Bronchitis is inflammation of the bronchi (large and medium-sized airways) in the lungs that causes coughing. Bronchitis usually begins as an infection in the nose, ears, throat, or sinuses. The infection then makes its way down to the bronchi. Symptoms include coughing up sputum, wheezing, shortness of breath, and chest pain. Bronchitis can be acute or chronic.

Acute bronchitis usually has a cough that lasts around three weeks, and is also known as a chest cold. In more than 90% of cases the cause is a viral infection. These viruses may be spread through the air when people cough or by direct contact. A small number of cases are caused by a bacterial infection such as Mycoplasma pneumoniae or Bordetella pertussis. Risk factors include exposure to tobacco smoke, dust, and other air pollution. Treatment of acute bronchitis typically involves rest, paracetamol (acetaminophen), and nonsteroidal anti-inflammatory drugs (NSAIDs) to help with the fever.

Chronic bronchitis is defined as a productive cough – one that produces sputum – that lasts for three months or more per year for at least two years. Many people with chronic bronchitis also have chronic obstructive pulmonary disease (COPD). Tobacco smoking is the most common cause, with a number of other factors such as air pollution and genetics playing a smaller role. Treatments include quitting smoking, vaccinations, rehabilitation, and often inhaled bronchodilators and steroids. Some people may benefit from long-term oxygen therapy.

Acute bronchitis is one of the more common diseases. About 5% of adults and 6% of children have at least one episode a year. Acute bronchitis is the most common type of bronchitis. By contrast in the United States, in 2018, 9.3 million people were diagnosed with the less common chronic bronchitis.

Acute bronchitis

Acute bronchitis, also known as a chest cold, is short term inflammation of the bronchi of the lungs. The most common symptom is a cough, that may or may not produce sputum. Other symptoms may include coughing up mucus, wheezing, shortness of breath, fever, and chest discomfort. Fever when present is mild. The infection may last from a few to ten days. The cough may persist for several weeks afterwards, with the total duration of symptoms usually around three weeks. Symptoms may last for up to six weeks.

Cause
In more than 90% of cases, the cause is a viral infection. These viruses may spread through the air when people cough or by direct contact. Risk factors include exposure to tobacco smoke, dust, and other air pollutants. A small number of cases are due to bacteria such as Mycoplasma pneumoniae or Bordetella pertussis.

Diagnosis
Diagnosis is typically based on a person's signs and symptoms. The color of the sputum does not indicate if the infection is viral or bacterial. Determining the underlying organism is usually not required. Other causes of similar symptoms include asthma, pneumonia, bronchiolitis, bronchiectasis, and COPD. A chest X-ray may be useful to detect pneumonia.

Another common sign of bronchitis is a cough which lasts ten days to three weeks. If the cough lasts for longer than a month, it may become chronic bronchitis. In addition, a fever may be present.  Acute bronchitis is normally caused by a viral infection. Typically, these infections are rhinovirus, adenovirus, parainfluenza, or influenza. No specific testing is normally needed in order to diagnose acute bronchitis.

Treatment
One form of prevention is to avoid smoking and other lung irritants. Frequent hand washing may also be protective. Treatment for acute bronchitis usually involves rest, paracetamol (acetaminophen), and NSAIDs to help with the fever. Cough medicine has little support for its use, and is not recommended in children under the age of six. There is tentative evidence that salbutamol may be useful in treating wheezing; however, it may result in nervousness and tremors. Antibiotics should generally not be used. An exception is when acute bronchitis is due to pertussis. Tentative evidence supports honey and pelargonium to help with symptoms. Getting plenty of rest and drinking enough fluids are often recommended as well. Chinese medicinal herbs are of unclear effect.

Epidemiology
Acute bronchitis is one of the most common diseases. About 5% of adults are affected, and about 6% of children have at least one episode a year. It occurs more often in the winter. More than 10 million people in the US visit a doctor each year for this condition, with about 70% receiving antibiotics which are mostly not needed. There are efforts to decrease the use of antibiotics in acute bronchitis. Acute bronchitis is the most common type of bronchitis.

Chronic bronchitis

Chronic bronchitis is a lower respiratory tract disease, defined by a productive cough that lasts for three months or more per year for at least two years. The cough is sometimes referred to as a smoker's cough since it often results from smoking. When chronic bronchitis occurs together with decreased airflow it is known as chronic obstructive pulmonary disease (COPD). Many people with chronic bronchitis have COPD however, most people with COPD do not also have chronic bronchitis. Estimates of the number of people with COPD who have chronic bronchitis are 7 to 40%. Estimates of the number of people who smoke and have chronic bronchitis who also have COPD is 60%.

The term "chronic bronchitis" was used in previous definitions of COPD but is no longer included in the definition. The term is still used clinically. While both chronic bronchitis and emphysema are often associated with COPD, neither is needed to make the diagnosis. A Chinese consensus commented on symptomatic types of COPD that include chronic bronchitis with frequent exacerbations.

Chronic bronchitis is marked by mucus hypersecretion and mucins. The excess mucus is produced by an increased number of goblet cells, and enlarged submucosal glands in response to long-term irritation. The mucous glands in the submucosa secrete more than the goblet cells. Mucins thicken mucus, and their concentration  has been found to be high in cases of chronic bronchitis, and also to correlate with the severity of the disease. Excess mucus can narrow the airways, thereby limiting airflow and accelerating the decline in lung function, and result in COPD. Excess mucus shows itself as a chronic productive cough and its severity and volume of sputum can fluctuate in periods of acute exacerbations. In COPD, those with the chronic bronchitic phenotype with associated chronic excess mucus, experience a worse quality of life than those without.

The increased secretions are initially cleared by coughing. The cough is often worse soon after awakening, and the sputum produced may have a yellow or green color and may be streaked with specks of blood. In the early stages, a cough can maintain mucus clearance. However, with continued excessive secretion mucus clearance is impaired, and when the airways become obstructed a cough becomes ineffective. Effective mucociliary clearance depends on airway hydration, ciliary beating, and the rates of mucin secretion. Each of these factors is impaired in chronic bronchitis. Chronic bronchitis can lead to a higher number of exacerbations and a faster decline in lung function. The ICD-11 lists chronic bronchitis with emphysema (emphysematous bronchitis) as a "certain specified COPD".

Cause
Most cases of chronic bronchitis are caused by tobacco smoking. Chronic bronchitis in young adults who smoke is associated with a greater chance of developing COPD. There is an association between smoking cannabis and chronic bronchitis.  In addition, chronic inhalation of air pollution, or irritating fumes or dust from hazardous exposures in occupations such as coal mining, grain handling, textile manufacturing, livestock farming, and metal moulding may also be a risk factor for the development of chronic bronchitis. Bronchitis caused in this way is often referred to as industrial bronchitis, or occupational bronchitis.  Rarely genetic factors also play a role.

Air quality can also affect the respiratory system with higher levels of nitrogen dioxide and sulfur dioxide contributing to bronchial symptoms. Sulfur dioxide can cause inflammation which can aggravate chronic bronchitis and make infections more likely.

Air pollution in the workplace is the cause of several non-communicable diseases (NCDs) including chronic bronchitis.

Treatment
Decline in lung function in chronic bronchitis may be slowed by stopping smoking. Chronic bronchitis may be treated with a number of medications and occasionally oxygen therapy. Pulmonary rehabilitation may also be used.

A distinction has been made between exacerbations (sudden worsenings) of chronic bronchitis, and otherwise stable chronic bronchitis. Stable chronic bronchitis can be defined as the normal definition of chronic bronchitis, plus the absence of an acute exacerbation in the previous four weeks. A Cochrane review found that mucolytics in chronic bronchitis may slightly decrease the chance of developing an exacerbation. The mucolytic guaifenesin is a safe and effective treatment for stable chronic bronchitis. This has an advantage in that it is available as an extended use tablet which lasts for twelve hours. Erdosteine is a mucolytic recommended by NICE. GOLD also supports the use of some mucolytics that are advised against when inhaled corticosteroids are being used, and singles out erdosteine as having good effects regardless of corticosteroid use. Erdosteine also has antioxidant properties. Erdosteine has been shown to significantly reduce the risk of exacerbations, shorten their duration, and hospital stays. In those with the chronic bronchitic phenotype of COPD, the phosphodiesterase-4 inhibitor roflumilast may decrease significant exacerbations.

Epidemiology
Chronic bronchitis affects about 3.4% to 22% of the general population. Individuals over 45 years of age, smokers, those that live or work in areas with high air pollution, and anybody with asthma all have a higher risk of developing chronic bronchitis. This wide range is due to the different definitions of chronic bronchitis that can be diagnosed based on signs and symptoms or the clinical diagnosis of the disorder. Chronic bronchitis tends to affect men more often than women. While the primary risk factor for chronic bronchitis is smoking, there is still a 4%-22% chance that non smokers can get chronic bronchitis. This might suggest other risk factors such as the inhalation of fuels, dusts, fumes and genetic factor. In the United States, in 2016, 8.6 million people were diagnosed with chronic bronchitis, and there were 518 reported deaths. Per 100,000 of population the death rate of chronic bronchitis was 0.2.

History
The condition of bronchitis has been recognised for many centuries, in several different cultures including the Ancient Greek, Chinese, and Indian, with the presence of excess phlegm and cough noted in recognition of the same condition. Early treatments of chronic bronchitis included garlic, cinnamon and ipecac, among others. Modern treatments were developed during the second half of the 20th century.

In Britain in 1808, a physician Charles Badham was the first person to describe the condition and name the acute form as acute bronchitis.  This was written of in a book entitled Inflammatory conditions of the bronchia. In this book Badham distinguished three forms of bronchitis including acute and chronic. A second edition of this book was renamed An Essay on Bronchitis and published in 1814. Badham used the term catarrh to refer to the cardinal symptoms of chronic cough and mucus hypersecretion of chronic bronchitis, and described chronic bronchitis as a disabling disorder.

In 1901 an article was published on the treatment of chronic bronchitis in the elderly. The symptoms described have remained unchanged. The cause was thought to be brought on by dampness, cold weather, and foggy conditions, and treatments were aimed towards various cough mixtures, respiratory stimulants, and tonics. It was noted that something other than the weather was thought to be at play. Exacerbations of the condition were also described at this time. Another physician Harry Campbell was referred to who had written in the British Medical Journal a week before. Campbell had suggested that the cause of chronic bronchitis was due to toxic substances, and recommended pure air, simple food, and exercise to remove them from the body.

A joint research programme was undertaken in Chicago and London from 1951 to 1953 in which the clinical features of one thousand cases of chronic bronchitis were detailed. The findings were published in the Lancet in 1953. It was stated that since its introduction by Badham, chronic bronchitis had become an increasingly popular diagnosis. The study had looked at various associations such as the weather, conditions at home, and at work, age of onset, childhood illnesses, smoking habits, and breathlessness. It was concluded that chronic bronchitis invariably led to emphysema, particularly when the bronchitis had persisted for a long time.

In 1957 it was noted that at the time there were many investigations being carried out into chronic bronchitis and emphysema in general, and among industrial workers exposed to dust. Excerpts were published dating from 1864 in which Charles Parsons had noted the occurring consequence of the development of emphysema from bronchitis. This was seen to be not always applicable. His findings were in association with his studies on chronic bronchitis among pottery workers.

A CIBA (now Novartis) meeting in 1959, and a meeting of the American Thoracic Society in 1962, defined chronic bronchitis as a component of COPD, in the terms that have not changed.

Eosinophilic bronchitis

Eosinophilic bronchitis is a chronic dry cough, defined by the presence of an increased number of a type of white blood cell known as eosinophils. It has a normal finding on X-ray and has no airflow limitation.

Protracted bacterial bronchitis
Protracted bacterial bronchitis in children, is defined as a chronic productive cough with a positive bronchoalveolar lavage that resolves with antibiotics. Protracted bacterial bronchitis is usually caused by Streptococcus pneumoniae, non-typable Haemophilus influenzae, or Moraxella catarrhalis. Protracted bacterial bronchitis (lasting more than 4 weeks) in children may be helped by antibiotics.

Plastic bronchitis

Plastic bronchitis is a rarely found condition in which thickened secretions plug the bronchi. The plugs are rubbery or plastic-feeling (thus the name).  The light-colored plugs take the branching shape of the bronchi that they fill, and are known as bronchial casts.  When these casts are coughed up, they are firmer in texture from typical phlegm or the short, softer mucus plugs seen in some people with asthma.  However, some people with asthma have larger, firmer, and more complex plugs.  These differ from the casts seen in people whose plastic bronchitis is associated with congenital heart disease or lymphatic vessel abnormalities mainly because eosinophils and Charcot–Leyden crystals are present in the asthma-associated casts but not in the others.

Casts obstruct the airflow, and can result in the overinflation of the opposite lung. Plastic bronchitis usually occurs in children. Some cases may result from abnormalities in the lymphatic vessels. Advanced cases may show imaging similarities to bronchiectasis.

Aspergillus bronchitis
Aspergillus bronchitis is one of the Aspergillosis spectrum of diseases, in which  the bronchi are specifically subject to a fungal infection. This differs from the other pulmonary aspergillosis conditions, in that it need not affect just the immunocompromised.

References

External links

 NIH entry on Bronchitis
 MedlinePlus entries on Acute bronchitis and Chronic bronchitis
 Mayo Clinic factsheet on bronchitis

Chronic lower respiratory diseases
Bronchus disorders
Wikipedia medicine articles ready to translate
Wikipedia emergency medicine articles ready to translate

Bronchitis


Scotch woodcock is a British savoury dish consisting of creamy, lightly-scrambled eggs served on toast that has been spread with anchovy paste or Gentleman's Relish, and sometimes topped with chopped herbs and black pepper.

Scotch woodcock was served in the refreshment rooms of the House of Commons of the United Kingdom as late as 1949.  It was also served historically at the colleges of the University of Cambridge and the University of Oxford and it continues to be served at the Oxford and Cambridge Club as an alternative to sweet desserts or cheeseboard.

It was a well-known dish in the Victorian era, and is mentioned in Mrs. Beeton's Book of Household Management.

The name is modelled on Welsh rabbit. Similar to Welsh rabbit which contains no rabbit meat, the dish has no woodcock, a type of bird, in its ingredients at all.

References

British cuisine
British fish dishes
Egg dishes
Fish dishes
Anchovy dishes

Scotch woodcock


John Andrew Beazley (May 25, 1918 – April 21, 1990) was a right-handed pitcher in Major League Baseball who played for the St. Louis Cardinals and Boston Braves.

As a rookie in 1942, Beazley went 21–6 with a 2.13 ERA for the Cardinals, as his 21 wins and ERA ranked him second in the National League behind teammate Mort Cooper (22 and 1.78). Beazley completed his feat pitching two complete-game wins in the team's World Series victory over the New York Yankees in five games, allowing three runs in Game Two and two runs in Game Five for a combined 2.50 ERA.

After the season, Beazley enlisted in the U.S. Air Force during World War II. While serving, he was sent to pitch for an Army team and felt pain in his arm, but ordered by his commanding officer to pitch through the pain, Beazley severely hurt his arm. Coming out of the service in 1946, he tried in vain to regain his form but was never the same, winning only nine games for the rest of his career.

In a six-season career, Beazley posted a 31–12 record with 147 strikeouts and a 3.01 ERA in 76 games, including three shutouts and 21 complete games in 374 innings pitched.

After leaving baseball, Beazley worked as a beer distributor. He died of cancer in Nashville at age 71.

References

External links

Baseball Library

1918 births
1990 deaths
Major League Baseball pitchers
Boston Braves players
St. Louis Cardinals players
New Orleans Pelicans (baseball) players
United States Army Air Forces personnel of World War II
Baseball players from Tennessee
Sportspeople from Nashville, Tennessee
Leesburg Gondoliers players
Tallahassee Capitals players
Greenville Bucks players
Abbeville A's players
Montgomery Rebels players
Columbus Red Birds players
Mobile Shippers players
St. Petersburg Saints players
Nashville Vols players
Dallas Eagles players
Oklahoma City Indians players
Deaths from cancer in Tennessee
Lexington Giants (KITTY League) players

Johnny Beazley


The Etosha Pan is a large endorheic salt pan, forming part of the Cuvelai-Etosha Basin in the north of Namibia. It is a vast hollow in the ground in which water may collect or in which a deposit of salt remains after water has evaporated. The 120-kilometre-long (75-mile-long) dry lakebed and its surroundings are protected as Etosha National Park, Namibia's second-largest wildlife park, covering . The pan is mostly dry but after heavy rains it is flooded with a thin layer of water, which is heavily salted by the mineral deposits on the surface.

Location and description

Etosha, meaning 'Great White Place' in Oshindonga, is made of a large mineral pan.

The area exhibits a characteristic white and greenish surface, which spreads over . The pan is believed to have developed through tectonic plate activity over about ten million years. Around 16,000 years ago, when ice sheets were melting across the land masses of the Northern Hemisphere, a wet climate phase in Southern Africa caused the Etosha Lake to be filled up. Today however the Etosha Pan is mostly made up of dry clay split into hexagonal shapes as it dries and cracks, and is seldom seen with even a thin sheet of water covering it.

It is assumed that the Kunene River fed the lake in the distant past, but tectonic plate movements over time caused a change in river direction, resulting in the lake running dry and leaving a salt pan. Nowadays the Ekuma River, the Nipelo River, the Cuvelai River and the Omurambo Ovambo River are the sole seasonal sources of water for the lake. Typically, not much river water or sediment reaches the dry lake, because water seeps away into the riverbed along its  course, reducing discharge along the way.

History
In the colonial era, the first non-Africans to explore this area were the Europeans Charles John Andersson and Francis Galton in 1851.

Plants and animals

The surrounding area is dense mopane woodland which is occupied by herds of elephants on the south side of the lake. Mopane trees are common throughout south-central Africa, and host the mopane worm, which is the larval form of the moth Gonimbrasia belina, and an important source of protein for rural communities.

The salt desert supports very little plant life except for the blue-green algae that gives the Etosha Pan its characteristic colouring, and grasses like Sporobolus spicatus which quickly grow in the wet mud following good rains. Surrounding the pan, grasslands provide food for grazing animals.

This harsh dry land with its sparse vegetation and insufficient amount of salty water, supports little wildlife all year round,  but is sometimes inhabited by a large number of migratory birds. The hypersaline pan supports brine shrimp and a number of extremophile micro-organisms tolerant of the high saline conditions.(C.Michael Hogan. 2010.) In particularly good rainy seasons the Etosha pan is turned into a shallow lake approximately 10 cm in depth and becomes the breeding ground for flamingos, which arrive in their thousands and great white pelican (Pelecanus onocrotalus).

The surrounding savanna is home to thousands of mammals that will visit the pan and surrounding waterholes when there is water. These include quite large numbers of zebra, wildebeest, gemsbok, springbok and eland, as well as black rhinoceros, bush elephants, lions, leopards, and giraffe.

Threats and protection
The Etosha Pan is situated completely within the boundaries of the Etosha National Park and is designated as a Ramsar wetland of international importance and a World Wildlife Fund ecoregion (Etosha Pan halophytics).

References

C.Michael Hogan. 2010. Extremophile. eds. E.Monosson and C.Cleveland. Encyclopedia of Earth. National Council for Science and the Environment, Washington DC

Etosha National Park

Salt pans of Namibia
Etosha National Park
Ecoregions of Namibia
Zambezian region

Etosha Pan


John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and producer of theatre, film, and television. He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay. He won the Academy Award for Best Supporting Actor for his portrayal of Professor Charles W. Kingsfield in the 1973 film The Paper Chase. He reprised the role of Kingsfield in the 1978 television series adaptation.

Early life
Houseman was born Jacques Haussmann on September 22, 1902, in Bucharest, Romania, the son of May (née Davies) a governess and Georges Haussmann, who ran a grain business. His mother was British, from a Christian family of Welsh and Irish descent. His father was an Alsatian-born Jew. He was educated in England at Clifton College, became a British subject, and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman. He became a United States citizen in 1943.

Theatre producer
Houseman worked as a speculator in the international grain markets, only turning to the theater following the 1929 stock market crash.

On Broadway he co-wrote Three and One (1933) and And Be My Love (1934). Composer Virgil Thomson recruited him to direct Four Saints in Three Acts (1934), Thomson's collaboration with Gertrude Stein. He later directed The Lady from the Sea (1934) and Valley Forge (1934).

Collaboration with Orson Welles
In 1934, Houseman was looking to cast Panic, a play he was producing based on a drama by Archibald MacLeish concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929. Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of Romeo and Juliet was the only person qualified to play the leading role. Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production. Panic opened at the Imperial Theatre on March 15, 1935. Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff three years earlier in Universal's The Mummy.

Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice."

He supervised the direction of Walk Together Chillun in 1936.

Federal Theatre Project
In 1936, the Federal Theatre Project of the Works Progress Administration put unemployed theatre performers and employees to work. The Negro Theatre Unit of the Federal Theatre Project was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer. Houseman describes the experience in one of his memoirs:
Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week. During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over.

Macbeth (1936)

Houseman immediately hired Welles and assigned him to direct Macbeth for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role. The incidental music was composed by Virgil Thomson. The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances. The play was regarded by critics and patrons as an enormous, if controversial, success. After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

... on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend.

Houseman later produced for the Negro Theatre Unit Turpentine (1936) without Welles.

In 1936, Houseman and Welles were running a WPA unit in midtown Manhattan for classic productions called Project No. 891. Their first production was Christopher Marlowe's Tragical History of Dr. Faustus which Welles directed while also playing the title role.

Houseman and Welles put on Horse Eats Hat (1936). Houseman, without Welles, helped in the direction of Leslie Howard's production of Hamlet (1936).

The Cradle Will Rock (1937)

In June 1937, Project No. 891 produced their most controversial work with The Cradle Will Rock. Written by Marc Blitzstein, the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer).  The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show. Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year.

In his memoir, Run-Through, Houseman wrote about the circumstances surrounding the opening night at the Maxine Elliott Theatre. All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937. The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following. No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music. One of the amateur performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part. All the other performers, in turn, stood up for their parts. Thus the "oratorio" version of the show was born. Apparently, Welles had designed some intricate scenery, which ended up never being used. The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night. The incident, however, led to Houseman being fired and Welles's resignation from Project No. 891.

Mercury Theatre
That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did The Cradle Will Rock as an independent production on Broadway. They also founded the acclaimed New York drama company, the Mercury Theatre. Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied.

Armed with a manifesto written by Houseman declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "...seem to have emotion or factual bearing on contemporary life."  The company mounted several notable productions, the most remarkable being its first commercial production of Julius Caesar.  Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels."

Houseman and Welles later presented The Shoemaker's Holiday (1938), Heartbreak House (1938) and Danton's Death (1938).

Radio
Beginning in the summer of 1938, the Mercury Theatre was featured in a weekly dramatic radio program on the CBS network, initially promoted as First Person Singular before gaining the official title The Mercury Theatre on the Air. An adaptation of Treasure Island was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script. However, a week before the show was to air, Welles decided that a program far more dramatic was required. To Houseman's horror, Treasure Island was abandoned in favor of Bram Stoker's Dracula, with Welles playing the infamous vampire. During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script.

The Mercury Theatre on the Air featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris.

"The War of the Worlds" (1938)
The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' The War of the Worlds, which had put much of the country in a panic. By all accounts, Welles was shocked by the panic that ensued. According to Houseman, "he hadn't the faintest idea what the effect would be". CBS was inundated with calls; newspaper switchboards were jammed.

Without Welles, Houseman staged Douglas Moore's The Devil and Daniel Webster (1939).

Film producer

Too Much Johnson (1938)
While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, Too Much Johnson (1938). The film was never publicly screened and no print of the film was thought to have survived. Footage was rediscovered in 2013.

Citizen Kane (1941)
The Welles-Houseman collaboration continued in Hollywood. In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects.

For his motion picture debut, Welles first considered adapting Joseph Conrad's Heart of Darkness for the screen. A 200-page script was written. Some models were constructed, while the shooting of initial test footage had begun. However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming. When RKO threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket. Houseman proclaimed that there wasn't enough money in their business account to pay anyone. During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook". As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship.

Houseman later, however, played a pivotal role in ushering Citizen Kane (1941), which starred Welles. Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J. Mankiewicz while he completed the script, and keep him away from alcohol. Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed. Although Welles took credit for the screenplay of Kane, Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles. Houseman took some credit himself for the general shaping of the story line and for editing the script. In an interview with Penelope Huston for Sight & Sound magazine (Autumn, 1962) Houseman said that the writing of Citizen Kane was a delicate subject:

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her essay "Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault. He wanted to be given all the credit because he's a hog. Actually, it is his film. So it's a ridiculous argument."

Return to the theatre
After he and Welles went their separate ways, Houseman went on to direct The Devil and Daniel Webster (1939) and Liberty Jones (1941) and produced the Mercury Theatre's stage production of Native Son (1941) on Broadway, directed by Welles.

David O. Selznick
In Hollywood he became a vice-president of David O. Selznick Productions. His most notable achievement during that time was helping adapt and produce the adaptation of Jane Eyre (1943) which starred Joan Fontaine and Welles.

World War II
In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City.

Paramount
In 1945 Houseman signed a contract with Paramount Pictures to produce movies. His first credit for that studio was The Unseen (1945). He followed it with Miss Susie Slagle's (1945) and The Blue Dahlia (1946), both with Veronica Lake. The latter, starring Alan Ladd and written by Raymond Chandler, has become a classic.

He left Paramount and returned to Broadway to direct Lute Song (1946) with Mary Martin.

Back in Hollywood he produced Letter from an Unknown Woman (1948) for Max Ophuls at Universal.

RKO
Houseman went to RKO where he produced They Live by Night (1948) the directorial debut of Nicholas Ray. He also did The Company She Keeps (1949) and On Dangerous Ground (1951).

He returned to Broadway to produce Joy to the World (1949) and King Lear (1950-51), the latter with Louis Calhern.

MGM
RKO's head of production had been Dore Schary. When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted.

Houseman's stint at MGM began with Holiday for Sinners (1952); then he had a huge success with The Bad and the Beautiful (1952), directed by Vincente Minnelli. He followed it with the film adaptation of Julius Caesar (1953) (for which he received an Academy Award nomination for Best Picture)

Also popular was Executive Suite (1954), a highly creative adaptation by Ernest Lehman of Cameron Hawley's bestselling novel. However, although Her Twelve Men (1954), Minnelli's The Cobweb (1955) and Fritz Lang's Moonfleet (1955) all lost money. So did Lust for Life (1956), a biopic directed by Minnelli of Vincent van Gogh, although it was extremely well-received critically.

Television and theatre
Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90.

He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi (1957).

Return to MGM
Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman Productions. His films were All Fall Down (1962), Two Weeks in Another Town (1962) and In the Cool of the Day (1963).

Return to television
Houseman returned to television where he made The Great Adventure and Journey to America (1964). He returned to Hollywood briefly to produce This Property Is Condemned (1966), then returned to TV for Evening Primrose (1966).

He returned to Broadway, directing Pantagleize (1967).

Teaching

The Juilliard School and The Acting Company

Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976. The first graduating class in 1972 included Kevin Kline and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, and Robin Williams.

Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company." The organization was subsequently renamed The Acting Company, and has been active for more than 40 years. Houseman served as the producing artistic director through 1986, and Harley has been the company's producer since its founding.  Writing in The New York Times in 1996, Mel Gussow called it "the major touring classical theater in the United States."

Theatre
Houseman continued to be involved in theatre, producing The School for Wives (1971), The Three Sisters (1973), The Beggar's Opera (1973), Scapin (1973), Next Time I'll Sing to You (1974), The Robber Bridegroom (1975), Edward II (1975), and The Time of Your Life (1975)

He directed The Country Girl (1972), Don Juan in Hell (1973), Measure for Measure  (1973), and Clarence Darrow (1974) (with Henry Fonda).

In 1979, Houseman earned induction into the American Theater Hall of Fame

Acting

Houseman had acted occasionally during the early part of his career and he had a brief but important part in Seven Days in May (1964).

Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973). The film was a success and launched Houseman into an unexpected late career as a character actor.

Houseman played Energy Corporation Executive Bartholomew in the film Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976).

Houseman appeared on TV in Fear on Trial (1975), The Adams Chronicles (1976), Truman at Potsdam (1976), Hazard's People (1976) and Six Characters in Search of an Author (1976). Houseman was reunited with The Paper Chase co-star Lindsay Wagner in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series The Bionic Woman and The Six Million Dollar Man; he played the scientific genius Dr. Franklin.

He continued appearing on TV in Captains and the Kings (1976), The Displaced Person (1977), a version of Our Town (1977), Washington: Behind Closed Doors (1977), The Best of Families (1977), Aspen, The Last Convertible (1978), The French Atlantic Affair (1978) and The Associates (1980).

In films he parodied Sydney Greenstreet in the Neil Simon film The Cheap Detective (1978) and was in Old Boyfriends (1980), John Carpenter's The Fog (1980), Wholly Moses! (1981) and My Bodyguard (1981).

Houseman briefly returned to producing with the TV movie Gideon's Trumpet (1980), which he also appeared in and Choices of the Heart (1983). He produced one more show on Broadway, The Curse of an Aching Heart (1982).

He acted in The Babysitter (1980), A Christmas Without Snow (1980), Ghost Story (1981), Mork & Mindy, Murder by Phone (1982) (second billed), Marco Polo (1982), and American Playhouse (1982).

Television star
Having played a Harvard Law School professor in the film The Paper Chase (1973), he reprised the role in a television series of the same name, which ran from 1978 to 1979 and 1983 to 1986. During that time, he received two Golden Globe nominations for "Best Actor in a TV Series—Drama".

In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in Silver Spoons, which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way... they earn it." Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test'.

He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries The Winds of War (receiving a fourth Golden Globe nomination). He declined to reprise the role in the sequel War and Remembrance miniseries (the role then went to Sir John Gielgud).

However he was in the miniseries A.D. (1984), Noble House (1986), and Lincoln (1988).

Writing
Between and sometimes during engagements, he contributed articles and book reviews to national publications, and wrote three volumes of memoirs, which are a chronicle of an era as well as a testimony to his phenomenal powers of recall: Run Through (1972), Front and Center (1979) and Final Dress (1983). In 1986 he published Entertainers and the Entertained. A fourth volume, Unfinished Business: Memoirs, 1902 to 1988, a distillation of his earlier books with some new material was published in 1988.

Personal life
Houseman was in a relationship with actress Joan Fontaine after her marriage to actor Brian Aherne ended. "Ours was what was known in Hollywood as a 'romance,' -- which meant that we slept together three or four nights a week, got invited to parties together, went away together for weekends and sometimes talked about getting married without really meaning it," Houseman wrote in Front and Center, his second autobiography.

Final years and death
Later film appearances included Bright Lights, Big City (1988) and Another Woman (1988).

In 1988, he appeared in his last two roles—cameos in the films The Naked Gun: From the Files of Police Squad! and Scrooged. He played a driving instructor (whose mannerisms parodied many of his prior roles) in the former, and himself in the latter. Both films were released after his death.

On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California. He was cremated and his ashes were scattered at sea.

In popular culture
Houseman was portrayed by Cary Elwes in the Tim Robbins–directed film Cradle Will Rock (1999). Actor Eddie Marsan plays the role of Houseman in Richard Linklater's film Me & Orson Welles (2009). Houseman was played by actor Jonathan Rigby in the Doctor Who audio drama Invaders from Mars set around the War of the Worlds broadcast. Actor Sam Troughton portrayed Houseman in the 2020 film Mank.

In the Seinfeld episode "The Face Painter", Jerry tells Elaine that Alec Berg has "a good John Houseman name". Jerry then imitates Houseman, speaking Alec Berg's name in a non-rhotic, gravelly rasp.

In the SCTV episode "Jane Eyrehead", guest star Robin Williams portrayed Houseman in the sketch commercial "An Evening with John Houseman", in which he reads the Mellonville phonebook to a cheering theater audience.

Filmography

Film

As actor (film)

As producer (film)

Television

As actor (television)

As producer (television)

References

External links

 "The Theatre: Marvelous Boy" – Time May 9, 1938
 Interviews with Howard Koch on the infamous Mercury Theatre's War of the Worlds radio broadcast

1902 births
1988 deaths
Male actors from Bucharest
Deaths from cancer in California
Neurological disease deaths in California
Deaths from spinal cancer
American male film actors
American theatre managers and producers
American radio producers
American radio writers
American film producers
American male screenwriters
American people of French-Jewish descent
American people of Irish descent
American people of Welsh descent
British male film actors
20th-century American male actors
20th-century British male actors
People educated at Clifton College
Juilliard School faculty
Jewish theatre directors
Federal Theatre Project administrators
Best Supporting Actor Academy Award winners
Best Supporting Actor Golden Globe (film) winners
Voice of America people
Romanian emigrants to the United Kingdom
Naturalised citizens of the United Kingdom
British emigrants to the United States
British people of Jewish descent
20th-century American male writers
20th-century American screenwriters
People of the United States Office of War Information

John Houseman


Legislative elections were held in France on 16 March 1986 to elect the eighth National Assembly of the Fifth Republic. Contrary to other legislative elections of the Fifth Republic, the electoral system used was that of party-list proportional representation.

Since the 1981 election of François Mitterrand, the Presidential Majority was divided. In March 1983 Prime Minister Pierre Mauroy renounced the left's radical Common Programme which had been agreed in the 1970s. Wages and prices were frozen. This change of economic policy was justified by the will to stay in the European Monetary System. A year later, the Communist ministers refused to remain in Laurent Fabius' cabinet.

In opposition, the two main right-wing parties tried to forget their past quarrels. They were able to win the mid-term elections (1982 departmental elections, 1983 municipal elections, 1984 European Parliament election) and succeeded in forcing the government to abandon its policy of limiting the financing of private schools in 1984. The Rally for the Republic (RPR), led by Jacques Chirac, abandoned the traditional dirigiste and Eurosceptic Gaullist doctrines about the economy and European integration. It was then able to sign an electoral platform with the Union for French Democracy (UDF). It proposed notably to sell the companies nationalized by President Mitterrand and Pierre Mauroy.

However, France had also witnessed the electoral rise of the National Front (FN). Its leader, Jean-Marie Le Pen, made nationalist and xenophobic remarks. He appealed to part of the conservative electorate, notably some RPR voters. The right-wing opposition was divided on the question of an alliance with the FN. In 1985, President Mitterrand's decision to re-establish party-list proportional representation at the legislative election caused political outrage. The RPR/UDF opposition accused him of wanting to strengthen the FN in order to weaken the Republican Right, which was favourite to win according to the polls. Proportional representation was the only electoral system which was considered likely to allow the election of FN deputies.

While the polls indicated a win by the RPR/UDF coalition, the former UDF Prime minister Raymond Barre argued that the next parliamentary majority should refuse to govern if President Mitterrand did not resign. Advised by Edouard Balladur, Jacques Chirac noted, however, that impeachment did not exist in the French Constitution. Instead, the next majority would "cohabit" with Mitterrand. The right-wing cabinet would enforce its domestic policy programme and Mitterrand would keep control of foreign and military affairs.

Eventually, the RPR/UDF coalition obtained only a two-seat majority. Consequently, for the first time of the history of the Fifth Republic, the parliamentary majority was opposed to the President. Nevertheless, the Socialist Party held more seats than the polls had indicated. The FN was able to form a parliamentary group with its 35 elected members. The decline of the French Communist Party continued. Mitterrand nominated Chirac as Prime Minister. The first "cohabitation" of the Fifth Republic started. The new cabinet abolished proportional representation for the next legislative elections. The "cohabitation" ended with the 1988 legislative election.

Results

Parliamentary groups in the National Assembly

References

France
Legislative
Legislative elections in France

1986 French legislative election


The Hlai or Li () are an ethnic group living primarily on the island of Hainam, off the southern coast of mainland China and just east of Vietnam. The Hlai are one of the 56 ethnic groups officially recognized by the Chinese government.

The Hlai were known to the Sui Dynasty Chinese by the name Liliao. Presently they refer to themselves as the Hlai or Sai people. The ethnic group is called Lí in Mandarin and Lai in Cantonese.

The Hlai people have their own language. Some dialects of the Hlai language are too different from each other for people to mutually understand each other. The Hlai language is distantly related to languages such as Thai, Lao, and Cuengh. The Hlai language did not have a writing system before the 1950s, when the Latin alphabet was adopted. Some to most Hlai people nowadays can understand Mandarin and Hainanese.

Ethnic groups in China

Li people


In business economics, risk financing is concerned with providing funds to cover the financial effect of unexpected losses experienced by a firm.

Traditional forms of finance include risk transfer, funded retention by way of reserves (often called self-insurance) and risk pooling.

Alternative risk finance is the use of products and solutions which have grown out of the convergence of the banking and insurance industry.  They include captive insurance companies and catastrophic bonds, and finite risk products such loss portfolio transfers and adverse development covers.  Professor Lawrence A. Cunningham of George Washington University suggests adapting cat bonds to the risks that large auditing firms face in cases asserting massive securities law damages.

References

Financial risk management

Risk financing


A Quiet Belief In Angels is a thriller novel written by R. J. Ellory. The novel was released on 22 August 2007, and is Ellory's fifth novel. A Quiet Belief In Angels has sold over 2.5 million copies since release, and has been translated into twenty-six languages including French, Japanese, Norwegian, Lithuanian, and Brazilian Portuguese.

Plot
A Quiet Belief In Angels is written from the perspective of Joseph Vaughan, growing up in a rural community in early 1940s Georgia. Early in the novel, Joseph's father passes away from a fever, and Joseph likens a white feather on his pillow to his father's angel. Afterwards, a serial killer begins committing a spree of murders, abducting and brutally killing young girls. Joseph and his friends form a group known as "the Guardians" devoting themselves to protecting the town's girls from any further harm. The townsfolk begin to suspect a German farmer named Gunther Kruger, mainly due to rising tensions because of the Second World War, and burn down his family home, killing his youngest daughter, whom Joseph had sworn to protect when the killings began. The Kruger family leave town, and the townsfolk seem satisfied the killings will leave with them.

Writing Style

The novel is written in a first-person narrative, and Ellory uses descriptive prose extensively. For example, "Blame is a bitter and indigestible thing, even when the blame is a coat you cut for yourself, even when you stood right there and got yourself measured so you could wear it right.".

Reception

A Quiet Belief In Angels received generally positive reviews. Current Amazon ratings for the book give it 4 out of 5. The social cataloging website Goodreads.com holds a score of 3.5 out of 5. It was ranked third in the Sunday Times bestselling book list in the week of its review on TV. It was shortlisted for the Barry Award for best British crime fiction 2008, the 7th Prix Du Polar Européen 2008 of the weekly French magazine Le Point, Le Nouvel Observateur Crime Writing Prize 2008 and the Quebec Booksellers' Prize 2008. The book was featured on the Richard & Judy British Book awards of 2008.

It went on to win the Inaugural Roman Noir Nouvel Observateur Prize in 2009, the Best Thriller 2009 by New York's Strand Magazine, along with the Livre De Poche Award, the Southern Independent Booksellers' Award 2010, and the USA National Indie Excellence Award for Best Mystery.

References

English thriller novels
2007 British novels
Novels set in Georgia (U.S. state)
Fiction set in the 1940s
Orion Books books

A Quiet Belief In Angels


Cane is a 1923 novel by noted Harlem Renaissance author Jean Toomer. The novel is structured as a series of vignettes revolving around the origins and experiences of African Americans in the United States. The vignettes alternate in structure between narrative prose, poetry, and play-like passages of dialogue. As a result, the novel has been classified as a composite novel or as a short story cycle. Though some characters and situations recur between vignettes, the vignettes are mostly freestanding, tied to the other vignettes thematically and contextually more than through specific plot details.

The novel's ambitious and unconventional structure, along with its lasting impact on subsequent generations of writers, has contributed to Cane's recognition as an important figure in modernism.  Some of the vignettes from the novel have been extracted and included in literary collections, while the poetic passage "Harvest Song" has been featured in multiple Norton poetry anthologies. The poem begins with the evocative line: "I am a reaper whose muscles set at sundown."

Writing Cane

Jean Toomer began writing sketches that would become the first section of Cane in November 1921 on a train from Georgia to Washington D.C. By Christmas of 1921, the first draft of those sketches and the short story "Kabnis" were complete. Waldo Frank, Toomer's close friend, suggested that Toomer combine the sketches into a book. In order to form a book-length manuscript, Toomer added sketches relating to the black urban experience. When Toomer completed the book, he wrote: "My words had become a book…I had actually finished something."

However, before the book was published, Toomer's initial euphoria began to fade. He wrote, "The book is done but when I look for the beauty I thought I'd caught, they thin out and elude me." He thought that the Georgia sketches lacked complexity and said they were "too damn simple for me." In a letter to Sherwood Anderson, Toomer wrote that the story-teller style of "Fern" "had too much waste and made too many appeals to the reader."

In August 1923, Toomer received a letter from Horace Liveright asking for revisions to the bibliographic statement Toomer had submitted for promotions of the book. Liveright requested that Toomer mention his "colored blood," because that was the "real human interest value" of his story. Toomer had a history of complex beliefs about his own racial identity, and in the spring of 1923 he had written to the Associated Negro Press saying he would be pleased to write for the group's black readership on events that concerned them. However, when Toomer read Liveright's letter he was outraged. He responded that his "racial composition" was of no concern to anyone except himself, and asserted that he was not a "Negro" and would not "feature" himself as such. Toomer was even willing to cancel the publication of the book.

Structure

Toomer spent a great deal of time working on the structure of Cane. He said that the design was a circle. Aesthetically, Cane builds from simple to complex forms; regionally, it moves from the South to the North and then back to the South; and spiritually, it begins with "Bona and Paul," grows through the Georgia narratives, and ends in "Harvest Song." The first section focuses on southern folk culture; the second section focuses on urban life in Washington D.C. and Chicago; and the third section is about the racial conflicts experienced by a black Northerner living in the South.

In his autobiography, Toomer wrote: "I realized with deep regret, that the spirituals, meeting ridicule, would be certain to die out. With Negroes also the trend was towards the small town and then towards the city—and industry and commerce and machines. The folk-spirit was walking in to die on the modern desert. That spirit was so beautiful. Its death was so tragic. Just this seemed to sum life for me. And this was the feeling I put into Cane. Cane was a swan-song. It was a song of an end."

Contents

Preamble
"Cane" (poem)
First section:
"Karintha" - A vignette about a young black woman desired by older men who wish "to ripen a growing thing too soon."
"Reapers" - A poem written in couplets about reapers in a field, their "silent swinging," and the stark death of a field rat.
"November Cotton Flower" - A sonnet written in couplets with images of death in nature in the octave. These images become "beauty so sudden" in the sestet.
"Becky" - Vignette of an ostracized white woman with two black sons who lives in a small stone house with the railway.
"Face" (poem)
"Cotton Song" (poem)
"Carma" - Vignette about a strong woman whose husband becomes involved in shady business.
"Song of the Son" (poem)
"Georgia Dusk" (poem)
"Fern" (short story) - A Northern man attempts to woo a southern black woman, with strange results.
"Nullo" (poem)
"Evening Song" (poem)
"Esther" - A young woman who works in a drug store ages and pines for the wandering preacher Barlo, eventually seeking him out.
"Conversion" (poem)
"'Portrait in Georgia" (poem)
"Blood Burning Moon" - Black man Tom Burwell and white man Bob Stone each pursue the young Louisa, resulting in a violent encounter and a tragic climax.

Second section:
"Seventh Street" - Brief vignette about a street which is "a bastard of Prohibition and the War."
"Rhobert" - Brief vignette about a solitary man.
"Avey" - A young college student pursues a lazy girl named Avey, but cannot figure out why.
"Beehive" (poem)
"Storm Ending" (poem)
"Theater" - A dancer named Dorris seeks the approval and adoration of a patron named John.
"Her Lips are Copper Wire" (poem)
"Calling Jesus" - A brief vignette.
"Box Seat" - Dan Moore lusts after a reluctant Muriel, and follows her to a dwarf fight, where he starts a scene.
"Prayer" (poem)
"Harvest Song" (poem)
"Bona and Paul" - A story of indifferent love.

Third section:
"Kabnis" - The piece is primarily a dialogue and has elements of a short play. For example, the dialogue does not use tags ("he said") or describe the thoughts of a speaker. There also seem to be stage directions. In addition, "Kabnis" has some non-dramatic elements; it does not follow the format of a professional play. The language consists of highly poetic descriptions with the narrator commenting on the characters' feelings.

Critical reception

Cane was largely ignored during the Harlem Renaissance by the average white and African American reader. Langston Hughes addressed this in his essay "The Negro Artist and the Racial Mountain" by saying, "'O, be respectable, write about nice people, show how good we are,' say the Negroes. 'Be stereotyped, don't go too far, don't shatter our illusions about you, don't amuse us too seriously. We will pay you,' say the whites. Both would have told Jean Toomer not to write Cane. The colored people did not praise it. Although the critics gave it good reviews, the public remained indifferent. Yet (excepting the works of Du Bois) Cane contains the finest prose written by a Negro in America. And like the singing of Robeson it is truly racial." Hughes suggests that Cane failed to be popular among the masses because it did not reinforce white views of African Americans. It did not fit the model of the "Old Negro" and did not depict the lifestyle of African Americans living in Harlem that whites wanted to see.

Cane was not widely read when it was published but was generally praised by both black and white critics. Montgomery Gregory, an African American, wrote in his 1923 review: "America has waited for its own counterpart of Maran—for that native son who would avoid the pitfalls of propaganda and moralizing on the one hand and the snares of a false and hollow race pride on the other hand. One whose soul mirrored the soul of his people, yet whose vision was universal. Jean Toomer…is the answer to this call." Gregory criticized Toomer for his labored and puzzling style and for Toomer's overuse of the folk. Gregory believed that Toomer was biased towards folk culture and resented city life.

W. E. B. Du Bois reviewed Cane in 1924, saying: "Toomer does not impress me as one who knows his Georgia but he does know human beings." Du Bois goes on to say that Toomer does not depict an exact likeness of humans but rather depicts them like an Impressionist painter. Du Bois also wrote that Toomer's writing is deliberately puzzling—"I cannot, for the life of me, for instance, see why Toomer could not have made the tragedy of Carma something that I could understand instead of vaguely guess at."

In his 1939 review "The New Negro", Sanders Redding wrote: "Cane was experimental, a potpourri of poetry and prose, in which the latter element is significant because of the influence it had on the course of Negro fiction."

White critics who reviewed Cane in 1923 were mostly positive about the novel, praising its new portrayal of African Americans. John Armstrong wrote: "It can perhaps be safely said that the Southern negro, at least, has found an authentic lyric voice in Jean Toomer…there is nothing of the theatrical coon-strutting high-brown, none of the conventional dice-throwing, chicken-stealing nigger of musical comedy and burlesque in the pages of Cane." He goes on to say, "the Negro has been libeled rather than depicted accurately in American fiction" because fiction typically portrays African Americans as stereotypes. Cane gave white readers a chance to see a human portrayal of blacks—"[blacks] were seldom ever presented to white eyes with any other sort of intelligence than that displayed by an idiot child with epilepsy."

Robert Littell wrote in his 1923 review that "Cane does not remotely resemble any of the familiar, superficial views of the South on which we have been brought up.  On the contrary, Mr. Toomer's view is unfamiliar and bafflingly subterranean, the vision of a poet far more than the account of things seen by a novelist."

Modern criticism

Alice Walker said of the book, "It has been reverberating in me to an astonishing degree. I love it passionately, could not possibly exist without it."

In The Negro Novel in America, Robert A. Bone wrote: "By far the most impressive product of the Negro Renaissance, Cane ranks with Richard Wright's Native Son and Ralph Ellison's Invisible Man as a measure of the Negro novelist's highest achievement. Jean Toomer belongs to that first rank of writers who use words almost as a plastic medium, shaping new meanings from an original and highly personal style."

Gerald Strauss points out that despite "critical uncertainty and controversy," he finds that Cane'''s structure is not without precedent: "it is similar to James Joyce's Dubliners (1914) and Sherwood Anderson's Winesburg, Ohio (1919), two other thematically related story collections that develop unified and coherent visions of societies. It also echoes Edgar Lee Masters's poetry collection Spoon River Anthology (1915) ... Toomer surely was familiar with the Joyce and Masters books, and he knew Anderson personally."

 Legacy

In 1973, Alice Walker and fellow Zora Neale Hurston scholar Charlotte D. Hunt discovered a grave they thought was Hurston's in Ft. Pierce, Florida. Walker had it marked with a gray marker stating ZORA NEALE HURSTON / A GENIUS OF THE SOUTH / NOVELIST FOLKLORIST / ANTHROPOLOGIST / 1901–1960. The line "a genius of the south" is from Toomer's poem "Georgia Dusk", which appears in the novel. Hurston, who could be deceptive about her age, was actually born in 1891, not 1901.

The novel inspired the Gil Scott-Heron song "Cane", in which he sings about two main characters of the novel: Karintha and Becky.

The novel inspired Marion Brown in his "Georgia" trilogy of jazz albums, especially on Geechee Recollections (1973), where he put "Karintha" to music, recited by Bill Hasson.

 Critical studies (since 2000)
as of March 2008:

 Book monographs / articles/chapters
Snaith, Anna, "C. L. R. James, Claude McKay, Nella Larsen, Jean Toomer: The 'Black Atlantic' and the Modernist Novel", in Shiach, The Cambridge Companion to the Modernist Novel, Cambridge, England: Cambridge University Press; 2007. pp. 206–23.
Lamothe, Daphne, "Cane: Jean Toomer's Gothic Black Modernism", in Anolik and Howard, The Gothic Other: Racial and Social Constructions in the Literary Imagination. Jefferson, NC: McFarland; 2004. pp. 54–71.
Petesch, Donald, "Jean Toomer's Cane", pp. 91–96, in Iftekharrudin, Boyden, Longo, and Rohrberger, Postmodern Approaches to the Short Story. Westport, CT: Praeger; 2003. xi, 156 pp. (book article)
Terris, Daniel, "Waldo Frank, Jean Toomer, and the Critique of Racial Voyeurism", in Hathaway, Heather (ed.); Jarab, Josef (ed. and introd.); Melnick, Jeffrey (ed.); Race and the Modern Artist. Oxford, England: Oxford University Press; 2003. pp. 92–114.
Fontenot, Chester J., Jr., "W. E. B. Du Bois's 'Of the Coming of John,' Toomer's 'Kabnis,' and the Dilemma of Self-Representation", in Hubbard, The Souls of Black Folk One Hundred Years Later.' Columbia, MO: University of Missouri Press; 2003. pp. 130–60.
Griffin, John Chandler, Biography of American Author Jean Toomer, 1894-1967. Lewiston, NY: The Edwin Mellen Press; 2002.
Fahy, Thomas, "The Enslaving Power of Folksong in Jean Toomer's Cane", in Meyer, Literature and Music Amsterdam, Netherlands: Rodopi; 2002. pp. 47–63.
Lemke, Sieglinde, "Interculturalism in Literature, the Visual and Performing Arts during the Harlem Renaissance", in Martín Flores and von Son, Double Crossings/EntreCruzamientos, Fair Haven, NJ: Nuevo Espacio; 2001. pp. 111–21.
Wardi, Anissa J., "Divergent Paths to the South: Echoes of Cane in Mama Day", in Stave, Gloria Naylor: Strategy and Technique, Magic and Myth. Newark, DE; London, England: University of Delaware Press; Associated University Press; 2001. pp. 44–76.
Nicholls, David G., "Jean Toomer's Cane, Modernization, and the Spectral Folk", in Scandura and Thurston, Modernism, Inc.: Body, Memory, Capital. New York, NY: New York University Press; 2001. pp. 151–70.
Boelhower, William, "No Free Gifts: Toomer's 'Fern' and the Harlem Renaissance", in Fabre and Feith, Temples for Tomorrow: Looking Back at the Harlem Renaissance, Bloomington, IN: Indiana University Press; 2001. pp. 193–209.
Boutry, Katherine, "Black and Blue: The Female Body of Blues Writing in Jean Toomer, Toni Morrison, and Gayl Jones", in Simawe, Black Orpheus: Music in African American Fiction from the Harlem Renaissance to Toni Morrison. New York, NY: Garland; 2000. pp. 91–118.
Ickstadt, Heinz, "The (Re)Construction of an American Cultural Identity in Literary Modernism", in Hagenbüchle, Raab, and Messmer, Negotiations of America's National Identity, II. Tübingen, Germany: Stauffenburg; 2000. pp. 206–28.

 Articles on Cane in the collection Jean Toomer and the Harlem Renaissance
(Ed. Geneviève Fabre and Michel Feith, New Brunswick, NJ: Rutgers University Press; 2001.)
Fabre, Geneviève, "Tight-Lipped 'Oracle': Around and Beyond Cane", pp. 1–17.
Sollors, Werner, "Jean Toomer's Cane: Modernism and Race in Interwar America", pp. 18–37.
Hutchinson, George, "Identity in Motion: Placing Cane", pp. 38–56.
Grandjeat, Yves-Charles, "The Poetics of Passing in Jean Toomer's Cane", pp. 57–67.
Clary, Françoise, "'The Waters of My Heart': Myth and Belonging in Jean Toomer's Cane", pp. 68–83.
Coquet, Cécile, "Feeding the Soul with Words: Preaching and Dreaming in Cane", pp. 84–95.
Michlin, Monica, "'Karintha': A Textual Analysis", pp. 96–108.
Fabre, Geneviève, "Dramatic and Musical Structures in 'Harvest Song' and 'Kabnis': Toomer's Cane and the Harlem Renaissance", pp. 109–27.
Nadell, Martha Jane, "Race and the Visual Arts in the Works of Jean Toomer and Georgia O'Keeffe", pp. 142–61.
Soto, Michael, "Jean Toomer and Horace Liveright: Or, A New Negro Gets 'into the Swing of It'", pp. 162–87.
Williams, Diana I., "Building the New Race: Jean Toomer's Eugenic Aesthetic", pp. 188–201.
Fabre, Michel, "The Reception of Cane in France", pp. 202–14.

 Journal articles
Farebrother, Rachel, "Adventuring through the Pieces of a Still Unorganized Mosaic": Reading Jean Toomer's Collage Aesthetic in Cane, Journal of American Studies, December 2006; 40 (3): 503–21.
Baldanzi, Jessica Hays, "Stillborns, Orphans, and Self-Proclaimed Virgins: Packaging and Policing the Rural Women of Cane", Genders, 2005; 42: 39 paragraphs.
Banks, Kimberly, "'Like a Violin for the Wind to Play': Lyrical Approaches to Lynching by Hughes, Du Bois, and Toomer", African American Review, Fall 2004, 38 (3): 451–65.
Whalan, Mark, "'Taking Myself in Hand': Jean Toomer and Physical Culture", Modernism/Modernity, 2003 Nov; 10 (4): 597–615.
Ramsey, William M., "Jean Toomer's Eternal South", Southern Literary Journal, Fall 2003, 36 (1): 74–89.
Hedrick, Tace, "Blood-Lines That Waver South: Hybridity, the 'South,' and American Bodies", Southern Quarterly: A Journal of the Arts in the South, Fall 2003, 42 (1): 39–52.
Edmunds, Susan, "The Race Question and the 'Question of the Home': Revisiting the Lynching Plot in Jean Toomer's Cane", American Literature: A Journal of Literary History, Criticism, and Bibliography, March 2003, 75 (1): 141–68.
Whalan, Mark, "Jean Toomer, Technology, and Race", Journal of American Studies, December 2002, 36 (3): 459–72.
Battenfeld, Mary, "'Been Shapin Words T Fit M Soul': Cane, Language, and Social Change", Callaloo: A Journal of African-American and African Arts and Letters, Fall 2002, 25 (4): 1238–49.
Da-Luz-Moreira, Paulo, "Macunaíma e Cane: Sociedades Multi-raciais além do Modernismo no Brasil e nos Estados Unidos", Tinta, Fall 2001, 5: 75–90.
Scruggs, Charles, "Jean Toomer and Kenneth Burke and the Persistence of the Past", American Literary History, Spring 2001, 13 (1): 41–66.
Shigley, Sally Bishop, "Recalcitrant, Revered, and Reviled: Women in Jean Toomer's Short Story Cycle, Cane", Short Story, Spring 2001, 9 (1): 88–98.
Rand, Lizabeth A., "'I Am I': Jean Toomer's Vision beyond Cane", CLA Journal, September 2000, 44 (1): 43–64.
Fike, Matthew A., "Jean Toomer and Okot p'Bitek in Alice Walker's In Search of Our Mothers' Gardens", MELUS, Fall-Winter 2000, 25 (3-4): 141–60.
Peckham, Joel B., "Jean Toomer's Cane: Self as Montage and the Drive toward Integration", American Literature: A Journal of Literary History, Criticism, and Bibliography, June 2000, 72 (2): 275–90.
Webb, Jeff, "Literature and Lynching: Identity in Jean Toomer's Cane", ELH, Spring 2000, 67 (1): 205–28.
Bus, Heiner, "Jean Toomer's Cane as a Swan Song", Journal of American Studies of Turkey, 2000 Spring; 11: 21–29.
Harmon, Charles. "Cane, Race, and 'Neither/Norism'", Southern Literary Journal, Spring 2000, 32 (2): 90–101.
Scruggs, Charles. "The Reluctant Witness: What Jean Toomer Remembered from Winesburg, Ohio", Studies in American Fiction, 2000 Spring; 28 (1): 77–100.
Kodat, Catherine Gunther, "To 'Flash White Light from Ebony': The Problem of Modernism in Jean Toomer's Cane", Twentieth Century Literature: A Scholarly and Critical Journal'', Spring 2000, 46 (1): 1–19.

References

External links

1923 American novels
African-American novels
Modernist novels
Novels set in Georgia (U.S. state)
Novels set in Chicago
Novels set in Washington, D.C.
Boni & Liveright books

Cane (novel)


A paramedic is a health care professional who works for Emergency Medical Services (EMS),usually on an Ambulance. They help people who have been injured or become ill very suddenly.

Paramedics can do many different things to decide what the problem is and to treat the patient at the scene. If it is needed, they then take the person to a hospital in the ambulance. They try to prevent the person's illness from getting worse before they reach the hospital, where doctors and nurses will take over care. Paramedics have to work in many different types of emergency situations, and cannot predict what the next one will be.

People often use the term "paramedic" for anyone who works on an ambulance. However, not all ambulances have paramedic on board. "Emergency Medical Technicians" (EMTs) or "Emergency Care Assistants" (ECAs) do similar work but have less training. Some ambulances also have doctors and nurses. In many countries, the title of "paramedic" is for those who have taken a specific training course.

Videos
Ambulance (Urgences-Santé) 911 call

References

Other websites

 Emergency Health Services of Quebec (in French)

Emergency services
Healthcare occupations

Paramedic


Jazz Party, also known as Art Ford's Jazz Party, is a TV series featuring jazz musicians on WNTA-TV in New York City, which aired on Thursdays at 9pm ET from May 8, 1958, to December 25, 1958. It was a music-focused continuation of Art Ford's Greenwich Village Party, arguably the last series to appear on the DuMont Television Network, which ceased operations on August 6, 1956, though only broadcast on WABD as that station was becoming WNEW-TV after the sale of the DuMont-owned stations to Metromedia.

The 90-minute shows hosted by Art Ford (1921–2006), were distributed by the NTA Film Network. The shows also aired on Armed Forces Television. All episodes were filmed in a New Jersey studio, except for the final episode, which was recorded on August 11, 1958, in New Orleans, and aired on December 25.

Musicians who appeared on the series included Billie Holiday, Coleman Hawkins, Henry "Red" Allen, Pee Wee Russell, Marty Napoleon, Georgie Auld, Buster Bailey, Vinnie Burke, Roy Eldridge, J. C. Higginbotham, Les Paul, Dick Hyman, Anita O'Day, Connee Boswell, Mae Barnes, Chris Connor, Sylvia Syms, Mary Osborne, Teddy Charles, Harry Sheppard, Maxine Sullivan, Alec Templeton, Abbey Lincoln, Tyree Glenn, and many others.

See also
List of programs broadcast by the DuMont Television Network
List of surviving DuMont Television Network broadcasts
1958–59 United States network television schedule

References

External links
Jazz Party at IMDB
Three episodes of Jazz Party at Internet Archive
Jazz Party at YouTube
Classic TV Showbiz entry
List of episodes at RainerJazz (PDF)

1958 American television series debuts
1958 American television series endings
1950s American music television series
Black-and-white American television shows
Jazz television series

Jazz Party (TV series)


Malik Sekou (born January 8, 1964, in St. Thomas, U.S. Virgin Islands) is an academic from the United States Virgin Islands. He is a professor and chairman of the Department of history, social science and political science at the University of the Virgin Islands. Sekou was chosen by Independent gubernatorial candidate Kenneth Mapp as his running mate for Lieutenant Governor of the United States Virgin Islands in the 2010 gubernatorial election.

Biography

Early life
Malik Sekou was born on January 8, 1964, on Saint Thomas, United States Virgin Islands, to Wally and Margaret Whitehead. He has one older brother, Tony Wally Whitehead, and three younger siblings, Sylvia, Kankan and Marvin. Malik and his older brother were raised in foster care in Saint Thomas by Guillermo and Rosita Cyntje.  His three younger siblings were raised in Brooklyn, New York. Sekou attended Kirwan Terrace Elementary School and Wayne Aspinall Junior High, which is now called Addelitta Cancryn Junior High School. He graduated from Charlotte Amalie High School in Charlotte Amalie in 1981.

Sekou served in the United States Navy beginning in September 1981. He was a member of the erations Specialists in the USS Voge FF-1047, before being honorably discharged in 1984. He returned to the United States Virgin Islands after his honorable discharge, where he began pursuing a bachelor's degree at the University of the Virgin Islands. He also joined the Virgin Islands Fire Service.

Sekou received a bachelor's degree in social science from the University of the Virgin Islands in 1989. He obtained both his master's degree and doctorate in political science from the University of Delaware.

Personal life
Sekou is married to Sheree Bryant. The couple have one daughter, Aisha Sekou.

Career
Sekou has worked as a professor at the University of the Virgin Islands for twelve years, as of 2010. He has written extensively on topics pertaining to the Virgin Islands and the Caribbean, including law enforcement, the cost of living in the Virgin Islands, immigration and Cuba. He has previously worked as a researcher and analyst for the Legislature of the Virgin Islands. Additionally, Sekou is known as a political consultant.

Sekou has been elected to the Virgin Islands Board of Education. He has unsuccessfully run for the Legislature of the Virgin Islands twice.

2010 Candidacy for Lt. Governor
In July 2010, gubernatorial candidate Kenneth Mapp's Search Committee recommended Sekou as his running mate for Lieutenant Governor in the 2010 gubernatorial election.

References

1964 births
Living people
United States Virgin Islands academics
United States Virgin Islands writers
United States Virgin Islands politicians
University of the Virgin Islands faculty
University of the Virgin Islands alumni
University of Delaware alumni
United States Navy sailors
People from Saint Thomas, U.S. Virgin Islands

Malik Sekou


Robert Marcellus (June 1, 1928 – March 31, 1996) was an American classical clarinetist and teacher. Marcellus is best known for his long tenure as principal clarinetist of the Cleveland Orchestra.

Biography
Robert Marcellus was born in Omaha, Nebraska, on June 1, 1928. He began his musical studies with piano lessons at the age of four. He took up the clarinet at eleven and began serious study of the instrument at Minneapolis with Earl Handlon of the Minneapolis Symphony Orchestra at twelve.

His family moved to Washington, D.C., in 1944, and in the fall of that year, he started commuting to New York City once a week for lessons with Daniel Bonade, former first clarinetist of the Cleveland and Philadelphia Orchestras.

He became second clarinetist of the National Symphony Orchestra in Washington in 1945. In 1946, he enlisted in the Air Force and played in the Air Force Band in Washington for three years.

He returned to the second chair in the National Symphony in 1949 and was promoted to first a year later. He remained in this position until he was appointed principal clarinet in the Cleveland Orchestra at the invitation of George Szell in 1953.

Robert Marcellus made his debut as assisting artist with the Cleveland Orchestra on March 29–31, 1956, when he played Mozart's Concerto for Clarinet and Orchestra in A major, K.622. On October 11–13, 1956, he has also assisted in other works that call for solo clarinet, including the concerto by Paul Hindemith and the Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin and Cello by Manuel de Falla.

He was principal clarinetist of the Cleveland Orchestra, under George Szell, from 1953 to 1973. During his tenure in Cleveland, he was clarinet department head at the Cleveland Institute of Music. At the height of his performing career in the 1960s, he was much in demand nationally as a soloist. In the summer of 1961, he played Mozart's Clarinet Concerto at the Casals Festival in Puerto Rico.

After his health forced his early retirement from the orchestra, he was professor of clarinet at Northwestern University from 1974 to 1994. His week-long master classes, held each summer from 1974 until 1987, were one of the highlights of his teaching career. Robert Marcellus was the principal conductor of the Interlochen Arts Academy Orchestra in Interlochen, Michigan for the 1978–79 academic year.

He was a National Patron of Delta Omicron, an international professional music fraternity.

Towards the end of his career he lost his sight from diabetic retinitis.  He continued to teach, remarking that the event had possibly improved his hearing. At his death he was a beloved and universally respected and admired artist and pedagogue whose conservative and highly disciplined approach to instrumental technique influenced generations of clarinetists.

Robert Marcellus died on March 31, 1996.

References

External links
Interview with Robert Marcellus
Interview with Robert Marcellus (in Spanish)

American classical clarinetists
Cleveland Institute of Music alumni
1928 births
1996 deaths
20th-century classical musicians
20th-century American musicians
Northwestern University faculty

Robert Marcellus


The International Organization for Sustainable Development (IOSD) is an international non-governmental organization dedicated to promoting an understanding of Sustainable Development anchored in the needs and realities of developing countries.

History, goals and programs
The organization was established in 1995 by a group of private and public agents interested in implementing practical programs and promoting reflection on the theme of Sustainable Development outside the developed Western world.

IOSD's most notable initiative was the constitution of the Euclid University Consortium (EUC) in partnership with the universities of N'Djamena, Bangui and ULI Brussels. Since October 2006, the consortium offers a joint degree program in Sustainable Development. An agreement signed in December 2006 by IOSD and the Islamic Chamber of Commerce and Industry provides for scholarship and technical programs.

IOSD is also active in other areas, notably technological support, grant-writing support and the Center on Desertification and Reforestation project.

IOSD is an accredited Observer NGO of the World Intellectual Property Organization (WIPO).

Structure and Organization
The Organization, headquarters in Brussels, Belgium, is headed by a Secretary-General, Mr. Syed Zahid Ali.

Its agencies are IOSD DirectAid, CED^R (Center on Ecological Desertification and Reforestation) and HBTI (Human Bioethics Treaty Initiative).

The International Peace Commission NGO is, since 2006, a participating member of IOSD.

External links

 Euclid University Consortium
 Islamic Chamber of Commerce and Industry
 Desertification.Info - IOSD/CED^R Center on Ecological on Desertification and Reforestation
Consilience: The Journal of Sustainable Development, based at Columbia University

International sustainability organizations


A marlock or moort is a shrubby or small-tree form of Eucalyptus found in Western Australia. Unlike the mallee, it is single-stemmed and lacks a lignotuber. It has a dense canopy of leaves which often extends to near ground level.

Marlock species include:
 Bald Island marlock  (Eucalyptus conferruminata or Eucalyptus lehmannii)
 black marlock, black-barked marlock (Eucalyptus redunca)
 Comet Vale marlock ( Eucalyptus comitae-vallis)
 flowering marlock, long-flowered marlock, long-leaved marlock  (Eucalyptus macrandra)
 forrest's marlock (Eucalyptus forrestiana)
 limestone marlock  (Eucalyptus decipiens)
 Quoin Head marlock (Eucalyptus mcquoidii)

Moorts are a form of marlock with smooth, grey bark including the following species:
 moort or round-leaved moort (Eucalyptus platypus)
 red-flowered moort (Eucalyptus nutans)
 Stoate's moort (Eucalyptus stoatei)

References

Plant morphology

Eucalyptus
Myrtales of Australia

Marlock


Bommenede or Bommenee is a former island, village, and municipality in the Netherlands, located about 5 km east of the city of Brouwershaven.

Village of Bommenede
Bommenede was founded in the early 12th century by monks of the Cistercian monastery of Ter Duinen in Flanders. It was located on one of the four islands that later joined up to form the current island of Schouwen-Duiveland. The name was first mentioned in 1165, as insula Bomne. The island was a part of Holland, because the boundary between Holland and Zeeland lay in the Sonnemere, the water south of Bommenede.

According to the 19th-century historian A.J. van der Aa, John of Bavaria ordered the construction of dykes around the island in 1412, creating the polder of Bommenede. The village of Bommenede was listed in 1153 as property of the Cistercian monastery of Ter Duinen in Flanders. The village survived two floods in 1530 and 1532 and a fire in 1540. In 1570, Bommenede and the neighbouring polder "Kijkuit" were flooded during the All Saints' Flood.

Because of the strategic location of the village, a defensive wall was built around it in 1574. The following year, the Spanish commander Mondragon besieged it for 20 days, and shot the village to pieces. At the end of the siege, no more than 20 healthy men survived in the village.

The village was flooded again on January 26, 1682. The destruction was so great, that the Estates of Holland decided not to rebuild the village, and the last inhabitants left in 1684. Some remains of the village (now sometimes referred to as Oud-Bommenede) remained visible for years. Nowadays, there is still some overgrown debris in the waters of the Grevelingen.

Nieuw-Bommenede
Part of the former island was reclaimed from the sea in 1701. In the southern part of the new polder, a new hamlet grew: Nieuw-Bommenede. In the middle of the 19th century, it had about 410 inhabitants.

Bommenede was a separate heerlijkheid, and later a separate municipality (also called "Bommenede en Bloois"), until it was merged with the municipality of Zonnemaire on January 4, 1866.

References

Former populated places in the Netherlands
Populated places in Zeeland
Former municipalities of Zeeland
Former islands of Zeeland
History of Schouwen-Duiveland
Schouwen-Duiveland

Bommenede


20,000 Leagues Under the Sea: Submarine Voyage was an attraction at the Magic Kingdom theme park at Walt Disney World from 1971 through 1994. Based on the characters and settings of the 1954 Disney film 20,000 Leagues Under the Sea, it was a re-theming of the Submarine Voyage attraction at Disneyland. The ride involved a 20-minute submarine ride through a lagoon filled with sea life and mermaids.

The Submarine Voyage

In 1959, an ambitious expansion of Tomorrowland in Disneyland was completed, which included the addition of new attractions, including the Matterhorn Bobsleds, Monorail, and Submarine Voyage. "Commissioned" on June 6, 1959, in front of Richard Nixon, Walt Disney and his wife Lillian, and officers of the US Navy, the attraction made use of early animatronics to create underwater life, and the use of forced perspective to increase the feeling of realism. Eight submarines painted in grey took guests through the attraction, which took place in a lagoon visible from Tomorrowland and a large show building hidden behind two waterfalls. It became extremely popular with guests, and Walt Disney Imagineering consequently planned for more elaborate version for the forthcoming Florida Project concept, which would become Walt Disney World.

Vehicles

One of the signature pieces of 20,000 Leagues Under The Sea was the fleet of passenger vehicles, adapted for theme park use from Harper Goff's Nautilus design for the 1954 Disney live-action version by Disney Imagineer George McGinnis. The basic hulls were constructed by Morgan Yachts in Clearwater, Florida, with the final building work being transferred to Tampa Ship midway through. Another veteran Imagineer, Bob Gurr, oversaw the project. Upon delivery at Walt Disney World in August 1971, the vehicles weighed some forty tons, and were installed into a concrete guide (track), mounted on top of a mechanism that limited "bumping" accidents.

The attraction vehicles were not actual submarines, but instead boats in which the guests sat below water level. The interiors were a mix of metal paneling, rivets, and bolts, as well as Victorian-esque fittings in the form of passenger seats that could flip outwards, and armrests beneath the portholes, in keeping with the Goff concept. Each "guest" aboard the Nautilus had their own seat, as well as a round porthole to look out into the attraction. A small button located in the porthole recess was intended for defogging the window if needed, though this rarely worked. Located at the top of the window recess was a small speaker through which Captain Nemo's voice (veteran voice actor Peter Renaday, doing an impression of James Mason) guides his guests through their underwater adventure.

Above the seating area was the "sail" (as it was known to the employees) where the "helmsman" stood and controlled the vehicle's operation. The "diving" effect was produced by bubble machines located throughout the attraction, as well as using the waterfalls at the entrance to the show building.

Each of the twelve vehicles accommodated a total of forty riders. Vehicles normally cycled through the attraction in packs of three.

Ride experience

Despite the extensive 20,000 Leagues Under The Sea overhaul the attraction was given, essentially it was still the same as its Californian counterpart Submarine Voyage, in both its underwater show scenes and narration, except for a few occasional differences.

The adventure began as the guests made their way down into the back of the submarine, bending to miss the low-level raised rear hatch, and finding a place on board. Throughout the voyage, an eerie organ version of the Disney film's main theme would play on a never-ending loop, allowing for a narration backing as well as a piece of stall music if required. Following the standard Disney-style introduction and safety notes from the helmsman, the narration, in the voice of Captain Nemo, would begin.

With the submarine clear of the dock, the diving sequence would begin, with hundreds of air bubbles filling the porthole view, creating the illusion of descent. Once clear, the Captain introduced himself to his passengers, and then introduced them to the underwater plains around Vulcania. In the lagoon, guests could see moray eels, crabs, lobsters, sea bass, clams and turtles as well as a host of smaller tropical fish.

Minutes later, in another tribute to the Disney film, an "underwater party" of divers would come into view, as animatronics wearing replicas of the Harper Goff-designed deep sea diving equipment worked kelp beds and wrangled with rebellious turtles.

With the bubbles from the waterfall at the cavern entrance simulating a surface storm, the Captain would order the submarine down into the depths as a precaution, and the guests enter the show building section of the attraction. Within minutes, the devastation such natural phenomenon can create was made clear with the ominous Graveyard Of Lost Ships, with shipwrecks from various centuries littering the sea bed, guarded by the silent, gliding figures of sharks.

Leaving the destruction behind, the Nautilus would reach the North Pole, circumnavigating the Polar Ice Cap from below the surface, and narrowly avoiding large icebergs stabbing through the water. Venturing deeper, the Nautilus entered the eerie world of the Abyss, where guests viewed examples the many weird and strange species of deepwater fish that thrive in such an environment.

Rising slightly, one of the final discoveries made is the ruins of Atlantis, along with a typical Disney-fied two-armed sea serpent, accompanying mermaids that can apparently tame it, and a treasury bursting with jewels and gold. With the ruins of the ancient civilization soon left behind, the Nautilus would enter the final phase of its journey, with a tribute to the most iconic and memorable part of the 1954 Disney film: the attack of the giant squid. After seeing a much smaller sister Nautilus trapped in the clutches of one such creature (curiously marked XIII on the tailfin), the passenger submarine would be attacked itself by long, thrashing tentacles.

With a final push to the surface, the Nautilus would clear the caverns of the dangerous squid, and enter the safety of the tropical lagoon, on its way towards the dock.

Closure
Though the attraction was a guest favorite and remained popular throughout its existence, it was expensive to maintain, as well as having a low hourly loading capacity for an attraction of its size and expense. It was closed on September 5, 1994, without advance notice, for what was outwardly termed a temporary maintenance period. The ride was set to reopen in the summer of 1996, but in April of the same year, the closure was officially made permanent. Despite the closure, the attraction had a narrated slideshow topic in the 1996 application The Walt Disney World Explorer and its 1998 Second Edition release; it was the only closed attraction to be a full topic in the application and thus was referred to in the past tense in narration.

Post-closure, several vehicles were left stationary in the lagoon and by the dock, before the entire fleet was eventually pulled from the attraction in 1996. The submarines were regularly moved around to different locations in Walt Disney World backstage for several years, until eventually being stripped and buried in a landfill in 2004. Two of the vehicles were saved from the fleet's demise. They were shipped to be sunk in the snorkeling lagoon at Castaway Cay, Disney's private island. Here, the submarines were placed in and around the snorkeling lagoon and covered with cargo netting to help sea life cling to them. Today, only one of those two submarines still exist, one of which was destroyed by hurricane weather. A third submarine was a shell made from the original subs and it was found in the special effects water tank of the backlot tour at Disney's Hollywood Studios from 1991 until c.2000 when the tank was rethemed to Pearl Harbour. The sub was removed and moved to an empty lot backstage. Today, it is in storage but is taken out and displayed at various Disney events, still in good condition.

The lagoon remained as a scenic viewpoint (and was renamed "Ariel's Grotto", complete with a King Triton spouting statue) until 2004, when the water was drained and the sets and infrastructure were demolished. Pooh's Playful Spot was built where the attraction formerly stood and operated between 2005 and 2010 before making way for the Seven Dwarfs Mine Train as part of the Fantasyland Expansion. However, the exterior to The Little Mermaid: Ariel's Undersea Adventure contains a silhouette of the Nautilus in a rock wall and the tiki bar Trader Sam's Grog Grotto at Disney's Polynesian Village Resort serves a cocktail called the "Nautilus" which is itself served in a stylized drinking vessel resembling the submarine.

See also
20,000 Leagues Under the Sea
List of Magic Kingdom attractions
Submarine Voyage
Finding Nemo Submarine Voyage

References

External links
 A comprehensive website dedicated to the attraction
 Reminiscence by a former helmsman
 A resource for the Disney design of the Nautilus
 A comprehensive article on the history and destruction of the attraction

Former Walt Disney Parks and Resorts attractions
Fantasyland
Amusement rides introduced in 1971
Amusement rides that closed in 1994
Audio-Animatronic attractions
Works based on Twenty Thousand Leagues Under the Sea
1971 establishments in Florida
1994 disestablishments in Florida
Amusement rides based on works by Jules Verne


The Bellenden Ker Range, also known as the Wooroonooran Range is a coastal mountain range in Far North Queensland, Australia. Part of the Great Dividing Range it is located between Gordonvale and Babinda.

The whole of the range falls within the Wet Tropics World Heritage Area and is covered in richly diverse world heritage listed wet tropical forests, including species of flora and fauna endemic to the range.  The range also forms part of the Wooroonooran Important Bird Area, identified as such by BirdLife International because it supports populations of a range of bird species endemic to Queensland's Wet Tropics.  Most of the range is also a gazetted protected area named Wooroonooran National Park.

Queensland's two highest mountains, Mount Bartle Frere (1622 m) and Mount Bellenden Ker (1593 m) form part of this range, and Walshs Pyramid (922 m) (one of the highest free-standing natural pyramids in the world) is located at the range's northern end .

History
The mountains were sighted by Lieutenant James Cook but weren't given the name "Bellenden Ker Range" before Lieutenant Phillip Parker King named them, on 22 June 1819, whilst aboard the . Lieutenant Phillip King named the range  after the English botanist John Bellenden Ker Gawler, following the suggestion made to him by his ships own botanist, Allan Cunningham. Archibald Meston was an early explorer of the range.

Rivers
The Mulgrave River rises on the southwestern slopes of the range and then flows north around the northern end and then turns south flowing parallel to the eastern side. Russell River drains the southeast parts of the range. A number of waterfalls cascade off the range including Kearneys Falls, Fishery Falls, Josephine Falls, Tchupala Falls, Wallicher Falls, Nandroya Falls, Silver Creek Falls, Whites Falls, and Clamshell Falls.

See also

 List of mountains in Australia

References

Mountain ranges of Queensland
Important Bird Areas of Queensland
Landforms of Far North Queensland

Bellenden Ker Range