Sanjay Leela Bhansali (; born 24 February 1963) is an Indian filmmaker and music composer, who is known for his work in Hindi films. He is the recipient of several awards, including seven National Film Awards and 12 Filmfare Awards (of which five were for Best Director), in addition to a nomination for a BAFTA Award. In 2015, the Government of India honoured him with the Padma Shri, the fourth-highest civilian award.

Bhansali's directorial debut was the romantic musical Khamoshi: The Musical (1996). He gained both mainstream and critical success with the romantic dramas Hum Dil De Chuke Sanam (1999) and Devdas (2002), the latter of which was nominated for the BAFTA Award for Best Film Not in the English Language. He won the National Film Award for Best Feature Film in Hindi for directing the drama Black (2005). His subsequent releases Saawariya (2007) and Guzaarish (2010) were box-office flops. The latter film marked his debut as a music composer. He also began producing under his banner Bhansali Productions.

Bhansali reinforced his status with the tragic romance Goliyon Ki Raasleela Ram-Leela (2013), and the top-grossing period dramas Bajirao Mastani (2015) and Padmaavat (2018). He won the National Film Award for Best Direction for Bajirao Mastani and the National Film Award for Best Music Direction for Padmaavat. He has since directed the biopic Gangubai Kathiawadi (2022), winning further National and Filmfare Awards.

Early life
Sanjay Leela Bhansali was born on 24 February 1963 in Bhuleshwar, South Bombay into a Gujarati Jain family. His mother, Leela, used to sew clothes to make ends meet. He speaks Gujarati at home and loves Gujarati food, music, literature and architecture.

His sister, Bela Bhansali Sehgal, has directed Shirin Farhad Ki Toh Nikal Padi (2012), for which he wrote the script, while Bela's daughter, Sharmin Segal, made her debut as an actress under his production Malaal (2019), for which he also served as fellow writer and composer.

Career

Early work (1989–2002)
Bhansali began his career as an assistant to Vidhu Vinod Chopra and was involved in the making of Parinda (1989), 1942: A Love Story (1994) and Kareeb (1998). However, they had a falling-out when Bhansali refused to direct Kareeb. In 1996, he made his directorial debut with Khamoshi: The Musical, the commercially unsuccessful but critically acclaimed film about a daughter's struggle to communicate with her deaf-mute parents. The film earned 5 Filmfare Awards, including the Filmfare Award for Best Film (Critics).

He rose to prominence in Indian cinema with the musical love triangle Hum Dil De Chuke Sanam (1999), starring Aishwarya Rai, Salman Khan, and Ajay Devgn, which established his individualistic stamp for visual splendour and creating auras of celebration and festivity. The film was premiered in the Indian Panorama section at the 1999 International Film Festival of India. It was a critical and commercial success, and won numerous awards including 4 National Film Awards and 8 Filmfare Awards.

Widespread success with Devdas and Black (2002–2006)
His next film, the period romantic drama Devdas (2002), starring Shah Rukh Khan, Aishwarya Rai and Madhuri Dixit, was Bhansali's ode to the novel of the same name, which became the highest-grossing film of the year. The film also earned widespread critical acclaim and won 10 awards at Filmfare, emerging as the most-awarded film in Filmfare at the time (tying with Dilwale Dulhania Le Jayenge (1995)). At the 50th National Film Awards, it won 5 awards including Best Popular Film Providing Wholesome Entertainment. It received a nomination for the Best Foreign Film at the British Academy of Film & Television Awards (BAFTA). It was India's submission for the Academy Award for Best Foreign Language Film. The film was also screened at the 2002 Cannes Film Festival. It stood eighth in Time magazine's "The 10 Greatest Movies of the Millennium (Thus Far)".

His next film, Black, starring Amitabh Bachchan and Rani Mukerji, broke his own all-time record of Devdas by garnering 11 awards, the highest number of awards ever given to a single film at Filmfare. It stood fifth in Time (Europe)'s "10 Best Movies of the Year 2005" among films from across the world. At the 53rd National Film Awards, he received his second National Award for Best Feature Film in Hindi. Hum Dil De Chuke Sanam, Devdas and Black earned him multiple Best Film and Best Director awards at Filmfare, the latter also received additional Best Film (Critics) award. In 2006, Bhansali participated as a judge on reality TV show Jhalak Dikhhla Jaa alongside Farah Khan and Shilpa Shetty.

Directorial career decline, stage directorial debut, and production ventures (2007–2012)
Bhansali's next film, the musical romance Saawariya (2007) was met with sharp criticism and poor collections at the box office. In 2008, Bhansali staged the opera Padmavati, an adaptation of the 1923 ballet written by Albert Roussel. The show premiered in Paris at the prestigious Théâtre du Châtelet and next at the Festival dei Due Mondi, where it received "fifteen minutes of standing ovation and seven curtain calls at the end of the first show." Bhansali received highly positive reviews from international critics for his work. In 2010, Bhansali released Guzaarish, starring Hrithik Roshan and Aishwarya Rai, in which he also made his debut in music direction. The film received mixed reviews from critics, but could not perform well at the box office. Guzaarish earned him a nomination for the Filmfare Award for Best Director. In 2011, he became a judge on the Indian music talent show X Factor India Season 1. The same year, he also produced the musical comedy My Friend Pinto, which received negative reviews and tanked at the box office. In 2012, Bhansali produced Rowdy Rathore, a remake of the Telugu film Vikramarkudu, starring Akshay Kumar and Sonakshi Sinha and directed by Prabhu Deva. The film received mixed reviews from critics and became a major commercial success, with Box Office India labelling it as a blockbuster. The following year, he produced Shirin Farhad Ki Toh Nikal Padi, which also received mixed reviews, but could not perform well at the box office.

Widespread success (2013–present)

In 2013, Bhansali directed the tragic romance Goliyon Ki Raasleela Ram-Leela, an adaptation of Shakespeare's Romeo and Juliet, starring Deepika Padukone and Ranveer Singh. Some religious groups opposed the film claiming that the former title Ramleela was misleading, because the movie had nothing to do with Ramlila, the traditional enactment of the life and story of Hindu deity, Lord Rama. The film's release had been stayed by Delhi High Court due to the controversy over its title, claiming that the movie hurt the religious sentiments of Hindus. Later the film's title was changed to Goliyon Ki Raasleela Ram-Leela, and eventually released in India as scheduled. However, after a week of release, Lucknow bench of Allahabad High Court banned the movie's release in Uttar Pradesh. Despite the controversy and limited release, the film opened to critical acclaim and strong box office collections worldwide, ultimately earning ₹2.02 billion (US$31 million) and emerging as the fifth highest-grossing film of 2013. The film garnered several award nominations for Bhansali including Best Film and Best Director nominations at Filmfare. The same year, Bhansali debuted in television with the show Saraswatichandra, starring Gautam Rode and Jennifer Winget, which he later left after few episodes.

The following year, he produced the biographical sports film Mary Kom starring Priyanka Chopra, which premiered at the 2014 Toronto International Film Festival, becoming the first Hindi film to be screened on the opening night of the festival. The film became both a critical and commercial success and received various accolades including a nomination for the Filmfare Award for Best Film. At the 62nd National Film Awards, Bhansali received another National Award for Best Popular Film Providing Wholesome Entertainment for the film. In 2015, he produced the action drama Gabbar Is Back starring Akshay Kumar, which also emerged as a commercial success and received positive reviews from critics.

Bhansali's next directorial venture was his dream project, the period romantic drama Bajirao Mastani (2015), based on the love story between Peshwa Baji Rao I and his second wife Mastani. Ranveer Singh and Deepika Padukone played the title roles, while Priyanka Chopra played Bajirao's first wife, Kashibai. The film was announced in 2003 and was constantly in the news regarding the cast, including actors such as Salman Khan, Shah Rukh Khan, Aishwarya Rai Bachchan, Kareena Kapoor and Rani Mukerji. The descendants of Bajirao I and Mastani expressed their disapproval of this film, claiming excessive creative liberty by Bhansali causing wrongful portrayal of their ancestors. A petition was filed in Bombay High Court seeking a stay on the film, but the High Court refused to interfere with its release. It received widespread critical acclaim worldwide and was listed among the best films of 2015 by several sources. Despite the controversy, the film emerged as one of the highest-grossing Indian films of all time. The film received numerous accolades at various award ceremonies in India. At the 63rd National Film Awards, Bajirao Mastani won 7 awards and Bhansali won the National Award for Best Director, in addition to winning Best Film and Best Director at Filmfare. The film was featured at the 2016 Indian Panorama section of the International Film Festival of India. Bajirao Mastani was selected as India's official entry for the Best Foreign Language Film for the 74th Golden Globe Awards. The following year, he produced the Marathi film Laal Ishq.

Bhansali directed the period drama film Padmaavat (2018), jointly produced by him and Viacom 18 Motion Pictures, and also written by him. The film stars Deepika Padukone in the title role as Rani Padmini, alongside Shahid Kapoor and Ranveer Singh in the title roles of Rawal Ratan Singh and Alauddin Khalji respectively. During the shooting of the film in January 2017 in Jaipur, the members of Shri Rajput Karni Sena protested at the sets at Jaigarh Fort, physically attacked Bhansali and his crew members, alleging that he misrepresented historical facts and depicted them erroneously in the film, and also tried to vandalise the sets. On 6 March 2017, members of Shri Rajput Karni Sena vandalised the Chittor Fort again and broke the mirrors installed in the palace of Rani Padmini. On 15 March 2017, a group of unidentified vandals again attacked and set fire to the sets of this movie in Kolhapur which led to the production set, costumes and jewelleries being burnt. The film earned Rs. 1.43 billion rupees in the first six days after its release. Padmaavat emerged as the highest-grossing film of the year, and received widespread critical acclaim, and earned Bhansali the National Film Award for Best Music Direction and the Filmfare Award for Best Music Director, in addition to Best Film and Best Director nominations at Filmfare.

In 2021, Bhansali directed Gangubai Kathiawadi, a biographical crime drama based on a chapter of Hussain Zaidi's book Mafia Queens of Mumbai. The film about Gangubai Kothewali, stars Alia Bhatt as Gangubai, and was scheduled for release on 30 July 2021, but was postponed due to the COVID-19 pandemic. The film eventually released in February 2022 to earned widespread critical acclaim, and won a leading 11 Filmfare Awards, including Best Film and Best Director wins for Bhansali,  and five National Film Awards including Best Editing and Best Adapted Screenplay wins for Bhansali.

Filmography

Films

Television

Stage
 Stage Opera Padmavati (Director) – 2008

Awards and nominations

References

External links

Living people
Film directors from Mumbai
Hindi-language film directors
Best Director National Film Award winners
Filmfare Awards winners
Screen Awards winners
International Indian Film Academy Awards winners
Zee Cine Awards winners
Film and Television Institute of India alumni
Hindi film score composers
Indian male screenwriters
Hindi film producers
Recipients of the Padma Shri in arts
1963 births
Film producers from Mumbai
20th-century Indian film directors
21st-century Indian film directors
Gujarati people
Producers who won the Best Popular Film Providing Wholesome Entertainment National Film Award
Directors who won the Best Popular Film Providing Wholesome Entertainment National Film Award
21st-century Indian Jains
Best Adapted Screenplay National Film Award winners

Sanjay Leela Bhansali


Jean-François Leroy (; 24 September 1729 - 1791) was a French architect. For the Prince of Condé, he worked on the Château of Chantilly, the Palais Bourbon, and the Hôtel de Lassay, where he replaced  in 1780.

Biography
Leroy was born in Chantilly, the son of Jean-Jacques Leroy, building inspector of the Prince of Condé, and Mary-Anne Dunu, daughter of the superintendent of the Château de Chantilly. He entered the service of the prince, following his father. In 1761, he married Toudouze Françoise-Thérèse, daughter of the prince's master of the hunt. He was appointed architect of the Château de Chantilly in 1768, upon the death of his predecessor, Brice Le Chauve.

In Chantilly, he built the Château d'Enghien (1769–1770) and the Hameau de Chantilly (1774–1775).

He worked with Claude Billard de Bélisard on the Palais Bourbon and the Hôtel de Lassay, and then succeeded him in about 1780. In 1782 he revised Bélisard's plan for the Place du Palais Bourbon.

With the landscaper Lecourt, he created the picturesque gardens of Betz-en-Multien for the Princess of Monaco, mistress of the Prince of Condé; all that remains is a prostyle Ionic temple of Love.

References

Sources
 Michel Gallet, Les architectes parisiens du XVIIIe siècle, Paris, Éditions Mengès, 1995.
 Gustave Macon, Les Arts dans la maison de Condé, Librairie de l'Art Ancien et Moderne, Paris  1903, ()
 C.-M. Dugas, "Une dynastie d'architectes, les Leroy", Bulletin de la Société d'histoire et d'archéologie de Senlis, 1959.

1729 births
1791 deaths
18th-century French architects
People from Chantilly, Oise
Jean-Francois

Jean-François Leroy


The SEAT 127 is a supermini produced by the Spanish automaker SEAT between the spring of 1972 and 1982, based on the Fiat 127.

Due to SEAT design policy, a four-door variant of the car (without a hatchback lid, in spite of the fastback roofline) was added to the lineup in 1973. While usually fitted with the same 903 cc engine as in the Fiat 127, SEAT also produced a unique variant of the 127 OHV engine. This had 1010 cc instead of 903 cc and produced  rather than the  of the smaller unit.

The SEAT 127 underwent the same styling modifications as did the Fiat 127 (new grille, taillights, bumpers) for the Serie 2, of January 1980. At the same time, a full five-door hatchback bodywork also became available.

When their licence from Fiat expired, SEAT redesigned some parts of the car and renamed it the SEAT Fura. Some design parts of this model were also used in the Ibiza Mk1. SEAT produced 1,238,166 units of the 127 between 1972 and 1982.

References

127
1970s cars
1980s cars
Cars of Spain
Cars introduced in 1972

SEAT 127


Samuel Lysons  (1763 – June 1819) was an English antiquarian and engraver  who, together with his elder brother Daniel Lysons (1762–1834), published several works on antiquarian topics. He was one of the first archaeologists to investigate Roman sites in Britain, and specialised in the study of mosaics.

Origins
He was born at Rodmarton near Cirencester, Gloucestershire, the younger son of the Reverend Samuel Lysons (1730–1804) by his wife Mary Peach of Minchinhampton. His elder brother was Daniel Lysons (1762–1834), his collaborator in much of his work.

Career
In November 1786, Lysons was elected a fellow of the Society of Antiquaries. He studied law at Bath in Somerset and was called to the Bar at the Inner Temple in 1798. Having chosen the Oxford Circuit, he practised law until December 1803. He served as director of the Society of Antiquaries of London from 1798 to 1809. He was elected a Fellow of the Royal Society in 1797 and later served as vice-president and treasurer (1810–1819) of the Society. Shortly before he died, he also served as antiquary professor in the Royal Academy. His portrait was painted by, among others, Academicians Sir Thomas Lawrence and George Dance the Younger.

From 1803 until his death in 1819 he was Keeper of the Records in the Tower of London, then one of the principal storage sites for historic government documents and other archives until the opening in 1838 of the Public Record Office in Chancery Lane (now The National Archives, Kew). He wrote the descriptions for Cadell & Davies' version of Britannia Depicta.

Death
Lysons died in June 1819, near Rodmarton, Cirencester, Gloucestershire, his birthplace.

Works

Samuel Lysons' works included:
Environs of London, illustrated by Samuel Lysons, written by Daniel Lysons.
 Magna Britannia, Being a Concise Topographical Account of the Several Counties of Great Britain, written by both Samuel and Daniel, published in several volumes from 1806 to 1822 including:
Volume 6: Devon, 1822
Reliquae Britannico-Romanae (1801–1817), in which 156 plates were engraved by Samuel.
Views and Antiquities of the County of Gloucestershire (1791), relating to his native county, for which he produced plates.
A Collection of Gloucestershire Antiquities (1803), for which he produced plates.
An Account of the Remains of a Roman Villa Discovered at Woodchester in the County of Gloucestershire (1815), written by Samuel. This included descriptions of his discovery of the Orpheus mosaic at Woodchester Roman Villa in 1793.
Several works on Roman mosaics, including papers in Archaeologia, published by the Society of Antiquaries in London.

References

External links

 Lysons Family Collection. James Marshall and Marie-Louise Osborn Collection, Beinecke Rare Book and Manuscript Library, Yale University.

1763 births
1819 deaths
People from Cirencester
English antiquarians
18th-century antiquarians
19th-century antiquarians
Historians of Devon
English engravers
Fellows of the Royal Society
Members of the Inner Temple
Fellows of the Society of Antiquaries of London
Historians of Gloucestershire
Samuel

Samuel Lysons


Cromer Conservation Park is a protected area located in the Australian state of South Australia in the locality of Cromer in the Adelaide Hills state government region about  north-east of the state capital of Adelaide and about  north of the town centre in Birdwood.

The conservation park consists of land in section 9 in the cadastral unit of the Hundred of Talunga. It was proclaimed under the National Parks and Wildlife Act 1972 on 22 January 1976. As of 2016, it covered an area of .

In 1980, it was described as follows:One of few areas of natural vegetation in the Mount Lofty Ranges which have not been disturbed by a history of grazing or other deleterious land use. As such it is a highly significant remnant of the wetter Mount Lofty Range vegetation. Though a small reserve, it contains a wide diversity of plant and bird species. A small Park of gentle relief, exhibiting vegetation dominated by Eucalyptus leucoxylon / E fasciculosa open forest with E. obliqua, E. goniocalyx and E. camaldulensis. The understorey consists of a dense shrub heath in which species of Acacia, Hakea, Banksia and Xanthorrhoea are the dominant constituents. Approximately seventy bird species have been recorded in the park. The park is in pristine condition having never been grazed by stock, however its limited size means it is susceptible to outside disturbance. This area is bounded on two sides by pine plantations.

In 2016, the conservation park was reported as being one of three sites in South Australia where the blue star sun-orchid (Thelymitra hygrophila) has been found. The orchid species was listed on 5 May 2016 as being Critically Endangered under the Australian Environment Protection and Biodiversity Conservation Act 1999.

The conservation park is classified as an IUCN Category III protected area. In 1980, it was listed on the now-defunct Register of the National Estate.

See also
Protected areas of South Australia

References

External links
Cromer Conservation Park webpage on the Protected Planet website
Cromer Conservation Park webpage on the BirdsSA website

Conservation parks of South Australia
Protected areas established in 1976
1976 establishments in Australia
Adelaide Hills
South Australian places listed on the defunct Register of the National Estate

Cromer Conservation Park


Robert William Irvine (29 April 1900 in Lisburn, Ireland – 1979 in Leicester, England) was an Irish footballer. He played as a centre or inside forward.

A sublime dribbler and a master of ball control, Bobby Irvine was amongst the most gifted attacking players of his generation. Signed by Everton FC for £500 in September 1921, he made his Football League debut in a 1-1 draw against Liverpool F.C. in November 1921 at Anfield. He quickly became a crowd favourite at Goodison Park - his bravery and determination coupled with his thrilling skills entertained the fans for six seasons. More of a creator than a scorer, Irvine normally played at inside-right, but when deployed at centre-forward he proved an effective goal-getter, best illustrated by a hat-trick against Aston Villa in January 1922.

First selected for Ireland in March 1922, Irvine played at centre-forward in a 2-1 defeat by Scotland. Indeed, five of his first six caps were won leading the attack. An early personal best performance came with two goals in a 3-0 win over Wales in Wrexham, but he will be best remembered for his role in 2-1 and 2-0 defeats of England at Windsor Park in 1923 and 1927, and for his goal that gave his country a 3-2 lead at Anfield in 1926, only for the game to finish 3-3.

Troubled by injuries through a number of spells of his career, Irvine left Everton in March 1928 having made just nine appearances in what was a title winning campaign for the Toffees. Snapped up by Portsmouth FC, he made his Fratton Park debut in a 1-0 win over Manchester United on 17 March. He helped his new club to the FA Cup final in 1929, but injury robbed him of a place in the final line-up as they lost 2-0 to Bolton Wanderers. In August 1929 Irvine joined Welsh club, Connah's Quay, where he became the only player from that club to be capped for Ireland.

With Connah's Quay suffering severe financial difficulties, Irvine returned to Northern Ireland, signing for Derry City. He marked his Brandywell debut with a goal in a 1-0 Gold Cup quarter-final win over Larne on 3 September 1930. With Derry, Irvine took his caps total to 15, and in October 1932 also played twice for the Irish League, in 5-2 and 4-1 defeats by the English and Scottish Leagues respectively. During this period Irvine also briefly turned out for Chester, scoring nine times in 13 games in the Cheshire County League shortly before they were elected to The Football League in 1931.

Irvine returned to England in May 1933 with Division Three (South) club, Watford FC. He played his last Football League match in early 1934, officially hanging up his boots in April 1935. With his playing days on the wane, it was written of him: "There is no man who takes harder knocks and squeals less than Irvine." In total, he won 15 international caps and scored 3 goals.

Everton playing record

League appearances 199, goals 54

FA Cup appearances 15, goals 3

References

External links
 Northern Ireland's Footballing Greats

1900 births
1979 deaths
Irish association footballers (before 1923)
Pre-1950 IFA men's international footballers
Everton F.C. players
Portsmouth F.C. players
Derry City F.C. players
Watford F.C. players
Chester City F.C. players
English Football League players
Ulster Scots people
Men's association football forwards
Association footballers from Lisburn
Men's association footballers from Northern Ireland

Bobby Irvine (footballer, born 1900)


The following is a list of episodes from the twenty-third season of the PBS series,  Mister Rogers' Neighborhood, which aired in late 1992 and early 1993.

Episode 1 (Up & Down)
Rogers and Mr. McFeely ride an elevator and an escalator in a mall, to compare the differences. Lady Elaine accepts the delivery of a hydraulic platform.

 Aired on November 23, 1992.

Episode 2 (Up & Down)
Famed domino artist Bob Speca Jr. sets up and knocks down dominoes at Negri's Music Shop. In the Neighborhood of Make-Believe, Robert Troll rides the hydraulic platform outside the Museum-Go-Round.

 Aired on November 24, 1992.

Episode 3 (Up & Down)
King Friday wants the neighbors to find a place where Mimus polyglottos and Troglodytes aedon can take up dance lessons. While they are not looking, Robert Troll takes Mimus and Trog for a walk and dance, while Chuck Aber goes off looking for the birds.

 Aired on November 25, 1992.

Episode 4 (Up & Down)
Rogers hears from clarinetist Richard Stoltzman. In the Neighborhood of Make-Believe, two crises remain unsolved. They are stopping the Museum-Go-Round from going up and down, and getting the wooden birds back.

 Aired on November 26, 1992.

Episode 5 (Up & Down)
Bruce Franco makes balloon art, concentrating on animals. In the Neighborhood of Make-Believe, the hydraulic platform is fixed. By chance, Robert Troll is seen with the King's two wooden birds.

 Aired on November 27, 1992.

Episode 6 (Love)
Rogers enters carrying a teddy bear and wearing a bear costume. Chuck Aber then brings in a video that shows how teddy bears are made. The Neighborhood of Make-Believe finds one of its neighbors in a bear costume.

 Aired on February 22, 1993.

Episode 7 (Love)
Rogers shows a picture of one friend, an ornithologist, and visits him at The Aviary in Pittsburgh. Lady Elaine Fairchilde is readying a "Museum of Love." At Mayor Maggie's suggestion, Lady Elaine decides to start a soap opera.

 Aired on February 23, 1993.

Episode 8 (Love)
Rogers soaks his feet in a pool outside his porch and "Officer" Clemmons makes an unexpected visit. In the Neighborhood of Make-Believe, Lady Elaine is preparing to do a soap opera she calls "As the Museum Turns". Meanwhile, King Friday, Queen Sara, and Prince Tuesday get angry at each other, in front of Lady Aberlin.

 Aired on February 24, 1993.
 This is the last appearance of Francois Clemmons.

Episode 9 (Love)
Rogers discusses the way of how images are reflected in mirrors. Lady Elaine continues preparations for her one-woman soap opera.

 Aired on February 25, 1993.
 Lady Aberlin questioning love was also in episode 1309.

Episode 10 (Love)
Rogers uses bubble mix and a wand to make large bubbles and discovers he has no running water. Before things are fixed, he remembers his visit to a kitchen where he helped make spinach egg rolls. The Neighborhood of Make-Believe witnesses the soap opera at the Museum of Love. Some of the neighbors help Lady Elaine perform.
And Then Maggie Stewart Brings A Videotape On How People Make Waffles and Ham
 Aired on February 26, 1993.

Episode 11 (Then & Now)
Rogers does a science experiment involving food coloring and water. In the Neighborhood of Make-Believe, Robert Troll takes the Trolley off its tracks. This prompts several neighbors to search for it.

 Aired on August 30, 1993.

Episode 12 (Then & Now)
Guest shadow artist Jim West performs silhouettes of various animals. Mr. McFeely shows a tape on how light bulbs are made. The Court of the Neighborhood of Make-Believe wants to return the shadows of Harriet Elizabeth Cow, Donkey Hodie, X, and Henrietta. Before long, Robert Troll reveals the Trolley's Extra Dimension to Lady Aberlin.

 Aired on August 31, 1993.

Episode 13 (Then & Now)
Mr. McFeely brings a pantomimist to Rogers' television house. The trolley's reputation for revealing the past spreads through the Neighborhood. It gets to the point where the Trolley turns the Neighborhood upside-down.

 Aired on September 1, 1993.

Episode 14 (Then & Now)
Mr. McFeeley brings a dead bird into the television house and asks Rogers for a box in which to bury it. This prompts a Neighborhood of Make-Believe discussion of death as Lady Aberlin helps Henrietta and Daniel.

 Aired on September 2, 1993.

Episode 15 (Then & Now)
Rogers visits Itzhak Perlman at a concert hall and reflects on his visit to Colonial Williamsburg.

 Aired on September 3, 1993.
 The "Then & Now" episodes have been the only time in the series where the Neighborhood Trolley has shown its Special Dimension, which is where it shows images from the past.

Mister Rogers' Neighborhood seasons

Mister Rogers' Neighborhood (season 23)


Tulip breaking virus is one of five plant viruses that cause both tulips and lilies to have a different petal color effect, such as stripes or flames on an otherwise single color flower. Tulip breaking virus is in the same virus group as Tulip top-breaking virus (TTBV), Tulip bandbreaking virus (TBBV), Rembrandt tulip-breaking virus (ReTBV) and Lily mottle virus (LMoV) but they are all considered different viruses. Tulip breaking virus can come in two forms: Severe tulip breaking virus and mild tulip breaking virus. Severe tulip breaking virus can cause light colors to appear on tulips, whereas mild tulip breaking virus tends to cause darker colors to appear.

Effects of the virus
Tulip breaking virus infects the bulb of the tulip or lily and changes the color of the petals. This change depends on the strain of the virus, the type of plant and the age of the plant when it gets infected. Tulip breaking virus causes differences in the pigments in the flowers, which in turn changes the colors.

In lilies, it takes two weeks after infection to see a change in petal color and then changes the shape of the leaves and flowers.

In all forms, the virus harms the bulb and makes it more difficult for the plant to sprout again year after year. Eventually, the bulb is unable to flower again, which is why rare color broken bulbs from the past are no longer in existence.

History
Tulip breaking virus used to be considered the earliest recorded virus, but now it is considered the second earliest, virus-induced leaf chlorosis being the first in 752 AD.

The first time tulip breaking virus was described was in 1576 by Carolus Clusius, a Flemish professor of botany. He called it "rectification" because he believed that the color changes were the plant trying to purify or "rectify" itself.  Clusius also noticed the harm done to the bulb by the virus, but did not know that a virus was causing it. In fact, it took until a decade after World War I for scientists to figure out that a plant virus was the culprit for the color changes. This was considered quite late because plant viruses themselves were known to scientists since 1897.

Before it was known that a virus caused the color changes, it was thought that environmental factors, such as soil, fertilizer or bulb storage, or chronic disorders were to blame.

Pathogen discovery
The virus was discovered by Dorothy Cayley at the John Innes Horticultural Institution in Norfolk, England. She experimented by transferring parts of an infected bulb to a non-infected bulb and seeing if it remained a solid color, or became "broken" in color. She concluded that even transferring minute amounts lead to infection in a healthy bulb.

The virus was then proven to be transferred by at least four species of aphids. The virus is picked up and lives in the aphid's mouths and is then transferred to another plant when the aphid feeds.

In the 1960s it was finally proven that tulip breaking virus was indeed a virus, and today its genetic code has been partially sequenced.

Distribution
It is very difficult to control the spread of tulip breaking virus. It is found world-wide and is very common in southern Europe because of the abundant aphid population. Aphid transmission causes millions of dollars of damage, but mineral oils and pyrethroids are used to combat the pests.

After an experiment was done looking at populations of aphids and time of year, it was concluded that tulip breaking virus transmission starts in April, even though the majority of aphids were not found until May.

The United States, Great Britain and other countries do not allow the sale of infected bulbs, in order to restrict the virus.

Broken tulips today
Most tulips today are bred to have stripes, rather than being infected. However, many tulip enthusiasts dislike the bred tulips and prefer the virus infected plants. There are only a few truly "broken" older plants, alive today only because the virus has not completely stunted the growth. An example of this is Absalon from 1780 which has gold flames against a dark brown background.

Currently, optical sensors are used to detect tulip breaking virus. Recent research looked at the different types of optical sensors and concluded that spectral cameras may be the best type for specifically finding tulip breaking virus, however it was only a bit more accurate than an expert's visual assessment.  Other types of optical sensors considered in the experiment were color cameras, but they were not as effective as spectral cameras nor visual assessment by experts.

References

Viruses

Tulip breaking virus


Hans Billian (born Hans Joachim Hubert Backe, 15 April 1918 in Breslau (today, Wrocław, Poland) – 18 December 2007 in Gräfelfing, Bavaria) was a German film director, screenwriter, and actor noted for the "sex comedies" he directed in the 1970s. He was also credited as Hans Billan, Phillip Halliday, and Christian Kessler.

Early career
Billian originally wanted to become an opera singer but due to the deterioration of his voice during his nine years in military service he had to abandon this plan. After World War II, he settled in West Germany and started to work as an actor at theatres in Hamburg and Wolfenbüttel. He later began to work also as a director's assistant.

In 1950, he started to work for various German film producers. Especially, his work for Constantin-Film proved to be successful until 1961 when he left this company to work as a freelance screenwriter and director. Until the late 1960s, he wrote films or directed films that fell under the category Heimatfilm, such as Ich kauf' mir lieber einen Tirolerhut in 1965. In the late 1960s and early 1970s, he directed softcore sex comedies, like Pudelnackt in Oberbayern (1969) (a Bavarian sex comedy pioneer), Die Jungfrauen von Bumshausen (Run, Virgin, Run) (1970), and Das Mädchen mit der heißen Masche (Loves of a French Pussycat) (1972) (starring Sybil Danning).

Pornographic films
In 1973, Billian directed hardcore short-length loops for the Swedish company Venus Film. When the ban on hardcore pornography was lifted in Germany, he started to direct numerous short-length hardcore films there. In 1975, he directed the first German full-length hardcore feature film, Bienenstich im Liebesnest (soft version known as Im Gasthaus zum scharfen Hirschen, also known as Zimmermädchen machen es gern). In 1976, he directed Josefine Mutzenbacher...wie sie wirklich war? 1. Teil (Sensational Janine) about the early life of Viennese courtesan Josephine Mutzenbacher. The film that had the title role played by Patricia Rhomberg who also had an intimate relationship with Billian was his greatest success. During this period, Billian continued to shoot loops, a number of which attracted particular attention such as Massagesalon Elvira that featured Anne Magle, the Danish porn sensation of the '70s.

Josefine Mutzenbacher...wie sie wirklich war? 1. Teil was conceived by Billian as the first part of a Josefine Mutzenbacher series but when the producer Gunter Otto of Herzog refused to finance a second part, Billian took the money from the production company Starlight and directed Die Beichte der Josefine Mutzenbacher (Josephine) in 1979. However, Otto who held the rights for the title released Josefine Mutzenbacher...wie sie wirklich war? 2. Teil (Professional Janine) in 1980. Both films were unable to reach the success of the 1976 film, particularly due to absence of Rhomberg and lack of continuity with the first film. In 1981 (Aus dem Tagebuch der Josefine Mutzenbacher ), 1987 (Die Liebesschule der Josefine Mutzenbacher ) & 1991 Billian directed three further Josefine Mutzenbacher titles. Gunter Otto made consecutive Josefine movies (Josefine Mutzenbacher – Wie sie wirklich war: 3,4,5,6. Teil) from 1982 to 1984.

In the 1990s, he directed porn videos, especially for the producer Tabu of Bochum, but these videos fell far from the quality of his work in the 1970s.

Selected filmography
 Nora's Ark (1948)
 The Merry Wives of Tyrol (1964)
 Holiday in St. Tropez (1964)
 Come to the Blue Adriatic (1966)

References

External links

 Interview with Hans Billian Interview from 1996 (in German)

1918 births
2007 deaths
German pornographic film directors
German pornographic film producers
People from the Province of Silesia
Film people from Wrocław

Hans Billian


Finn Bergesen (3 September 1945 – 11 September 2012) was a Norwegian civil servant and businessperson.

He worked in the Ministry of Fisheries and the Ministry of Foreign Affairs between 1973 and 1983, and then became secretary-general of Norges Fiskarlag. He remained so until 1989, and was then chief executive in Norges Sildesalgslag from 1990 to 1995. From 1995 to 1998 he was the chief executive officer of Kavli Holding, and from 1999 to 2009 he was the director-general of the Confederation of Norwegian Enterprise.

References

1945 births
2012 deaths
Norwegian civil servants
Norwegian businesspeople

Finn Bergesen


Joseph Quincy Mitchell (July 27, 1908 – May 24, 1996) was an American writer best known for his works of creative nonfiction he published in The New Yorker. His work primarily consists of character studies, where he used detailed portraits of people and events to highlight the commonplace of the world, especially in and around New York City.

Biography

Early life
Mitchell was born on July 27, 1908, on his maternal grandfather's farm near Fairmont, North Carolina, and was the son of Averette Nance and Elizabeth Amanda Parker Mitchell. He had five younger siblings: Jack, Elizabeth, Linda, Harry, and Laura. Mitchell's father, a fourth generation cotton and tobacco farmer, was a Southerner steeped in the values of the Baptist church, and he tried to instill these values into his children. As his eldest son, Averette hoped that Mitchell would someday take over the family business and continue the family's legacy.

Mitchell's adventurous personality as a child contradicted his father's staunch work ethic and traditional Southern values. From a young age, Mitchell was deeply touched by nature. He loved to climb trees, and it was one of the few activities that allowed an outlet for his young imagination to develop. He also tended to escape to the swamps surrounding his father's property as often as he could, as it allowed him to feel connected to the world around him. Mitchell stated, "the water mesmerized me; everything in it interested me, still or moving, dead or alive."

Education
Mitchell left home and attended college at the University of North Carolina at Chapel Hill in 1925. As a journalism major, he was "a solid if not superior student," and he was successful in humanities courses such as history, language, music, and literature and explored classes in nearly every subject. Aside from his studies, he began writing for the campus literary magazine and newspaper as a sports reporter. Because he had no aptitude for mathematics, he was unable to successfully finish his degree.  He left college and moved to New York City in 1929.

Family
On February 27, 1932, he married Therese Jacobsen, a reporter and photographer. They remained married until her death in 1980, and had two daughters, Nora and Elizabeth.

Mental health
Joseph Mitchell suffered from depression all of his life. An unsteady relationship with his father and his lack of belonging in his two homes of North Carolina and New York left Mitchell isolated and listless for much of his life. He lived in an era of psychology that focused purely on anxiety, and doctors regarded depression as a severe side effect of existing anxiety. However, symptoms of this condition did not clearly manifest in his life until late in his career. Many of Mitchell's coworkers, as well as his biographer, Thomas Kunkel, tell of the toll the subjects of his works had on him, specifically his greatest subject, Joe Gould. Mitchell once remarked to Washington Post writer David Streitfeld, "You pick someone so close that, in fact, you are writing about yourself. Joe Gould had to leave home because he didn't fit in, the same way I had to leave home because I didn't fit in. Talking to Joe Gould all those years he became me in a way, if you see what I mean." Even with Joe Gould as a way to explore his own reality, Mitchell began to attract characters with similar attributes. In a feature within The New Yorker magazine, Charles McGrath notes that "the critic Stanley Edgar Hyman first pointed out that the people Mitchell wrote about more and more resembled himself: loners, depressives, nostalgists, haunters of the waterfront, cherishers of arcane information. The characters in his pieces began to share a similar voice; they all sounded a little like Mitchell."

From 1964 until his death in 1996, Mitchell would go to work at his office on a daily basis, but he never published anything further,  other than the "Author's Note" introducing Up in the Old Hotel. Although he struggled to publish, he did write hundreds of pages of manuscripts for several pieces, including his own memoir, which Thomas Kunkel used extensively in writing Mitchell's biography. After he died, his colleague Roger Angell wrote:Each morning, he stepped out of the elevator with a preoccupied air, nodded wordlessly if you were just coming down the hall, and closed himself in his office. He emerged at lunchtime, always wearing his natty brown fedora (in summer, a straw one) and a tan raincoat; an hour and a half later, he reversed the process, again closing the door. Not much typing was heard from within, and people who called on Joe reported that his desktop was empty of everything but paper and pencils. When the end of the day came, he  went home. Sometimes, in the evening elevator, I heard him emit a small sigh, but he never complained, never explained.While his battle with mental illness continued in the workplace, he was known by his family as a dependable and caring father and husband at home. Therese Jacobson and their children, Nora and Elizabeth, retained nothing but fond memories of their father, even though they knew he was struggling in his career.

Death
In 1995, Mitchell was diagnosed with lung cancer after he began experiencing back pain. The cancer eventually spread and metastasized in his brain. On May 24, 1996, Mitchell died at Columbia-Presbyterian Medical Center in Manhattan at the age of 87. He was laid to rest in Floyd Memorial Cemetery in his hometown of Fairmont, North Carolina next to his wife. On his gravestone his daughters inscribed a quote from Shakespeare's seventy-third sonnet, one of his favorite lines in literature: "Bare ruined choirs, where late the sweet birds sang."

Further reading
For more information on Mitchell's biography and daily life, see Thomas Kunkel's Man in Profile: Joseph Mitchell of The New Yorker (2015).

Career

Mitchell came to New York City in 1929, at the age of 21, with the ambition of becoming a political reporter. He worked for such newspapers as The World, the New York Herald Tribune, and the New York World-Telegram, at first covering crime and then doing interviews, profiles, and character sketches. In 1931, he took a break from journalism to work on a freighter that sailed to Leningrad and brought back pulp logs to New York City. He returned to journalism later that year and continued to write for New York newspapers until he was hired by St. Clair McKelway at The New Yorker in 1938. He remained with the magazine until his death in 1996.

His book Up in the Old Hotel collects the best of his writing for The New Yorker, and his earlier book My Ears Are Bent collects the best of his early journalistic writing, which he omitted from Up in the Old Hotel. Mitchell's last book was his empathetic account of the Greenwich Village street character and self-proclaimed historian Joe Gould's extravagantly disguised case of writer's block, published as Joe Gould's Secret (1964). Mitchell served on the board of directors of the Gypsy Lore Society, was one of the founders of the South Street Seaport Museum, was involved with the Friends of Cast-Iron Architecture, and served five years on the New York City Landmarks Preservation Commission. In August 1937, he placed third in a clam-eating tournament on Block Island by eating 84 cherrystone clams. In 2008, The Library of America selected Mitchell's story "Execution" for inclusion in its two-century retrospective of American True Crime. The February 11, 2013, edition of The New Yorker includes a previously unpublished portion of Mitchell's unfinished autobiography entitled "Street Life: Becoming Part of the City."

Central themes

Character study
Seen throughout Joseph Mitchell's oeuvre is his distinct focus on the underdog characters, or the laymen of NYC, and the focus on unexpected characters. For example, Mazie is a central focus for a New Yorker article bearing her name."Mazie" first appears in the print edition of the December 21, 1940, issue of The New Yorker. The piece, later published in Mitchell's collection of essays in Up in the Old Hotel, creates and canonizes Mazie, a woman who worked in the ticket booth of The Venice theater. Mitchell's meticulous reporting skills result in an account of Mazie complete with factual details, close observation, and direct quotations. Critics believe Mazie resembles Mitchell himself: they share an affinity for remembering small facts and giving attention to the overlooked members of society.  Mazie P. Gordon is tough and blunt. Detective Kain of the Oak Street Police Station declares that Mazie "has the roughest tongue and the softest heart in the Third Precinct. In Mitchell's profile, her life is confined to the ticket booth of the movie theater where she socializes with "bums" that come and go from the surrounding flophouses. Direct conversations detail her interactions with her community.

Mitchell was open to taking on the challenge of profiling the female central character of Mazie. The writing process was challenging until his central character would give him "the revealing remark." The 1938 World Telegram description of Mazie P. Gordon reveals she was known as "Miss Mazie" to the men she interacted with around the Venice Theatre. She is blonde, kind, and has exaggerated hair and makeup. Two years later, when Mitchell profiled Mazie in The New Yorker, some critics called Mitchell an anthropologist in his description. Mazie becomes more than just a blonde and kind woman, and instead is shown to be complex and strong-willed. Mitchell's close observation of Mazie set a new standard for writers and reporters. Mitchell's curiosity without judgement inspired writers to continue Mazie's legacy.

The character of Mazie is popularized by the novel Saint Mazie by Jami Attenberg. She encountered "Mazie" through Mitchell's collection of his magazine pieces, and used Mitchell's profile to fashion Mazie into a fictional character. Ultimately, Mazie archetypes Mitchell's distinct characteristics that intrigue readers. Much of this intrigue, for all of Mitchell's underdog characters, comes from the access he provides into the lives of the people that the readers of the New Yorker wouldn't normally meet. The Rivermen, for instance, would be irrelevant people to most of NYC citizens until Mitchell brings them into focus for the readers. In yet another way, Rats on the Waterfront (Thirty-Two Rats From Casablanca) tells a compelling story where the central character is not even human. Mitchell's focus on these unlikely characters gives his nonfiction a very distinct character.

Time and passing
The term "Mitchell time" was coined by novelist Thomas Beller to describe the gauzy effect in Mitchell's writings. He goes on to further describe Mitchell's temporal dimension as a "strange and twilight place where a density of historical fact and the feeling of whole eras fading from view are sharply juxtaposed with the senses of cinematic immediacy related in the present tense." Mitchell's distinctive voice can be seen in many, if not all, of his works. The most notable example of "Mitchell time" is seen in the story Mr. Hunter's Grave where the narrative tells of the overlapping of many eras occurring in one small location.

Landscape study
Joseph Mitchell was born in North Carolina, yet throughout the majority of his writing career he centered his writing around New York City and its subjects. He brought a distinct and unique style of reporting to NYC that stemmed from his Southern upbringing. Mitchell was said to have brought the ultimate Southern courtesy of accepting "people on their own terms". Although he was a Brooklyn police reporter at first, by the time he moved to work in Harlem he began to connect with the "raffish side" of the NYC borough and it was here that his deep affection for NYC and its people started to blossom. Scholars claim that Mitchell's 1959 collection entitled The Bottom of the Harbor is his best and most "elegiac account of New York". It is here that Mitchell references not only the underdog characters of NYC, but also the underdog places - such as the Fulton Fish Market; a reoccurring place of study in this water based collection. For example, Dragger Captain is "the story of an old salt in the fleet out of Stonington, Connecticut, that supplies the Fulton Fish Market with flounder".  But it is once again Mitchell's character selection in The Bottom of the Harbor that allows him to portray NYC in his signature matte style. The subjects "are mainly old men, they are custodians of memory, their stories a link with the history of a city that has always been mercantile at heart." Additionally, Mitchell liked to visit the Edgewater Cemetery, which was the inspiration for one of his most famous articles - Mr. Hunter's Grave. From North Carolina he "brought an interest in wildflowers" and these flowers "could be found most easily in overgrown cemeteries around New York City."  Mitchell managed to discover these quaint everyday places as he would often set off to work in his New Yorker office, but instead, he would carry on walking, taking in NYC and its landscape. Indeed, much of Mitchell's work was conceived due to his enchanted meandering of NYC where he "walked the city incessantly . . . little escaped his notice"

Selected works

"Up in the Old Hotel"
In Joseph Mitchell's feature "Up in the Old Hotel'," Mitchell explores the Fulton Fish Market of New York, specifically Sloppy Louie's Restaurant. He features the owner of the space, and explores the character in full before adventuring up the old elevator shaft with Louie and exploring the abandoned and sectioned-off old hotel space.

In his opening, Mitchell surveys the personality of the man he has this experience with, setting the mood for the entire piece. Louie is an Italian immigrant who worked for years in restaurants around the city until The Crash of 1929, when the property that is now his restaurant finally came into his price range. It was never the flashiest or nicest building, but it was near the market and was successful in housing a small restaurant. Louie is constantly experimenting with his dishes, making his shop the place to stop and try a new kind of fish, or other seafood. Growing up in a small Italian fishing village himself, he does not shy away from different flavors and possibilities with his fish. He's a humble and gentlemanly man who adds an air of propriety and humility to everything he does; he works the same as any of his employees to keep his restaurant running, doing the same jobs, and always keeps a white cloth folded over his arm for the sake of class, even when he's only running the register. He maintains relationships with his regular customers, like Mitchell, and fosters business relationships with the fishermen that bring their catches to the dock for sale at the Fulton Market.

"Up in the Old Hotel" isn't just the story of Louie, or Sloppy Louie's, but about the closed-off elevator shaft that not even Louie has ever traveled up into. This comes about over breakfast, when Louie tells Mitchell he may need to add extra tables to the second floor of his place to make up for the growing lunch crowds coming in. When Mitchell points out he has four empty floors above them, Louie explains that only the first two floors have stairs to access them, and the rest of the building is closed off. Out of pure curiosity, Mitchell agrees to be the man who will go up to the unused four floors with Louie for the first time, when the opportunity arises. The elevator shaft, the equipment, nor the space above have not been used or even really touched since it was closed off, making it a particularly risky endeavor for both of the men, and upon realizing it is safe to use, they travel up to the old hotel that hasn't been seen by anyone in  decades.

Up on the first blocked floor, the two men find the remains of what was once a high-end hotel, finding bureaus with playing cards, hangers, mirrors, and the sign to the reading room. The environment itself is depressing to Mitchell, and he decids the leave immediately, so neither of the men bother to go to the floor above them.

This feature by Mitchell really clings to his notions of the passage of time, and the coming change in New York, and the rest of the world.

"Mr. Hunter's Grave"

"Mr. Hunter's Grave" was published by The New Yorker on September 22, 1956. To this day, the piece remains one of Mitchell's biggest journalistic successes, with an array of positive reviews. "Mr. Hunter's Grave" was republished in one of Mitchell's collections, Up In The Old Hotel, which was  released in 1992.  The article is based on an encounter Joseph Mitchell had with an African-American man named George Hunter, who lived in Sandy Ground, a black community in Staten Island, one that is credited with being the oldest, established, free black community in the United States.

This article in particular begins with what one could consider a "typical Mitchell day" and allows for the reader to get closer to Mitchell, in a sense. One day, Mitchell wakes up, admittedly feeling stressed from his surroundings, packs a couple sandwiches, and decides to go down to Staten Island to explore the cemeteries. Mitchell walks the reader through a number of cemeteries he enjoys walking in on days like that day, which include places such as "Woodrow Methodist Church on Woodrow Road in the Woodrow community, or to the cemetery of St. Luke's Episcopal Church on the Arthur Kill Road in the Rossville community, or to one on the Arthur Kill Road on the outskirts of Rossville" before leading the reader to The South Shore, a more rural part of Staten Island, where trees tend to dominate, and a place where some of the oldest graveyards can be found, (Mitchell). Mitchell continues his exploration of several graveyards, stopping at gravestones, studying them, reading the names off them, and moving vines and dirt from certain ones he ponders upon. Mitchell begins to grow weary, preparing to leave the graveyard off of Rossville until he notices a wildflower that catches his attention, drawn to the grave of a Rachel Dissoway, which is when Mitchell is noticed by the rector of the graveyard, Mr. Brock.

The two men discuss Mitchell's interest in wild flowers, particularly peppergrass, which leads to Mr. Brock telling Mitchell about a cemetery in a black community off of Bloomingdale Road. Mr. Brock gives Mitchell the contact of a Mr. G. Hunter, who is the chairman of trustees of the Methodist Church in the community, Sandy Ground, where Mitchell would like to go look for peppergrass. Mitchell, using the information given to him by Mr. Brock, contacts Mr. Hunter, and sets up a time to meet the man at his house that coming Saturday morning, for him to explore Sandy Ground.

On Saturday morning, Mitchell arrives at Mr. Hunter's home, where he is greeted by Mr. Hunter, who at the time of his arrival is icing a cake. In the time while Mitchell is at Mr. Hunter's home, Mitchell learns a great deal about the history of Sandy Ground. While in the kitchen, the two men discuss various things, such as the wildflower pokeweed. The older women of Sandy Ground, including Mr. Hunter's mother, believed that its roots had healing properties, even though others generally regard them as poisonous. Following this, there's commentary about what kind of wood Mr. Hunter's house is built of, and talk about how much he despises flies while the two men are sitting on the porch (as well as a discussion about the history of Sandy Ground, which started due to the wanting of oysters). Following the incident with the flies, Mr. Hunter and Mitchell begin their trip to the graveyard.

On the way to the graveyard, Mitchell discusses more discussion  regarding Mr. Hunter's family and himself, including the fact that Mr. Hunter wasn't born in the South, but his mother was; more so, his mother was a slave from Virginia, and her mother before her. After Mr. Hunter's mother's slavery days, she moved to Brooklyn, where she met and married his father, although after his father served a sentence, the family moved to Sandy Ground, hoping to get work by harvesting oysters. After his father's death, Mr. Hunter's mother married a man from Sandy Ground, who Mr. Hunter did not much care for, but goes into the history of his step family nonetheless. Mr. Hunter then goes on to discuss how he too became a drunk, and several jobs he had such as a bricklayer and a business owner, before marrying his first wife. Mr. Hunter reveals that he was married twice, and lost both his wives. He also reveals that he had a son who died.

After this revelation, the two men enter the cemetery. They discuss different roots, some of which Mitchell is familiar with, and one he is not, until they come across a grave that Mr. Hunter says is his Uncle's. Mr. Hunter, while Mitchell explores a little more, works on getting the vines off the gravestone, so the two men can better observe it.
Following this, the two men stop at a number of different graves, with Mr. Hunter narrating short life stories of each individual they tend to stop at. The routine of stopping, narrating, and continuing comes to a cease upon the two men reaching Mr. Hunter's plot, where he will actually not be buried due to a mishap, which Mr. Hunter explains clearly and emotionally, admitting it outraged him. Taking two steps further, Mr. Hunter shows Mitchell where he will be buried in all actuality, stating, "'Ah, well, (…), it won't make any difference'" ending the article, (Mitchell).

The article, like many others acquired a level of scrutiny following the publication of a Mitchell biography written by Thomas Kunkel in 2015. Kunkel's biography brought to light several fascinating facts about Joseph Mitchell's life, however, some of the information opened a wormhole, specifically the revelation that certain pieces of Mitchell's articles were fabricated and the period of time of which the events took place shortened. Many critics, it appears, were distraught, including Michael Rosenwald, a writer for the Columbia Journalism Review. Following the publication of the book, Rosenwald wrote an article entitled, "'I Wish This Guy Hadn't Written This Book'".

In this article, Rosenwald explores his own relationship with Mitchell, stating how the man influenced both himself and other generations of writers and how his favorite article by him is "Mr. Hunter's Grave", then goes into his disappointment about what was put in the Kunkel biography, stating, "For me, learning these things was like a kid discovering his favorite baseball player whacked long home runs while juicing on steroids," showing the betrayal he felt. Rosenwald's article includes the opinion of another well respected journalist, Gay Talese, who Rosenwald is friends with. Upon reading the biography, and hearing about it himself, Rosenwald records that Talese said something along the lines of, "'To hear that one of the guys I grew up admiring did things I don't think I'd want to be accused of doing, it's troubling and sad'".

"Dragger Captain"
In January 1947 "Dragger Captain" appeared in The New Yorker in two parts. In this profile Mitchell talks to and follows 47-year-old Ellery Thompson who is captain of a dragger boat named Eleanor. The Eleanor works out of Stonington port in Connecticut.  Mitchell chooses Ellery Thompson as he is "the most skillful and the most respected of the captain in the Stonington fleet".  Mitchell and Captain Thompson soon find that they have compatible personalities, allowing Mitchell to accompany Ellery during his drags. Throughout the article we gradually learn more about Ellery as a person and not just a dragger captain. Ellery's brother, Morris, died at sea trying to combat poor sailing conditions to try and make a living. Ellery has to then drag for his own brother's body, giving us an insight as to the reason why Ellery looks upon life "with a droll world-weariness".

But Ellery is also a kind and thoughtful man. For example, unlike other draggers, he keeps the best lobster he catches for himself and his crew. When the oceanographers from Yale University sail with him on the Eleanor one day a month he flies an "old Yale pennant". The article closes with Frank, one of Ellery's two crew mates, telling an interesting folk tale. The story is about Old Chrissy, "an old rascal of a woman that was the head of a gang of Block Island wreckers". The gig was that Chrissy and her crew would lure ships in "with false lights, & they killed the sailors & the passengers, so there wouldn't be any tales told". On one occasion she unknowingly lures in her own son's ship. But, she chooses to "clout him on the head. 'A son's a son,' she said, 'but a wreck's a wreck".

"Dragger Captain" was met with much critical acclaim. So much so, that the rights were acquired by Warner Brothers and it was rumored that they were going to "develop it for Gary Cooper". Thompson was promised 10% of any proceeds by Mitchell. Ultimately though, nothing came of the rumors with Mitchell calling it "studio commissary gossip" and stating that "the only truth in it is that a writer has been assigned to try and work out a script on dragger finishing, using the Profile as background".

Joe Gould's Secret
In Joe Gould's Secret (1965), Mitchell expanded upon two earlier New Yorker profiles, "Professor Sea Gull" (1942) and "Joe Gould's Secret" (1964), concerning Joe Gould, an eccentric bohemian living in New York City. Following Gould's death, Mitchell embarks on a search for the massive book Gould had long claimed to be writing, An Oral History of Our Time. Mitchell soon learns that the purportedly nine-million-word work of oral history does not exist. However, he finds that Gould is a popular and central figure within a number of New York circles. Extending Mitchell's abiding concerns with the anti-hero and the New York landscape, Joe Gould's Secret also captures the essence of Gould's non-existent oral history by preserving the life and voice of Joe Gould.

Gould's writing is digressive and self-referential; however, Mitchell's writing in Joe Gould's Secret diverges from his previous works. Mitchell often speaks in first person while offering personal accounts and memories revolving around the plot. Furthermore, Gould's nonexistent "Oral History" is an attempt to capture the voices of the plebeian class, or the anti-heroes. Mitchell's entire work, especially Joe Gould's Secret, captures the selfsame essence. His work often revolves around character study, in which he captures Joe Gould's profile.  Gould struggles with writing and rewriting the first few chapters of his "Oral History" because of writer's block. Ironically, Mitchell, himself, is struggling with a degree of writer's block in which he was unable, later in life, to continue his previous writing output.

Critical reception
Critical reviews of Mitchell's works are almost overwhelmingly positive. Many critics have labeled Mitchell "the best reporter in the country" and marked him as the writer with whom "any writer with aspirations in literary journalism...has to reckon with," and the writer that "transform[ed] the craft of reporting into art". William Zinsser states that Mitchell serves as the "primary textbook" for "nonfiction writers of any generation". Critics credit Mitchell's strength as a writer to his "skills as an interviewer, photographic representation of his characters and their speech, deadpan humor, and graceful, unadorned prose style". Critics also note that it is Mitchell's "respect and compassion for his subjects" that allows him to explore uncomfortable themes like "mortality, change, and the past". Throughout Mitchell's career, he has been praised for his "ear for dialogue and eye for detail, genuine interest in the lives of his subjects, rhythmic, simple prose".  For many critics, Mitchell serves as the model writer for "generations of nonfiction writers" In the latter part of Mitchell's career, critics began to note that the tone of his writing had become "increasingly nostalgic" but that he retained his "earthly sense of humor and obvious delight in making new discoveries about New York". One notable literary critic, Noel Perrin, notes that "Mitchell described the life and even the very soul of New York as perhaps no one else ever has". Other critics question Mitchell's legacy as a journalist because of his tendency to "cross a line" between fiction and nonfiction, often "shaping the facts" of his stories to offer "the core 'truth' of the story" rather than "its interior factuality". One critic asks, "knowing [Mitchell] fabricated and embellished, how should we view his legacy?"

In popular culture
In 2000, Joe Gould's Secret, a feature film directed by Stanley Tucci and written by Howard A. Rodman, was released. It focuses on the relationship between Mitchell (played by Tucci) and Joe Gould (Ian Holm) during the 1940s.

Mitchell is portrayed in The Blackwell Series, an indie computer game series revolving around paranormal themes. In the second game of the series, the player encounters Mitchell during the prolonged writer's block of his later years. In the third game of the series, the player encounters ghosts of both Mitchell and Joe Gould.

Mitchell is referenced by the editor of the Baltimore Sun, Gus Haynes, in the last episode of the HBO drama The Wire. Steve Earle's song "Down Here Below", from Washington Square Serenade, mentions Mitchell directly saying, "I saw Joe Mitchell's ghost on a downtown 'A' train. He just rides on forever now that the Fulton Fish Market's shut down."

Bibliography

Collections from prior newspaper works

Collections of work from The New Yorker

)

All works from The New Yorker

1931–1939

Comment With E.B. White Comment (January 16, 1931)
Comment With E.B. White Comment (August 12, 1932)
High Hats' Harold D. Winney & Joseph Mitchell The Talk of the Town (June 9, 1933)
Reporter at Large They Got Married in Elkton A Reporter at Large (November 3, 1933)
Home Girl Profiles (February 23, 1934)
Reporter at Large. Bar and Grill. A Reporter at Large (November 13, 1936)
Mr. Grover A. Whalen and the Midway A Reporter at Large (June 25, 1937)
The Kind Old Blonde Fiction (May 27, 1938)
Reporter at Large A Reporter at Large (August 19, 1938)
Mrs. Bright and Shining Star Chibby Fiction (October 28, 1938)
I Couldn't Dope it Out Fiction (December 2, 1938)
Christmas Story A Reporter at Large (December 16, 1938)
Obituary of a Gin Mill A Reporter at Large (December 30, 1938)
 Downfall of Fascism in Black Ankle County Fiction (January 6, 1939)
The Little Brutes! A Reporter at Large (February 3, 1939)
Dignity. The Talk of the Town (February 10, 1939)
All You Can Hold For Five Bucks. A Reporter at Large (April 7, 1939)
Plans The Talk of the Town (April 14, 1939)
Hotfoot The Talk of the Town (April 21, 1939)
The Catholic Street A Reporter at Large (April 21, 1939)
Houdini's Picnic A Reporter at Large (April 28, 1939)
More Plans The Talk of the Town (April 28, 1939)
Uncle Dockery and the Independent Bull Fiction (May 5, 1939)
Windsor's Friends With Russell Maloney The Talk of the Town (May 19, 1939)
The Hospital Was All Right Fiction (May 19, 1939)
A Mess of Clams A Reporter at Large (July 21, 1939)
Goodbye, Shirley Temple Fiction (September 8, 1939)
Mr. Barbee's Terrapin A Reporter at Large (October 20, 1939)
The Markee Profiles (October 27, 1939)
Sunday Night Was a Dangerous Night Fiction (November 24, 1939)

1940–1949

I Blame it All on Mamma Fiction (January 5, 1940)
Santa Claus Smith of Riga, Latvia, Europe A Reporter at Large (March 22, 1940)
The Old House at Home Profiles (April 14, 1940)
Lady Olga Profiles (July 26, 1940)
Evening with a Gifted Child A Reporter at Large (August 23, 1940)
Second-Hand Hot Spots Profiles (September 13, 1940)
Mazie Profiles (December 14, 1940)
New Resident. With Eugene Kinkead & Harold Ross The Talk of the Town (January 24, 1941)
Mr. Colborne's Profanity-Exterminators Profiles (April 25, 1941)
But There is No Sound A Reporter at Large (September 12, 1941)
The Tooth Profiles (October 24, 1941)
King of the Gypsies Profiles (August 7, 1942)
Professor Sea Gull Profiles (December 4, 1942)
Comment Comment (April 23, 1943)
A Spism and a Spasm Profiles (July 16, 1943)
The Mayor of the Fish Market Profiles (December 24, 1943)
Rebate. With F. Whitz The Talk of the Town (February 25, 1944)
Thirty-Two Rats from Casablanca A Reporter at Large (April 21, 1944)
Coffins! Undertakers! Hearses! Funeral Parlors! A Reporter at Large (November 17, 1944)
Solution. (March 2, 1945)
Mr. Flood's Party A Reporter at Large (July 27, 1945)
Dragger Captain. Profiles (December 27, 1946)
Dragger Captain: Professors Abroad Profiles (January 3, 1947)
Incidental Intelligence With Brendan Gill The Talk of the Town (August 15, 1947)
The Mohawks in High Steel A Reporter at Large (September 9, 1949)

1950–1964

The Bottom of the Harbor Profiles (December 29, 1950)
The Cave Profiles (June 20, 1952)
Comment With Brendan Gill Comment (May 6, 1955)
The Beautiful Flower Profiles (May 27, 1955)
Three Men With Brendan Gill The Talk of the Town (April 20, 1956)
Mr. Hunter's Grave Profiles (September 14, 1956)
Observer With John McCarten The Talk of the Town (November 14, 1958)
The Rivermen Profiles (March 27, 1959)
Joe Gould's Secret - I Profiles (September 11, 1964)
Joe Gould's Secret Profiles (September 18, 1964)

2000–2015

Takes Takes (May 28, 2000)
Street Life Personal History (February 3, 2013)
Days in the Branch Personal History (November 24, 2014)
A Place of Pasts Personal History (February 9, 2015)

Notes

External links

1908 births
1996 deaths
20th-century American journalists
20th-century American male writers
20th-century American non-fiction writers
American male journalists
Burials in North Carolina
Deaths from brain cancer in the United States
Deaths from lung cancer in New York (state)
New York Herald Tribune people
People from Fairmont, North Carolina
The New Yorker people
The New Yorker staff writers
Members of the American Academy of Arts and Letters

Joseph Mitchell (writer)


Strunius is an extinct genus of lobe-finned fish from the Late Devonian period of Germany.

Although it was a lobe-finned fish, Strunius''' fins were supported by fin rays, which are more associated with ray-finned fish. However, its skull was composed of two articulating halves, a feature characteristic of the lobe-finned rhipidistians. The skull was also divided by a deep articulation, with both halves probably connected by a large muscle, increasing the power of the bite. The same system is seen in coelacanths and the better-known Eusthenopteron.

Compared to other lobe-finned fishes, Strunius'' had a rather short, stubby body, and was just  long. It was covered in large, round, bony scales, and probably fed on other fishes.

References

Onychodontida
Prehistoric lobe-finned fish genera
Late Devonian animals
Late Devonian fish
Devonian bony fish
Devonian fish of Europe

Strunius


Halvdan Skard (born 1 December 1939) is a Norwegian politician for the Labour Party.

He was born in Oslo as a son of Åse Gruda Skard and Sigmund Skard, and through Åse the grandson of Halvdan Koht and Karen Grude Koht. He has two sisters Torild Skard and Målfrid Grude Flekkøy, who are twins, and himself has a twin brother Åsmund. He grew up in Trondheim, but when World War II reached Norway in 1940 the family fled to the United States via Sweden, the Soviet Union and Japan, returning in 1945. He later finished his secondary education at Oslo Cathedral School. He studied at the University of Wisconsin, Madison from 1962 to 1963 and in Paris from 1969 to 1970. He graduated with the cand.philol. degree from the University of Oslo in 1972.

He joined the Labour Party in 1965, and became involved in local politics, first in Stavanger and later in Bærum. In Bærum he was a member of the school board from 1968 and the municipal council from 1972. After two years working for the Foundation for Student Life in Oslo, from 1972 to 1974, he was hired as an office clerk at Rogaland University College in 1974. He was a researcher there from 1976, but was largely absent, as he was appointed State Secretary in the Ministry of Church Affairs and Education, a post he held from 1976 to 1981, during the Labour government of Odvar Nordli. From 1991 to 1992 he was a deputy under-secretary of state in the Ministry of Culture.

From 1983 to 1992 he was the director of the Arts Council Norway. He became the leader of employers' organization Norwegian Association of Local and Regional Authorities in 1992. He was succeeded by Gunn Marit Helgesen in December 2013. He formally continued as director of the Arts Council, only with an absence of leave, and with acting directors working in his place, until he finally quit as director in early 2004. He also led the cultural committee of the 1994 Winter Olympics.

In 1996 he became involved in the Council of Europe, first in 1988 as a member of its Congress of Local and Regional Authorities, in 1996 a member of its Bureau, from 2002 to 2006 as president of its Chamber of Local Authorities, and from 2006 to 2008 as President of the Congress. Currently he is serving as a Vice-President in the Chamber of Local Authorities.

References

Halvdan Skard - President of the Congress of Local and Regional Authorities at norway-coe.org

1939 births
Living people
Politicians from Trondheim
Norwegian expatriates in the United States
University of Oslo alumni
University of Wisconsin–Madison alumni
Politicians from Stavanger
Bærum politicians
Norwegian state secretaries
Labour Party (Norway) politicians
Directors of government agencies of Norway
Congress of the Council of Europe

Halvdan Skard


Vingtaine de la Moye (Jèrriais: "La Vîngtaine d'la Mouaie") is one of the four vingtaines of the Parish of St. Brélade in Jersey in the Channel Islands.

Together with the Vingtaine des Quennevais it forms part of "St. Brélade No. 2 district" and elects two Deputies.

Jersey's Prison is situated at La Moye. Also within the boundaries of the vingtaine are:
La Corbière
St Brelade's Church and the Fisherman's Chapel at the western end of St Brelade's Bay
La Pulente at the southern end of St Ouen's Bay
a number of megalithic sites, including the dolmen at La Sergenté and La Table des Marthes
the desalination plant
La Lande du Ouest, a Site of Special Interest
 La Moye School

References

la Moye
Saint Brélade

Vingtaine de la Moye


Bitchfield Tower or West Bitchfield Tower is a 15th-century medieval pele tower near Belsay, Northumberland, England. It is a Grade I listed building.

The three storied battlemented tower was built in the 15th century by the Middleton family who sold it to the Harbottles in 1502. Marjorie Harbottle the heiress to the Harbottle estate, married Sir John Fenwick of Fenwick Tower and in 1529 they conveyed the property to their second son Roger Fenwick. In 1622 Robert Fenwick built a new manor house adjoining the tower: a datestone inscribed 'RF 1622 JF' is incorporated into the building

The Fenwicks sold the estate in 1630 to Edward Grey, from whom it was sequestered in 1646. In 1680 it was acquired by Sir James Clavering and in 1802 the Claverings sold to Sir Charles Monck.

It was in a state of ruin by 1930 but has since been restored.

The east wing was added by Caroë and Lord Gort in 1935. The tower was listed since August 27th, 1952.

References

Houses completed in the 15th century
Towers completed in the 15th century
Peel towers in Northumberland
Grade I listed buildings in Northumberland
Belsay

Bitchfield Tower


George Wallace Donald Crosby, OAM (29 October 1924 – 3 December 1985) was an Australian actor of radio, stage, television and film, radio producer, stage manager, airman and trade unionist.

Early life
The fifth child of actor Joseph Alexander (Marshall) Crosby and Theresa Crosby (formerly King), George Wallace Donald Crosby was named after his father's friend, the actor and comedian George Stevenson Wallace. At the age of one, he was taken on stage by his father in a production of the operetta His Royal Highness. At age 12, he started producing radio sketches at the Australian Broadcasting Corporation (ABC, then known as the Australian Broadcasting Commission).

Career

At age 12, Crosby started producing radio sketches at the ABC. After leaving school, he continued acting, while working in insurance. After World War II broke out, Crosby served as an air gunner in the Royal Australian Air Force. In 1945, aged 21, he travelled to London and worked as an assistant stage manager in the West End, when he was offered a scholarship to study at the Royal Academy, after which he worked throughout England in repertory. In 1949 he returned to Sydney. He appeared in Doris Fitton's production of Dark of Night, and numerous other productions in Sydney and Melbourne. Entering radio in 1949, he had a successful career not only as an actor but also as a producer.

When television arrived in Australia in 1956, he easily made the transition to the new medium, featuring in plays, again at the ABC. According to Richard Lane:
For all his success on stage, it was on television and later in film that his greatness in developing characterisation was fully revealed. His was a craggy face that could sometimes be humorous, often grim or judicial, but always sensitive.
His craggy features, often saw him compared to Sir John Mills.

Crosby moved to commercial television, appearing in serials made by Crawford Productions, such as Ryan, Division 4, Matlock Police and Homicide. In 1968, he played the role of Mervyn in Tony Hancock's doomed Australian series, which was shelved upon Hancock's suicide and later released as a TV movie in 1972. His later television work included roles in The Young Doctors and A Country Practice.

In radio, another popular role was in the long-running Gwen Meredith drama serial Blue Hills. More stage roles followed and Crosby was celebrated for his appearances in works by Steele Rudd. In film, his credits include Newsfront, Little Boy Lost, The Picture Show Man and the indigenous rights film The Chant of Jimmie Blacksmith.

Crosby was one of Australia's most distinguished actors and radio producers, with a career spanning all genres including stage, film, radio and television. He urged the use of Australian actors where possible and spoke out against cuts in ABC funding. In 1980, he was awarded an OAM, and in 1985 he received the Australian Film Institute's Longford Lyell Award for services to the industry.

Crosby served for a time as the President of The Actors' Benevolent Fund of NSW, a charity assisting performers and entertainers in times of dire circumstance. In 1975, Crosby facilitated a donation of $500 from the Benevolent Fund of NSW, to seed a new charity of a similar kind in Queensland. This group became The Actors & Entertainers Benevolent Fund of Queensland, and was founded by Alan Edwards. He was a trade unionist and was president of Actors Equity of Australia from 1976 until his death.

Personal life
In 1949 Crosby married Elizabeth Teresa Glover in Sydney. He had three sons (who are also in the industry as actors and film directors) and a daughter. Don's son Matthew Crosby acted in A Drop In The Ocean.

Death
Crosby died at age 61 from a myocardial infarction in 1985 in the Sydney suburb of Potts Point. He was survived by his wife and three children.

Filmography

Film

Television

Stage

Radio

References

1924 births
1985 deaths
Male actors from Sydney
Australian male radio actors
Australian male television actors
Australian male stage actors
Australian male film actors
20th-century Australian male actors
Alumni of RADA
Royal Australian Air Force personnel of World War II
Royal Australian Air Force airmen

Don Crosby


Rex Elvyn Garwood (15 May 1930 – 16 May 2007) was an Australian sportsman who played Australian rules football in the Tasmanian Football League and first-class cricket for Tasmania during the 1950s.

Football

TFL career
Best known for his exploits on the football field, Garwood is the only person in history to have won three William Leitch Medals. He was mostly used as a ruck rover but could also play in key positions such as centre half-forward.

Garwood made his league debut in 1950 with New Town. He won his first Leitch Medal the following season, topped New Town's goalkicking and played in their 1951 premiership team. In 1953 he was appointed club captain and helped them to another premiership.

He transferred to New Norfolk in 1954 and was immediately given the role of captain-coach. The Tasmanian won his second Leitch Medal in 1955 and at the conclusion of the 1957 season was relieved of his coaching duties. He won another Leitch Medal in 1958 before his retirement in 1960.

State representative
Garwood was a regular Tasmanian interstate representative. He played for his state in the 1953 Adelaide Carnival, 1956 Perth Carnival and the 1958 Melbourne Carnival. At the Perth Carnival he was captain-coach and kicked seven goals in a game against the VFA. Garwood also captained Tasmania in interstate matches during 1955 and 1957.

Cricket
Garwood played five first-class matches for Tasmania between the 1952/53 and 1955/56 Australian cricket seasons. He was a top order batsman but didn't manage to score a half century in his career, with a best of 49 which came against Victoria in 1953–54. In all he scored 189 runs at 18.90 and took five wickets at 32.00.

Later years
In his later years Garwood excelled at Bowls and was a winner of several Tasmanian championships. Garwood became the first Tasmanian in 13 years to represent Australia when he appeared for his country in a Test match against New Zealand in 1985. He won a gold medal in the pairs championship of the 1985 Australia Games.

He was the first person inducted into the Tasmanian Sporting Hall of Fame in 1987 and in 2004 was named on the interchange bench in the official Tasmanian Football 'Teams of the Century'.

See also
 List of Tasmanian representative cricketers

References

1930 births
2007 deaths
Australian rules footballers from Tasmania
William Leitch Medal winners
Glenorchy Football Club players
New Norfolk Football Club players
Tasmanian Football Hall of Fame inductees
Australian cricketers
Tasmania cricketers
Cricketers from Tasmania

Rex Garwood


Thrikkavu Sri Durga Bhagavathy Temple is an ancient Temple situated in Ponnani, Malapuram District, Kerala State, India. Goddess Durga  is the main deity of this centuries old temple. Even though authentic details are not available about the age of the temple, it is considered one of the 108 Durga temples consecrated by Lord Parasurama in kerala. It is believed that the name Thrikkavu  originated from "Thrikkani Kaadu ". The devastation caused by Tipu Sultan to the ancient and holy temples of Keraladheeswaram, Thrikkandiyoor and Thriprangatu in Vettum region was terrible. The Zamorin renovated these temples to some extent. The famous and ancient Thirunavaya Temple, known throughout the country as an ancient teaching-centre of the Vedas, revered by the devotees of Vishnu from Tamil Nadu, and existing before the advent of Christ, was also plundered and destroyed by Tipu's army (Malabar Gazetteer). After dismantling and destroying the idol, Tipu converted the Thrikkavu Temple into an ammunition depot in Ponnani (Malabar Manual). It was the Zamorin who repaired the temple later.

Deity
The Devi is here in her Chathurbhaahu (four arms) form with Chakra (disc), Sankha (conch), Varada (in a boon-conferring pose) and katibadha (arm rest in the hip). Thrikkavu Bhagavathy is believed to be "Sarvabeeshtapradhayini" (one who grants all wishes) and numerous bhakthas have stories legion to tell of her supreme benevolence. The Bhagavathy is worshipped in three different forms: Parvati, Lakshmi and Saraswati.

Apart from the main deity, the temple complex consists of  Krishna temple and Upa-Devatha temples for Mahaganapathi, Sasthavu, Sidhi Vinayakan, Hanuman and Brahma Rakshass. There is Moola Ganapathy Temple near the pond (Kshetrakulam) along with Naga Raja, Naga Yakshi and Naga pratishtas

Festivals
The main festival is Navarathri Mahotsavam which attracts large number of devotees. Vidyarambham (beginning of formal education) is conducted on the Vijayadasami day of Navarathri utsavam. Thousands of children throng this temple on that day. The Vrishchicka Mandala mahotsavam (festival) is celebrated during the entire period of mandalam season.

See also
 Temples of Kerala

References

Reference from the article "Religious Intolerance of Tippu Sultan" by LATE P.C.N. RAJA-"After dismantling and destroying the idol, Tipu converted the Thrikkavu Temple into an ammunition depot in Ponnani (Malabar Manual of William Logan). It was the Zamorin who repaired the temple later."

External links

 Thrikkavu Temple

Hindu temples in Malappuram district
Durga temples
Devi temples in Kerala

Thrikkavu Temple


The 221st Battalion, CEF was a unit in the Canadian Expeditionary Force during the First World War.  Based in Winnipeg, Manitoba, the unit began recruiting in early 1916 in that city.  After sailing to England in April 1917, the battalion was absorbed into the 11th Reserve Battalion (Manitoba), CEF on April 29, 1917.  The 221st Battalion, CEF had one Officer Commanding: Lieut-Col. V. A. V. McMeans.

References
Meek, John F. Over the Top! The Canadian Infantry in the First World War. Orangeville, Ont.: The Author, 1971.

Battalions of the Canadian Expeditionary Force
Military units and formations of Manitoba

221st Battalion, CEF