Hush is a 2008 British horror film about a young couple on a motorway journey who are drawn into a game of cat and mouse with a truck driver following a near accident. The film is directed by former BBC Radio 1 DJ, Mark Tonderai, and stars William Ash and Christine Bottomley. The film was produced by Warp X, UK Film Council and Film4 who supplied the funding for the film. The film was distributed by Optimum Releasing.

Plot
Zakes (William Ash) and his girlfriend Beth (Christine Bottomley) are travelling along the M1 motorway at night, bickering over the fragility of their strained relationship. While Beth is asleep, a large white truck overtakes Zakes and its tailgate momentarily slides up, revealing a naked woman, bound and bloodied in a cage, screaming for help. He immediately calls 999 but is unable to provide a number plate as it is covered in dirt.

Zakes follows the truck and, when they come to a standstill in a queue of traffic, he gets out and goes to the truck, managing to slide his hand under the tailgate to take a photograph using Beth's mobile phone. It appears to be nothing more than a white blur from the flash but Zakes later suspects it could be a hand. When the traffic starts moving, Zakes is unable to follow the truck, making Beth furious, claiming he never takes responsibility for anything.

They stop at a service station; Beth ends their relationship and tells Zakes she will find her own way home. Back at the car, Zakes sees the truck pull up, and watches a man in a dark hooded jacket go inside. Zakes follows to try and find Beth but she is nowhere to be seen. He alerts two security men about her disappearance but they do not believe him. Zakes later finds Beth's necklace in the car park. Believing she has been taken by the man in the truck, he decides to follow it, but upon returning to his car, finds his tyre has been punctured by a group of rowdy football fans. Zakes steals a car from a woman getting fuel at the station.

Meanwhile, one of the security guards decides to look through the CCTV footage. He sees Beth entering the station by herself and sees that she leaves through the back door with a man in a hooded jacket. Suddenly, he is killed by the other security guard who is revealed to be connected with the kidnappings. Zakes follows the truck to a site that is full of identical white trucks. A police officer arrives and arrests Zakes, believing he is trespassing. Zakes begs the officer to check all of the vehicles before they go. When the officer does, he is killed by the hooded man.

Zakes manages to escape from the police car and flees back to his car. Suddenly, a distraught woman appears claiming she has been kidnapped. He lets her in and drives to a nearby house in order to call for help. The elderly couple living there cautiously invite them in; the bloodied woman offers to call the police but cuts the phone line beforehand, revealing she too is part of the plan. She cuts the power in the house, kills the elderly couple and then attacks Zakes. He wakes up with his hands nailed to the floorboards. When he manages to get free, a fight ensues; Zakes overpowers her and finally kills her by stabbing her in the eye with one of the nails.

Zakes goes back to the truck site and finds Beth chained up in a cage outside. She tells Zakes the keys are with the man who is showering inside. Zakes goes inside and finds several other women locked up and gagged; it is revealed they are being used for human trafficking. Zakes manages to retrieve the keys and returns to Beth to help her escape first, but they hear the man coming and Zakes is forced to flee. A cat-and-mouse game begins when he realises Zakes is hiding on the site somewhere. He calls the woman's phone, which Zakes has on him, and follows the ring to where he is. However, Zakes has left the phone on the seat in an empty truck and is hiding in the forklift nearby. When the man steps into the right spot, Zakes pushes a button and the crane releases a heavy load onto the attacker, killing him.

One year later, at a service station, a man is seen picking out a book titled Traffic a non-fiction novel written by Zakes based on the events that he and Beth experienced. The driver is revealed to be the security guard who killed his partner earlier in the film. He purchases the book, goes out to his truck (a white truck identical to the killers' truck) and drives off.

Cast

References

External links

 Hush at Mubi

2008 films
2008 horror films
2000s horror thriller films
2000s road movies
British chase films
British horror thriller films
British road movies
Films about kidnapping
Films directed by Mark Tonderai
Film4 Productions films
Trucker films
2008 directorial debut films
2000s English-language films
2000s British films
English-language horror films

Hush (2008 film)


Thunder is a single released by American rock band Boys Like Girls. Thunder was released May 6th, 2008 on radio airplay. The single was originally released months before May 6, 2008 as an acoustic version. The song was released off the album Boys Like Girls.

Music Video
The music video shows a group of friends, in which there are couples, hang out. The music video starts with the band playing, and then moves on to the friends going to restaurant to eat, with intervals of the band playing. The friends then go a field, where they drink and laugh. The friends then start making a human pyramid, but fail. The couples start hanging out alone and kissing. From this on, the band is shown playing in the rain. The friends are then shown going to a swimming pool and start swimming, with a couple kissing underwater. They then run through a carpark and stand by the railings to see the sunrise. The couples are then kissing again, and the music video ends with the band leaving their instruments.

FN'MTV
The video for Thunder was released on the MTV summer special Friday Night MTV (or FNMTV).

Boys Like Girls songs
2008 songs

Thunder (Boys Like Girls song)


Walter F. Ehrnfelt, Jr. (December 10, 1932 – May 25, 2003) was an American politician. He was Mayor of Strongsville, Ohio for 25 years. He was also a
Northeast Ohio Areawide Coordinating Agency (NOACA) Governing Board member.

Career
After graduating from Strongsville High School, Ehrnfelt began his career in 1973, while running Ehrnfelt Meats, his family's local business. He was persuaded to run for the Strongsville School Board, leading the fight against a campaign to dismiss teachers and ban books in the school district. He won that race, and in 1978 he was appointed Mayor of Strongsville, later winning his first Mayoral race in November 1979 by more than a 2 to 1 margin. Voters rewarded his effective leadership by re-electing him to six consecutive four-year terms, the last beginning in 2000, making him Cuyahoga County's longest standing mayor. He served on Governor Taft's State and Local Government Commission and was President of the Ohio Municipal League. He died unexpectedly of a heart attack aged 70.

Legacy
 Walter F. Ehrnfelt, Jr. Award for Outstanding Regional Contribution
 Walter F. Ehrnfelt Spirit of Scouting Award
 The Walter F. Ehrnfelt, Jr. Post Office Building, 15500 Pearl Road, Strongsville, Ohio, 44136

References

External links
Openjurist.org
WCPN

1932 births
2003 deaths
Mayors of places in Ohio
People from Strongsville, Ohio
20th-century American politicians

Walter F. Ehrnfelt


Friedrich Oltmanns (11 July 1860, in Oberndorf – 13 December 1945) was a German biologist phycologist.

In 1884 he received his doctorate at the University of Strasbourg, afterwards working as an assistant at the University of Rostock (from 1885). In 1893, he was appointed an associate professor of botany at the University of Freiburg, where in 1902 he became a full professor and director of the botanical garden. With Max Verworn, Hermann Theodor Simon, Eugen Korschelt and others, he was co-editor of the 10-volume Handwörterbuch der Naturwissenschaften.

He was the author of the three volume Morphologie und Biologie der Algen (Morphology and biology of algae):
 Volume 1: Chrysophyceae, Chlorophyceae.
 Volume 2: Phaeophyceae, Rhodophyceae.
 Volume 3: Morphologie, Fortpflanzung, die Ernährung der Algen, der Haushalt der Gewässer, die Lebensbedingungen, Vegetations-Perioden, das Zusammenleben (Morphology, reproduction, etc.).

The algae genera of Oltmannsiella and Oltmannsia are named in his honor, the latter genus being circumscribed by Austrian phycologist Josef Schiller (1877-1960).

References

External links

1860 births
1945 deaths
Academic staff of the University of Freiburg
German phycologists
People from Cuxhaven (district)

Friedrich Oltmanns


Norman Toynton (born 25 January 1939, in London) is a British abstract painter who lived for many years in America, where his work was acclaimed for its 'grand visual and tactile splendour'  and for 'marshal(ling) all the sensuous force of color and oil paint to induce us to look with truly questioning attention'.
He was the Chair of Fine Arts at the Massachusetts College of Art and exhibited widely in New York and Boston.
In 2006 he returned to England, where he lives and works on the North Norfolk coast and is currently in an exhibition at the Yorkshire Sculpture Park.

Early life and education
Born in London in 1939, Toynton's home was destroyed by bombing during the war and he spent his early childhood in a series of temporary accommodations. His father was a navigator's yeoman in the Royal Navy, where he served on the Arctic convoys.
When he was 15, Toynton enrolled in the Hornsey College of Art; at 16, he had a painting accepted into the Royal Academy Summer Exhibition.
He went on to study at the Royal College of Art, where he won the top painting prize in his first year. His classmates included David Hockney, R. B. Kitaj, and Allen Jones. His first trip to the museums in Paris was with Allen Jones and Ken Kiff, his second with David Hockney.

Career in the UK
In the early 60s, Toynton was part of the first British Pop Art exhibition at the Grabowski Gallery and participated in the first London happening with Carolee Schneemann at Dennison Hall. He was included in the John Moores Liverpool Exhibition, and created an installation piece for the Raume und Environmenten exhibition at the Morsbroich Museum in Leverkusen with Klaus Rinke. He also showed at the Zwemmer Gallery (with John Walker), the RBA Galleries, and numerous other galleries throughout the UK.
He began teaching under the radical art educator Tom Hudson at the Leicester College of Art in 1963 and then joined Hudson at the Cardiff College of Art. Working with Hudson, along with Michael Sandle, Terry Setch and Michael Tyzack, was a formative experience for him.
Meanwhile, he'd become increasingly interested in the art coming out of America, particularly after the Jackson Pollock show at the Whitechapel Gallery in 1958, and his work was tending more towards abstraction.

Toynton was a member of 56 Group Wales from 1967 to 1971.

Career in the US
In 1969, Toynton became the visiting artist at Ohio State University in America; he was then Chairman of the Art Department at the University of Victoria. Later he moved to Boston and became Chair of Fine Art at the Massachusetts College of Art.

During the 70s, he created a number of large installation pieces for solo exhibitions at the Whitechapel Gallery in London, the Institute of Contemporary Art in Boston and the Williams College Museum of Art. At the end of this decade he returned to creating smaller paintings, working with the same material he had begun using in his installations: Masonite pegboard, which he described as "moribund, Orwellian…standing for everything that 'threatens to destroy painting, the most individualistic, human activity I know of". Pegboard, on which he variously painted directly or hung lushly textured and patterned wooden elements, became his trademark. Many of his paintings consisted of series of painted Masonite panels, with subtle variations from one to the next, in order to slow the viewer down and compel close scrutiny.

In a review of one of his solo exhibitions in Artnews, David Bonetti called his paintings 'works of such authenticity that they are shocking…Toynton dares to salvage beauty from the banal',  while Kenneth Baker, in a feature article on him in ArtForum, declared,  'I know of few abstract painters who have the patience and intelligence to practice their art deliberately enough to let us see painting for the thinking process it is. One of the most accomplished of these is Norman Toynton.'

In the 80s, Toynton quit his teaching job and moved to New York City, where he showed his work in a wide variety of venues, including the Brooklyn Museum, the Hunter College Gallery, the Ruth Siegel Gallery, the John Good Gallery, the Stux Gallery and the Daniel Newburg Gallery. Arthur C. Danto cited one of his solo exhibitions as among the three outstanding shows of the year in The Nation. Toynton then retreated to rural Vermont, before making several extended trips to India.

In 2006, he returned to England for good, building himself a studio at his home on the North Norfolk coast. His work has since been shown at ArtSpace and several other London venues, as well as at the Yorkshire Sculpture Park.

Selected collections
 Alfonso Ossorio Foundation
 Rose Art Museum
 JP Morgan Chase
 Time Warner
 Other Press
 Williams College Museum of Art
 Museum Narodowe, Warsaw, Poland
 Nottingham City Museum
 National Library of Wales
 Bradford Museum

Prizes
 Lignano Biennale Prize, Italy
 Prix Chateau de la Sarraz, Switzerland
 Pollock-Krasner Foundation Grant
 Adolph and Esther Gottlieb Foundation Grant

References

External links

Personal profile

1939 births
20th-century British painters
British male painters
21st-century British painters
Living people
Members of the 56 Group Wales
Painters from London
20th-century British male artists
21st-century British male artists

Norman Toynton


"Do the Bartman" is a song from the 1990 album The Simpsons Sing the Blues, featuring the voice cast of the American animated television series The Simpsons. It was performed by The Simpsons cast member Nancy Cartwright (the voice of Bart Simpson), with backing vocals from American singer Michael Jackson, alongside additional vocals from Dan Castellaneta (voice of Homer Simpson). Jackson also produced the song, which was written by American recording artist Bryan Loren, and Geffen Records released it as a single on November 20, 1990.

Despite receiving much radio airplay in the United States, "Do the Bartman" was never officially released as a single there. It topped the charts in Australia, Ireland, New Zealand, Norway, and the United Kingdom. The song additionally reached the top 10 in Belgium, Denmark, Finland, the Netherlands, Spain, and Sweden. A music video, directed by Brad Bird, was released for the song in 1991. The video became a hit on the American network MTV, and received a nomination at the 1991 MTV Video Music Awards.

Michael Jackson's involvement

The album The Simpsons Sing the Blues was released in December 1990. The first single from it was the rap song "Do the Bartman", performed by Bart Simpson's voice actor Nancy Cartwright and released on November 20, 1990. Rumors began spreading in the summer of 1990 that Michael Jackson would write a song for Bart on the album.

This song was reported early on to be "Do the Bartman", but executive producer James L. Brooks issued a press release in September 1990 apologizing for the misunderstanding and stating that song was actually written by one of Jackson's friends, Bryan Loren.

However, The Simpsons creator Matt Groening later stated during an appearance at the February 1998 World Animation Celebration convention in Pasadena, California that "Do the Bartman" was actually co-written and co-produced by Jackson, but he could not receive credit for it because he was under contract to Epic Records. Groening told a crowd at the convention that had gathered for a "The Simpsons tribute" that it had "always [been] amazing to me that no one ever found out that Michael Jackson wrote that song. [...] He was a big fan of the show."

Jackson was a fan of The Simpsons, especially Bart, and had called the producers one night offering to write Bart a number one single and do a guest spot on the show, which is how "Do the Bartman" came about. Jackson eventually guest-starred in the episode "Stark Raving Dad" (season three, 1991) under the pseudonym John Jay Smith.

He also wrote the song "Happy Birthday Lisa" for the episode "Stark Raving Dad", which was later included in the album Songs in the Key of Springfield. Bryan Loren has stated that Jackson had provided background vocals for "Do the Bartman".

In July 2015, when Bryan Loren was selling the publishing and songwriting rights for the song, Loren stated that "despite Matt Groening's repeated confessions, I am the sole writer of the song". Loren stated that Jackson's contributions included backup vocals and providing the title "Do the Bartman" and that Jackson insisted his own name be mentioned in the lyrics.

Critical reception
Critical reviews of "Do the Bartman" were mostly positive. Larry Flick from Billboard said the single "seems like a logical extension of the public's love affair with Fox TV's popular cartoon characters. This cute and amusing pop/new jack novelty doesn't actually teach any new dance steps, but that hasn't kept radio from jumping on it out of the box." Monika Bartyzel of Cinematical, however, thought the song was a "cheesy number." The Daily Vault's Benny Balneg liked that it disengaged itself from the album's "blues tag" and incorporated more "contemporary elements" into its sound. He added that he thought the song had a "catchy beat" and an "infectious chorus." Ken Tucker of Entertainment Weekly described it as "not bad," and commented that Bart's high voice "echoes the beats nicely." The Long Beach Press-Telegrams Patricia Smith called "Do the Bartman" a "surprisingly funky tune." James Hamilton from Music Week named it Pick of the Week in the category of Dance, adding, "Satellite TV cartoon characters' novelty rap jiggler with Turtles-type kids appeal." David Quantick from NME also felt it's "not bad", adding that the song's "natural vivacity may well make it a hit." A reviewer from People Magazine stated, "Yes, of course the first single, 'Do the Bartman', will be a novelty hit. Written by Bryan Loren, it's a white-bread rap featuring Nancy Cartwright's vocals, reeling off tales of Bart's mischievous ways."

 Chart performance
The song topped the charts in Australia, Ireland, New Zealand, Norway, and the United Kingdom. In the latter country, the song spent three weeks at the top of the UK Singles Chart, and became Britain's seventh best selling song of 1991. "Do the Bartman" has shipped at least 400,000 units in the United Kingdom, and was certified gold by the British Phonographic Industry on February 1, 1991. The song's success in the United Kingdom was remarkable, given that at that time The Simpsons was airing only on British satellite television station Sky One. It would be five years before it first aired on terrestrial television in Britain, airing on BBC One and later BBC Two.

In Ireland, "Do the Bartman"  spent nine weeks at number one on the Irish Singles Chart from January 24, 1991, to March 24, 1991. Only nine singles have ever managed a longer run at number one in that country. The song also charted at number one on New Zealand's RIANZ Singles Chart on the issue date of January 25, 1991, and peaked at number one on the chart again, for a total of two weeks, from February 8, 1991, to February 15, 1991.

In March 1991, "Do the Bartman" became the first single to reach number one in Australia that was not available on 7-inch vinyl.

 Music video
The accompanying music video for "Do the Bartman" features the typical plot of Bart rebelling against authority when he decides to put his own spin on a rigidly choreographed dance presentation at Springfield Elementary School. The music video for "Do the Bartman" was directed by Brad Bird, with dance choreography by Michael Chambers. Nobody from the staff of The Simpsons wanted to direct it because they were busy doing the show, but Bird finally agreed to do it after having been asked four times. He had a very short amount of time to finish the video because it was supposed to coincide with the release of The Simpsons Sing the Blues.

The entire music video was storyboarded in only two days in the United States. Bird then got on a plane to Budapest, Hungary, where the video was animated by Varga Studio. They thought the video was going to be animated as simply as the original The Simpsons shorts, shown on The Tracey Ullman Show, so when Bird told them that it was going to be done in full animation with no repeated scenes, they "went into deep shock".

The animators added the wraparound at the beginning to set Bart against the crowd and put the video in "some sort of context."

The video was nominated for Best Special Effects at the 1991 MTV Video Music Awards. It originally premiered on Fox after the episode "Bart the Daredevil" on December 6, 1990, and was the number one music video on rotation on MTV between January and March 1991. Along with the music video for "Deep, Deep Trouble", the video was included on The Simpsons: The Complete Second Season DVD boxset in 2002. Following the death of Michael Jackson on June 25, 2009, the music video was broadcast by Fox on June 28, 2009—ahead of a rerun of the episode "Wedding for Disaster"—and featured a title card paying tribute to Jackson.

There is an alternative version of the music video that removes the references to Michael Jackson's "hair strand" (by not including said hair strand in frame), people dancing to the Bartman on a cruise ship with the Statue of Liberty in the background moving side to side with the rhythm of the song and replaces it with extra frames of the Springfield "cool kids" dancing along. The alternative version also removes the lyric, "She can do it, you can do it, so can I".

 Track listings
 7-inch single: "Do the Bartman" (7" House Mix/Edit) – 3:54
 "Do the Bartman" (LP edit) – 3:59

 CD single: "Do the Bartman" (7" House Mix/Edit) – 3:54
 "Do the Bartman" (LP edit) – 3:59
 "Do the Bartman" (Bad Bart House Mix) – 4:49
 "Do the Bartman" (a cappella) – 3:44

 Digital download:'
 "Do the Bartman" (Diplo's Bartman So So Krispy Remix) – 4:27

Personnel
 Nancy Cartwright – lead vocals
 Michael Jackson – backing vocals
 Dan Castellaneta, Julie Kavner, Yeardley Smith, and Matt Groening – additional voices
 Bryan Loren – backing vocals, instruments
 Paul Jackson Jr. – additional guitar
 Laurie Rox, Bart Stevens, and Richard Voltrop – background shouting

Production
 Richard Cottrell – recording engineer
 Bryan Loren & Michael Jackson – producers
 Julie Last & Bart Stevens – assistant recording engineers
 Mixed at Larrabee Sound Studios

Charts

Weekly charts

Year-end charts

Certifications

Release history

See also
 List of number-one singles in Australia during the 1990s
 List of number-one singles of 1991 (Ireland)
 List of number-one singles in 1991 (New Zealand)
 List of number-one hits in Norway
 List of UK Singles Chart number ones of the 1990s

References

External links

1990 songs
1990 debut singles
The Simpsons songs
Irish Singles Chart number-one singles
UK Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in New Zealand
Number-one singles in Norway
Animated music videos
New jack swing songs
American hip hop songs
Novelty songs
Songs written by Bryan Loren
Geffen Records singles
Songs about dancing
Novelty and fad dances
Animated films based on animated series

Do the Bartman


Sir Anthony Weldon (1583–1648) was an English 17th-century courtier and politician. He is also the purported author of The Court and Character of King James I, although this attribution has been challenged.

Relations with King James
The story of Weldon's dismissal from King James' court for his negative assessment of the Scots in A Description of Scotland, is usually taken as the justification for the criticism of James in The Court and Character of King James I, which contains the famous comment that James was "the wisest fool in Christendom". However, it is unclear whether Weldon was the author of either of these works. A Description of Scotland was first published six years before Weldon's dismissal from the court and was not credited to him until the second half of the 17th century.  Likewise The Court and Character of King James I was not credited to Weldon until after his death in 1648. He did, however, support Parliament during the English Civil War, holding and administering the county of Kent.

Role in the English Civil War
In 1643 Weldon became chairman of the Kent County Committee, which was the Parliamentary government of the county. As such Weldon was a very powerful man, kind to his friends but a bitter enemy to those who crossed him. Weldon was fearless against both Royalist and Parliamentarian officials in London who tried to squeeze the Kentish economy for their own purposes. An ardent Parliamentarian, Weldon informed on the Rector of Swanscombe in 1642 whose loyalties were in doubt. When, in 1648, the county rose up against the Parliamentary regime and drew up the County Petition of complaints, Weldon roared that he would not cross Rochester High Street to save the soul of any person whose name appeared therein. The revolt was serious and General Fairfax's army was despatched to destroy the Royalists; a process which included the battle at Stonebridge Hill, Northfleet, on 1 June 1648. Weldon was in his sixties and waited in his manor house at Swanscombe for the Royalists to arrest or kill him. He is quoted as saying, "Hourly I waited to be seized, which must cost the seizers, or some of them, their lives, for I shall not be their prisoner to be led in triumph ..." Weldon lived to see Parliamentarian order restored before he died and was buried at Swanscombe on 27 October 1648.

References
Joseph Marshall and Sean Kelsey, 'Weldon, Sir Anthony (bap. 1583, d. 1648)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 6 July 2007
Anthony Weldon, Sir?, The Court and Character of King James I, London, 1651
Swanscombe local history http://swanscombe.com/newsevents/history.asp

External links

1583 births
1648 deaths
17th-century English writers
17th-century English male writers
People from Swanscombe

Anthony Weldon


Gooby (also known as A Ted Named Gooby) is a 2009 Canadian comedy fantasy drama film written and directed by Wilson Coneybeare featuring Robbie Coltrane as the voice of Gooby, a living teddy bear, and Matthew Knight as Willy, an 11-year-old boy who is scared of his new house.

Review aggregation website Rotten Tomatoes rates it 20% positive ("rotten") based on five reviews. The Kansas City Star said that "instead of inspiring children to be brave and loving, it will most likely send them cowering under the covers in terror."

Plot
Willy is an 11-year-old boy who believes weird creatures are lurking, just waiting to attack him. He believes that the only thing keeping him safe is his house. When his parents decide to move, Willy isn't thrilled with the idea of going to a new school and living in a strange home. One day, Gooby, a teddy bear that Willy had as a little boy, arrives at the new home. This version of Gooby is nearly six feet tall, able to talk, and wants to help; Willy decides that the two will be friends, but he must hide Gooby from his parents.

Left alone for long hours while Willy goes to school, Gooby is frequently bored. He passes the time by causing trouble, convincing the nanny that there are critters inside the house, stealing cookies from the kitchen, ransacking the garage for parts to build Willy's fantasy racer and sneaking around Willy's school where anyone could see him. When Willy's teacher goes on maternity leave, she is replaced by Mr. Nerdlinger, a children's book writer who desperately wants to become famous. When he catches sight of Gooby, he becomes determined to photograph him. Willy has trouble making friends, and when Gooby's appearance outside Mr. Nerdlinger's class makes Willy freak out (earning him and three of his classmates two weeks of after school detention), his reputation at school is only worsened. On Halloween day, Willy and Gooby go out during daylight to have fun (Willy convinces Gooby to pretend to be Willy's father in a costume) and Willy makes friends with the most popular kids in school by having Gooby buy them all tickets to an R-rated action movie. Gooby becomes envious of Willy when he begins to spend more time with his newfound friends. The two get into an argument, resulting in Gooby running away.

Willy's grades start to drop, and his parents begin to worry. When Gooby eventually returns one night, he convinces Willy to follow him to a surprise location. Willy's parents notice that their son is missing and call the police, but meanwhile Gooby shows Willy what he has discovered: his father's childhood home. While exploring it, Willy gets scared to the point of falling backwards, breaking through the floor and catching a metal pipe too far down for Gooby to help him up. Gooby uses Willy's cellphone to call his father, who comes to the rescue. After saving Willy, Gooby talks to Mr. Dandrige and reminds him of how when he was a child his father never spent enough time with him. Willy's mother and father decide to stop working so hard and focus more on their son. One day, while shopping for materials to build Willy a playhouse, the family foils Mr. Nerdlinger's attempt to get pictures of Gooby when Willy notices that Gooby has wandered off. Gooby explains to Willy that now that he is happy and no longer so alone (and afraid of imaginary creatures), it's time for Gooby to move on and help another child. Gooby transforms back into a teddy bear and Willy offers him to a little girl who is being ignored by her parents.

Cast

References

External links

2009 films
English-language Canadian films
2009 fantasy films
2000s children's fantasy films
Canadian children's fantasy films
Puppet films
2000s English-language films
2000s Canadian films

Gooby


Aaron Anderson or Sanderson (1811 – January 9, 1886) was a Union Navy sailor during the American Civil War and the first African-American to be a recipient of America's highest military decoration, the Medal of Honor.

He was born in Arkansas and later lived in Pennsylvania where he worked as a cook until he joined the Navy at age 52. He was assigned to the  where he participated in blocking Confederate forces from getting supplies along the Potomac River. Shortly before the war ended he participated in a mission to attack a group of Confederate troops attempting to get supplies. In the process they came under heavy fire which destroyed many of their weapons and severely damaged their boats. For his actions he was presented with the Medal of Honor. A short time later he left at the end of his enlistment and little else is known about him after he left the Navy.

Early life and education
Anderson, an African American, was born on a farm in Rogers, Arkansas, and moved to Philadelphia, Pennsylvania, as a young man. He worked as a cook before enlisting in the U.S. Navy at age 52 on April 17, 1863. He was assigned as a landsman to , but his last name was erroneously entered into the ship's logs as "Sanderson". The Wyandank served as part of the Potomac River Flotilla, a group of ships which enforced the Confederate Blockade  against Union shipping on the Potomac River.

Career

American Civil War
On March 17, 1865, less than one month before the end of the war, he participated in a mission to attack Confederate forces in Mattox Creek, a tributary of the Potomac in Virginia. A boat equipped with a howitzer was launched from another ship of the Potomac Flotilla, the , and a group of seventy men was sent to follow along the river bank on foot. Anderson and a number of other black landsmen worked the oars on the boat, while Boatswain's Mate Patrick Mullen manned the howitzer and Ensign Summers acted as commander. As the boat and the accompanying foot soldiers made their way up the creek's right fork, the foot soldiers came under sporadic fire from snipers. Upon finding four small boats which had been abandoned by the Confederates, the soldiers on the river bank set about destroying them.

Meanwhile, the men in the boat rowed back down the creek and then up the left fork. Without a supporting land force, the boat was vulnerable to attack from Confederate soldiers on the river banks, and the deeper waters of the left fork meant that they might encounter a larger craft than their own. Upon coming around a bend in the creek, they saw three seemingly abandoned schooners moored on shore. As Mullen prepared to fire the howitzer at the three ships, the boat came under fire from about 400 Confederate soldiers on shore. Summers ordered Anderson and the other oarsmen to row towards the schooners, and, when close enough, Mullen tossed an incendiary device onto each. With the schooners in flames, the boat began retreating downstream through heavy fire from the Confederates. Half of the boat's oars and Summers' musket were destroyed by gunfire, and there were several bullet holes in the side of the boat. As Anderson and the other men who still had oars continued to row downstream, the rest of the oarsmen bailed water while Mullen fired the howitzer at the soldiers on shore. They successfully escaped from the Confederate force, and although the boat was badly damaged, the only casualty was one landsman slightly wounded.

Summers singled out Anderson and Mullen for their actions during the skirmish, and both men were awarded the Medal of Honor on June 22, 1865. Anderson's award was issued under the name "Aaron Sanderson", the misspelling which had been entered into the Wyandank's logs. Mullen earned a second Medal of Honor less than two months after the Mattox Creek expedition, making him one of only nineteen two-time recipients.

Medal of Honor citation
Citation:
Served on board the U.S.S. Wyandank during a boat expedition up Mattox Creek, March 17, 1865. Participating with a boat crew in the clearing of Mattox Creek, L/man Anderson carried out his duties courageously in the face of a devastating fire which cut away half the oars, pierced the launch in many places and cut the barrel off a musket being fired at the enemy.

Later life and death
Anderson left the U.S. Navy after his term of service expired and nothing is known of his post-war life. However, if his true name was Sanderson, he returned to Philadelphia  and lived and worked in South Philadelphia at various jobs. According to Philadelphia city directories of the period, he worked as a laborer, cook, whitewasher and coachman. Aaron Sanderson, described as a black male widower, born Virginia, aged seventy, who worked as a "calsiminer" calciminer—another term for whitewasher—and resided at 1357 Kater Street in South Philadelphia, died on January 9, 1886, of heart disease and was buried four days later at the former Lebanon Cemetery.

See also

List of African-American Medal of Honor recipients
List of American Civil War Medal of Honor recipients: Q–S

References

External links

Aaron Anderson at RootsWeb

1811 births
1886 deaths
African Americans in the American Civil War
United States Navy Medal of Honor recipients
Military personnel from Philadelphia
People of Pennsylvania in the American Civil War
People from Rogers, Arkansas
American Civil War recipients of the Medal of Honor

Aaron Anderson (Medal of Honor)


Calypso tents are venues in which calypsonians perform during the Carnival season. They usually are cinema halls, community centers, or other indoor buildings which have seating and stage arrangements to host the entertainers, guests and patrons; or outdoor shows which are held in parks or, more famously, in the Queen's Park Savannah. Some of these tents are held at many venues, called Roving Caravans or Roving Tents.

Such venues are still called "tents" because calypsonians all used to sing on stages which were literally covered by a tent. The first such tent was organised by a calypsonian whose sobriquet was  Railway Douglas. As time went along, buildings and other empty spaces that were properly arranged were also used, but the name stuck.

Although traditional calypso has lost ground to soca and party music, the Tents remain popular venues and still serve as a launch pad for many young artists.

See also
 Trinidad and Tobago Carnival

Trinidad and Tobago culture
Music venues

Calypso tent


Greta diaphanus, the Antillean clearwing, is a species of clearwing (ithomiine) butterflies, named by Dru Drury in 1773.

Description
Upperside: antennae black, and very long. thorax and abdomen dark brown. Wings transparent, vitreous (glass like). Anterior ones with the posterior edges bending as it were inwards. A small narrow border of dark brown runs entirely round the edges of these wings; and on the anterior edges, about a third from the tips, runs a dark brown streak towards the middle of the wing, close to which is a small white spot joining to the anterior edge. Posterior wings having also a very narrow border running about two-thirds round them, and stopping at the abdominal edges; some long yellowish hairs are placed on the anterior edges near the body.

Underside: palpi, breast, sides, ash-coloured. The dark brown borders surrounding the wings appear on this side of an orange-brown colour; the rest as on the upperside. Margins of the wings entire.

Wingspan  inches (57 mm).

Subspecies
Greta diaphanus diaphanus (Jamaica)
Greta diaphanus quisqueya (Fox, 1963) (Dominican Republic)

References

Ithomiini
Butterflies described in 1773
Butterflies of the Caribbean
Taxa named by Dru Drury

Greta diaphanus


The BBC Charter is a royal charter setting out the arrangements for the governance of the British Broadcasting Corporation. An accompanying agreement recognises its editorial independence and sets out its public obligations in detail.

The initial BBC Charter established the BBC on 1 January 1927 as a replacement for the British Broadcasting Company, which had provided the broadcasting service until that point. As the royal charter created an entirely new body, separate arrangements were made to transfer the assets of the British Broadcasting Company to the new British Broadcasting Corporation via the Postmaster General. It was felt that establishing a body under a royal charter to replace the private company would allow the creation of a body that acted "as a trustee for the national interest" and would "endow the [BBC] with a prestige and influence which will be of special value to it."

Upon the expiry of the first charter, it was renewed with a replacement charter – a process that has continued ever since. It, and each subsequent royal charter, was initially for a period for ten years, except for the charter from 1947 to 1952, which ran for five years, and the charter from 2006 to 2017, which ran for eleven years. However, several charters were extended in duration, including 1947 (six months), 1952 (two years), and 1964 (two extensions totalling five years).

The most recent charter took effect on 1 January 2017 and will run until 31 December 2027.

References

External links

Charter

BBC Charter


KYRS, known as "Thin Air Community Radio", is a non-profit, non-commercial, full-power community radio station in Spokane, Washington (licensed to Medical Lake, Washington) at 88.1 MHz FM. The station has a translator, K222BG, at 92.3 FM, licensed to Dartford, Washington.

The station's owners originally launched a low-power, 100-watt operation in 2003 as KYRS-LP (now KVFS-LP). The low-power station was sold to new ownership as a condition of Thin Air Community Radio being licensed for the current full-power 6,800 watt effective radiated power station on November 4, 2011.

The station streams its content from its website.

The former KYRS-LP was the fourth community radio barnraising of the Prometheus Radio Project.

See also
List of community radio stations in the United States

References

External links

 Spokane Radio News
 Spokane Translator Association, operator of K222BG

Community radio stations in the United States
YRS
Radio stations established in 2011

KYRS


American Ghosts and Old World Wonders is a posthumously published anthology of short fiction by Angela Carter. It was first published in the United Kingdom in 1993 by Chatto & Windus Ltd. and contains a collection of nine stories, one half of which deal with American folklore and the other with older myths and fairytales. It is introduced by Susannah Clapp.

The book is divided into two parts, the first (concerned with America) consists of "Lizzie's Tiger", "John Ford's 'Tis Pity She's a Whore", "Gun for the Devil" and "The Merchant of Shadows".

Part two (concerned with Europe: the "Old World") contains "The Ghost Ships", "In Pantoland", "Ashputtle or The Mother's Ghost", "Alice in Prague or The Curious Room" and "Impressions: The Wrightsman Magdalene".

The anthology's contents are also reprinted in the volume Burning Your Boats, which features all of Carter's short fiction.

Short story collections by Angela Carter
Books published posthumously
1993 short story collections
Chatto & Windus books

American Ghosts and Old World Wonders


Gerhard Ludvig Lahde (19 October 1765 – 30 November 1833), usually referred to as G. L. Lahde, was a Danish printmaker and publisher. He is remembered for his hand-coloured, slightly caricatured series of prints of traditional costumes created in collaboration with Johannes Senn as well as depictions of major historic events such as the Copenhagen Fire of 1795 and the British bombardments of Copenhagen in 1801 and 1807. He also created many portraits of prominent people of his time.

Early life and education
Lahde was born in Bremen, the son of a tailor. After studying seven years in the local Latin school, he went to Kiel where he completed an apprenticeship as a goldsmith. With ambitions to become an artist, together with Cladius Detlev Fritzsch, he then travelled to Copenhagen where he was admitted to the Royal Danish Academy of Fine Arts in 1787. He completed model school and was taught the craft of copperprint engraving by Johann Friderich Clemens. He won the small silver medal in 1790, the large silver medal in 1791 and the small gold medal in 1792. He initially worked as a goldsmith to pay for his education but without much economic success and later turned to drawing and engraving portraits. Although his original plan was to return to Bremen and he received some economic support from his home town to do so, he decided instead to stay in Copenhagen where he was naturalized in 1792.

Lahde's academic career was without much success. In 1793, he tried to obtain status as agrée at the academy with an engraving based on Jens Juel's portrait of August Hennings and in 1796 again with an engraving based on Anton Graff's portrait of the Duke of Augustenborg.

Career
He had more success commercially as a portrait painter and was appointed Engraver to the Danish Court in 1799. In 1803 he went abroad on a grant from Fonden ad usus publicos. In 1805 he purchased a property on Gothersgade from where he ran a successful business.  Christoffer Wilhelm Eckersberg and Johannes Senn, who were The young artists at the time, lived in the building and worked for him.

Works
In spite of his technical skill and ability to combine different graphic techniques, Lahde's works are generally more of historic and cultural historic than artistic value. Many were hand-coloured by his daughters or his assistants. They were often published by himself in "series" or books. They often depicted current events such as the fire of Christiansborg Palace in 1794, the Copenhagen Fire of 1795 and the Bombardments of Copenhagen in 1801 and 1807. Other works include street scenes from Copenhagen, portraits of prominent people and series with traditional costumes.

Ladhe's "stambog"

Lahde's "stambog" I-II, now kept in the Royal Danish Library, is a sort of guestbook which he notebooks he had with him on travels where people he met could write or make drawings. Most of the texts, drawings and gouachernes are by young artists from the Art Academy, most of them unknown today but the two books contain drawings by F. Camradt, C. D. Fritsch, Hans Hansen, Johan Ludwig Lund, Elias Meyer, C. F. Stanley, Runge, Friedrich, Bertel Thorvaldsen and C. W. Eckersberg. Most of the drawings are of imaginary landscapes but some are of topographically identifiable scenes or portraits.

Personal life
Lahde married Charlotte Dorothea Eleonore Werner in 1796. They remained married until Charlotte's death in 1803. He married Marie Tonnum in 1820. He had three children. He suffered a stroke in 1832 and died on 29 November 1833. He is buried at Assistens Cemetery.

List of publications
 Samling af fortjente Mænds Portrailer, 1798–1806, ("Collection of Portraits of Men of Merit, published in collaboration with R. Nyerup 1798–1806")
 Mindesmærker paa Assistentskirkegaarden ved Kjøbenhavn, 1801–11 ("Memorials in Assistens Cemetery at Copenhagen, 1801-1811")
 Portrailer med Biographier ("Portraits with Biographies", 1805–06)
 Tolv Blade Figurer til Tegne-Øvelser efter Thorvaldsen (Twelf Sheets with Figures for Drawing Lessons after Thorvaldsen,  1814)
 Elementarværk i Tegnekunsten (1818–19)
 Klædedragter i København" udg ("Traditional costumes in Copenhagen# 1817-20)

Gallery

Garments of Copenhagen

References

External links

 G.K. Lahde at Kunstindeks Danmark
 G.L. Lahde: Stambøger I-II

18th-century Danish engravers
19th-century Danish engravers
19th-century Danish publishers (people)
18th-century Danish printmakers
19th-century Danish printmakers
Royal Danish Academy of Fine Arts alumni
German emigrants to Denmark
Naturalised citizens of Denmark
Artists from Bremen (city)
Artists from Copenhagen
Burials at Assistens Cemetery (Copenhagen)
1765 births
1833 deaths

Gerhard Ludvig Lahde


Andrew Peter Telegdi, PC (born András Telegdi; May 28, 1946 – January 23, 2017) was a Canadian politician.  He was a Liberal Member of Parliament in the House of Commons of Canada from 1993 to 2008, representing Waterloo and the successor riding of Kitchener—Waterloo.

Early life and career
Telegdi was born in Budapest, Hungary. He emigrated  to Canada with his family in 1957 as a refugee following the Hungarian Revolution of 1956. He attended the University of Waterloo in the 1970s. He served two terms as president of the Federation of Students, UW's student union, from 1973 to 1974.  After graduating, he became executive director of Youth in Conflict with the Law, and was a board member of the Working Centre (St. John's Soup Kitchen).  Telegdi was also appointed to the board of governors of Wilfrid Laurier University.

Telegdi was a city councillor for Waterloo City Council from 1985 to 1993. In this office he also sat as a city representative as a regional councillor for the Regional Municipality of Waterloo.

Career in federal politics
As member of the Ontario Liberal Party he ran for the Legislative Assembly of Ontario in the riding of Waterloo North in the 1990 provincial election. He finished a poor third against Progressive Conservative Elizabeth Witmer thus becoming the first Liberal to lose that riding in over 23 years.  He won an easy victory to the House of Commons of Canada three years later and was subsequently re-elected four times, all by comfortable margins.

Telegdi was appointed parliamentary secretary to the Minister and Citizenship of Immigration on July 16, 1998, but resigned the position on May 18, 2000, as he objected to certain provisions in the government's proposed Citizenship Act.  He was concerned with a clause that gave Canada's parliament, rather than the courts, the right to remove a person's citizenship, and in particular
Helmut Oberlander's

who was a constituent of the riding he then represented.  Commenting on this issue, he said "For me, my citizenship comes before my party."

During this controversy, Telegdi argued that placing parliament above the courts on citizenship issues was similar to "what Hitler used to do".  Telegdi was widely criticized for this comment and the Canadian Jewish Congress and called for Telegdi's removal from the Liberal caucus.  In response, Telegdi noted that his stepfather was a Jewish refugee from Romania, and claimed his comments had been reported out of context in a sensational manner.  He also issued the following statement: "What I have said is that a liberal democratic state such as Canada should never remove citizenship lightly. That is what Hitler did to Jews, Gypsies and many others. That is what Stalin did to millions. All totalitarian regimes have engaged in these practices."

He also issued an apology for his comments to the House of Commons.

Telegdi also engaged in a public dispute with Liberal Party activist Warren Kinsella during this period.  After Kinsella criticized Telegdi's comments on the Citizenship Act, Telegdi wrote a letter calling on Kinsella to resign as Jean Chrétien's spokesperson.

Telegdi was a liberal on most social issues. He was a strong supporter of gay rights and same-sex marriage. He also opposed the 2003 invasion of Iraq, expressing concern that the American approach of "pre-emptive strikes" would create new problems and undermine multilateral institutions.

For several years, Telegdi was a supporter of Paul Martin in his bid to succeed Jean Chrétien as leader of the Liberal Party.  Soon after Martin succeeded Chrétien as Liberal leader and Prime Minister, Telegdi was appointed parliamentary secretary to the Prime Minister with special emphasis on Aboriginal Affairs.  He held this position until just after the 2004 election and prior to the 2008 election was vice-chair of the Standing Committee on Citizenship and Immigration.

He lost to Conservative candidate Peter Braid by an initial count of 48 votes in the 2008 federal election.  A judicial recount was ordered, as the margin of victory was less than 0.1%. The final validated count, showing errors in two polls, confirmed his opponent had won the seat by 17 votes, the smallest margin of victory in the 2008 federal election. He campaigned again in the 2011 federal election and lost to Braid by 2,114 votes.

Post-federal career
In 2014, Telegdi ran and lost in the 2014 Waterloo Regional Elections.  He came in third place to become one of two councillors for Waterloo on the Waterloo Regional Council.

Telegdi died on January 23, 2017, in Waterloo, Ontario, aged 70.

See also
 List of University of Waterloo people

References

External links

1946 births
2017 deaths
Hungarian emigrants to Canada
Liberal Party of Canada MPs
Members of the House of Commons of Canada from Ontario
Politicians from Waterloo, Ontario
University of Waterloo alumni
21st-century Canadian politicians

Andrew Telegdi


The Australian Coastal Surveillance Organisation, also known as Coastwatch, was an operational division of the Australian Customs Service and the de facto Australian coast guard service. The former Coastwatch Division is now part of the Australian Border Force Maritime Border Command, a joint civil/military organisation responsible for civil maritime security.

Border Protection Command Dash 8 aircraft are referred to by their civil call sign "Border Force XX" and are operated by Cobham Aviation Services on behalf of the Australian Border Force. These aircraft carry out civil maritime surveillance service to help protect Australia's borders. The fleet of specialised fixed-wing patrol aircraft and helicopters undertake electronic and visual surveillance of Australia's coastline and offshore maritime areas.

See also
 Surveillance Australia
 Border Protection Command
 Australian Customs Service
 Coastwatch Oz
 Tampa affair

References
 Border Protection Command – Aircraft
 Perry, Donna.  (1998) Guarding the north's vast remote coastline is a full-time occupation. Broome advertiser, 14 October 1998, p.34-35

Further reading
 Australia. Parliament. Australian National Audit Office.(2000)  Coastwatch Australian Customs Service  The Auditor-General audit report, no.38, 1999-2000. ISSN 1036-7632

External links
 Australian Customs Service

Coastwatch
Customs services

Coastwatch


Samuel Plimsoll (10 February 1824 – 3 June 1898) was a British politician and social reformer, now best remembered for having devised the Plimsoll line (a line on a ship's hull indicating the maximum safe draught, and therefore the minimum freeboard for the vessel in various operating conditions).

Early life
Samuel Plimsoll was born in Bristol and soon moved to Whiteley Wood Hall, Sheffield, also spending part of his childhood in Penrith, Cumberland.  Leaving school at an early age, he became a clerk at Rawson's Brewery, and rose to be manager.

In 1853, he attempted to become a coal merchant in London. He failed and was reduced to destitution. He himself told how for a time he lived in a common lodging for seven shillings and two pence a week.

Through this experience, he learnt to sympathise with the struggles of the poor, and when his good fortune returned, he resolved to devote his time to improving their condition.

His efforts were directed especially against what were known as "coffin ships": unseaworthy and overloaded vessels, often heavily insured, in which unscrupulous owners risked the lives of their crews.

Political career
In 1867, Plimsoll was elected as the Liberal Member of Parliament for Derby, and endeavoured in vain to pass a bill dealing with the subject of a safe load line on ships. The main problem was the number of powerful ship-owning MPs in Parliament.

In 1873, he published a book entitled Our Seamen, which became well known throughout the country.  Accordingly, on Plimsoll's motion in 1873, a Royal Commission was appointed, and in 1875 a government bill was introduced, which Plimsoll, though regarding it as inadequate, resolved to accept.

On 22 July, the Prime Minister, Benjamin Disraeli, announced that the bill would be dropped. Plimsoll lost his self-control, applied the term "villains" to members of the House, and shook his fist in the Speaker's face.

Disraeli moved that he be reprimanded, but on the suggestion of Lord Hartington agreed to adjourn the matter for a week to allow Plimsoll time for thought.

Eventually Plimsoll made an apology. Many people, however, shared his view that the bill had been stifled by the pressure of the shipowners, and popular feeling forced the government to pass a bill which in the following year was amended into the Merchant Shipping Act.

This gave stringent powers of inspection to the Board of Trade, and the mark that indicates the safe limit to which a ship may be loaded became generally known as Plimsoll's mark or line.

Plimsoll was re-elected for Derby at the uk general election of 1880 by a great majority, but gave up his seat to William Vernon Harcourt, believing that the latter, as Home Secretary, could advance sailors' interests more effectively than any private member.

Offered a seat by 30 constituencies, Plimsoll was an unsuccessful candidate in Sheffield Central in 1885. He did not re-enter the house, and later became estranged from the Liberal leaders by what he regarded as their breach of faith in neglecting the question of shipping reform.

He was for some years the honorary president of the National Sailors' and Firemen's Union, and drew attention to the horrors of the cattle-ships, where animals were transported under appalling and over-crowded conditions.

Later life
Later, he visited the United States to try to secure the adoption of a less bitter tone towards England in the historical textbooks used in American schools.
He died in Folkestone on 3 June 1898, and is buried in St Martin's churchyard, Cheriton, Kent.

Family
Plimsoll married his first wife, Eliza Ann, daughter of Hugh Railton of Chapeltown, north of Sheffield, in 1858. In Census 1871 they were enumerated in Hastings where Eliza Ann is recorded as being blind in her right eye and deaf in her left ear. She died in Australia in 1882. There were no children by this marriage. He married his second wife, Harriet Frankish, daughter of Mr. Joseph Armitage Wade, J.P., of Hull and Hornsea, in 1885. By this marriage there were six children, of whom a son, Samuel Richard Cobden Plimsoll, and two daughters survived him.

Legacy

In 1873, the Samuel Plimsoll, an iron hulled full-rigged merchant sailing ship, was launched at the shipyard of Walter Hood & Co. in Aberdeen, Scotland for the Aberdeen White Star Line (G. Thompson & Co.).  She was assigned the official British Reg. No. 65097 and the signal MKDH.  In 1899, she caught fire in the Thames River and had to be scuttled, but was refloated and repaired in 1900.  In 1902, she was severely dismasted and damaged en voyage to Port Chalmers, New Zealand. Towed to Sydney and subsequently to Fremantle, she was reduced to hulk status the following year.

In the 1920s, Plimsoll shoes were named for their similarity in appearance to the Plimsoll line on boats.

In Whitehall Garden, a Victoria Embankment garden, there is a monument to Samuel Plimsoll in front of the railings.

A monument bust of Plimsoll is located in his native Bristol, on the banks of Bristol Harbour in the Canons Marsh area.

British writer Nicolette Jones published The Plimsoll Sensation, a highly acclaimed biography – getting the idea for it from living in 1995 in Plimsoll Road in Finsbury Park, north London, but knowing hardly anything about whom it was named after.

Samuel Plimsoll appears in the third series of the BBC historical television drama The Onedin Line, portrayed by actor David Garfield.

Samuel Plimsoll's life and achievement is celebrated in a song written and sung by Bristol sea shanty group The Severn Whalers around festivals in and around the South West.

References

Attribution

External links

 "Our Seamen: An Appeal" by Samuel Plimsoll, 1873, at The Internet Archive
"The sailor's friend" (book review), The Economist, Jul 6th 2006 (payment required)
"The Plimsoll Sensation" (podcast), The British Library, Jul 7th 2006#
 "The Bottom Line About Mr. Plimsoll", The Observer, 25 June 2006
 Review of "The Plimsoll Sensation" in Bookworm on the Net, 2 July 2006
 Re: Monument in Whitehall Garden. London Parks & Gardens Trust, London Gardens Online.  See under heading 'Fuller Information', paragraph 'The south-western sections..'."

1824 births
1898 deaths
People from Fulwood, Sheffield
Liberal Party (UK) MPs for English constituencies
Politicians from Sheffield
UK MPs 1868–1874
UK MPs 1874–1880
UK MPs 1880–1885
British reformers
British social reformers
Burials in Kent

Samuel Plimsoll


General elections were held in Belgium on 10 March 1974. The Belgian Socialist Party emerged as the largest faction in the Chamber of Representatives with 59 of the 212 seats. Voter turnout was 90.3%. Elections were also held for the nine provincial councils, as well as for the Council of the German Cultural Community for the first time.

Results

Chamber of Representatives

Senate

Council of the German Cultural Community
In this election, the new Council of the German Cultural Community (Rat der deutschen Kulturgemeinschaft) was directly elected for the first time; members of the council had been appointed a year earlier. The council is the precursor to the Parliament of the German-speaking Community.

References

1974 elections in Belgium
March 1974 events in Europe

1974 Belgian general election


The Elm Street Historic District encompasses a collection of high-style Queen Anne Victorian three-decker houses in Worcester, Massachusetts.  Normally a building style intended for occupation by the working classes of the city, these stylish buildings were built 1904–06 facing Elm Park on the fashionable west side, and attracted a higher class of occupant.  The district was listed on the National Register of Historic Places in 1990.

Description and history
For most of the 19th century, Worcester's west side was the preferred neighborhood for the city's fashionable and upper-class residents.  With the development of the trolley network into the area, it became a target for higher-end multiunit housing.  Charles Bowker, a local real estate developer,
built a series of five three-deckers in 1904-06 as rental properties on the south side of Elm Street, facing Elm Park to the north.  Members of the Bowker family occupied one of the buildings, while the others were rented to mainly white collar workers, including real estate agents, bookkeepers, and accountants.  Other developers also built similar houses along the same block.

The historic district extends for most of a city block, extending along the south side of Elm Street between Hudson and Russell Streets.  The nine buildings in the district are of wood frame construction, and follow the typical forms of three-deckers elsewhere in the city, albeit on a more generously sized scale.  Front porches on several of the buildings extend across the entire front, and some wrap around to one side; several of these retain original elaborate balustrades.  Two nearly identical buildings near the western end of the district feature project semicircular corner bays with conical turrets.

See also
National Register of Historic Places listings in northwestern Worcester, Massachusetts
National Register of Historic Places listings in Worcester County, Massachusetts

References

Second Empire architecture in Massachusetts
Queen Anne architecture in Massachusetts
Houses completed in 1904
Historic districts in Worcester, Massachusetts
National Register of Historic Places in Worcester, Massachusetts
Historic districts on the National Register of Historic Places in Massachusetts

Elm Street Historic District (Worcester, Massachusetts)


Dany, pseudonym for Daniel Henrotin (born 28 January 1943) is a Belgian comic book artist, best known for Olivier Rameau and Ça vous intéresse?.

Biography
Daniel Henrotin was born in Marche-en-Famenne in 1943. After studying at the Art School of Liège, he started working as a comics artist in 1966, as an assistant for Mitteï, an artist working for Tintin magazine. Dany worked there for a year and then had to leave in order to do his military service.

Afterwards, he started collaborating directly on Tintin magazine with illustrations and short stories, and worked in the studio of Greg, the editor-in-chief of the magazine. Greg wrote a poetic story about Olivier Rameau and the people of Dreamland, and it marked the debut of Dany's first successful and longest running series. Dreamland is very similar to the worlds of L. Frank Baum's Oz and Lewis Carroll's Alice and Dany drew an adaptation of Alice shortly after starting the Olivier Rameau series.

Much of Dany's early work was drawn in a comical style, but in the late 1970s he produced more realistic drawings while in collaboration with writer Jean Van Hamme. This included Histoire sans héros ("Story Without a Hero") in 1977, which was a one-shot adventure story about the survivors of a plane crash trying to find a way out of a dense South American jungle. It obtained critical success and reached a wide audience. Dany and Van Hamme also came up with a series called Arlequin, the adventures of a freelance secret agent and master of disguise made in the spirit of The Persuaders! which was very popular in continental Europe.

Meanwhile, Greg and Dany would collaborate on some other short-lived series, and in the 1990s Greg wrote the final two stories of Bernard Prince for Dany after Hermann had quit the series. (a character based on Prince had featured in one of the Arlequin stories).

But his main commercial success came in 1990 when he started a series of erotic joke comics with Ça vous intéresse?. The series was an instant success, and many artists and writers have collaborated on the books, magazines, and multimedia that have followed since.

Bibliography

Awards
 1971: Prix Saint-Michel, Humour Award, for Olivier Rameau
 2007: Prix Saint-Michel, Best Artwork
 2011: Prix Diagonale

See also
 Red Ears

Sources

 Béra, Michel; Denni, Michel; and Mellot, Philippe (1998): "Trésors de la Bande Dessinée 1999–2000". Paris, Les éditions de l'amateur.
 Dany publications in Belgian Tintin, French Tintin, Pilote and BoDoï BDoubliées

Footnotes

External links

Dany official site
Dany site on Éditions Joker
Dany biography on Labiek Comiclopedia
Dany biography fan site

1943 births
Living people
People from Marche-en-Famenne
Belgian comics artists
Belgian comics writers
Belgian erotic artists
Belgian humorists
Belgian illustrators

Dany (comics)


is a central idea in Japanese culture, meaning to acknowledge one's own mistake and to pledge improvement. This is similar to the German proverb Selbsterkenntnis ist der erste Schritt zur Besserung, where the closest translation to English would be "Insight into oneself is the first step to improvement".

Cultural meaning
In the hansei process, the emphasis is on what went wrong and on creating clear plans for ensuring that it does not reoccur; this is done constantly and consistently. At Toyota, even if one completes a project successfully, there is still a hansei-kai (reflection meeting) to review what went wrong. If a manager or engineer claims that there were not any problems with the project, they will be reminded that "no problem is a problem" – meaning that one has not objectively and critically evaluated the project to find opportunities for improvement. No problems indicate that one did not stretch to meet (or exceed) their expected capacity.

Cultural examples
An example would be the actions of Japanese politicians involved in corruption. They apologize publicly for the inappropriate action, then remove themselves from public politics for a few years. They resume their career after a culturally accepted period of time where they learned their lesson.

In Japanese companies it is common practice for a manager to expect hansei from his subordinates in case of mistakes. The manager will publicly take the blame, while the department works on solving the problem.

Other use
Hansei also incorporates the concept of greeting success with modesty and humility. To stop hansei means to stop learning. With hansei, one never becomes convinced of one's own superiority, and feels that there is always more room, or need, for further improvement.

See also
Self-criticism

References

External links
 Summary at Superfactory
 Hansei at Toyota

Japanese words and phrases
Japanese culture
Society of Japan
Japanese values

Hansei


Caroline and Jackie is a 2013 arthouse drama film written and directed by Adam Christian Clark.

Set in Los Angeles over the course of one night, the script focuses on the emotionally complex relationship between two sisters and their close group of friends.

Plot
The film's opening credits have a lingering sense of unease to them, which is capitalized on as soon as Caroline and Jackie arrive at the "surprise birthday party" Caroline has planned for Jackie (despite her birthday not being for two months and it actually being Caroline's birthday) – where the dynamic between the pair (and Ryan, to some degree) is pushed out to the larger group, ratcheted up by rapid cuts and lingering looks between Jackie's friends. But it's not just a surprise dinner party that Caroline has put together – when the group ends up back at Jackie's place, the real "party" is revealed. It's an intervention for Jackie, headed up by Caroline, who hopes that she and Jackie's friends can help her with a variety of issues – anorexia, pill abuse, alcoholism, and even sexual promiscuity.

When Jackie inevitably flees the house, much of the tension of the film is deflated, but it does allow deeper character reveals, with Caroline making a move on another intervention attendee (or two), Jackie taking off for a bar, and every one of Jackie's supposedly worried friends acting less than caring. Clark uses some noticeable and basic plot tricks – pulling people apart and putting them back together, mixing up interactions between different characters, changing locations – but they all serve his aim, which is to slowly unfold the story in a believable way.

The film sets the sisters up as opposing forces, and a question quickly arises – who is more believable? Is Jackie in denial or is Caroline lying? Is Jackie sick or is Caroline even sicker? Is Jackie coping with alcohol because she's a drunk or because she needs a stiff one after a terrible night?

Cast
 Marguerite Moreau as Caroline
 Bitsie Tulloch as Jackie
 David Giuntoli as Ryan
 Valerie Azlynn as Michelle
 Jason Gray-Stanford as James
 David Fuit as Charlie

Reception

Caroline and Jackie was met with mostly positive reviews at both its Tribeca Film Festival premiere and during its theatrical release.

Anita Gates of The New York Times said, "True indie mentality and style are reassuringly alive in 2013 in "Caroline and Jackie," nicely written and directed...It captures the awkwardness, loneliness and unacknowledged desperation that haunt us all but that are particularly poignant when seen among attractive 30-somethings."

John Anderson of Variety said, "Displaying nerves of steel and a generous heart, helmer Adam Christian Clark takes a lot of chances with "Caroline and Jackie," a tale of troubled sisters that keeps the viewer off balance throughout before delivering a payoff that serves as both catharsis and absolution. While it does make demands of its audience, the cumulative emotional impact is startling."

Steve Dollar of The Wall Street Journal called it "a delicious dinner party meltdown, visually polished and emotionally raw". He praised Moreau and Tulloch for "playing their yin/yang roles with gleaming intensity".

Miranda Siegel of New York Magazine named it a must see film, praising its "top-notch performances" and its "unique combination of naturalistic acting and stylized technique".

Jaime N. Christley of Slant Magazine was not as impressed. He writes, "Writer-director Adam Christian Clark's Caroline and Jackie clobbers the viewer with a wall of insistent stylishness, a Ketel One ad that just won't quit, or Bellflower for people whose Blackberry is a vital organ."

On the review aggregation website Rotten Tomatoes the film has an 80% rating based on reviews from 10 critics. On Metacritic it has a score of 60% based on reviews from 6 critics, indicating "mixed or average reviews".

Music
In addition to an original score by Lisbeth Scott, the film features the Ruth Brown recording of Nellie Lutcher's "Hurry On Down".

References

External links

 Bullett Magazine Interview
 Wall Street Journal Review
 DVD Talk Review

2012 films
American drama films
2010s English-language films
Films set in Los Angeles
2012 directorial debut films
2012 drama films
2010s American films

Caroline and Jackie


Halsön, or Halsögrund, is an island in the north of the Swedish sector of the Bay of Bothnia, in the Skellefteå archipelago.
It includes the formerly separate island of Granön, so is sometimes called Halsön-Granön.

Location

Halsön is about  south of Byske on the mainland, just west of the larger island of Romelsön.
Between 1870 and 1903 there was a steam sawmill on the island.
The Byske boat club has their clubhouse on the island. There is a marina with 30 berths, a sauna, and the clubhouse with a kitchen.

Environment

Halsön is covered by forest plantations, but has three bays of environmental interest.
Kvällsmålsviken is in the shoal area between Romelsön and Halsön, surrounded by fine meadows and coastal hardwood.
Granöviken also has coastal hardwood that has rich bird life. The bay at Furuskogen has valuable stonewort.
These flads are very productive due to naturally high levels of nutrients, ample light and relatively warm water, supporting rich fauna and flora.
They are important reproduction and nursery areas for fry and small fish, and provide nesting and rest areas for many bird species.
Some of the species in this environment, such as stoneworts, are also rare and in some cases threatened.

References
Citations

Sources

Swedish islands in the Baltic
Islands of Västerbotten County

Halsön (Skellefteå)


The Baker Mansion is a historic home located at Altoona in Blair County, Pennsylvania, United States.  It was built between 1844 and 1849, and is a three-story, dressed stone building in the Greek Revival style.  The front facade is five bays wide and features six fluted Ionic order columns.  The building houses the Blair County Historical Society.

Baker Mansion was originally home to ironmaster Elias Baker and his family.  Baker purchased the nearby Alleghany Furnace in 1836 in partnership with his cousin Roland Diller.  Elias brought his wife, Hetty, and their two sons, David Woods and Sylvester, from Lancaster County to what was described as a "tolerable good mansion house" near the furnace.  Shortly after they arrived, a daughter, Anna, was born.  A fourth child, Margaretta, was born in 1839, but she died of diphtheria at the age of two.  In 1844, Elias Baker bought out his cousin's share in the furnace.  That same year, he contracted with Baltimore architect Robert Cary Long, Jr. to design him a new home.  Work got underway on the mansion in 1845 but many problems and delays hindered its completion until 1849.  The total cost was about $15,000.  The cost overruns, coupled with falling prices for iron, pushed Mr. Baker to the brink of financial ruin before the home was finished.  Still, Baker, ever the determined businessman, pressed ahead and achieved his dream house.  He would enjoy it for fifteen years until his death in 1864.  Hetty Baker remained a widow until her death in 1900.

David Woods Baker married Sarah Tuthill in 1851 and they had one daughter, Louise, in 1852.  However, Woods was killed in a steamboat boiler explosion just two and a half weeks after the birth of his daughter.  Louise later married Ernst Beckman and returned with him to live in his native Sweden.  Sylvester and Anna both remained single and lived in the mansion until their deaths.  After Anna died in 1914, the mansion was closed until 1922, when the Blair County Historical Society leased the building and opened it as a museum. With the community's support for a major fundraising campaign, the society was able to purchase the house in 1941.  Since then, the mansion has served as the Society's headquarters and has become a beloved community landmark.

In 2001, the Society completed an exterior rehabilitation, returning the building to its original appearance.  Work has begun on interior rehabilitation.  The project is financed in part from a state Redevelopment Assistance Capital grant and from local matching funds the Society is working to raise.

In August 2015, the double parlor was restored back to original condition.

The famous legend associated with the mansion is the wedding dress of Anna Baker. Elias Baker's eldest daughter, Anna was in a relationship with a poor steel worker behind her father's back, to the point that they planned a wedding, and Anna purchased her own wedding dress. This was soon discovered by Elias, who strongly against the relationship. He bought the steel mill that Anna's fiancée was working for and forced him to move to another city. Anna turned down every marriage her father offer to her, she chose to lock herself in her own room, keeping the wedding dress that she had never had a chance to wear and died in 1914.

After her death, members of the Baker Family reported her wedding dress appear in random  places in the house, especially the sightings of the ghost of Anna Baker, who is known to appear walking around in the wedding dress.

It was added to the National Register of Historic Places in 1975.

References

External links
The Blair County Historical Society

Houses on the National Register of Historic Places in Pennsylvania
Greek Revival houses in Pennsylvania
Houses completed in 1848
Buildings and structures in Altoona, Pennsylvania
Museums in Blair County, Pennsylvania
History museums in Pennsylvania
Houses in Blair County, Pennsylvania
National Register of Historic Places in Blair County, Pennsylvania

Baker Mansion


The Texandri (also Texuandri; later Toxandri, Toxiandri, Taxandri) were a Germanic people living between the Scheldt and Rhine rivers in the 1st century AD. They are associated with a region mentioned in the late 4th century as Texandria (also Toxiandria; later Toxandria, Taxandria), a name which survived into the 8th–12th centuries.

Name

Attestations
The only inscription that convincingly mentions the tribe is dated 100–225 AD and gives the form Texand(ri). It was found on an altar at Brocolitia (Carrowburgh Fort) near Hadrian's Wall. A more uncertain inscription from Romania dated 102/103 AD reads Texu<...>. They are also mentioned as Texuandri by Pliny (1st c. AD), which may suggest that the two forms Texuandri and Texandri co-existed already in the late-1st–2nd century AD.

The variant form Toxiandria is only attested once in a 9th-century manuscript of Ammianus Marcellinus' Res Gestae (ca. 390) to designate the region. The form Taxandria occurs five times in 9th-century sources, and also in later documents. The inconsistencies in spelling may be explained by dittography (errors by copyists), or by the fact that the older form Texandri had fallen out of usage at the time when those manuscripts were redacted.

Etymology
The ethnonym Texandri, reconstructed in early West Germanic dialects as *tehswandrōz, is generally assumed to derive from the Proto-Germanic stem *tehswō(n)- ('right [hand], south'; cf. Old Saxon tesewa, Gothic taihswa, 'right, south') attached to the contrasting suffix *-dra-. The name can thus be interpreted as meaning 'those of who live south/on the right bank [of the Meuse or Rhine river'], and the region of Texandria as the 'land of the southerners'. Alternatively, J. Mansion has proposed in 1924 an alternative etymology from *texs-wandra-, formed with the West Germanic steù wandra-, which might be related to English wander and Dutch wandelen. It has also been speculated that Texandri may be a Latinized form of the Gaulish tribal name Eburones, since eburos and taxus mean 'yew' in Gaulish and Latin, respectively.

The region of Texandria, attested as Toxiandriam ca. 390 (pagus Texandrie in 709), and the city of Tessenderlo, attested as Tessenderlon in 1135, are probably named after the tribe.

Geography

The Texandri dwelled in a territory situated between the Scheldt and Rhine rivers, alongside other contemporary tribes like the Tungri. Roman writer Pliny (1st c. AD) connected the Texandri to the river Scaldis (modern Scheldt) but the handwritten versions of the sentence a Scaldi incolunt <?> Texuandri are ambiguous. The manuscripts variously have texero, exerni, extera, or externi, which could be interpreted as meaning 'at the Scheldt river', although some translations portray them as 'beyond' that river.

Scholars generally assume that the territory of the Texandri mostly corresponded to the region of Texandria later mentioned by Ammianus ca. 390 AD. In the 380s, the Salian Franks, after being defeated by Julian ca. 358, were given permission to settle apud Toxiandriam locum ('at a place in Toxiandria'). If depopulation had already begun in the area by the late-2nd century (reaching its peak in the late 3rd and 4th centuries), human occupation continued along the Meuse river during the period, and it is unlikely that the sandy areas of modern North Brabant were completely deserted when Frankish settlers recolonized the region from the 5th century onward.

According to Bijsterveld and Toorians (2018), "it can be plausibly argued that those living there as well as the neighbouring population may well have kept the geographic reference to the Texuandri (or to the territory named after them) in use." In sources of the period 709–795, the pagus Texandrie appears to be concentrated around the basin of the river Dommel and its tributaries, between the towns of Alphen, Waalre and Overpelt. It was later extended from the 9th century onward as the result of a growing network of local alliances.

History

Early reports

In the 1st century AD, Pliny the Elder reported that the Texandri consisted of several smaller tribes with various names, which could mean that they were born out of several smaller ethnic groups that merged into a larger group or joined together.

From the military records found across the Roman Empire, it appears that the Texandri may have formed at least one administrative district or pagus which contributed troops to Roman armies, but it appears to be associated with more than one higher level district or civitas. One is the Civitas Tungrorum, the civitas of the Tungri, but there also seems to be an association with the civitas of the Nervii, to the west of the Tungri. The modern town of Tongerloo, named after the Tungri, is very close to Tessenderlo, but actually further from the capital city of the Tungri, modern Tongeren. The relationship between the Tungri and Texandri is unclear. Prior to Pliny, the Texandri were not mentioned by Julius Caesar or Strabo in their reports of the region.

If the Texandri were not a new name for an older group, then the Texandri and indeed the Tungri, whose name also only appears for the first time in Roman times, may have been made up of Germanic immigrants from the east of the Rhine, settling Roman territory, as certainly happened closer to the Rhine - for example the Ubii to the east near Cologne, the Cugerni to the northeast near Xanten, and the Batavians and Canenefates directly to the north of the Texandri, in the Rhine-Meuse delta. Tacitus, however, does not mention the Texandri, but specifically mentions that the Tungri, unlike the Ubii, Batavians and Canenefates who he also discusses, had simply changed tribal name, having previously been known as the (cisrhenane) Germani, a grouping which had included the Eburones.

Before the Roman takeover of this region, in Julius Caesar's commentary, the tribal boundaries in the area where the Texandri are later found are left unclear. He described it as thorny low forest and marshy lowlands, northwards of the main populations of the cisrhenane Germani and Nervii. Caesar mentions both these politically important tribes retreating into such northern estuarine areas when threatened, but more clearly connects those regions to the Menapii, who in Caesar's time, as opposed to Strabo's, stretched through the delta all the way to the Rhine. At one point Caesar specifically says that the cisrhenane Germani bordering the Menapii were the Eburones, who he describes as the biggest and most important tribe of the Germani.

Ambivariti

In one isolated passage, Caesar did apparently describe a tribe near the area of the later Texandri, the Ambivariti. He describes their position incidentally only, mentioning that a raiding group of Tencteri and Usipetes from east of the Rhine had crossed it at a point where Menapii lived on both sides of the river, and then crossed the Meuse (Dutch Maas) in order to raid the Ambivariti. However, Caesar does not describe the associations of these people with any others.

The 4th/5th century Christian writer Orosius also listed the Ambivariti (Ambiuaritos) as one of the allies of the Veneti in their rebellion against Caesar. However Caesar's list mentioned the "Ambiliatos" in his similar list of Veneti allies. and the "Ambibari" in a list of similar coastal peoples. Caesar had also mentioned "Ambivaretis" as dependents of the Aedui. There may thus be errors in the transmission of these names and similar sounding ones.

Later Texandria

In the middle of the 4th century, the area of Texandri became very de-populated, and was exposed to constant raiding from tribes across the Rhine, outside the empire.

Having been amongst the worst raiders, the Salian Franks were eventually settled as foederati in Texandria. Julian the Apostate had at first fought against Saxons and Franks, including the Salians, but then allowed this one group "descended from the Franks" to settle in Texandria in 358. According to Zosimus, in the years previous to this agreement, the Salians had already settled in the island of the Batavians, a border island of the Roman empire, forced there by Saxons from northern Germany. But they had come under attack from Saxons, who were this time raiding Roman territory (and the Salians) from the sea. "[Julian] commanded his army to attack them briskly; but not to kill any of the Salii, or prevent them from entering the Roman territories, because they came not as enemies, but were forced there [...] As soon as the Salii heard of the kindness of Caesar, some of them went with their king into the Roman territory, and others fled to the extremity of their country, but all humbly committed their lives and fortunes to Caesar's gracious protection."

The Salians then became Roman allies (foederati) and provided troops for the imperial army, in the very period that Roman influence in the area was weakening. Texandria therefore eventually became the name of a Frankish county in early medieval Lower Lotharingia.

Texandria is mentioned as a large county in the 870 Treaty of Meersen, and remained the name of a large diocese of the Catholic church during the Middle Ages, under the Roman Catholic Diocese of Liège, which was originally conceived as the diocese of the Roman administrative area of the Tungri.

See also
 Germanic peoples
 List of Germanic peoples
 Campine
 Tungri
 Sicambri

References

Footnotes

Citations

Bibliography

Further reading

External links
 Taxandriamuseum (Dutch)

Early Germanic peoples
Rhine–Meuse–Scheldt delta

Texandri


The Fountain Archive (also called The Fountain Archives or Fountain Archive Project) is a processual art project of the French conceptual artist Saâdane Afif which started in 2008/ 2009. The project includes an ongoing series of framed pages which contain one or several reproductions of the work Fountain by Marcel Duchamp. Here Afif uses the concept of the Objet trouvés (found object) and tears off the pages from different publications. For each publication and pages Afif normally makes only one piece for the Fountain Archives, which is created as a work of art.

The Fountain Archive also includes a bookshelf which stores all used publications of the project.

Origin and description

In 2008 Saâdane Afif started to collect publications which contain reproductions of the work Fountain (1917) by Marcel Duchamp. After he was distinguished with the Marcel Duchamp Prize in 2009, Afif began the Fountain Archive. At present the Fountain Archive contains over 600 images of Duchamp's porcelain urinal. In this work, Afif collects and archives every publication in which he finds a reproduction of Duchamp's urinal. As a "found object" every page containing the picture of the Fountain is torn out and then carefully framed. The frame (sometimes with a colored background), used for its preservation and highlight ornament purposes, is also part of the making process. Every step of the archiving follows meticulous rules which participate entirely in the making process of these works of art. For each publication and page Afif normally makes only one piece for the Fountain Archive.

If a publication contains images of Duchamp's Fountain on several pages, all of them are torn off and form together a polyptych. When found, the publications are registered with an archive number ranging from FA 0001 potentially to infinite. Afif intended to continue the Series of Archives until its 1001st. The publications (sans Fountain) are then stored in a bookshelf in the studio of the artist. The bookshelf creates an archive around Duchamp's Fountain, from which the common initiator has been removed: "an archive without its object". The Fountain Archives has been presented in various exhibitions throughout the world.

Since 2013, some publications presenting this project by Afif happened to reproduce the work Fountain of Duchamp. Those specific documents are also incorporated in the Fountain Archives project. But they are treated as special objects as they are doubled in order to testify of a historical echo, mark a mise en abyme. In case of the mise en abyme – a publication includes an image of Afif's Fountain Archive project – there is also one exception to the strict rule that each publication produced only a unique, singular work of the Fountain Archive. These pages underline an evolution in the development and perception of the Fountain Archives as an artwork. They are stored under a specific section titled "Augmented", and they are building a step-by-step archive within the archive. Therefore, two copies of the publications (sans Fountain) enter the archive bookshelf and two editions of the work are made.

History
In 2013 a group of 101 Fountain Archives were shown in the exhibition "The Present Order is the Disorder of the Future" based in the Museum Kurhaus Kleve. Referring to the presentation a first text, by the art historic Valentina Vlasic, about the Fountain Archive was published in the exhibition catalogue. This catalogue contribution included a picture of Duchamp's Fountain, therefore Afif tears the page off and makes an augmented fountain archive out of it. This said Klever Fountain, with the description FA 0366, is based in the collection of the Museum Kurhaus Kleve as a permanent loan.

Interpretations
The German art historian Eva Huttenlauch named Marcel Duchamp as Afif's guiding star, he looked up as his ideal self. Many of Afif's concepts, like the Fountain Archive, rest on the foundations Duchamp laid.

The Austrian art historian Valentina Vlasic termed Afif's Fountain Archive as a repetition of the key-moment of the ready-made, the fundamental act of selecting which just as it did at that time for Duchamp, represents a complete artistic achievement. Afif does not do this with real objects, like a normal commercial one, but he uses the artistic object of the Fountain as an illustration from publications. As a charming witticism, Vlasic predicated that there is in addition the fact that Afif leads Duchamp's Fountain in a new way back into the museum, a site it had to leave about one hundred years ago through being excluded from the exhibition.

For the art historian Elena Filipovic, the high importance of Duchamp's Fountain in art history accrued especially because of the reason that the artist understood very well that the reproduction, display, framing, dissemination, and reception of an artwork not only constructs its value and meaning, but also help determine how and if it enters history at all. This comprehension stands also for the background of Saâdane Afif's project of the Fountain Archives.  After "R.Mutt" or Marcel Duchamp Filipovic sees in Afif another person which adopts the white urinal and also conducts the construction of an icon. The Fountain Archives, which contain an image of a Fountain Archive (mise en abyme), is termed as a "remake" by Filipovic. She compares especially these works with the process of signification of Duchamp's Fountain in art history.

Bibliography
Elena Filipovic, Xavier Hufkens: Sâadane Afif. Fontaines. Triangle Books, 2014, .
Valentina Vlasic: Saâdane Afif, in: The Present Order is the Disorder of the Future, Schriftenreihe Museum Kurhaus Kleve – Ewald Mataré-Sammlung Nr. 62, Freundeskreis Museum Kurhaus und Koekkoek-Haus Kleve e.V. (Hrsg), 2013, p. 57.

Exhibitions
Fountain Archive, Saâdane Afif, in: The Present Order is the Disorder of the Future, 14. July 2013 – 15. September 2013, Museum Kurhaus Kleve – Ewald Mataré-Sammlung, Kleve, Germany.
Fountain Archive, Saâdane Afif, in: Affiches & Fontaines, 25. April – 7. June 2014, Gallery Xavier Hufkens, Brussels, Belgium.
Fountain Archive, Saâdane Afif, in: Toutes Directions – Le Prix Marcel Duchamp, 21. September 2014 – 11. January 2015, Wilhelm-Hack-Museum, Ludwigshafen, Germany.
Fountain Archive, Saâdane Afif, in: Unendliche Bibliothek - Alte Fabrik, 24. January – 29. March 2015 Gebert Stiftung für Kultur, Rapperswil, Switzerland.

References

External links
The Fountain Archives
Xavierhufkens.com

Conceptual art

Fountain Archive


Eugène Prévost (1898 – 1965) was a French Canadian carpenter who initially specialized in producing church pews and school furniture. After receiving a commission in 1924 to fabricate and install a wooden bus shell on a new chassis, his business gradually evolved to one that emphasized the production of coach buses and motor homes. Les Ateliers Prévost was acquired in 1957 and renamed Prévost Car. Eugène Prévost had a lasting impact on the village of his birth; the company he founded is a leader in the industry and remains headquartered in Sainte-Claire.

Early life
Joseph Eugène Prévost, son of Joseph Prévost and Obéline Couture, was born on 12 November 1898 in Sainte-Claire, a village in Bellechasse, Chaudière-Appalaches, Quebec, Canada, formerly in the historic county of Dorchester, about thirty miles south of Quebec City. As his older brothers had emigrated to the United States, settling in Vermont, it was left to Eugène and his younger brother Alphonse to assist their father in finishing the interior of the family home in Sainte Claire. After he left school, he worked as a carpenter, building houses and barns. Prévost purchased a motorcycle in 1918 and developed a reputation as a skilled mechanic. Before his father's death in 1921, Eugène Prévost built a side car in 1919 and attached it to his motorcycle, so that he could transport the elder Prévost to visit those sons residing in Vermont. That side car was to become his first machine roulante. Prévost married Clarisse Leblond, daughter of Alfred Leblond and Léda Fauchon, on 29 May 1922 at the parish church. Upon his return from his honeymoon, he established his first workshop in a shed near the family home. He specialized in the manufacture of church pews and school furniture.

Founding of Prévost Car

In 1924, Eugène Prévost received from Georges Roy a commission to produce a wooden bus body and frame and mount it on a new REO truck chassis. For the next decade, he only accepted one or two commissions a year to manufacture buses. Increasing demand for his bus, as well as two fires which destroyed his workshop, one in 1926 and the other in 1937, necessitated the construction of a bus manufacturing facility in Sainte Claire between 1937 and 1939. Prévost changed his bus design from a body and frame which were entirely composed of wood to one with a metal body and a wooden frame. In 1945, he altered his design again, with a body and frame which were both constructed of metal. Prévost also began to phase out his production of furniture to concentrate on motorcoaches. Visits to Detroit to observe manufacturing facilities prompted a shift from handcrafting to a more industrial enterprise, as well as the building of a new factory in 1946. His company, which operated as Les Ateliers Prévost from 1947, received a government commission for one hundred coaches in 1951, the majority of which were for the Department of National Defence. That same year, Prévost decided to begin production of motor homes. However, just a few years later, the bus industry suffered a severe slump and many bus manufacturers in North America went out of business. By 1955, activity at Prévost's enterprise was essentially at a standstill. In 1956, Les Ateliers Prévost manufactured only three coaches. In 1957, the company was acquired by business partners Paul Normand and Evariste Laflamme and renamed Prévost Car Inc. Now owned by Volvo Bus Corporation, Prévost Car produces highway touring buses and is the leader in the manufacture of shells for luxury motor homes and specialty conversions. By 1951, Les Ateliers Prévost provided employment to more than 200 people. In 2014, ninety years after its founding, Prévost Car's headquarters and primary manufacturing facilities remain in Sainte-Claire and the company employs nearly 1200 people.

Public service and later life
Prévost became mayor of Sainte-Claire and warden of its church in 1947, posts which he held for five years and three years, respectively. The mayor acquired the first fire engines for the village. New streets were built under his watch and a planning commission for the village was established. As churchwarden, he constructed a fence which enclosed the church and cemetery of Sainte-Claire. He renovated the church's interior and was also responsible for the illuminated cross at the entrance to the village. Prévost also created the cross at the center of Sainte-Claire Cemetery which marks the grave of Father Joseph Honoré Fréchette, who served as pastor of Sainte-Claire from 1903 until his death in 1939.

Eugène Prévost suffered paralysis about 1955, and increasingly required the assistance of his two youngest sons. He died on 2 February 1965 at age 66, and was interred in the parish cemetery of Sainte-Claire.

Commemoration

Maison Prévost, the residence for the Prévost family, was designed by architect Joseph Gosselin (1847 – 1924) and is a heritage building which was listed by the Government of Quebec in 2009. The Heritage Society of Sainte-Claire acquired a 1952 Prévost Citadin bus in 2001, and spent the next three years restoring the vehicle. The society also sponsored an exhibition which featured the accomplishments of Eugène Prévost. Other tributes to Prévost include Villa Prévost and Place Eugène Prévost. The former is a retirement facility built in Sainte-Claire in 1970. The latter is a park near Sainte-Claire Church which was dedicated to Prévost in 1988. The bronze, commemorative plaque on a monument in the park bears an inscription which honors Prévost:

Place Eugène Prévost. Un hommage à Monsieur Eugène Prévost pour une aventure débutée en 1924. Bâtisseur d'autocars dont les résultats sillonnent non seulement les routes du Québec mais aussi celles du Canada, des Etats-Unis et d'autres continents. Monsieur Eugène Prévost fut générateur d'idées, d'emplois et a tracé la route de l'entrepreneurship pour ses concitoyens. Une réalisation de la corporation municipale et de la caisse populaire de Sainte-Claire. Septembre 1988

References

External links
 Photograph of Eugène Prévost
 Photograph of first bus @ 1924
 Photograph of Maison Prévost
 Photograph of headstone

1898 births
1965 deaths
People from Chaudière-Appalaches
Canadian carpenters
Bus manufacturers of Canada
Mayors of places in Quebec
Coachbuilders of Canada

Eugène Prévost (carpenter)