1951) – Marcela
Los hijos de la calle (1951) – Elvira Pérez
Los pobres siempre van al Cielo (1951) – Lupita
La hija de la otra (1951) – Lupita
Una calle entre tú y yo (1952) – Marta
Pepe el Toro (1952) – Chachita
Padre Nuestro (1953) – Elisa Molina
La locura del Rock ´n Roll (1957)
Así era Pancho Villa (1957) – Remedios
El hombre que me gusta (1958) – Serafica, criada
Bajo el cielo de México (1958) – Flora
Mis padres se divorcian (1959) – Maruja, amiga de Fernando
Mi niño, mi caballo y yo (1959)
En cada feria un amor (1961) – Rosaura
Dos tontos y un loco (1961) – Cuquis
El dengue del amor (1965)
Gigantes planetarios (1965) – Frijol
Cuando el diablo sopla (1966)
La muerte es puntual (1967) – Creolina
Faltas a la moral (1970) – Doña Cata, la pulques
La hermana Trinquete (1970) – Turista gorda
Cayó de la gloria el diablo (1972) – Nachita
Peluquero de señoras (1973) – Socorro, gorda
El padrino... es mi compadre (1974)
La palomilla al rescate (1976) – Rosa
La casa prohibida (1981)
El barrendero (1981) – Pachita
El que no Corre... Vuela (1982) – Doña Chona 'La Gorda'
Vividores de mujeres (1982) – Julia Ester
Los fayuqueros de Tepito (1982)
Las musiqueras (1983) – Chachita Rubiales
En el camino andamos (1983)
Romancing the Stone (1984) – Hefty Woman
Hermelinda Linda (1984) – Hermelinda Linda
Los humillados (1984)
El sinaloense (1985)
Máscara contra bikini (1986)
Agente 0013: Hermelinda Linda 2 (1986) – Hermelinda Linda
Dos machos que ládran no muerden (1988)
Día de madres (1988) – Rosita
De lengua, me como un plato (1990)
Cambiando el destino (1992) – Hermana Margarita
Serafín: La película (2001) – Cocó (voice)
Meet the Robinsons (2007) – (voice)

Television

Soap operas

Gutierritos (1958) – Ana
Corona de lágrimas (1964)
El amor tiene cara de mujer (1971)
Mundo de Juguete (1974–1977) – Hermana Carmela / Tía Vladimira
Ángeles sin paraíso (1992) – Asunción 'Mamá Chonita'
Bendita mentira (1996) – Goya
Gotita de amor (1998) – Lolita
Serafín (1999) – Coco (voice)
Nunca te olvidaré (1999) – Benita
Alma rebelde (1999) – Bernarda
Siempre te amaré (2000) – Estellita
Contra viento y marea (2005) – Doña Cruz Cárdenas
Cuidado con el ángel (2008–2009) – Candelaria
Como dice el dicho (2011) – Clara
Qué bonito amor (2012–2013) – Doña Prudencia

Situation comedies
 Nosotros los Gómez
 Dos Mujeres en mi Casa

Video theatre
 'The Imaginary Invalid' (or The Hypochondriac) "Le Malade imaginaire" by Moliere

Theatre

(1957) Fin de semana (Hay Fever), by Noël Coward
(1957) La casa de la primavera, de Fernand Millaud – Yolanda Lambert
(1958) Mujercitas (Little Women), by Louisa May Alcott – Jo March
(1959) Las cosas simples, by Héctor Mendoza
(1962) Despedida de soltera, by Alfonso Anaya B.
(1964) El segundo aire de mama y papa, by Alfonso Paso
(1966) Le pondremos talco al niño, by Jean de Létraz
(1967) Baby shower. Una fiesta embarazosa – Eugenia
(1972) Doce mil pesos por mi mujer – Carmen
(1974) Dos naufragos tras el pescado (La pequeña choza), by André Roussin
(1976) Travesuras de medianoche, by Anthony Marriot – Mónica Johnson
(1977) Se armó la gorda (Melocotón en almíbar), by Miguel Mihura
(1978) Fiebre de fin de semana (Hay Fever), by Noël Coward
(1979) Espíritu travieso (Blithe Spirit), by Noël Coward
(1980) Vidas privadas (Private Lives), by Noël Coward
(1981) El médico a palos (Le médecin malgré lui), by Jean Baptiste Poquelin "Molière"
(1982) Cueros y pieles, by Ray Cooney
(1983) Los amores criminales de las vampiras Morales, by Hugo Argüelles – Rosa Fulvia
(1984) Las modelos de Chachita
(1986) Vengan corriendo que les tengo un muerto, by Varelita
(1996) Fiebre de fin de semana (Hay Fever), by Noël Coward
(2001) Máscara contra cabellera, by Victor Hugo Rascón Banda

Notes

References

External links
Mini Official site

 Cine Mexicano Page by ITESM
 Muñoz' YouTube channel

1936 births
2016 deaths
People from Orizaba
Actresses from Veracruz
Mexican film actresses
Mexican stage actresses
Mexican telenovela actresses
Mexican comedians

Evita Muñoz


Cathy Grier is an American musician.

Biography

Early life
Cathy Grier was born in Ogdensburg, New York, where her engineer father helped build the St. Lawrence Bridge. Her family then moved to Connecticut, and her career as a guitar soloist started in 1977 as a senior at Coginchaug High School. In 1979, while working on a music degree at Housatonic Community College in Bridgeport, she formed her own band. A year later, she teamed up with singer-songwriter Lenore Troia after meeting in Paul Leka's Connecticut Recording Studio, where Cathy was worked to repay the recording of her first demo learning audio engineering in the process. In 1980, Grier enrolled in the Berklee College Summer Program and then began to tour with Troia that fall.

Troia/Grier and Students of Life (1980-1987)
In 1981, Troia/Grier formed Synergy Records and recorded their first album, titled Don't Let the First Time be the Last Time, at Studio 19 in Glastonbury, Connecticut. They toured colleges and east coast clubs, opened for larger acts, and were videotaped for Newsweek Broadcasting's syndicated television Show, Today's Woman in April, 1982.

In 1983, Troia/Grier recorded Gut Reaction, their second self-produced album, at Media Sound in New York. The album received a Rising Star feature in the International Rockbill magazine (11/1984). In 1984, the Troia/Grier Band performed in New York City clubs, opened for The Band at The Lone Star Café, and continued to reach larger audiences.

In 1985, after touring the east coast, Troia/Grier were videotaped live for Connecticut's top music video show, Soundtraxx. They then produced their first music video, titled "Breaking New Ground," which they submitted to MTV as a group named "Students of Life." The video won MTV's basement tape competition in October 1986.

Students of Life's style and sound found their way to Atlantic City. Riding the wave of the MTV generation and bolstered by their MTV basement tape win, critics heralded them as the new breed of casino bands. They first performed at Trump Castle in 1985 and later at Bally's Casino from 1986-1988. Aware of the pressures and stress of a decade's involvement in the industry, Grier moved to Key West (a frequent touring location for Troia/Grier) to unwind and soon rediscovered her solo career.

Key West solo career
Finding a need to branch out musically in Key West, Grier took leave from Students of Life. She recorded two live solo tapes, Moonlighting in Key West (1988) and Community (1989) as tributes to her newfound community, and opened for Laura Nyro at Strand Theater (1989). In 1990, she moved back to New York City, where she formed a group and recorded her self-produced album titled New York Sessions.

France
In the six years that followed, Grier traveled to Europe where she toured 100 cities in a Marlboro Music Night Show and wrote and adapted music and lyrics for several French and European recording artists. In 1991, Indra, a Carrere artist, hit #1 on the French dance charts with a Grier penned album. Then, Grier recorded an album titled Solo (1993), which was released on her own label Shane Music. In 1995, London's Time Out magazine called her music "funkily melodic in a mature and assured style." Grier returned her focus to New York City in 1996, where she produced and adapted to English an album for EMI artist Nilda Fernandez.

Retracing
In 1998, Grier released Retracing, a 13-song CD recorded in Key West to positive reviews, which praised her music and message. Time Out New York wrote, "Grier mixes folked-up blues with a political mind-set." The Hudson Current added, "One aspect that distinguishes her from other performers is her concern with political and environmental issues, layered over that blues/rock melodic base." The album was mostly recorded live and self-produced with back up from local studio musicians and released on her Shane Music label.

Comin' Back to Me
In 2002, Grier released Comin' Back to Me, a solo album, to greater exposure and acclaim. She was featured on Mag Rack's Guitar Xpress, which has also showcased artists including: The Spin Doctors, Trey Anastasio, and Les Paul. Vintage Guitar magazine wrote, "Playing songs with just your acoustic is certainly an art that some of us never master well enough to make a full album…Cathy Grier does not have that problem, whether playing fingerstyle blues, or mixing poppy chords with her strong voice". In November 2004, she performed at Radio City Music Hall. The only cover song on the CD, Stevie Wonder's "Love is in Need of Love Today" was chosen as a reaction to the terrorist attacks of September 11, 2001, and meant to express the need for love in tragic times.

2002-present
Since her last album, Grier has performed in the Music Under New York program, which is sponsored by the New York Metropolitan Transportation Authority to allow musicians to legally perform in New York City Subway stops. Grier has embraced the program, lauding it for providing free entertainment during a 2004 appearance on ABC's Insomni-Act program. However, on the Feb. 4, 2009, cover of AM New York, she was juxtaposed with the headline "Playin' ain't Payin'," which documents the difficulty of earning money as a street performer in the recession. She responded to the headline with a new alias and blog, NYCsubwaygirl, where she highlights the advantages of the MUNY program. She has performed in Joe's Pub to a sold out crowd (June 2010). Joe's Pub listing "local singer-songwriter and activist Cathy Grier plays a mean slide guitar and sings twice as beguilingly as pretty much any American Idol starlet half her age; at her best, she sounds like a bluesier Carole King." A favorite performer for non-profit organizations Cathy has entertained to benefit Art For Animals, Habitat For Humanity, NY Junior League, to name a few.

As an active supporter of green home building, Grier has also been featured in Natural Home Magazine (Nov/Dec 2006) for her Columbia County, New York, home that implements passive solar design and nontoxic, eco-friendly materials (Dennis Wedlick, architect). An article she wrote about the process of building a healthy home was published in New York House and has been reprinted in various national publications. From 2006 to 2008 she was a member of the zoning commission for her town. She is currently working on her next recording and writing for her blog, NYCsubwaygirl.

Discography
1983: Gut Reaction – Synergy Records
1986: Breaking New Ground – Synergy Records
1988: Moonlighting in Key West – Shane Music
1989: Community – Shane Music
1990: New York Session – Shane Music
1993: Solo – Shane Music
1998: Retracing – Shane Music
2002: Comin' Back to Me – Shane Music

Sources
Del Priore, Joe. Hudson Current. May 29-June 4, 1997.
Fortune, Ross. Time Out London. Apr 12–19, 1995.
Galtney, Smith. Time Out New York. Aug 7-14, 1997.
Grier, Cathy. New York House "Building A Healthy Home" December 2006.
Heidt, John. Vintage Guitar. Mar 2003.
International Rockbill Magazine. "Rising Stars." Nov 1984.
Kallenbach, Laurel. Natural Home Magazine. "Shaker It Up." Nov/Dec, 2006
Mag Rack. Guitar Xpress. "Street Licks." Aug 4, 2004.
Molinaro, Katie. AM New York. "Playin' Aint' Payin.'" Feb 4, 2009
Time Out NY June 2010

References

External links
 NYC Subway Girl

Year of birth missing (living people)
Living people
American women guitarists
Guitarists from New York (state)
People from Ogdensburg, New York
21st-century American women

Cathy Grier


Yarraville Football Club was an Australian rules football club founded in 1903 and played in the VJFA until 1927. In 1928, the club joined the Victorian Football Association where it played until 1984 when the club went into recess. The club's home ground, Yarraville Oval, is now used by the Yarraville Seddon Eagles, but the modern-day club is not considered part of the Yarraville Football Club lineage.

History

The VJFA years (1903–1927)
Yarraville Football Club was formed on April 1, 1903. It then joined the Victorian Junior Football Association, where it was highly successful. Between 1905 and 1913, the club missed the Grand Final only once, and won a total of four premierships: in 1905, 1908, 1909 and 1912. The 1912 premiership came after a controversial final: Yarraville had lost to Port Melbourne Railway United by three points, but protested that the goal umpire had erred in awarding one of Railway's goals in the second quarter; the protest was upheld and the game was awarded to Yarraville. Railway was the minor premier and still had the right to challenge for the premiership, but declined to challenge as its own act of protest, resulting in Yarraville winning the premiership.

Yarraville won three more premierships during its time in the association – in 1920, and back-to-back in 1925 and 1926. Overall, it won seven premierships – the most of any club in the Association's history – and finished runners up six times in its 25 years in the competition. It was also the only two-time outright winner of the John Wren Shield, a perpetual premiership trophy which was awarded annually to the VJFA premiers, then permanently to the first team to win it three times; the club received the shield in 1909 and 1926.

The VFA years (1928–1984)
Yarraville joined the VFA senior competition in 1928. Prior to the season, the club merged with the neighbouring VJFA rival, the Kingsville Football Club. In 1935 the club won its first VFA grand final. Its next VFA grand final win was in 1961 the same year the VFA added a division 2. By the mid 70s the club had been relegated to the 2nd division and in 1976 finished last on the ladder. The club struggled for support in Division 2, and in the mid-1970s when Association-wide crowds were averaging more than 4,500, Yarraville still seldom drew more than 1,000 fans to games.

The club's on-field position improved in 1977 thanks to a big sponsorship deal, and Yarraville finished on top of the ladder, but was unable to win the grand final. Yarraville remained a top side in 2nd division until 1980, but its form deteriorated dramatically thereafter. The club moved from Yarraville Oval to Western Oval in 1983, but won only one game across all three grades in the season. Seeing no prospects for lasting viability, the VFA withdrew Yarraville's playing licence in January 1984.

Present day

Kingsville and Yarraville Seddon Eagles (1996–)
In 1996, Kingsville Football Club in the Western Region Football League took over Yarraville Oval and subsequently changed its name to Yarraville, later merging with nearby Seddon to form the Yarraville Seddon Eagles in 2006. While the current-day Eagles acknowledge the history of the Yarraville Football Club, the original Yarraville is not considered its predecessor club.

Premierships
Victorian Junior Football Association (7): 1905, 1908, 1909, 1912, 1920, 1925, 1926
Victorian Football League (2): 1935, 1961

References

Western Region Football League clubs
Former Victorian Football League clubs
1903 establishments in Australia
2007 disestablishments in Australia
Australian rules football clubs established in 1903
Australian rules football clubs disestablished in 2007
Australian rules football clubs in Melbourne

Yarraville Football Club


Martin Donovan (born Martin Paul Smith; August 19, 1957) is an American actor. He has had a long collaboration with director Hal Hartley, appearing in many of his films, such as Trust (1990), Surviving Desire (1991), Simple Men (1992), Amateur (1994), Flirt (1995), and The Book of Life (1998), starring as Jesus Christ in the latter. Donovan played Tom Gordon in Ghost Whisperer. Donovan also played Peter Scottson on Showtime's cable series Weeds. He made his writing/directorial debut with the film Collaborator (2011). Donovan played Detective Hap Eckhart in Christopher Nolan's psychological thriller Insomnia (2002) and the Protagonist's CIA handler, Fay, in Nolan's science fiction action thriller film Tenet (2020).

Early life
Donovan was born Martin Paul Smith in Reseda, California.

He graduated from Crespi Carmelite High School and attended Pierce College for two years. He attended American Theater Arts, a combined conservatory and theater company in Los Angeles, where he appeared in the plays Richard's Cork Leg by Brendan Behan and Private Life of the Master Race by Bertold Brecht. In 1983, he and his future wife, Vivian, moved to New York City. He joined the off-off-Broadway Cucaracha Theater on Greenwich Street.

Career
Donovan has appeared in fourteen episodes of the Showtime television series Weeds, which stars Mary-Louise Parker, for which he was nominated for a SAG Award for Outstanding Performance by An Ensemble in a Comedy Series. He has also acted with Parker in Saved!, Pipe Dream and The Portrait of a Lady. For the latter film, he won the National Society of Film Critics' Award for best supporting actor.

Personal life
Donovan married actress Vivian Lanko in 1984; they have two sons. They lived in New York City for many years before relocating to Vancouver.

Filmography

Film

Television

References

External links

1957 births
20th-century American male actors
21st-century American male actors
American emigrants to Canada
American male film actors
American male stage actors
American male television actors
living people
male actors from Los Angeles
people from Reseda, Los Angeles

Martin Donovan