共递归在计算机科学重视一类操作,与递归在范畴论上对偶。因而递归是分析地工作,把数据分解为更小的数据直至达到基本情况。共递归是合成地工作,从基本情况构造出数据。共递归的数据是自己一点一点构造出来的。一个类似但不同的概念是生成式递归(generative recursion)。

共递归常与惰性求值配合,产生一个潜在无穷结构的有限子集。

例子
Corecursion can be understood by contrast with recursion, which is more familiar. While corecursion is primarily of interest in functional programming, it can be illustrated using imperative programming, which is done below using the generator facility in Python. In these examples local variables are used, and assigned values imperatively (destructively), though these are not necessary in corecursion in pure functional programming. In pure functional programming, rather than assigning to local variables, these computed values form an invariable sequence, and prior values are accessed by self-reference (later values in the sequence reference earlier values in the sequence to be computed). The assignments simply express this in the imperative paradigm and explicitly specify where the computations happen, which serves to clarify the exposition.

Factorial
A classic example of recursion is computing the factorial, which is defined recursively as  and

To recursively compute its result on a given input, a recursive function calls (a copy of) itself with a different ("smaller" in some way) input and uses the result of this call to construct its result. The recursive call does the same, unless the base case has been reached. Thus a call stack develops in the process. For example, to compute fac(3), this recursively calls in turn fac(2), fac(1), fac(0) ("winding up" the stack), at which point recursion terminates with fac(0) = 1, and then the stack unwinds in reverse order and the results are calculated on the way back along the call stack to the initial call frame fac(3), where the final result is calculated as 3*2 =: 6 and finally returned. In this example a function returns a single value.

This stack unwinding can be explicated, defining the factorial corecursively, as an iterator, where one starts with the case of , then from this starting value constructs factorial values for increasing numbers 1, 2, 3... as in the above recursive definition with "time arrow" reversed, as it were, by reading it backwards as  The corecursive algorithm thus defined produces a stream of all factorials. This may be concretely implemented as a generator. Symbolically, noting that computing next factorial value requires keeping track of both n and f (a previous factorial value), this can be represented as:

or in Haskell,
  (\(n,f) -> (n+1, f*(n+1))) `iterate` (0,1)
meaning, "starting from , on each step the next values are calculated as ". This is mathematically equivalent and almost identical to the recursive definition, but the  emphasizes that the factorial values are being built up, going forwards from the starting case, rather than being computed after first going backwards, down to the base case, with a  decrement. Note also that the direct output of the corecursive function does not simply contain the factorial  values, but also includes for each value the auxiliary data of its index n in the sequence, so that any one specific result can be selected among them all, as and when needed.

Note the connection with denotational semantics, where the denotations of recursive programs is built up corecursively in this way.

In Python, a recursive factorial function can be defined as:
def factorial(n):
    if n == 0:
        return 1
    else:
        return n * factorial(n - 1)
This could then be called for example as factorial(5) to compute 5!.

A corresponding corecursive generator can be defined as:
def factorials():
    n, f = 0, 1
    while True:
        yield f
        n, f = n + 1, f * (n + 1)
This generates an infinite stream of factorials in order; a finite portion of it can be produced by:
def n_factorials(k):
    n, f = 0, 1
    while n <= k:
        yield f
        n, f = n + 1, f * (n + 1)
This could then be called to produce the factorials up to 5! via:
for f in n_factorials(5):
    print(f)
If we're only interested in a certain factorial, just the last value can be taken, or we can fuse the production and the access into one function,
def nth_factorial(k):
    n, f = 0, 1
    while n < k:
        n, f = n + 1, f * (n + 1)
    yield f
As can be readily seen here, this is practically equivalent (just by substituting return for the only yield there) to the accumulator argument technique for tail recursion, unwound into an explicit loop. Thus it can be said that the concept of corecursion is an explication of the embodiment of iterative computation processes by recursive definitions, where applicable.

Fibonacci sequence
In the same way, the Fibonacci sequence can be represented as:

Note that because the Fibonacci sequence is a recurrence relation of order 2, the corecursive relation must track two successive terms, with the  corresponding to shift forward by one step, and the  corresponding to computing the next term. This can then be implemented as follows (using parallel assignment):
def fibonacci_sequence():
    a, b = 0, 1
    while True:
        yield a
        a, b = b, a + b
In Haskell,  map fst ( (\(a,b) -> (b,a+b)) `iterate` (0,1) )

Tree traversal
Tree traversal via a depth-first approach is a classic example of recursion. Dually, breadth-first traversal can very naturally be implemented via corecursion.

Without using recursion or corecursion, one may traverse a tree by starting at the root node, placing the child nodes in a data structure, then removing the nodes in the data structure in turn and iterating over its children. If the data structure is a stack (LIFO), this yields depth-first traversal, while if the data structure is a queue (FIFO), this yields breadth-first traversal.

Using recursion, a (post-order) depth-first traversal can be implemented by starting at the root node and recursively traversing each child subtree in turn (the subtree based at each child node) – the second child subtree does not start processing until the first child subtree is finished. Once a leaf node is reached or the children of a branch node have been exhausted, the node itself is visited (e.g., the value of the node itself is outputted). In this case, the call stack (of the recursive functions) acts as the stack that is iterated over.

Using corecursion, a breadth-first traversal can be implemented by starting at the root node, outputting its value, then breadth-first traversing the subtrees – i.e., passing on the whole list of subtrees to the next step (not a single subtree, as in the recursive approach) – at the next step outputting the value of all of their root nodes, then passing on their child subtrees, etc. In this case the generator function, indeed the output sequence itself, acts as the queue. As in the factorial example (above), where the auxiliary information of the index (which step one was at, n) was pushed forward, in addition to the actual output of n!, in this case the auxiliary information of the remaining subtrees is pushed forward, in addition to the actual output. Symbolically:
 v,t = ([], FullTree) : (RootValues, ChildTrees)
meaning that at each step, one outputs the list of values of root nodes, then proceeds to the child subtrees. Generating just the node values from this sequence simply requires discarding the auxiliary child tree data, then flattening the list of lists (values are initially grouped by level (depth); flattening (ungrouping) yields a flat linear list).

These can be compared as follows. The recursive traversal handles a leaf node (at the bottom) as the base case (when there are no children, just output the value), and analyzes a tree into subtrees, traversing each in turn, eventually resulting in just leaf nodes – actual leaf nodes, and branch nodes whose children have already been dealt with (cut off below). By contrast, the corecursive traversal handles a root node (at the top) as the base case (given a node, first output the value), treats a tree as being synthesized of a root node and its children, then produces as auxiliary output a list of subtrees at each step, which are then the input for the next step – the child nodes of the original root are the root nodes at the next step, as their parents have already been dealt with (cut off above). Note also that in the recursive traversal there is a distinction between leaf nodes and branch nodes, while in the corecursive traversal there is no distinction, as each node is treated as the root node of the subtree it defines.

Notably, given an infinite tree, the corecursive breadth-first traversal will traverse all nodes, just as for a finite tree, while the recursive depth-first traversal will go down one branch and not traverse all nodes, and indeed if traversing post-order, as in this example (or in-order), it will visit no nodes at all, because it never reaches a leaf. This shows the usefulness of corecursion rather than recursion for dealing with infinite data structures.

In Python, this can be implemented as follows.
The usual post-order depth-first traversal can be defined as:
def df(node):
    if node is not None:
        df(node.left)
        df(node.right)
        print(node.value)
This can then be called by df(t) to print the values of the nodes of the tree in post-order depth-first order.

The breadth-first corecursive generator can be defined as:
def bf(tree):
    tree_list = [tree]
    while tree_list:
        new_tree_list = []
        for tree in tree_list:
            if tree is not None:
                yield tree.value
                new_tree_list.append(tree.left)
                new_tree_list.append(tree.right)
        tree_list = new_tree_list
This can then be called to print the values of the nodes of the tree in breadth-first order:
for i in bf(t):
    print(i)

Definition
Initial data types can be defined as being the least fixpoint (up to isomorphism) of some type equation; the isomorphism is then given by an initial algebra. Dually, final (or terminal) data types can be defined as being the greatest fixpoint of a type equation; the isomorphism is then given by a final coalgebra.

If the domain of discourse is the category of sets and total functions, then final data types may contain infinite, non-wellfounded values, whereas initial types do not. On the other hand, if the domain of discourse is the category of complete partial orders and continuous functions, which corresponds roughly to the Haskell programming language, then final types coincide with initial types, and the corresponding final coalgebra and initial algebra form an isomorphism.

Corecursion is then a technique for recursively defining functions whose range (codomain) is a final data type, dual to the way that ordinary recursion recursively defines functions whose domain is an initial data type.

The discussion below provides several examples in Haskell that distinguish corecursion. Roughly speaking, if one were to port these definitions to the category of sets, they would still be corecursive. This informal usage is consistent with existing textbooks about Haskell. Also note that the examples used in this article predate the attempts to define corecursion and explain what it is.

Discussion
The rule for primitive corecursion on codata is the dual to that for primitive recursion on data. Instead of descending on the argument by pattern-matching on its constructors (that were called up before, somewhere, so we receive a ready-made datum and get at its constituent sub-parts, i.e. "fields"), we ascend on the result by filling-in its "destructors" (or "observers", that will be called afterwards, somewhere - so we're actually calling a constructor, creating another bit of the result to be observed later on). Thus corecursion creates (potentially infinite) codata, whereas ordinary recursion analyses (necessarily finite) data.  Ordinary recursion might not be applicable to the codata because it might not terminate.  Conversely, corecursion is not strictly necessary if the result type is data, because data must be finite.

In "Programming with streams in Coq: a case study: the Sieve of Eratosthenes" we find
hd (conc a s) = a
tl (conc a s) = s

(sieve p s) = if div p (hd s) then sieve p (tl s)
              else conc (hd s) (sieve p (tl s))

hd (primes s) = (hd s)
tl (primes s) = primes (sieve (hd s) (tl s))
where primes "are obtained by applying the primes operation to the stream (Enu 2)". Following the above notation, the sequence of primes (with a throwaway 0 prefixed to it) and numbers streams being progressively sieved, can be represented as

or in Haskell,
(\(p, s@(h:t)) -> (h, sieve h t)) `iterate` (0, [2..])
The authors discuss how the definition of sieve is not guaranteed always to be productive, and could become stuck e.g. if called with [5,10..] as the initial stream.

Here is another example in Haskell. The following definition produces the list of Fibonacci numbers in linear time:
fibs = 0 : 1 : zipWith (+) fibs (tail fibs)

This infinite list depends on lazy evaluation;  elements are computed on an as-needed basis, and only finite prefixes are ever explicitly represented in memory. This feature allows algorithms on parts of codata to terminate; such techniques are an important part of Haskell programming.

This can be done in Python as well:
from itertools import tee, chain, islice, imap

def add(x, y):
    return x + y

def fibonacci():
    def deferred_output():
        for i in output:
            yield i
    result, c1, c2 = tee(deferred_output(), 3)
    paired = imap(add, c1, islice(c2, 1, None))
    output = chain([0, 1], paired)
    return result

for i in islice(fibonacci(), 20):
    print(i)

The definition of zipWith can be inlined, leading to this:

fibs = 0 : 1 : next fibs
  where
    next (a: t@(b:_)) = (a+b):next t

This example employs a self-referential data structure.   Ordinary recursion makes use of self-referential functions,   but does not accommodate self-referential data.   However,  this is not essential to the Fibonacci example.    It can be rewritten as follows:

fibs = fibgen (0,1)
fibgen (x,y) = x : fibgen (y,x+y)

This employs only self-referential function to construct the result. If it were used with strict list constructor it would be an example of runaway recursion, but with non-strict list constructor this guarded recursion gradually produces an indefinitely defined list.

Corecursion need not produce an infinite object; a corecursive queue is a particularly good example of this phenomenon.   The following definition produces a breadth-first traversal of a binary tree in linear time:

data Tree a b = Leaf a  |  Branch b (Tree a b) (Tree a b)

bftrav :: Tree a b -> [Tree a b]
bftrav tree = queue
  where
    queue = tree : gen 1 queue

    gen  0   p                 =         []
    gen len (Leaf   _     : s) =         gen (len-1) s
    gen len (Branch _ l r : s) = l : r : gen (len+1) s

This definition takes an initial tree and produces a list of subtrees.   This list serves dual purpose as both the queue and the result (gen len p produces its output len notches after its input back-pointer, p, along the queue).  It is finite if and only if the initial tree is finite.  The length of the queue must be explicitly tracked in order to ensure termination;  this can safely be elided if this definition is applied only to infinite trees.

Another particularly good example gives a solution to the problem of breadth-first labeling. The function label visits every node in a binary tree in a breadth first fashion,  and replaces each label with an integer,  each subsequent integer is bigger than the last by one.   This solution employs a self-referential data structure,  and the binary tree can be finite or infinite.

label :: Tree a b -> Tree Int Int
label t = t′
    where
    (t′, ns) = go t (1:ns)

    go :: Tree a b    -> [Int]  -> (Tree Int Int, [Int])
    go   (Leaf   _    ) (n:ns) = (Leaf   n       , n+1 : ns  )
    go   (Branch _ l r) (n:ns) = (Branch n l′ r′ , n+1 : ns′′)
                                where
                                  (l′, ns′ ) = go l ns
                                  (r′, ns′′) = go r ns′

An apomorphism (such as an anamorphism, such as unfold) is a form of corecursion in the same way that a paramorphism (such as a catamorphism, such as fold) is a form of recursion.

The Coq proof assistant supports corecursion and coinduction using the CoFixpoint command.

历史
Corecursion, referred to as circular programming, dates at least to , who credits John Hughes and Philip Wadler; more general forms were developed in . The original motivations included producing more efficient algorithms (allowing 1 pass over data in some cases, instead of requiring multiple passes) and implementing classical data structures, such as doubly linked lists and queues, in functional languages.

参见

 递归

注释

参考文献

范畴论
递归论
递归

共递归


Janice Pariat is an Indian poet and writer. She was born in Assam and grew up in Shillong, Meghalaya.

Boats on Land (Random House India, 2012), her debut collection of short stories, won the 2013 Sahitya Akademi Young Writer Award for the English language and the 2013 Crossword Book Award for fiction. Pariat is the first writer from Meghalaya to receive an award from the Sahitya Akademi for a work in English.

Early life and career
Pariat was born in Jorhat, Assam, and grew up between Shillong and several tea estates in Assam. She was educated at Loreto Convent, Shillong and The Assam Valley School. Thereafter she obtained a BA in English Literature from St. Stephen's College, Delhi and an MA in History of Art and/or Archaeology from SOAS, University of London.

She is the editor of online literary journal Pyrta, which she founded in 2010. Her writing has featured in a number of Indian and international magazines, such as Time Out Delhi, The Caravan and Internazionale. Pariat teaches Creative Writing and History of Art at Ashoka University.

Awards and honours
In 2013, Pariat's debut collection of short stories Boats on Land won the Sahitya Akademi Young Writer Award for the English language, and a Crossword Book Award (fiction). The same work was also shortlisted for the 2013 Shakti Bhatt First Book Prize, and longlisted for the 2013 uday lakhanpal International Short Story Award and the 2013 Tata Literature Live! First Book Award. Seahorse was shortlisted for The Hindu Literary Prize (2015).

Style
In Boats on Land, Pariat's stories – set between Shillong, Cherrapunji and Assam – undertake fictional re-imaginings of the transformations that swept through Northeast India during a period of three centuries, starting in the 1850s. Weaving together local folklore and tradition with unfolding social and political events, Pariat's style has been likened to magical realism as well as to Haruki Murakami's writing. Jeet Thayil commented on her stories to be 'revelatory and original'.

Bibliography

Fiction
Everything the Light Touches, HarperCollins, 2022.
The Nine-Chambered Heart, HarperCollins India, New Delhi, 2017.
Seahorse: A novel, Random House India, New Delhi, 2014.
 Boats on Land: A collection of short stories, Random House India, New Delhi, 2012.

Poetry
 The Yellow Nib Modern English Poetry by Indians (Sudeep Sen ed.), Seamus Heaney Centre for Poetry, Queen's University Belfast, 2011 .
 Kavi Kala: The Visual Poetry Project (Madness Manali ed.), Cinnamon Teal Print and Publishing, Goa, 2010.

See also
 Literature from North East India
 Indian English Literature
 Stephanian School of Literature

Gallery

References

Women writers from Meghalaya
English-language writers from India
Living people
Indian women poets
St. Stephen's College, Delhi alumni
Poets from Meghalaya
21st-century Indian women writers
21st-century Indian poets
People from Jorhat district
People from Shillong
Poets from Assam
Women writers from Assam
Year of birth missing (living people)

Janice Pariat


Geoffrey Hugh Dodsworth  (7 June 1928 – 29 March 2018) was a merchant banker and British Conservative Party politician.

Biography

Early life
Geoffrey Hugh Dodsworth was born on 7 June 1928. He was educated at St. Peter's School, York.

Business career
He began his working life in 1945 as an articled clerk and subsequently a Chartered Accountant at Barron & Barron in York. After two years' service in the army, from 4 July 1946 to 26 August 1948, he returned to Barron & Barron, where he worked on a number of major business activities for large estates in Yorkshire and London until 1963.
Whilst at Barron & Barron, Geoffrey also became Justice of the Peace for York in 1960 - at just 32, he was one of the youngest ever magistrates for the city.

He set up a group of companies in the export and import trade in 1963 and travelled extensively in Ottawa, New York and Washington, developing these businesses. In 1970, he joined William Brandt's Sons & Co. Ltd. He became managing director of Grindlay Brandt's Ltd. (a Merchant Bank), in 1974, and also in the same year became Director of Grindlays Bank Ltd. (now ANZ). Dodsworth made presentations on behalf of the UK leasing Industry with the British Export Council  in  the United States, Canada, Brazil, Iran and India. In 1980, he became president and co-Chief Executive of Oceanic Finance Corporation Ltd., based in Bermuda. He then moved on to become chairman and Chief Executive of Jorvik Finance Corporation Ltd., in Bermuda, in 1988, and set up Dodsworth and Company Ltd. in 1988, under personal control, specialising in equity and bank funding for asset and project finance. One of his biggest deals was negotiating the sale of a cable and telephone franchise to Cable & Wireless.

He was Director of a quoted Property Company for three years in the 1990s and worked with First International Shipping Corporation in the late 1990s. He was a Fellow of the Institute of Chartered Accountants in England and Wales, was chairman and founder of the UK Equipment Leasing Association and vice-chairman of the European Leasing Federation. He was a Freeman of the City of London and acted as Trustee on a number of Family Trusts.

Political career
Dodsworth twice stood unsuccessfully for Parliament before getting elected. In 1959 he was beaten at the safe-Labour Don Valley by Richard Kelley, and in 1964 he was defeated by Ted Leadbitter at The Hartlepools.

He became Deputy Leader of the Conservative Group on York City Council in 1964 and was a member of the council for six years, serving on major committees specialising in financial matters. He was Member of Parliament for South West Hertfordshire from February 1974, and was re-adopted for the 1979 election. He resigned as an MP in October 1979, on medical advice under severe pressure from a considerable proportion of his constituents. He had held office in the backbench Shipping and Shipbuilding Committees and was Joint Secretary of the Finance Committee. Geoffrey also served on the Select Committees on The Wealth Tax and Statutory Instruments. Richard Page was elected to succeed him in the subsequent by-election. He returned north and was Chairman of the Vale of York constituency association in 1998 and stood for the North Yorkshire County Council in 1997.

Personal life
He married his first wife, Isabel Neale, in 1949, who died in September 1967 after a long illness. They had one daughter, Helen. He married his second wife, Elizabeth Beeston, in 1971. They had Simon on 15 January 1972 and Mary on 1 January 1974. In October 2002, he underwent a heart bypass after which he retired.

He died on 29 March 2018 at the age of 89.

References

Times Guide to the House of Commons, 1979

External links

1928 births
2018 deaths
People educated at St Peter's School, York
Politicians from York
Conservative Party (UK) MPs for English constituencies
UK MPs 1974
UK MPs 1974–1979
UK MPs 1979–1983
British accountants
English justices of the peace

Geoffrey Dodsworth


The New Zealand Centennial Exhibition took place over six months from Wednesday 8 November 1939 until 4 May 1940. It celebrated one hundred years since the signing of the Treaty of Waitangi in 1840 and the subsequent mass European settlement of New Zealand. 2,641,043 (2.6 million) visitors attended the exhibition.

The New Zealand Government staged the exhibition with assistance from local government, New Zealand industry and the New Zealand public. The exhibition received support from the United Kingdom, Australia, Canada, Fiji and other Pacific islands who either constructed their own pavilions on site or had displays in one of the exhibition buildings.

Opening
The exhibition was opened on 8 September 1939 by the Governor-General, The Viscount Galway and the Mayor of Wellington, Thomas Hislop.

Location

The exhibition took for its site a location at Rongotai in Wellington, Edmund Anscombe designing the buildings and grounds in the Art Deco style. Construction began on 27 April 1939 by the firm Fletcher and Love Construction Companies and over 1,000 staff were employed in the process of building the exhibition. The exhibition grounds were just over  in size, with the main buildings accounting for around  of this.

Feature structures included:
 the Centennial Tower, the main focus of attention, standing  tall and weighing 700 tons. This icon featured on many of the souvenirs celebrating the exhibition.
 a statue of a Neriad (a sea-woman on a seahorse) standing in the central fountain.
 the New Zealand Railways Department stand featuring a working model-railway constructed to scale and maintained by Frank Roberts (model maker).

2,641,043 (2.6 million) visitors attended the exhibition. The last time an event of such a scale had been held was the New Zealand and South Seas International Exhibition in 1925–26, when 3.2 million visitors were counted at the exhibition in Dunedin. Anscombe had also been the architect for the Dunedin exhibition.

Photography

In February 1938 tenders were invited by the New Zealand Centennial Exhibition Company Ltd for official photographer for the Exhibition. The submission of Eileen Olive Deste (1908–1986) included a testimonial from John A. Lee, under-secretary for housing in the Labour government, for a housing-exhibition project in the Kirkcaldie and Stains gallery in 1937. Deste won the exclusive right to photograph exhibits or any other object in the exhibition buildings or grounds, with a percentage of the gross takings from the sale of the photographs going to the  Exhibition Company. The photography rights covered all aspects of the exhibition, from construction to closing. Deste flew above the site in a small plane to take aerial shots, a terrifying but exciting experience, as she later remembered. Deste also entered into an agreement with Coulls Somerville Wilkie Limited to supply photographs for publications and general souvenir material, and her photographs illustrate their Pictorial souvenir of the New Zealand Centennial Exhibition, 1939–1940. Deste's stall in the General Exhibits Building sold photographs and postcards in black and white and colour. Much of the photography at the exhibition came from the camera of an employee, Neville d'Eresby (Des) Aickin, while Deste did the processing and printing at her studio.

New Zealand Potters
In 1939-1940 potters Olive Jones and Elizabeth Matheson demonstrated and sold work at the New Zealand Centennial Exhibition for six months.

Post-exhibition war-time use
Plans envisaged using the building only for six months and then dismantling it. But with New Zealand's ongoing participation in World War II (1939–1945), the New Zealand Air Force used the site and some buildings until the end of the war. In 1946 what remained was burnt to the ground.

See also
 Zealandia (personification)

Further reading
 Appendices to the House of Representatives, Department of Industries and Commerce, 1941, H-44, pp 21–23.
 Bowron, G. 'A Brilliant Spectacle: the Centennial Exhibition Buildings', in John Wilson (ed.), Zeal and Crusade: the Modern Movement in New Zealand, Christchurch, 1997.
 New Zealand Centennial Exhibition 1939–40: Official Souvenir Catalogue.
 New Zealand Centennial Exhibition Company Ltd archives, held by Wellington City Council Archives.
 Palethorpe, N.B. Official history of the New Zealand Centennial Exhibition, Wellington, 1939–1940. Wellington, 1940.
 Renwick, William (ed.), Creating a National Spirit: Celebrating New Zealand's Centennial. Victoria University Press. Published April 2005.

References

External links
 Article on nzhistory
 Certificate of Attendance
 700 ton tower
 Images and Videos of the Centennial Exhibition from DigitalNZ

History of New Zealand
Wellington City
Centennial Exhibition
Centennial Exhibition
World's fairs in New Zealand
Edmund Anscombe buildings
Regional centennial anniversaries
1940s in Wellington
1930s in Wellington
1939 festivals
1940 festivals
Events in Wellington

New Zealand Centennial Exhibition


Eileen Cecile Ford (née Otte; March 25, 1922 – July 9, 2014) was an American model agency executive and co-founder of  Ford Models with her husband, Gerard "Jerry" Ford, in 1946. Ford Models was one of the earliest internationally recognized modelling agencies in the world.

Early life
Eileen Cecile Ottensoser was born in Manhattan and raised in suburban Great Neck, Long Island, the only daughter of four children of Loretta Marie (née Laine) and Nathaniel Otte. Eileen had been a model during the summers of her freshman and sophomore years at Barnard College, modeling for the Harry Conover Modeling Agency, one of the first in the United States. She graduated from Barnard in 1943.

The next year, she met her future husband, Gerard "Jerry" Ford, at a drugstore near the Columbia University campus and eloped with him, marrying in November 1944 in San Francisco. Shortly thereafter, Jerry, who was in the Navy, was shipped out for World War II. In his absence, Eileen became photographer Elliot Clark's secretary, then later a fashion stylist, copywriter, and fashion reporter for The Tobe Report.

Ford Modeling Agency
A pregnant Eileen started to work as a secretary for several models, taking calls at her father's New York City law office, charging each model $65 to $75 per month. After giving birth to her first child, daughter Jamie in March 1947, she continued to work hard. Jerry returned from the war in March 1946, and despite knowing nothing about the fashion industry, he joined Eileen in creating an agency. After only a year, Eileen and Jerry sold their car and relocated their agency to a third-floor walkup on Second Avenue.

Although the Fords' location was terrible, within a year, the modeling agency was the second or third most successful in the United States, grossing $250,000. The Fords' first superstar model was Jean Patchett. The Fords had the capital to instill the voucher system, something that other modeling agencies were not affluent enough to offer. Dorian Leigh described Eileen as "one of the hardest working, most persistent persons I have ever known, two qualities which made her my very good friend for years and later, my unanticipated enemy".

After two years, the Fords began to seriously compete with the Huntington Hartford modeling agency and the John Robert Powers agencies, the two most successful modeling agencies at the time. Leigh, meanwhile, closed her modeling agency when she was pregnant with her third child in 1948. Leigh called Eileen and told them that her 15-years younger sister, Suzy Parker, was making only $25 per hour working as a model for Huntington Hartford. Leigh felt Suzy, although only 16 years old, should be making $40 per hour, and told Ford she would join her two-year-old agency only if they took Parker sight-unseen. Anxious to represent Leigh, they agreed. Expecting a younger version of the raven-haired, blue-eyed, very slender, 5'4" Dorian, the Fords were shocked to see Parker was 5'10" with green eyes, and freckles.

They soon realized, however, that Parker had the possibility of becoming quite a successful model. Soon thereafter, Parker would become the most successful model of the 1950s, helping push the Ford's agency to number one. In the 1940s and 1950s, the Fords represented top models Mary Jane Russell, Carmen Dell'Orefice, and Dovima. By 1954, the Fords were extremely successful and were living in a duplex apartment on Park Avenue. To make sure that their models were the most successful, the Fords provided hair dressers, dermatologists, and Eileen dispensed diet advice constantly. She allowed models to live with her to "keep a close eye on them so they'd stay out of trouble and make their early morning appointments". Eleven (11) of Ford's busiest models were featured on the April 1955 issue of McCall's magazine (Parker, Leigh, Jean Patchett, Patsy Shally, Lillian Marcuson, Nan Rees, Leonie Vernet, Georgia Hamilton, Dolores Hawkins, Kathy Dennis, and Mary Jane Russell). Ford pushed for standardized hours and wages. She enforced rules about what models could and could not do (for example, showing "excessive amounts of bosom" in a photo was a no-no).

The Fords' marriage became tense. Jerry told Eileen to "mend (your) ways or we'll be divorced!" She told author Michael Gross in a 1990s interview, "... so I mended my ways. That's why I'm so docile now." By the late 1950s, Eileen had given birth to four children: Jamie, Billy, Katie, and Lacey.

In 1957, Leigh, aged 40 and retired from modeling, was living in France. She decided to start another modeling agency, this time in France. The police and courts insisted she was running an illegal employment agency, and she was fined. After World War II, employment agencies were declared illegal. Leigh contacted the Fords about starting a legitimate modeling agency, the first of its kind in that country. She continued to run a successful agency, but in 1959 was charged in court again. After hiring a lawyer, she finally won her case. The Fords agreed to expand their modeling business into Europe, and Leigh would represent them in France as well as scout for potential models all over Europe. Leigh was so successful that she opened branches in London and Hamburg, Germany. She would trade her European models for Ford's American models and vice versa.

In the early 1960s, Ford represented then-model Martha Stewart, who like Eileen, went to Barnard College. Stewart modeled briefly in her late teens and early 20s, including for Chanel. In the 1970s, Stewart catered parties and weddings with Dorian Leigh, who became a cordon bleu level chef after retiring from the fashion industry. On the twentieth anniversary of the Ford Agency in 1966, Jerry Ford told The New York Times that they were billing $100,000 per week and that they were the first modeling agency to have a computer system. They had 175 female and 75 male models that booked 70% of modeling jobs in New York City and 30% worldwide.

Their top models in the 1960s included Wilhelmina Cooper (who would go on to run a successful modeling agency of her own in the 1970s, until her death from lung cancer due to heavy smoking in 1980, at age 40), Jean Shrimpton, Ann Turkel, Agneta Frieberg, Ali MacGraw, Candice Bergen, Tilly Tizani, Sondra Peterson, and Donna Michelle. In 1968, Ford produced Eileen Ford's Book of Model Beauty, which gave beauty tips and nutrition and exercise advice. The book included a biography and photos of Ford's most successful models from the 1950s and 1960s.

In the early 1970s, Ford was still the number-one modeling agency in the world. It represented Jerry Hall, Christie Brinkley, Rene Russo, Kim Basinger, Janice Dickinson, Lauren Hutton, Karen Graham, Susan Blakely, and others. Hutton and Graham were the earliest models to get exclusive make-up contracts with Revlon and Estée Lauder. By 1977 however, John Casablancas, who started Elite, began to poach Ford's top models and her top booking agent, Monique Pillard. The Fords tried to sue Casablancas, and hired famed attorney Roy Cohn. They also competed with several smaller modeling agencies, such as Wilhelmina, which represented such late 1970s models as Gia Carangi, Patti Hansen and Shaun Casey.

During this time, Ford Models expanded their agency. A successful Men's Division would dominate the pages of GQ magazine. In 1975, the Fords started a children's division. In her Lifetime Intimate Portrait, Eileen Ford said they started that division with Brooke Shields, then 9 years old, in mind. Shields was already an established model when the Fords signed her. She shot her first national advertising campaign with Francesco Scavullo in 1966 for Ivory soap. It was during that first year with Ford that she shot the infamous photos with photographer Garry Gross. According to court records, Brooke was paid $450 for the photo session.

By the late 1970s, the "model wars" between Elite and Ford were in full stride with top models going back-and-forth between Elite, Ford, and smaller agencies like Zoli, which represented Rachel Ward and Esmé Marshall. By this time, many top models were getting terrible reputations for drug use, staying out all night at Studio 54 and for being very unprofessional.

By the late 1970s and early 1980s, Eileen said several of Ford's models from the 1950s and 1960s had died from smoking and breast cancer. Some 1970s models died from drug use, including Gia Carangi, who died of AIDS in 1986. Top fashion photographers, tired of these models' behavior, refused to work with them any longer. In 1981, the Fords began an international modeling competition called "Face of the 80s", later known as Ford Models Supermodel of the World. By the mid-1980s, drug-addicted blonde models were out, and more professional, brunette-haired models such as Cindy Crawford, Renée Simonsen, Carol Alt, Linda Evangelista, and Christy Turlington came on the scene. As a result, modeling fees rapidly accelerated and several models were making millions of dollars per year. Fashion editor Polly Mellen said, "The girls are getting rich, so rich." Turlington, at the age of 16, moved into Ford's townhouse during the summer of 1985, and would rapidly become one of the Ford's biggest successes ever.

In 1993, Eileen said that her agency received 10,000 letters per year and 7,000 personal visits to her office. Of these, she said, maybe only four or five are "really good ones [models]".

Also in 1993, Ford's home in Tewksbury Township, New Jersey, was almost completely destroyed in a fire. Later that year, they rebuilt an exact replica of the house.

Retirement
In 1995, Katie Ford took over her parents' agency after their retirement. The 50th anniversary of the agency was highlighted in several articles including the July–August 1996 issue of American Photo magazine and in January–February 1997's Top Model magazine ("Ford at 50!"). She was CEO from 1995 to 2007. In December 2007, Ford was sold to Stone Tower Equity Partners. John Caplan took over as CEO while Katie Ford was on the Board of Directors. Jerry Ford died at the age 83 on August 24, 2008. He was survived by his wife, four children, eight grandchildren, and two great-grandchildren.

Eileen Ford's story has been told in Good Housekeeping in 1968, Life in November 1970 and Ladies' Home Journal in 1971 among many others. She appeared in the 1997 film Scratch the Surface about a teen model turned documentary cinematographer, Tara Fitzpatrick's examination of the clothing industry and in Intimate Portrait: Eileen Ford in 1999 and again in Celebrity Profile: Brooke Shields in 2001 and a profile of Christie Brinkley.

Death
She died at a hospital in Morristown, New Jersey, from complications of meningioma and osteoporosis, on July 9, 2014, aged 92.

Publications
 Eileen Ford's Book of Model Beauty by Eileen Ford. Trident Press: New York, (1968)
 Eileen Ford's a more beautiful you in 21 days, Simon and Schuster: New York (1972);

References

Sources
 Good Housekeeping magazine, 1968.
 Lacey, Robert. Model Woman: Eileen Ford and the Business of Beauty. New York: HarperCollins, 2015.

External links
 Ford Models
BBC Last Word (obituary, spoken word)

1922 births
2014 deaths
Businesspeople from New York City
American fashion businesspeople
People from Great Neck, New York
People from Tewksbury Township, New Jersey
Barnard College alumni
20th-century American businesspeople
20th-century American businesswomen
21st-century American women

Eileen Ford


Charles Alan Pastrana (November 20, 1944April 8, 2021) was an American football quarterback. He played college football for the University of Maryland from 1965 to 1968. In 1966, he set the Atlantic Coast Conference record for single-season passing touchdowns with 17. At Maryland, Pastrana also played on the lacrosse team and was named a first-team All-American defenseman in 1966. The Denver Broncos of the National Football League (NFL) selected Pastrana in the 11th round of the 1969 NFL Draft. He played for Denver for two seasons, including three games as the starting quarterback. After his playing career, Pastrana coached football, lacrosse and wrestling at Anne Arundel Community College, where he taught as an associate professor, and coached football at the Severn School.

Early life
Pastrana was born on November 20, 1944, in Annapolis, Maryland, to a father from Colombia and an American mother of Swiss ancestry. He attended Annapolis High School, where he served as the captain of the football, lacrosse, and wrestling teams. After he graduated from Annapolis High in 1964, Pastrana attended the college preparatory Severn School.

College years
Pastrana enrolled at the University of Maryland, where he earned three letters on the football team in 1965, 1966, and 1968, and two on the lacrosse team in 1966 and 1967. He played lacrosse as a defenseman under head coach John Howard. After the 1966 season, the United States Intercollegiate Lacrosse Association named him a first-team All-American.

In 1965, he played football on defense as a linebacker. The following season, Lou Saban took over as head coach from Tom Nugent, and held open quarterback try-outs, which included everyone who had played the position in high school. Early in the season, Saban dismissed several players "not good enough to play for Maryland", including former starting quarterback Phil Petry, and the job went to Pastrana. Saban employed a pro-style offense.

After losses to Penn State and Syracuse, Pastrana led the underdog Maryland team to a surprising three-game winning streak over Duke, West Virginia, and South Carolina, which improbably placed the Terrapins atop the Atlantic Coast Conference and into the bowl game picture. Maryland, however, lost its final four games of the season to finish 4–6 and 3–3 in the ACC. In the penultimate game against Virginia, Pastrana broke the ACC record with his 13th and 14th touchdown passes of the season. Florida State routed Maryland in the season finale, 45–21, where Pastrana's passing accounted for all three Terrapin scores in a failed second-half comeback bid. He finished the year with 102 completions on 195 attempts for 1,499 yards and 17 touchdowns. After the season, Saban left to become head coach for the Denver Broncos and he was replaced by former Maryland All-American guard Bob Ward.

In April 1967, Pastrana suffered a serious injury when he tore his medial collateral ligament and cartilage in his knee during a spring football practice. The injury required surgery, and he was lost for the 1967 season. Pastrana returned for his final year of eligibility in 1968, but had "only a mediocre season", although he "kept the team spirits high with his never-say-die attitude." Maryland finished with a 2–8 record. Pastrana recorded 81 completions on 172 attempts for 1,053 yards and six touchdowns.

During his collegiate career, Pastrana set the school record for season efficiency rating at 131.29 in 1966, which was broken by Bob Avellini in 1974. Pastrana also set school records with 23 career passing touchdowns and 17 single-season passing touchdowns, both of which were later broken by Boomer Esiason.

Professional career

Denver Broncos
The Denver Broncos selected Pastrana in the eleventh round of the 1969 NFL Draft with the 270th overall pick. In 1969, he saw action in two games and did not attempt a pass, but did have one reception for 15 yards. The following season, he played in five games, including three as starter in relief of Steve Tensi, who had suffered a shoulder injury. Against the San Diego Chargers, Pastrana drove the team to the opposing 35-yard line and within field goal range, but he was knocked unconscious and could not call a crucial timeout. As the offensive captain, he was the only person authorized to do so under the rules at the time, and the clock expired to result in a 17–17 stalemate. The rules regarding timeouts were changed after the season. In 1970, Pastrana completed 29 of 75 pass attempts for 420 yards and one touchdown, rushed 14 times for 89 yards and one touchdown, threw nine interceptions, and was sacked eight times. Five of his interceptions came against the Kansas City Chiefs. Pastrana suffered a severe concussion that effectively ended his career near the end of the 1970 season and also heavily altered his personality. In the 1971 offseason, head coach Lou Saban held try-outs with seven quarterbacks. By the end of August, Pastrana made the cut to the final three, alongside Don Horn and Steve Ramsey, and was the only quarterback remaining on the team from the prior season. Pastrana, however, was cut in early September.

After the NFL
Pastrana became an assistant football coach at Anne Arundel Community College in 1973. From 1980 to 1989, he served as the head coach and directed a multiple-I and pro-set offense until the school discontinued the program. He also served as a co-head coach of the Anne Arundel Community College men's lacrosse team alongside former Maryland coach Bud Beardmore.

In 1993, the Severn School hired Pastrana as its football coach, but he resigned after just three games amid complaints from parents and players over his laid-back coaching style. Some were concerned that Pastrana visited with friends in the stands during the halftime of two losses. In 2001, Pastrana was an associate professor of health and education at Anne Arundel Community College, where he was still teaching as of 2006. Pastrana has been inducted into the Anne Arundel County Sports Hall of Fame.

Personal life
Pastrana and his wife Diane (née Laudenslager) had two daughters, Shannon Overend and Lisa Brabazon. He was the uncle of stuntman and motorsports competitor Travis Pastrana. Another nephew, Greg Powell, played football at Maryland as a walk-on in 2005 and 2006. His nephew, Darren Pastrana, entered the United States Naval Academy in 2008, where he played on the lacrosse team. His niece, Kim Pastrana, played women's lacrosse at Duke University from 2005 to 2007.

Pastrana died on April 8, 2021, of pneumonia that stemmed from COVID-19.

References

1944 births
2021 deaths
American football quarterbacks
Maryland Terrapins football players
Maryland Terrapins men's lacrosse players
Deaths from pneumonia in Maryland
Denver Broncos players
Denver Broncos (AFL) players
College men's lacrosse coaches in the United States
High school football coaches in Maryland
Junior college football coaches in the United States
Sportspeople from Annapolis, Maryland
Players of American football from Maryland
American sportspeople of Puerto Rican descent
Deaths from the COVID-19 pandemic in Maryland

Alan Pastrana


is a Japanese novelist in Shōwa and Heisei period Japan.  Anzai has concentrated her efforts on stories set in China with historical themes, or on contemporary stories based on traditional Chinese motifs.

Biography
Anzai was born on August 11, 1927, in Kobe, Hyōgo Prefecture, where her father was a banker. She accompanied her father when he was assigned to Germany from 1927 to 1932, and to Qingdao and Tianjin in China from 1932 to 1942, where she was exposed to folk tales and literature from both European and Asian traditions. She attended the Qingtao Girls Middle School from 1940 to 1942, where her interest in writing was encouraged by her father. As the situation for Japan in World War II worsened, she was sent from China to Japan, where she graduated from the Kanagawa Daiichi Girls Middle School in Yokohama, Kanagawa Prefecture in 1944.

Anzai married Satoru Tominaka, a businessman, in 1946. She turned to literature after she married; the noted author Nakayama Gishu agreed to take her on as a student in 1953.  She formed a  literary criticism group called Namboku ("North-South") in 1953, where authors could support each other as well as review each other's work.  In 1964, her short story Chanshaoshu no hanashi was awarded the prestigious Naoki Prize. As with many of her works, the story is set in ancient China and is based on an old Chinese legend.

Anzai divorced in 1972. She later worked as a free-lance interviewer and writer.

In 1993, her novel Kurouma was awarded the Japan Women Writer's Award.

She currently resides in Kamakura, Kanagawa.

References
Schierbeck, Sachiko Shibata and Edelstein Marlene R. Japanese Women Novelists in the 20th Century: 104 Biographies, 1900-1993. Museum Tusculanum Press (1994),

1927 births
20th-century Japanese novelists
21st-century Japanese novelists
Japanese women novelists
Writers from Kobe
Living people
21st-century Japanese women writers
21st-century Japanese writers
20th-century Japanese women writers

Atsuko Anzai


Air sex is a performance activity invented in Japan; clothed men and women simulate sexual activity with an invisible partner, often in an exaggerated manner, set to music, and in a competition before an audience. This is somewhat akin to playing air guitar, explaining the name. The creator, J-Taro Sugisaku, says that it was invented in Tokyo in 2006 by a group of bored men without girlfriends.

A report about the phenomenon in the Japanese magazine Weekly Playboy in 2006 was picked up by the English language web site Mainichi Daily News. A video of the air sex "world championship" was uploaded to YouTube in January 2007. This was followed by a segment of the BBC Three documentary show Japanorama in March 2007, subsequently uploaded to YouTube and flagged as "inappropriate for some users".

These videos led to coverage in the blogosphere. The Japanorama video was shown in May 2007 at the JACON 2007 convention in Orlando, Florida, and a spontaneous air sex competition ensued, footage of which also found its way to YouTube.

In late January and early February 2007, a group of American black male teenagers calling themselves "Peer Pressure" produced two videos showing air sex set to music, published on YouTube under the user name "amp6". Fleshbot called these "The Best Air Sex Video of All Time".

Since August 2007, The Alamo Drafthouse has been holding bimonthly Air Sex competitions in the US.  In June 2009 The Alamo Drafthouse toured the country on the Air Sex World Championships tour crowning Air Sex Champions in 14 cities. Later that October the first ever world champion was crowned when Shanghai Slammer from Los Angeles out-performed every other city champion. The tour was hosted by comedian Chris Trew. In October 2010 the group was scheduled to tour once more.  Photos are posted on the Alamo Drafthouse Flickr page.

References

Comedy
Human sexuality
Sexuality in Japan
Japanese comedy

Air sex


The Onyx River is a meltwater stream that flows to the west through the Wright Valley between the Wright Lower Glacier to Lake Vanda.  The Onyx River is one of the sites studied by the US Antarctic Program of the National Science Foundation.   It is the longest river in Antarctica. It is 32 kilometers long.

Rivers of Antarctica

Onyx River


The Cairn of Barnenez (also: Barnenez Tumulus, Barnenez Mound; in Breton Karn Barnenez; in French: Cairn de Barnenez or Tumulus de Barnenez) is a Neolithic monument located near Plouezoc'h, on the Kernéléhen peninsula in northern Finistère, Brittany (France). It dates to the early Neolithic, about 4800 BC. Along with the Tumulus of Bougon and Locmariaquer megaliths, also located in Great West France, it is one of the earliest megalithic monuments in Europe and one of the oldest man-made structures in the world. It is also remarkable for the presence of megalithic art.

History

Dates
Radiocarbon dates indicate that the first phase of the monument was erected between 4850 and 4250 BC, and the second phase between 4450 and 4000 BC.

Secondary use
Pottery found in and around the monument indicates that it underwent a period of reuse in the Bronze Age, in the 3rd millennium BC.

Recognition as an ancient monument
The cairn was first mapped in 1807, in the context of the Napoleonic cadaster. Its first scientific recognition took place in the context of an academic congress in Morlaix in 1850, when it was classified as a tumulus.

Quarry damage
Privately owned until the 1950s, the cairn was used as a quarry for paving stones. This activity, which threatened to destroy the monument, was only halted after the discovery of several of its chambers in the 1950s. The local community then took control of the site.

Restoration and excavation
The cairn was restored between 1954 and 1968. At the same time, vegetation was removed from the mound and systematic excavation took place in and around the monument.

The monument

The mound

Today, the Barnenez cairn is 72 m long, up to 25 m wide, and over 8 m high. It is built of 13,000 to 14,000 tons of stone. It contains 11 chambers entered by separate passages. The mound has steep facades and a stepped profile. Several internal walls either represent earlier facades or served the stability of the structure. The cairn consists of relatively small blocks of stone, with only the chambers being truly megalithic in character.
The monument overlooks the Bay of Morlaix, probably a fertile coastal plain at the time of its erection.

Construction phases
The monument is the result of at least two phases of building.

Cairn 1, before 4500 BC
In a first phase, a slightly trapezoidal mound of 32 m by 9 to 13 m was erected. It contained 5 chambers and was surrounded by a double kerb. The first phase favoured the use of dolerite.

Cairn 2, c. 4200 – c. 3900 BC
In a second phase, an extension with six further chambers was added in the west. At the same time, Cairn 1 was enveloped in a wider and taller structure; its passages had to be extended. More granite was used in this phase.

The chambers

The 11 chambers of the Barnenez cairn are of the type known as Dolmen à couloir in French archaeological terminology. The term translates roughly as "passage grave". They are built of large slabs of slate and granite. Originally, all the chambers were entirely enclosed by the mound. The fact that several of them are partially exposed now is the result of modern quarrying.

Each of the 11 chambers is reached from the southeast via a long narrow passage (7–12 m long). They are arranged parallel to each other. Shapes and construction techniques differ slightly.

In nine cases, narrow passages lead to corbelled chambers. Normally, the corbel vault rests on orthostats, in one chamber it actually sits on the ground, forming a true tholos. The passages have slab-built or dry stone walls and are covered with slabs. One of the chambers has a dry-stone vaulted ante-chamber.

Logistics
One cubic metre of the Barnenez cairn contains 1,500 kg of stone. It is estimated that the quarrying, fashioning, transport and construction of such an amount represents about four work days for a single worker (assuming a 10-hour day). The original monument, Cairn 1, had a volume of about 2,000 cubic metres; it is built of 1,000 tons of granite and 3,000 tons of dolerite. It would thus have required 15,000 to 20,000 working days; in other words, it would have taken 200 workers three months to erect Cairn 1 alone. In its final form, the Barnenez mound is nearly three times as big as the first phase.

Engraved symbols
Engraved symbols occur in several of the chambers and passages. They depict bows, axes, wave symbols or snakes and a repeated U-shaped sign. One of the carved slabs is in secondary use; it was originally part of a different structure, an interesting parallel to the situation in several other such monuments, including Gavrinis.

The symbols on the engraved blocks resemble those found in other megalithic monuments in Brittany; in broader terms they belong to the cultural phenomenon described as megalithic art. One of the recurring symbols is sometimes interpreted as an anthropomorphic depiction (the so-called "Dolmen Goddess").

Finds

Material from the original period of use
Only Cairn 2, namely chambers A, C and D, contained Neolithic finds at the time of excavation. They included pottery, polished stone axes (of dolerite), flint blades and arrowheads.

Bronze Age pottery
Pottery shards found outside the monument indicate that it was reused in the Bronze Age (3rd millennium BC). A copper dagger and a barbed arrowhead are of Chalcolithic date.

Comparable monuments
Similar, possibly contemporary, monuments are known at 22 other locations in France and on Jersey. Breton examples are Larcuste-Colpo, Le Bono, Petit Mont, Ty-Floc´h, Gavrinis, Île Carn, Ploudalmézeau and Guennoc (I´ile Gaignoc – sometimes spelt Guénioc) off the shore at Landéda. Those located on islands are generally better preserved. Chamber 3 B at Guennoc contains a small standing stone near the entrance.

Exhibition
An exhibition in the modern entrance building explains the results of scientific excavation and displays some objects from the site.

See also
Megalithic art
Gavrinis
Bougon

References

External links

French site with many images
Information on "The Megalithic Portal"

Buildings and structures completed in the 5th millennium BC
1807 archaeological discoveries
Neolithic sites of Europe
Archaeological sites in Brittany
Megalithic monuments in Brittany
Stone Age Europe
Prehistoric art
Buildings and structures in Finistère
Tourist attractions in Finistère
Monuments historiques of Finistère
Tumuli in France
Monuments of the Centre des monuments nationaux
Cairns (stone mounds)

Barnenez


Daniel James Patterson (often referred to simply as D.J. Patterson) was an American architect around the turn of the 20th century.  Much of his work was done for the Southern Pacific Railroad.

Patterson was born in Jefferson County, New York in 1857, the second of six children born to Tomkins and Susan Patterson.  His father was a carpenter by trade.  He grew up in Minnesota and received his college training at the University of Minnesota.  After college, he moved to Seattle, Washington, to work as a draftsman for Willis Ritchie.  His most notable designs during this time in the Pacific Northwest included the Old Capitol Building in Olympia, and the courthouses in Spokane, Whatcom, and Port Townsend.  He also designed a number of public school buildings.

In 1889, Patterson moved to San Francisco to establish a practice there.  His work caught the attention of the Southern Pacific Railroad (SP), which had its headquarters in San Francisco.   They had him design a number of their stations and other facilities, many of which survive.  Among these were the San Antonio Station, Berkeley Station (1906), the Salt Lake City Union Station, the Tucson Station, and the Willits depot.  He was also the architect for the Union Station (1911) in Seattle, Washington.  He designed three of the SP's hospitals, in San Francisco, El Paso, and Houston, as well as many of the railroad's industrial structures, such as electrical sub-stations and the Alameda Shops.

Although most of his work in San Francisco was done for the SP railroad, Patterson maintained his practice on behalf of other clients.  One of these was himself.  He designed his own home which still stands on Divisadero Street.  He also designed a large 4-story house for Jeremiah and Elizabeth Burke in Berkeley, California.  The house has been preserved as the landmarked Burke House which has served for many years as the home of the Judah L. Magnes Museum, a museum of Jewish history in the American west.

Gallery

References

 "Daniel J. Patterson", The Bulletin, Railroad Station Historical Society, Vol.37, No.1, Jan.-Feb. 2004
"Additional Depots Designed by Daniel J. Patterson", The Bulletin, Railroad Station Historical Society, Vol.37, No.4, July-Aug. 2004
Davis' Commercial Encyclopedia of the Pacific Southwest, compiler and publisher, Ellis A. Davis, Berkeley, California, 1911
"Berkeley's Lost Station", Carlos A. Fernandez-Gray, Newsletter of the Berkeley Architectural Heritage Association, Berkeley, California, Number 109, Spring-Summer 2002
Berkeley Landmarks: an illustrated guide to Berkeley, California's architectural heritage, Susan Dinkelspiel Cerny, Berkeley Architectural Heritage Association, 1994

External links

1857 births
Year of death missing
American railway architects
Southern Pacific Railroad

Daniel J. Patterson


Sir Alexander Campbell Mackenzie KCVO (22 August 1847 – 28 April 1935) was a Scottish composer, conductor and teacher best known for his oratorios, violin and piano pieces, Scottish folk music and works for the stage.

Mackenzie was a member of a musical family and was sent for his musical education to Germany.  He had many successes as a composer, producing over 90 compositions, but from 1888 to 1924, he devoted a great part of his energies to running the Royal Academy of Music.  Together with Hubert Parry and Charles Villiers Stanford, he was regarded as one of the fathers of the British musical renaissance in the late nineteenth century.

Life and career
Mackenzie was born in Edinburgh, the eldest son of Alexander Mackenzie and his wife, Jessie Watson née Campbell. He was the fourth musician of his family. His great-grandfather was an army bandsman; his grandfather, John Mackenzie, was a violinist in Edinburgh and Aberdeen; his father was also a violinist, the conductor of the orchestra in the Theatre Royal, Edinburgh, and editor of The National Dance Music of Scotland. Mackenzie's musical talent emerged early: at the age of eight he was playing nightly in his father's orchestra. He was sent for his musical education to Germany, living with his teacher, the Stadtmusiker August Bartel, in Schwarzburg-Sondershausen in Thuringia, where he entered the conservatorium under K. W. Ulrich and Eduard Stein, remaining there from 1857 to 1861, when he entered the ducal orchestra as a violinist.

Mackenzie wished to continue his violin studies with the teacher Prosper Sainton, who had taught his father, and in 1862 he successfully applied for admission to the Royal Academy of Music in London, where Sainton taught.  His other tutors were the principal, Charles Lucas (harmony), and Frederick Bowen Jewson (piano). Shortly after starting at the Academy, he was awarded a King's Scholarship, the income from which Mackenzie augmented by playing in theatre and music hall pit-bands, as well as in classical concerts under the leading conductor Michael Costa. This sometimes caused him to neglect his academic work, and on one occasion, having failed to prepare a piece by a classical composer for a piano examination, he improvised, "starting off in A minor and taking care to end in the same key", and convinced the examiners that it was a little-known work by Schubert. Recalling this prank in his old age, he added, "I have never ceased to wonder at my escape, and would certainly not advise any student to run a similar risk today." Some of Mackenzie's early compositions were performed at the Academy.

Early career
In 1865 Mackenzie returned to Edinburgh. He undertook a heavy workload of teaching, both privately and in local colleges, and from 1870 he was in charge of music at St George's, Charlotte Square. In 1873 he took on the conductorship of the Scottish Vocal Association. He also played the violin in orchestral concerts both locally and at the Birmingham Festivals from 1864 to 1873, meeting visiting musicians including the conductor Hans von Bülow, who became a firm friend. In 1874 Mackenzie married a local woman, Mary Malina Burnside (d. 1925). They had a daughter, Mary. Mackenzie successfully began composing orchestral music.  Bülow conducted his overture Cervantes in 1879, and two of his Scottish rhapsodies were premiered by August Manns in 1880 and 1881.

By this time, Mackenzie's heavy workload as a teacher and player began to undermine his health. Two of Bülow's pupils in Florence, Italy, Giuseppe Buonamici and George F. Hatton, introduced Mackenzie to the musical philanthropists Carl and Jessie Hillebrand. After a few months' rest in their care, Mackenzie began composing full-time. Apart from a year in England (1885), he made Florence his home until 1888. During this period he spent much time in the company of Franz Liszt. He began composing large-scale works, including instrumental, orchestral and choral music and two operas. His cantatas The Bride and Jason were successfully given, and the Carl Rosa Company commissioned his first opera, Colomba, written to a libretto prepared by Francis Hueffer, music critic of The Times. The opera premiered successfully in 1883.  A second opera, The Troubadour, produced by the same company in 1886, was less successful, though Liszt thought well enough of the piece to begin work on a piano fantasia based on themes from it.  Pablo de Sarasate premiered a violin concerto by Mackenzie at the Birmingham Festival of 1885. For the 1885–86 season, Mackenzie was appointed conductor of Novello's oratorio concerts in London. Liszt paid his final visit to England chiefly to hear his Saint Elisabeth performed under Mackenzie's direction in 1886.

Peak years
In October 1887, the principal of the Royal Academy of Music, Sir George Macfarren, died, and in early 1888 Mackenzie was appointed to succeed him. He held the post for 36 years until his retirement in 1924. At the time, the Academy was overshadowed by its younger rival, the Royal College of Music, and Mackenzie set about reviving its reputation. He was fortunate in enjoying the friendly support of his opposite numbers at the College, George Grove, and, from 1895, Hubert Parry, and the two institutions established a close working relationship of mutual benefit. In addition to overhauling the curriculum and reorganising the faculty, Mackenzie engaged personally with his students by teaching composition and conducting the student orchestra. In 1912 the Academy moved from its old buildings in Mayfair to purpose-built premises in Marylebone. In his later years as principal, Mackenzie became markedly conservative, forbidding his students to play the chamber music of Ravel, which he stigmatised as "a pernicious influence".

Mackenzie was conductor of the Royal Choral Society and the Philharmonic Society Orchestra between 1892 and 1899, giving the British premières of many works, including symphonies by Tchaikovsky and Borodin.

Like his father, Mackenzie took a great interest in folk music and produced several collections of arrangements of traditional Scottish songs. In 1903, interested in investigating Canadian folk-song, he undertook a tour of Canada organised by the Anglo-Canadian musician Charles A.E. Harriss. His visit stimulated the cultural scene and choral festival competitions were held throughout Canada with eleven new choral societies being founded. Mackenzie conducted concerts during the tour, exclusively of British music.

Mackenzie was regarded as a cosmopolitan musician. He spoke fluent German and Italian and was elected to the post of President of the International Musical Society which he held from 1908 to 1912. From his early days playing in orchestras in Edinburgh and Birmingham he had met and become friendly with many leading international musicians, including Clara Schumann, Joseph Joachim, Charles Gounod and Antonín Dvořák. His friendship with Liszt began in Mackenzie's student days in Sondershausen and lasted for the rest of Liszt's life.

Although Mackenzie composed a large number of works, which met with great public success, he found, as had Arthur Sullivan earlier and as did Parry contemporaneously, that running a large musical conservatoire left less time for composition. Both at the Academy and elsewhere, he was a popular lecturer. Among his topics were Verdi's opera Falstaff, the text of his lecture on which was later published in translation in Italy. Outliving his contemporaries Sullivan and Parry, he gave memorial lectures on their lives and works. At a time when Sullivan's reputation in academic musical circles was not high, Mackenzie's tribute was generous and enthusiastic.

In the late nineteenth and early twentieth centuries, Mackenzie's professional prominence brought him many honours from universities and learned societies in Britain and abroad. He was knighted in 1895, and created a Knight Commander of the Royal Victorian Order (KCVO) in 1922, the year of the centenary celebrations of the Royal Academy, in which he was the central figure. On 15 October 1923 the BBC broadcast one of the earliest examples of a one-composer programme, devoting one hour and 45 minutes to performances of Mackenzie's works, conducted by the composer. On his eighty-sixth birthday, over forty distinguished musicians presented him with a silver tray inscribed with facsimiles of their signatures, including Elgar, Delius, Ethel Smyth, Edward German, Henry Wood, and Landon Ronald. He retired from the Academy and from public life in 1924.

Mackenzie died in London in 1935 at the age of 87.

Works

The Oxford Dictionary of National Biography says of Mackenzie's music that it is "cosmopolitan in style and somewhat old-fashioned for its period, displaying influences of French and German composers, including Bizet, Gounod, Schumann, and Wagner." Grove's Dictionary of Music and Musicians says that although Mackenzie's music was eclipsed by the works of later composers, "he and his contemporaries may be regarded as having laid the foundations of the musical renaissance in 19th- and early 20th-century Britain".

During his time teaching in Edinburgh, Mackenzie wrote several works, including a piano trio, a string quartet and a piano quartet, and he maintained a considerable output despite his crowded schedule both then and later. The Times reported that his list of compositions numbered 90, of which 20 were distinctly Scottish.

His orchestral works include the overture Cervantes, performed at Schwarzburg-Sondershausen in 1877, three Scottish Rhapsodies, a violin concerto premiered by Pablo de Sarasate at the Birmingham Festival of 1885, a "Scottish" concerto for piano (1897), a suite, London Day by Day (1902), and a Canadian Rhapsody (1905). He composed incidental music to six dramas, including Ravenswood, and J. M. Barrie's The Little Minister. The funeral march from his music for Henry Irving's production of Coriolanus was played at Irving's funeral in 1905 and at Mackenzie's memorial service at St Paul's Cathedral in 1935. He worked on a symphony but did not complete it.

It was as a composer of vocal music that Mackenzie first achieved national fame. His cantata The Bride was a success at the Three Choirs Festival of 1881. Edward Elgar played in the violins at the première and later remarked that meeting Mackenzie was "the event of my musical life". A second cantata, Jason, for the Bristol festival of 1882, was also well received. His most famous choral work was the oratorio The Rose of Sharon, written for the Norwich festival of 1884. The words were adapted from the Song of Solomon by Joseph Bennett, music critic of The Daily Telegraph, who later provided Sullivan with the text for The Golden Legend. The Dream of Jubal (1889), is an unusual combination of recitation and choral sections, composed for the jubilee of the Liverpool Philharmonic Society in 1889.

Mackenzie's operas began in 1883 with Colomba, first produced by the Carl Rosa Company. It was a success, but his second opera The Troubadour (1886) was not. Francis Hueffer's libretti for both operas were written in an antiquated style that attracted much criticism. Mackenzie's other operas were The Cricket on the Hearth (1914), The Eve of St John (1924), and two almost-complete operas, The Cornish Opera and Le luthier.

Critics observed that Mackenzie's operatic and choral music was generally ill-served by his librettists: "Much of his best work ... is neglected, partly because unlike his contemporaries, Parry and Stanford, Mackenzie went for the texts of his larger vocal works to such librettists as Joseph Bennett and Hueffer, instead of to the vital things of English poetry and literature." "[He] was content with librettos written by hacks according to the current operatic conventions."  This even applied to his one excursion into comic opera, His Majesty, a piece in the Gilbert and Sullivan vein, with a libretto by F. C. Burnand and R. C. Lehmann and additional lyrics by Adrian Ross, presented at the Savoy Theatre in 1897.  The Times commented, "Mr Burnand's experience as a librettist of comic opera, and Sir Alexander Mackenzie's inexperience in this class of composition might lead the public to expect a brilliant book weighed down by music of too serious and ambitious a type. The exact opposite is the case." Burnand's libretto was judged dull and confused, but Mackenzie's music was "marked by distinction as well as humour."

Mackenzie also wrote books on Giuseppe Verdi (1913) and Franz Liszt (1920). In his memoirs A Musician's Narrative (1927), he described "a lifetime spent, boy and man, in the service of British music".

Notes

References

Further reading

External links

Discussion of violin pieces
Discussion of piano pieces
Profile of Mackenzie
Another profile of Mackenzie

1847 births
1935 deaths
19th-century classical composers
20th-century classical composers
Musicians from Edinburgh
People educated at the Royal High School, Edinburgh
Royal Philharmonic Society Gold Medallists
British Romantic composers
Scottish classical composers
British male classical composers
Scottish scholars and academics
People associated with Gilbert and Sullivan
Alumni of the University of Edinburgh
Alumni of the Royal Academy of Music
Principals of the Royal Academy of Music
Knights Commander of the Royal Victorian Order
Composers awarded knighthoods
Conductors (music) awarded knighthoods
20th-century Scottish musicians
19th-century conductors (music)
20th-century conductors (music)
Scottish folk musicians
Scottish folk-song collectors
20th-century British composers
19th-century British composers
20th-century British male musicians
Oratorio composers

Alexander Mackenzie (composer)


Drosera subtilis is an erect annual species in the carnivorous plant genus Drosera. It is native to northern Western Australia and a single site in the Northern Territory. In Western Australia, it has been collected from Beverley Springs Station, Bigge Island, and the Mitchell Plateau area all in the vicinity of the Kimberley region. In the Northern Territory, it has been found near Little Nourlangie Rock. It grows over sandstone near seepage margins in skeletal sandstone sand and black humus mixed soils. D. subtilis is anchored to the soil by a system of thin, fleshy roots and it lacks a tuber. It produces small carnivorous leaves along erect, reddish stems that can be  high.

Drosera subtilis has white flowers with four petals on an inflorescence that can produce 50 or more individual flowers. Each flower has four white stamens that are 1.3–1.5 mm long with yellow pollen. Each flower also has two styles. It flowers from February to March.

Drosera subtilis was first described by N. G. Marchant in 1982 in the Flora of Australia series. He placed it into Drosera sect. Ergaleium with the largely south-west Australian erect or climbing tuberous sundews, even though it lacks a tuber. Consensus among experts is that this species is misplaced and belongs with the allied and similar D. banksii, another annual currently placed, perhaps incorrectly, in Drosera sect. Lasiocephala, but this opinion has not yet been formally published.

See also
List of Drosera species

References

Carnivorous plants of Australia
Caryophyllales of Australia
Flora of the Northern Territory
Eudicots of Western Australia
Plants described in 1982
subtilis

Drosera subtilis


The Stuntz Bay Boathouse Historic District comprises a row of 143 boathouses on Lake Vermilion in Breitung Township, Minnesota, United States.  They were mostly built in the first half of the 20th century by employees of the adjacent Soudan Iron Mine.  The mining company provided the lots to employees as a reward for their years of service, and the miners did their own construction.  Most of the boathouses were built with tamarack logs and scrap corrugated metal from the mine property.  Boating and fishing were major pastimes for the mine employees and their families in their leisure hours, and the mining company promoted access to outdoor recreation as a perk of employment.  The Stuntz Bay Boathouses were listed as a historic district on the National Register of Historic Places in 2007 for their local significance in the themes of architecture, entertainment/recreation, industry, and social history.  They were nominated for illustrating the personal lives of the miners and vernacular metal architecture.

The Stuntz Bay Boathouses largely remain family-owned inholdings within what is now Soudan Underground Mine State Park.  140 of the boathouses are considered contributing properties to the historic district and three recently rebuilt boathouses are non-contributing.  Just inland from the boathouses, the ruins and smokestack of a compressor house built for the mine in 1884 and demolished around 1930 form another contributing property.  The final three contributing properties consist of a fishing dock at the far east end of the boathouses, a boat ramp in the middle dating to about 1940, and a large rock outcrop midway up the east side that served as a fishing spot and landmark.

See also
 National Register of Historic Places listings in St. Louis County, Minnesota

References

Boathouses on the National Register of Historic Places
Buildings and structures in St. Louis County, Minnesota
Historic districts on the National Register of Historic Places in Minnesota
National Register of Historic Places in St. Louis County, Minnesota
Vernacular architecture in Minnesota

Stuntz Bay Boathouse Historic District


Courtney Christine Schulhoff (born December 27, 1987 in Washington, D.C.) is an American prisoner who was convicted of the bludgeoning death of her father in his Altamonte Springs, Florida apartment when she was 16 years old. She was convicted of first-degree murder and was sentenced to life without the possibility of parole in September 2006. In March 2017, Schulhoff was given a reduced sentence of 40 years.

Background
Courtney Schulhoff lived in Altamonte Springs, Florida with her father after her parents divorced. She attended Lyman High School, but had dropped out and was pursuing her GED. Before dropping out of school, 15-year-old Schulhoff began dating Michael Morin, a man whom she had met at a dog race track across the street from her high school. Morin, who was five years Schulhoff's senior, was on probation for car theft after stealing his father's car. Schulhoff's father did not approve of their relationship but the couple continued to date. They would often hang out at a local gas station where Schulhoff reportedly told Morin that her father physically abused her regularly.

Murder
On the night of February 9, 2004, Schulhoff's father Stephen was beaten to death inside his apartment. After the murder, Schulhoff and Morin reportedly drove to a McDonald's 20 miles away in Orlando, Florida using Stephen Schulhoff's truck. Later in the afternoon, the couple returned to the apartment. Morin later said that he and Schulhoff had planned to take her father's body to Brevard County and throw it off a bridge.

Schulhoff and Morin were apprehended on February 11 after Stephen Schulhoff's girlfriend, Elaine Bouck, came to the apartment to check on Stephen.  Bouck called 911 after seeing the couple flee from the apartment. Schulhoff later told police that she and Morin had decided to kill her father after her father had beaten her on February 9. She initially claimed that while she was out taking her father's dog for a walk, Morin had decided to "take care of the problem" and kill Stephen. Schulhoff claimed that when she returned to the apartment, she discovered Morin covered in blood and saw the baseball bat by the front door. She stated that Morin admitted to killing her father and threatened to kill her if she called authorities. Morin denied that he had initiated the killing, stating that Schulhoff left the Louisville Slugger baseball bat used to kill Stephen Schulhoff outside the bedroom door for him to use. Morin claimed that he had tried to talk Schulhoff out of killing her father, to no avail. He also claimed to have no memory of beating Stephen Schulhoff stating that he "blacked out" as soon as he grabbed the bat and only became lucid when he was washing the blood off his body after the attack. In a second interview with police, Schulhoff admitted that she waited at the apartment's tennis court area while Morin killed her father and intentionally left the baseball bat by the door for Morin.

Trials and convictions
Courtney Schulhoff was the first of the defendants to stand trial. Her trial began on September 26, 2006. Prosecutors alleged that although Michael Morin had committed the murder, Schulhoff had orchestrated it. She did not testify in her own defense at the trial. The next day, she was found guilty of first-degree murder. Because she was only 16 when the murder was committed, she was ineligible for the death penalty; on September 27, 2006, she was sentenced to life without parole. After the judge handed down the obligatory sentence, Courtney Schulhoff spoke out in open court, stating: "Your Honor, I would like to openly admit in court that Michael Morin is not the person who killed my father. I was. So, I accept full responsibility, and I accept the verdict."

Michael Morin's murder trial began on April 16, 2007. Unlike his former girlfriend, he was facing a death sentence if convicted. During his testimony, he admitted killing Stephen Schulhoff but expressed regret for the action. At the trial, Schulhoff also testified in Morin's defense. She had given a new deposition after her conviction, and stated that she was the one who had bludgeoned Stephen Schulhoff to death with the baseball bat. However, on April 26, 2007, Michael Morin was convicted. He was sentenced to life in prison without parole, and is serving his sentence at the Taylor Correctional Institution.

In 2009, Schulhoff was interviewed at the Lowell Correctional Institution in Ocala, Florida by RTL, a German news show, about the punishment of life without parole for juvenile offenders. In 2011, her case appeared on an episode of Snapped on the Oxygen Network. In 2015, Schulhoff was interviewed by former FBI criminal profiler Candice DeLong for the Investigation Discovery program Facing Evil.

In 2017, Schulhoff was given a reduced sentence of 40 years.

Weblinks

See also
Murder of Diane and Alan Scott Johnson
Rachel Wade

References

1987 births
American female murderers
American people convicted of murder
Living people
Minors convicted of murder
Patricides
People convicted of murder by Florida
People from Altamonte Springs, Florida
Prisoners sentenced to life imprisonment by Florida
Criminals from Washington, D.C.
21st-century American criminals
Juvenile law

Courtney Schulhoff


Joji , or stylized as JOJI, is a 2021 Indian Malayalam-language crime drama film directed by Dileesh Pothan and written by Syam Pushkaran. The story is inspired by William Shakespeare's play Macbeth. The film was produced by Bhavana Studios in association with Working Class Hero, and Fahadh Faasil and Friends. Fahadh Faasil plays the title character, while Baburaj, Shammi Thilakan, and Unnimaya Prasad play other pivotal roles. The plot revolves around a wealthy family of three sons and a father living in the countryside of Kerala.

Principal photography took place from November 2020 to January 2021, shot extensively in Kottayam. Joji released through the OTT service Amazon Prime Video on 7 April 2021 to wide critical acclaim.

Plot

Joji, an engineering dropout, along with elder brothers Jomon and Jaison lead a life of fear under their dominating father Kuttappan. The family also includes Jaison's wife Bincy and Jomon's teenage son Popy. They live in a vast house in the middle of a sizable plantation in the high ranges of COVID-ridden Kerala. While Joji looks meek among his father and brothers, he appears to share a bond with Bincy and Popy.

Despite being 74, Kuttappan is well-built and is very much in charge of family affairs. Jomon, a divorcee, aids him in agriculture in their vast estate, while Jaison manages their businesses in town. Joji is running unsuccessful ventures, the remains of them being a horse tied in their estate. He is financially dependent on Kuttappan who physically abuses Joji. Bincy manages the household chores and is always shown to be occupied in the kitchen. A pond is being dug in the family yard by workers including Gireesh and Sudhi. Kuttappan manages to pull out a heavy valve stuck in the mud as nobody else could handle it, but suffers a stroke in the process and is hospitalised. A close relative of the family, Dr Felix, discusses with his fellow doctors and comes to the conclusion that Kuttappan is paralyzed and there is little hope of improvement in his condition. Things look brighter even for Joji as he manages to sell his horse after showing it off to buyers in the family's yard.

However, Kuttappan returns home, bedridden and unable to speak. Jomon is visibly upset over his father's condition, while the others at various levels hope for Kuttappan's speedy death. Joji even visits his father in bed and mocks his paralyzed hand which was used to abuse him. When Kuttappan shows further physical suffering, Jomon decides to sanction a risky surgery, which is fortunately successful. This brings a recovering Kuttappan back home, albeit in a wheelchair, getting everyone in the house back to their old ways.

As prompted by Bincy, Jaison asks his father for money to buy a new house in the town, but is rejected and ridiculed by Kuttappan. Kuttappan also manages to use a pen to sign a cheque indicating his improved condition. An upset Bincy shares her frustration with Joji. Joji decides to stand up against his father and demands him to step down. However, the old man manages to choke Joji with his able left hand and ridicules him as well. Joji decides to kill Kuttappan and begins to secretly replace Kuttappan's daily medication with similar-looking pills. Bincy witnessed this but conceals the truth as she and Jaison are also secretly wishing for Kuttappan's death. Joji's plan works and Kuttappan dies soon.

Jomon, already an alcoholic, bursts firecrackers at the funeral procession, claiming his father would not have wanted a depressing funeral. This leads the family into a scuffle with the church priest, Fr Kevin. Not long after the funeral, the family meets, presided by Dr Felix to partition the dead man's estate. Jomon objects to the partition saying it will be disrespectful to Kuttappan's spirit. Jomon and Jaison enter into a heated argument. Joji rises to the occasion and proposes a solution agreed by both his brothers impressing everyone.

Meanwhile, rumours begin to spread about Kuttappan's death. Joji has nightmares of his father and tries to destroy the pieces of evidence by burning all medicine strips that were used in the gruesome act. But this leads to a fire near the pond. Jomon notices the sign of fire the next morning. Joji manages to escape and lies to Jomon that he doesn't visit the pond at all. Jomon is upset over rumours that Kuttappan's death and is suspicious that someone in the family is behind it. Jomon wants to confront Thotta Sudhi who was loud about Joji's apathetic walking towards the house as Bincy was crying out when Kuttappan died. Joji joins Jomon in searching for Sudhi in the plantations. They find Sudhi working alone on the plantation making thotta (a crude explosive used in breaking stones). When confronted, he runs away after a heated exchange with the brothers but not before spilling some beans which makes Jomon suspect Joji. Realizing Joji is hiding something, Jomon attacks him, and Joji subdues him using Popy's air gun, after which he throws Sudhi's explosives at him, killing Jomon instantly. Joji provides a statement to the police, thus framing Sudhi for Jomon's death.

Over the next few days, Jaison notices weird changes in Joji's behaviour, including him becoming overtly religious, as Bincy begins to question the possibility of Joji's involvement in Jomon's murder as well. During the autopsy, the police find the pellets from the gun in Jomon's body, and Popy realizes that Joji was the only other person who knew of the gun, which was purchased with money stolen from Kuttappan. The family confronts Joji, who continues to deny these claims. Realizing that he will not get away, Joji tries to blackmail Jaison that unless he stands with Joji, he will be implicated as a co-conspirator in the murders. Realising the true colours of Joji, Jaison refuses this categorically. Bincy confesses to Jaison of knowing about some of Joji's acts. Having no way out, Joji attempts suicide by shooting himself with the air gun to his head. He also sends a suicide note to the remaining family members blaming society for all his acts.

In the mid-credits scene, it is shown that Joji survives and awakens in the hospital, paralyzed. When the police officer asks a bedridden Joji to confess to his crimes by blinking his eyes, Joji forcefully does not blink.

Cast

Production
On 3 October 2020, Fahadh Faasil announced his next collaboration with Dileesh Pothan after Maheshinte Prathikaaram and Thondimuthalum Driksakshiyum. Titled as Joji, the announcement featured a poster which informed that the film will be based on William Shakespeare's play Macbeth, also becoming the third Macbeth-based Indian film after Maqbool and Veeram. The poster also contained details about the crew, which include Shyju Khalid as cinematographer, Justin Varghese as music director and Kiran Das as editor.

Principal photography began on 13 November 2020 and was shot in Cheruvally estate and Erumely. Kottayam, Kerala. Shooting of the film got wrapped up on 14 January 2021, within a duration of two months.

Music

The film score is composed by Justin Varghese.

{{tracklist
| headline = Joji (Original Soundtrack)
| title_width = 100
| title1 = Main Theme
| length1 = 02:35
| title2 = Prophecy
| length2 = 00:45
| title3 = He Is Back
| length3 = 01:59
| title4 = The Lady Macbeth Element
| length4 = 00:34
| title5 = The Hook
| length5 = 04:47
| title6 = Fire
| length6 = 01:29
| title7 = Execution
| length7 = 02:47
| title8 = Desperation
| length8 = 01:04
| title9 = Fear
| length9 = 02:03
| title10 = Reality
| length10 = 01:17
| title11 = Marana Mozhi
| length11 = 02:20
| title12 = Trailer Music
| length12 = 02:05
}}

Release
On 31 March 2021, Amazon Prime Video India released a teaser and trailer on 2 April 2021 announcing that the film will premiere through the streaming platform on 7 April 2021. Joji was selected as the winner for the Best International Feature Film at Swedish International Film Festival, 2021

Reception
Critical response
The film received highly positive reviews from critics.
Anupama Chopra of Film Companion wrote, "Joji is a reworking of Macbeth and while these words might suggest a period setting, Shakespeare's tragedy has been reimagined in contemporary times, on a sprawling rubber plantation in Kerala. But Joji, the youngest of three brothers, is very much a subject of his father's kingdom." Rating 4.5 out of 5 stars, Sajin Shrijith of The New Indian Express said "Joji is another brilliant, debate-worthy film about oppressed characters from the enviable imagination of Syam Pushkaran and director Dileesh Pothan. It's the duo's darkest film yet". Richard Brody of The New Yorker gave the film a positive review, noting, "The script, by Syam Pushkaran, is both practical and fiercely expressive," and concludes, writing, "Long before the plot is resolved, Joji offers a sardonic vision of patriarchal tyranny and the pathologies it spawns... [it] declares, with bitter irony, that there's no end in sight."

The Indian Express rated 3.5 and wrote, "Shakespeare's grand meshing of crime and punishment in Macbeth has spawned many film and stage versions in many languages around the world. Joji picks up the overarching theme beautifully (both writer and director have incorporated crime and punishment most innovatively in their previous work). The only time the film loses its grip, ever so slightly, is in the way it slides on the guilt which is part-and-parcel of a killing, and rolls towards an ending which feels pat. I wanted to see more of how the 'damned spot' would deepen, and how everyone, especially Joji, would experience it: the climactic coda feels a tad hurried." Firstpost rated 3.5 and wrote, "Joji paints an intriguing portrait of the antonym to mourning in this house of intrigue. Like some of the best of Malayalam cinema's New New Wave, it is a thoughtful, watchful film in which a chain of events unfolds at a natural pace, presenting a wealth of insights into Malayali culture and customs along the way. The succession-related concerns in the Panachel home, gossip by those claiming to support them, the local church's influence in their lives, the tense relationship between the parish priest (Basil Joseph) and this moneyed family all add up to a delightful black comedy that perhaps only Dileesh Pothan and writer Syam Pushkaran could have made."

The Times of India rated 3 and wrote, "And this is not a reflection on Dileesh Pothan's able direction, or the acting talent. Baburaj plays his part with neat restraint, whether he is drunk, comic, angry or confused, and Sunny PN conveys menace perfectly. The camera by Shyju Khalid captures the mood and is immersive, while Justin Varghese's bgm is quirky and sets the perfect tone. Ultimately, it's an exaggerated story about the darkness in a man's heart. But it will definitely be a movie that will be a part of popular culture for its characters." Sify rated 4 and wrote, "Joji is the kind of movie that shakes you up and refuses to leave you long after the end titles start rolling. It is affecting and makes you feel how easy it is for a human to give in to greed and then, face the consequences. This one is a MUST WATCH!" . The Hindu wrote, "Joji is as much a perceptive study of the slow unravelling of a criminal mind, as it is an indictment of the society and the family structure that is the origin point of that criminality. Dileesh Pothan has scored a hat-trick, with three films that are unlike each other"

Critics have also pointed out striking similarities with the 1985 Malayalam film Irakal''.

Accolades

References

External links

2021 films
Indian crime thriller films
2021 crime thriller films
2020s Malayalam-language films
2021 direct-to-video films
Direct-to-video thriller films
Amazon Prime Video original films
Films directed by Dileesh Pothan
 Films scored by Justin Varghese
Films based on Macbeth
Films based on works by William Shakespeare
Patricide in fiction
Fratricide in fiction
Films shot in Erumely

Joji (film)