Leslie Lewis Dan,  (born November 26, 1929), is a Canadian-Hungarian businessman and pharmacist. The founder of Novopharm, a successful generic pharmaceutical company which he subsequently sold to Teva Pharmaceuticals. A noted philanthropist, Dan has been awarded the prestigious Order of Canada and the Order of Ontario for his charitable efforts.

Early life

Born in Budapest, Dan came to Canada in 1947.  As a teenage Jew, he survived the Holocaust by using false identity papers. He came to Canada in 1947 and graduated from the University of Toronto School of Pharmacy in 1954 obtaining a Bachelor of Science degree. He completed his Master of Business Administration degree in 1959. In 1960, he founded a company which distributed over-the-counter drugs.

Business ventures
In 1965, he founded Novopharm. In 2000, when he sold the company to Teva Pharmaceuticals of Israel for an estimated $430 million, it had sales of $750 million and employed 3,000 people. He then started a new company, Viventia (formerly Novopharm Biotech), which specializes in the discovery and development of products for the treatment of cancer. He is currently the chairman.

As of April 2021, he has an estimated net worth of $1.04 billion Canadian dollars (approximately $830 million USD), making him the 91st richest person in Canada.

Philanthropy

Dan is well known as a philanthropist. His perspective on helping others is formed out of faith in truths from the Jewish Torah and Talmud. From the latter, Dan has noted writings in the Bava Bathra chapters, including: "Charity is equal in importance to all other commandments combined." And, "Who gives charity in secret is greater than Moses."

His donations include:
He donated $15 million to the University of Toronto to fund the Leslie L. Dan Pharmacy Building and the Leslie Dan Faculty of Pharmacy
He founded the Canadian Medicine Aid Programme (CAN-MAP) in 1985. This organization provides life-saving medicines and other aid to the sick in the Third World
He has donated to Yad Vashem

Honours

His honours include:
Canadian Society for Pharmaceutical Sciences (CSPS) Leadership Award in 2012
The University of Toronto Leslie L. Dan Pharmacy Building, designed by Sir Norman Foster and completed in 2006, is named in his honour.
In 1996, he was made a Member of the Order of Canada and awarded the Order of Ontario.
He received an honorary Doctorate of Laws Degree from Dalhousie University in 1996 and the University of British Columbia in 1995.
In 1997, he received the Distinguished Business Alumnus Award by the University of Toronto Joseph L. Rotman Faculty of Management.
Aish HaTorah's Dan Family Building is named in his honour.

Family

He married Judith in 1958. She died in 1995. They had three children, Dr. Michael D. Dan, Aubrey Dan, and Andrea Dan-Hytman. He married Anna in 1996. They share no children.  Aubrey Dan is president of Dancap Private Equity and Andrea Dan-Hytman is co-owner of Viventia Biotech Inc.

See also
Canadians of Hungarian ancestry

References

1929 births
Living people
Businesspeople from Ontario
Canadian pharmacists
Canadian philanthropists
Jewish Canadian philanthropists
Canadian billionaires
Canadian people of Hungarian-Jewish descent
Hungarian emigrants to Canada
Hungarian Jews
Members of the Order of Canada
Members of the Order of Ontario
University of Toronto alumni

Leslie Dan


François de Bovet (March 21, 1745, Grenoble – April 6, 1838, Paris) was bishop of Sisteron from 1789 to 1812, and from 1817 to 1820 was archbishop of Toulouse.

He was consecrated as bishop on September 13, 1789, in Paris. Due to religious persecution he had to leave France for much of the Revolution. He did not resign his bishopric in line with the Concordat of 1801, but instead held on to his diocese until 1812.
Since the  consecrator of him is not known and some of the bishops alive today can trace their episcopal lineage back to him, the person of  François de Bovet is very important for the history of the Catholic Church.  This so-called de Bovet lineage includes seven members of the episcopate scattered between Malaysia (three), Indonesia (one), Taiwan (one) and China (two).

Works
1797: Réflexions sur un prétendu bref du 5 juillet 1796
1801: Réflexions sur la promesse de fidélité à la constitution
1817: Observations de Monseigneur de Bovet, évêque de Sisteron
1819: Les Consolations de la foi sur les malheurs de l'Église
1835: Les dynasties égyptiennes
1835: Histoire des derniers pharaons et des premiers rois de Perse, selon Hérodote, tirée des livres prophétiques et du livre d'Esther (2 vol.)
1840: L'Esprit de l'Apocalypse

References

Clergy from Grenoble
1745 births
1838 deaths
19th-century Roman Catholic archbishops in France
Bishops of Sisteron
Archbishops of Toulouse
French Egyptologists

François de Bovet


St John the Evangelist's Church is a redundant Anglican church in the cathedral city of Chichester in West Sussex, England.  Built in 1812 to the design of James Elmes as a proprietary chapel, the octagonal white-brick "evangelical preaching house" reflects the early 19th-century ideals of the Church of England's evangelical wing before High church movements such as the Cambridge Camden Society changed ideas on church design.  The Diocese of Chichester declared it redundant in 1973. Although worship no longer takes place in the building, its theatre-like design has made it a popular venue for concerts and musical events. The church is a Grade I Listed building.

History
Chichester, the county town of West Sussex,  is an ancient settlement at the junction of several Roman and medieval roads.  Roman walls encircle the heart of the city, which is divided into quadrants by straight streets with a market at the centre.  Its cathedral, the seat of the Bishop of Chichester, makes Chichester a major ecclesiastical centre, as well as an important commercial and administrative centre.

Within the city walls there were eight medieval or older parish churches, including the 13th-century All Saints-in-the-Pallant, St Andrew Oxmarket and St Olave's.  The southeastern quarter of the city centre, site of an ancient friary, was mostly developed in the 18th century and became known as New Town.  It lacked an Anglican church until the early 19th century.  At that time, a combination of urban growth throughout Sussex, the challenge posed by the rise of Protestant Nonconformism, and new ideas about the style of Anglican worship—which were closely linked with different styles of architecture—"gave rise to an unprecedented wave of churchbuilding".  Many were funded by the government (by way of the Church Building Act), diocesan organisations and national societies; but in some areas, particularly Sussex, private fundraising was a popular alternative method of getting churches built.  The proprietary system involved the purchase of shares in the church by private individuals, who received in exchange a "sitting" (the right to own a pew).  The shareholders, known as proprietors, could use this pew for themselves and worship at the church, or sell it or rent it out.  In some cases, an admission fee was levied on visitors who were not proprietors of the church.  Some of the income from this process would support the curate and any clerks or other ministers.  A minority of pews were free: they were kept aside for poor local worshippers.

This method was followed in Chichester, where St John the Evangelist's Church was founded in 1812 by a group of trustees who wanted a church in the southeastern quadrant.  They commissioned 30-year-old architect James Elmes to design the proprietary chapel.  He was ill during the design and building process, so the project was overseen on his behalf by John Haviland, an architect who was at the start of his career and who later became a prominent prison designer in the United States.

At the time, ideas about Anglican church design were starting to split along ideological and theological lines.  The High church movement demanded formality and ritual, placed central importance of the Eucharist and was less concerned about preaching; its churches reflected this by favouring the Gothic Revival architectural style and features, large central altars and lavish decoration.  The Low church or Evangelical wing of Anglicanism emphasised preaching, personal belief and an absence of ritual.  St John the Evangelist's Church was designed according to an "extreme Low church plan" in which an enormous central pulpit was the focus for the congregation and the altar was so insignificant that it "dwindled to a kind of kitchen table".  The height and prominence of the pulpit ensured that the preacher could see all worshippers, and they could see and hear him.  The church, an elongated octagon in the Classical style with some Greek Revival features, was built of white brick and cost £7,000 (£ in ).  It was opened in 1813, and served the local area for more than 160 years thereafter.  It later passed into the control of the Diocese of Chichester, the local Anglican diocese; but falling attendances caused the church to be declared redundant in 1973.  Three years later, it was transferred into the care of the Redundant Churches Fund—now the Churches Conservation Trust.  It is still consecrated and holds occasional services.

Architecture

St John the Evangelist's Church is a broadly Classical-style building with some Greek Revival and Egyptian Revival elements, and is characteristic of a late Georgian "auditory church" (one set up for preaching and evangelising) designed according to Low church principles.  Sussex church historian David Beevers, writing in 1989, noted that "the survival of this typical Georgian Low-church interior from the enthusiasts of the [High church] Cambridge Camden Society [who dominated church design later in the 19th century] is surprising".  Ian Nairn had the same view, calling its survival a mystery.  The "severely elegant" and simple design is more reminiscent of a Nonconformist chapel than an Anglican church.

The exterior walls of the elongated octagonal building are of yellowish-white brick covered in parts with stucco.  There are some stone dressings as well.  A curious external feature is a miniature copy of the Choragic Monument of Lysicrates forming a sort of cupola on the roof, and described variously as "preposterous" and "excellent".  This stone structure is shaped like a cylinder and has a spherical roof set on top of an entablature held up by Corinthian-style columns.  Inside is a bell cast in London in 1813 by Thomas Mears II of the Whitechapel Bell Foundry.  The entrance, in the west-facing wall, sits below a stone entablature with a stone-pilastered doorcase.  Above this is a round-arched stone-dressed window with mouldings, linked to the entablature by a stone balustrade.  Above the window is a stone pediment.  Arched windows to a similar design are on each of the other seven walls at first-floor level.  The entrance is flanked by two single-storey rooms which accommodate staircases to the first-floor galleries.

Inside, the most prominent features are these galleries, which form a rectangle and are held up on Egyptian-style iron columns, and the large pulpit, which "towers over everything".  The layout and these fittings "represent a unique survival" and a "superb example" of a late Georgian style which was quite common in the early 19th century, particularly in Nonconformist chapels but also in Anglican churches with a Low church character.  The galleries are of American birch and are reached by staircases which have separate entrances in the single-storey wings to the side of the main entrance.  Separate entrances were characteristic of churches of this era, which often required the sexes to sit apart; also, at St John the Evangelist's Church, the free pews (on the ground floor) were kept separate from those owned by the proprietors (in the galleries).  The pulpit stands centrally in the nave, hiding the small chancel and sanctuary.  It has been called the best surviving three-decker pulpit in Sussex.  An unusual refinement of the more common two-decker structure, a three-decker allowed different parts of the service to be read from different levels according to their importance.  Responses to prayers were read from the lowest deck, usually by the church clerk.  The main part of the service, including prayers, came from the middle deck; and the sermon—the most important part of a Low church service—took place in the circular upper deck.  The pulpit is free-standing on a fluted stem with a spiral motif.  Like the rest of the internal fittings, it is of American birch.  The three sections are now side by side, but originally they were aligned one in front of the other in a tiered formation.

The church today
St John the Evangelist's Church was designated a Grade I Listed building on 5 July 1950.

The Diocese of Chichester declared St John the Evangelist's Church redundant on 22 June 1973.  It was placed into the care of the Redundant Churches Fund (now the Churches Conservation Trust) on 17 August 1976, and is now one of five former churches in West Sussex administered by the charity; the others are at Church Norton, North Stoke, Tortington and Warminghurst.  The church had a strong musical tradition, which is maintained in the 21st century by its regular use as a concert venue—especially during the annual Chichester Festivities arts and music festival.

See also
Grade I listed buildings in West Sussex
List of churches preserved by the Churches Conservation Trust in Southeast England
List of former places of worship in Chichester (district)
Egyptian Revival architecture in the British Isles

References

Notes

Bibliography

Church of England church buildings in West Sussex
Former churches in West Sussex
Saint John the Evangelist's Church
Grade I listed churches in West Sussex

St John the Evangelist's Church, Chichester


Alan Gilmour is a playwright and librettist. Born in Edinburgh and raised in Hamilton, Scotland, he studied, lived and worked in London before moving to Melbourne, Australia.

Early works in theatre
After studying Drama and Theatre Arts at Goldsmiths College, University of London, Gilmour's first play The Piano Lesson (2005), a work based on the Matisse painting, won the Orange Playwriting Prize 2005 (best play by a new Scottish writer).  This led to a successful production at Òran Mór, Glasgow with Joanne Cummings playing Hannah, the piano student who makes up for a chaotic personal life with an obsession for music and particularly her piano teacher, the unseen and much lusted-over Greg.

This was followed by The Gyntish Self (2006), an energetic romp through the classic tale of Peer Gynt, co-written with Rob Drummond and Ewen Glass and produced by the young, Scottish Theatre Company Measureless Liars, "A jaunty skim through our hero's search for self that takes in street-smart localised patois and a deadpan acquisition of pop psychology therapy speak. "I just need to re-focus, " says Peer in one moment of reflection" Glasgow Herald.

Music
Throughout 2006, Gilmour worked with Eugene Skeef and the London Philharmonic Orchestra creating librettos, words and movements for community symphonies such as PECKHAM SPLASH (2006), performed in The Queen Elizabeth Hall, South Bank Centre, London. This project grew out of an ability, which Gilmour and Eugene Skeef shared, to quickly generate music and lyrics from stories that the people of Peckham shared in workshops, a series of stories that formed the basis of the musical work.

London Excite: A Symphony of London (2007/8) was  developed out of Gilmour and Skeef's experience of doing community work with the orchestra but was always meant to be on a vast scale. Commissioned as the Orchestra's 75th anniversary symphony and the culmination of the Royal Festival Hall's re-opening season: the work used a full orchestra, 160-piece choir and six soloists to tell the story of London, who it is, what it as and who its people are. Gilmour generated the libretto from fragments of poetry, music, workshops and stories that collected in a journey through London. or see the  rehearsals and experience some of the music. London Excite was presented at The Royal Festival Hall, 7 June 2008.

Since moving to Melbourne Australia in 2006, Gilmour has been working on an operatic journey through Australia The Australian Constitution: Ten Small Operas About One Big Country (2007/9). In November 2008 one of the operas was presented as a work-in-progress at La Mama, Carlton with the first five of the small operas being presented at the Carlton Courthouse in August 2008.

Gilmour is currently Associate Artist with Chamber Made Opera and contributor to a discussion on the future of Australian opera in 3MBS Radio's On Air Magazine.

Back to the theatre
Gilmour is currently working on two plays: one based on the classic poem Memories of Christmas by Dylan Thomas and a play on the life of William Dobell, a major collaboration with the artist John Kelly (artist).

References

Alumni of Goldsmiths, University of London
Scottish librettists
Living people
Scottish emigrants to Australia
Musicians from Edinburgh
Scottish opera librettists
Year of birth missing (living people)
Theatre people from Edinburgh

Alan Gilmour


Aunty Green Hotel is a historic building located in Bonaparte, Iowa, United States.  The hotel was built by John Green in 1844.  His wife Mary continued to operate the hotel for many years after his death, and that what gave the business its name. It was the second hotel established in town, and it is believed to be the first brick building constructed in Bonaparte.  Other businesses that have been housed in this building include a photography studio, doctor's offices, the first local telephone exchange, a creamery and a gas station. The Van Buren County Historical Association rescued the structure from demolition.  It is currently owned by the Bonaparte Historical Society and houses the Auntie Green Museum and the public library.

The hotel portion of the building is two-story brick structure with a gable roof with a two-story wooden porch along the street.  There is a gate in the railing where luggage from stage coaches was unloaded and brought directly to the guest rooms on the second floor.  There is a one-story structure with a gable roof attached to the rear of the building.  It is believed to have been the residence for the hotel proprietor, and possibly built at slightly a later date.  It was listed on the National Register of Historic Places in 1978.

References

Hotel buildings completed in 1844
Bonaparte, Iowa
Museums in Van Buren County, Iowa
National Register of Historic Places in Van Buren County, Iowa
Hotel buildings on the National Register of Historic Places in Iowa

Aunty Green Hotel


The Tale of Gamelyn is a romance written in c. 1350 in a dialect of Middle English, considered part of the Matter of England. It is presented in a style of rhymed couplets and described by Skeat as "the older and longer kind of ballad" and by Ramsey as a "rough and ready romance."

This 900-line romance is set during the reign of King Edward I and tells the story of Gamelyn, and the various obstacles he must overcome in order to retrieve his rightful inheritance from his older brother. The tale confronts the corruption of the law, illuminating a lack of moral and political consistency. There is no indication as to where exactly this story takes place, given that the text itself has no place names, and Gamelyn's family name of Boundys most likely just signifies a type of boundary.

Although The Tale of Gamelyn is included among Geoffrey Chaucer's Canterbury Tales in two early manuscripts, where it follows the unfinished Cook's Tale, modern scholars do not consider this to be written by Chaucer, although it is possible that he had included the character of  Gamelyn among his papers, with the intention of rewriting it for a suitable character. He may perhaps have wanted to construct a version of it for use as the Cook's tale. Skeat argued instead that Chaucer intended the tale for the Yeoman, who would presumably be more interested in a tale of country life.

The Tale of Gamelyn shares similarities with other stories from English literary and folk traditions. It is of particular interest for its similarities with the English ballad of the legendary outlaw Robin Hood. It was also a source for Thomas Lodge's prose romance Rosalynde (1590), on which William Shakespeare based his As You Like It. The Tale of Gamelyn is thought to provide a transition between the mid 14th century and the late 15th century world of early romances and Robin Hood ballads  .

Plot
The Tale of Gamelyn is the story of a younger son, left at his father's death in the care of a wicked elder brother, who seeks to cheat him out of his inheritance. The tale opens with the old knight Sir Johan of Boundys on his death-bed. He knows his end is near, and he has called his neighbours so that in their presence, he may divide his lands among his three sons. He knows that his neighbours will try to cheat the young Gamelyn of his share, but the old man is determined  to have his own way:

With his last words he divides all his lands; five ploughlands to the eldest son, five more to the second, and all that remains will go to Gamelyn. The neighbours leave, Sir Johan dies, and Gamelyn is left at the mercy of his eldest brother. Gamelyn grows up in his brother's hall, and while his lands were held in ward by his brother, they were wasted and have gone to ruin. He grows up tall and strong, and as he stands in his brother's yard one day, he begins to think of his wasted lands, and he becomes determined to claim his inheritance. He seeks out his brother, and there begins their long and furious quarrel. They argue over his inheritance, then the elder brother calls his men to bind and beat the boy, however Gamelyn attacks them with a pestle then shuts himself in the hay loft. There he threatened to break every bone in the body of any who came near him, unless his brother will give him back his land. Realizing he is beaten for the moment, the brother in his cunning tells Gamelyn he only wished to try his strength, and if he would live with him he would have his land, his kiss of peace, and more:

So Gamelyn has his peace and his land, and for the moment they live happily together.
Soon after a wrestling was cried in the country, and 'there was set up a ram and a ryng', the traditional prize for the man that could overthrow the champion. Gamelyn makes a decision to try his luck, and as he tells his brother, it will bring great worship to the family if he can return with the trophies. Gamelyn sets off, but as he nears the spot, he meets a poor franklin weeping, who tells him that the wrestling champion has slain his two sons. Gamelyn makes a promise to avenge him, so he leaves his horse and his shirt with the franklin and hurries to the ring. He easily beats the champion and is presented with the ram and the ring 'for the best wrasteler that ever here came.' He thanks the wardens for his prize, then proceeds to invite all at the fair to accompany him home to celebrate his triumph in the hall.
Gamelyn had not reckoned on his brother's reactions, he had hoped that a broken neck would solve the family problems, and he has no intention of entertaining the mob at his home. When he sees the 'rowte' in the distance he tells his porter to bar the gate and to let no man pass. Gamelyn kicks down the door, breaks the fleeing porter's neck, and throws his lifeless body into the well in the courtyard. He then goes to the gate and opens in wide:

Five tuns of wine are broached, and Gamelyn swore that none should leave while a drop was left. The feast lasted seven days and nights, and at the end, Gamelyn farewells his guests and proceeds to fetch his brother who had taken refuge in the cellar. The brother tells Gamelyn that he will make him his heir, but to avenge the death of his porter, and to preserve his honour, he asks that Gamelyn allow himself to be bound hand and foot.  Gamely naively agrees and is therefore fettered to a post in the dining-hall where he stands without food, for all to mock. He turns to Adam the Spencer, who makes a promise to bring him food and loosen his bonds. Adam had been his father's man, and he has more to add to the plan. He tells Gamelyn that his brother has arranged a feast for the next Sunday; all the great churchmen will be there, but before they come, Adam has promised to unlock Gamelyn's fetters. In the middle of the meal it is planned that the churchmen should speak to Gamelyn's brother on his behalf; in which case, Gamelyn would be free and no suspicion need fall on Adam. But if they would not, then Gamelyn should, when Adam gave the sign, throw away his fetters, and then:

When the day arrived, the abbots and Gamelyn's brother sat at meat; Gamelyn stood tethered at the end of the hall; his brother told them he was mad, and to his appeals they replied with solemn curses. Meanwhile, Adam had fetched two staves and brought them to the door; suddenly the prisoner threw aside his fetters, and the guests found themselves facing two angry men armed with clubs. There was no one to help them; Gamelyn had always been the champion of the servants, and they had no intention of helping an oppressive master and his associates, even though they were churchmen. Gamelyn and Adam attacked the guests and not a man escaped unhurt:

With one blow Gamelyn felled his brother, then set him in his own fetters to 'cool his blood', while the servants brought him all the best fare in the house. While Gamelyn was celebrating his release, word had been sent to the sheriff of the affair, and four-and-twenty men had formed a posse to capture the offenders. Gamelyn was informed of their coming by his new porter who ran in with the news that there were foemen at the gate. He and Adam drove away the first group, but soon they saw a great rout coming with the sheriff at their head, it was time to leave. While the sheriff was searching the house and attending to Gamelyn's brother, the two fugitives were running through the woods. In the forest they came upon a group of outlaws, and as they peered under the branches of a tree, they saw the 'master outlaw'. At first the outlaws took them for the law's spies, and seven men brought them before their 'king'. Gamelyn assured him that they were also on the run, so he made them join with his men at their meal. The master outlaw enrolled them in his band, and before long Gamelyn was made master under him.
They were with the outlaws for less than three weeks when the news came that their master's friend had a pardon for him from the king. He took his leave and returned to his land, and Gamelyn was crowned King of the outlaws in his place. Meanwhile, his outlawry was made public; his brother was healed of his broken back, and for the new term he himself was made sheriff. Gamelyn's lands were seized, and in accordance with law, his peasants paid fine to the sheriff, as they would to a new lord when the old died, for to the law, Gamelyn was now dead. However, he was a lord they loved, and the new master was harsh; so his bondmen kept their loyalty to him and he was informed of how things stood with him and his land. Gamelyn regretted that he had not killed his brother, and the welfare of his peasants and their wives he could not overlook. He swore that he would be at the next shire court to uphold their cause, and he was as good as his word.
Gamelyn went to the shire court alone, and as an outlaw he had no right at law (it is clear that the author of this poem knew the law quite well): when he walked into the 'moot hall', he had put himself in the sheriff's power. He had no right to speak in his own defence, he was allowed no chance to; he was bound and fettered and cast into the sheriff's prison to await the assize. Although he was in the sheriff's power, he still had some use of the law; he had another brother, Sir Ote, the 'myddeleste' of Sir John's sons, and he received word of Gamelyn's imprisonment. Ote was as honourable as his elder brother was treacherous; as soon as he heard the news he saddled his horse and rode to the sheriff. The elder brother was deaf to his pleas for family feeling, but he could not refuse to bail Gamelyn if his brother stood surety for him. Gamelyn was released, and returned to Sir Ote's house with him.
As he was still King of the outlaws, he planned to return to the forest to see how things stood with them:

Ote tried to dissuade him; he was afraid that once with his men in the forest, Gamelyn would not return, and as his mainpernor he himself would be bound and tried in his place. Gamelyn swore that he would be back on the day of the assize, and so he sets off and finds 'his mery men under woode bough.' He stays in the forest until the day of the assize, adding to his list of charges by the plunder of any rich churchmen who pass his way.
In the meantime his elder brother set about packing the jury with one or more bribed men to hang Gamelyn:

The day of the assize arrived; the lords of the county came to the 'moot hall', the King's justice was sitting, and Sir Ote was taken and brought to court in fetters. The case was dealt with briefly; the jury delivered their verdict, and the judge of assize gave his sentence that Sir Ote should hang as an outlaw. Gamelyn had not failed his brother; when the verdict was delivered, Adam the Spencer was at the back of the court, and all the outlaws were outside waiting for his report on the proceedings. Adam slipped out and told Gamelyn, who stationed his men at the door, then he himself strode into the hall, for as he said, he would that day be justice himself. No one moved as he went in, as they could see the outlaws outside. Gamelyn loosed his brother, then crossed to the justice's seat:

Gamelyn then took the justice's seat, and put Sir Ote beside him; his men entered, and bound the justice and the sheriff. Next, the jury that had judged Sir Ote were bound and fettered as well. A jury was quickly assembled from among the outlaws, and a verdict and sentence hastily delivered, and put to immediate execution:

The tables were turned, the outlaws had sat in judgment on the law itself, and right had won. The story now ends quickly; Gamelyn and Ote get safe conduct to the King, and they obtain his pardon. Sir Ote is made his justice, and Gamelyn is made Chief Justice of the Forest. The other outlaws are pardoned and Gamelyn gets back his land and his people. He and Sir Ote return home, to live and die in prosperity. The poem ends with the following moral words:

Characters

 Sir Johan of Boundys: father of Gamelyn, Ote and an unnamed eldest son. His death in the beginning of the tale incites conflict of the ownership of his estate.
 The Three Knights: the men Sir Johan of Boundys trusts to divide out his land justly between his three sons. However, they go against his wishes and give land to the two eldest sons, excluding Gamelyn.
 Gamelyn: the youngest son of Sir Johan of Boundys, the protagonist.  The name Gamelyn is held to mean son of the old man, from OE gamol, old man. According to line 356 Gamelyn has been oppressed by his brother for sixteen years before he comes to manhood.
 The eldest brother: the lord of the estate who later becomes the sheriff. The antagonist.
 Ote: the middle son and a knight; helps Gamelyn gain his rightful inheritance.
 Adam Spencer: servant in the household who helps Gamelyn escape and joins the outlaw band with him.
 King Edward: pardons Gamelyn and his friends at the end of the tale, allowing Gamelyn and his brother Ote to live out the rest of their lives in peace.

Arguments
There were various expansions of the Cook's Tale which Chaucer never finished – The Plowman's Tale, The Tale of Gamelyn, the Siege of Thebes, and The Tale of Beryn.

It is argued that The Tale of Gamelyn was not, in fact, composed by Chaucer.  Instead, it is thought to be merely a setup for future works.  Though Chaucer wrote the Canterbury Tales and The Tale of Gamelyn is supposed to be included, it is considered an anonymous work.

In addition, The Tale of Gamelyn is included in two early manuscript versions of the Tales, British Library, MS Harley 7334 and Oxford, Corpus Christi College, MS 198, both once notorious for being one of the lower-quality early manuscripts in terms of editor error and alteration. It is now widely rejected by scholars as an authentic Chaucerian tale, although some scholars think he may have intended to rewrite the story as a tale for the Yeoman.

Skeat edited the poem separately in 1884 and included it in an appendix to his The Complete Works of Geoffrey Chaucer, relying on what he thought was the best manuscript.

Chaucer may have intended it to form the basis of his (unfinished) "Cook's Tale" in The Canterbury Tales.

Quotes
"But may they always prosper, who cause you much grief" (478).
"All who give you security, may evil befall them" (481). This is the reverse of the prior quote.
"For I am as light of foot as you, even if you swore it to the contrary".
"If you brought five with you, you would be twelve" (647). They are foolishly mocking numbers.
"I will venture so I might have food" (661). Adam is being ironic since this is an understatement to the scene.
"Hearken and listen and hold your tongue, And you shall hear talking of Gamelyn the Young".

References

External links

Commentary
A page that explores the Tale of Gamelyn separated into sections and explanations

1350s books
Middle English literature
Romance (genre)
As You Like It

The Tale of Gamelyn


Pixar Animation Studios () is an American computer animation studio based in Emeryville, California known for its critically and commercially successful computer-animated feature films. Since 2006, Pixar has been a subsidiary of Walt Disney Studios, a division of the Disney Entertainment division of the Walt Disney Company.

Pixar started in 1979 as part of the Lucasfilm computer division. It was known as the Graphics Group before its spin-off as a corporation in 1986, with funding from Apple co-founder Steve Jobs who became its majority shareholder. Disney purchased Pixar in January 2006 at a valuation of $7.4+ billion by converting each share of Pixar stock to 2.3 shares of Disney stock. Pixar is best known for its feature films, technologically powered by RenderMan, the company's own implementation of the industry-standard RenderMan Interface Specification image-rendering API. The studio's mascot is Luxo Jr., a desk lamp from the studio's 1986 short film of the same name.

Pixar has produced 27 feature films as of October 2023, starting with Toy Story (1995), which is the first fully computer-animated feature film; its most recent film was Elemental (2023). The studio has also produced many short films. , its feature films have earned over $15 billion at the worldwide box office with an average gross of $546.9 million per film. Toy Story 3 (2010), Finding Dory (2016), Incredibles 2 (2018), and Toy Story 4 (2019) all grossed over $1 billion and are among the 50 highest-grossing films of all time. Moreover, 15 of Pixar's films are in the 50 highest-grossing animated films of all time.

Pixar has earned 23 Academy Awards, 10 Golden Globe Awards, and 11 Grammy Awards, along with numerous other awards and acknowledgments. Since its inauguration in 2001, eleven Pixar films have won the Academy Award for Best Animated Feature, including Finding Nemo (2003), The Incredibles (2004), Ratatouille (2007), WALL-E (2008), Up (2009), Toy Story 3 (2010), Brave (2012), Inside Out (2015), Coco (2017), Toy Story 4 (2019), and Soul (2020). Toy Story 3 and Up were also nominated for the Academy Award for Best Picture.

On February 10, 2009, Pixar executives John Lasseter, Brad Bird, Pete Docter, Andrew Stanton, and Lee Unkrich were presented with the Golden Lion award for Lifetime Achievement by the Venice Film Festival. The physical award was ceremoniously handed to Lucasfilm's founder, George Lucas.

History

Early history

Pixar got its start in 1974, when New York Institute of Technology's (NYIT) founder, Alexander Schure, who was also the owner of a traditional animation studio, established the Computer Graphics Lab (CGL) and recruited computer scientists who shared his ambitions about creating the world's first computer-animated film. Edwin Catmull and Malcolm Blanchard were the first to be hired and were soon joined by Alvy Ray Smith and David DiFrancesco some months later, which were the four original members of the Computer Graphics Lab, located in a converted two-story garage acquired from the former Vanderbilt-Whitney estate. Schure kept pouring money into the computer graphics lab, an estimated $15 million, giving the group everything they desired and driving NYIT into serious financial troubles. Eventually, the group realized they needed to work in a real film studio to reach their goal. Francis Ford Coppola then invited Smith to his house for a three-day media conference, where Coppola and George Lucas shared their visions for the future of digital moviemaking.

When Lucas approached them and offered them a job at his studio, six employees moved to Lucasfilm. During the following months, they gradually resigned from CGL, found temporary jobs for about a year to avoid making Schure suspicious, and joined the Graphics Group at Lucasfilm.
The Graphics Group, which was one-third of the Computer Division of Lucasfilm, was launched in 1979 with the hiring of Catmull from NYIT, where he was in charge of the Computer Graphics Lab. He was then reunited with Smith, who also made the journey from NYIT to Lucasfilm, and was made the director of the Graphics Group. At NYIT, the researchers pioneered many of the CG foundation techniques—in particular, the invention of the alpha channel by Catmull and Smith. Over the next several years, the CGL would produce a few frames of an experimental film called The Works. After moving to Lucasfilm, the team worked on creating the precursor to RenderMan, called REYES (for "renders everything you ever saw") and developed several critical technologies for CG—including particle effects and various animation tools.

John Lasseter was hired to the Lucasfilm team for a week in late 1983 with the title "interface designer"; he animated the short film The Adventures of André & Wally B. In the next few years, a designer suggested naming a new digital compositing computer the "Picture Maker". Smith suggested that the laser-based device have a catchier name, and came up with "Pixer", which after a meeting was changed to "Pixar". According to Michael Rubin, the author of Droidmaker: George Lucas and the Digital Revolution, Smith and three other employees came up with the name during a restaurant visit in 1981, but when interviewing them he got four different versions about the origin of the name.

In 1982, the Pixar team began working on special-effects film sequences with Industrial Light & Magic. After years of research, and key milestones such as the Genesis Effect in Star Trek II: The Wrath of Khan and the Stained Glass Knight in Young Sherlock Holmes, the group, which then numbered 40 individuals, was spun out as a corporation in February 1986 by Catmull and Smith. Among the 38 remaining employees were Malcolm Blanchard, David DiFrancesco, Ralph Guggenheim, and Bill Reeves, who had been part of the team since the days of NYIT. Tom Duff, also an NYIT member, would later join Pixar after its formation. With Lucas's 1983 divorce, which coincided with the sudden dropoff in revenues from Star Wars licenses following the release of Return of the Jedi, they knew he would most likely sell the whole Graphics Group. Worried that the employees would be lost to them if that happened, which would prevent the creation of the first computer-animated movie, they concluded that the best way to keep the team together was to turn the group into an independent company. But Moore's Law also suggested that sufficient computing power for the first film was still some years away, and they needed to focus on a proper product until then. Eventually, they decided they should be a hardware company in the meantime, with their Pixar Image Computer as the core product, a system primarily sold to governmental, scientific, and medical markets. They also used SGI computers.

In 1983, Nolan Bushnell founded a new computer-guided animation studio called Kadabrascope as a subsidiary of his Chuck E. Cheese's Pizza Time Theatres company (PTT), which was founded in 1977. Only one major project was made out of the new studio, an animated Christmas special for NBC starring Chuck E. Cheese and other PTT mascots; known as "Chuck E. Cheese: The Christmas That Almost Wasn't". The animation movement would be made using tweening instead of traditional cel animation. After the video game crash of 1983, Bushnell started selling some subsidiaries of PTT to keep the business afloat. Sente Technologies (another division, was founded to have games distributed in PTT stores) was sold to Bally Games and Kadabrascope was sold to Lucasfilm. The Kadabrascope assets were combined with the Computer Division of Lucasfilm. Coincidentally, one of Steve Jobs's first jobs was under Bushnell in 1973 as a technician at his other company Atari, which Bushnell sold to Warner Communications in 1976 to focus on PTT. PTT would later go bankrupt in 1984 and be acquired by ShowBiz Pizza Place.

Independent company (1986–1999)

In 1986, the newly independent Pixar was headed by President Edwin Catmull and Executive Vice President Alvy Ray Smith. Lucas's search for investors led to an offer from Steve Jobs, which Lucas initially found too low. He eventually accepted after determining it impossible to find other investors. At that point, Smith and Catmull had been declined by 35 venture capitalists and ten large corporations. Jobs, who had been edged out of Apple in 1985, was now founder and CEO of the new computer company NeXT. On February 3, 1986, he paid $5 million of his own money to George Lucas for technology rights and invested $5 million cash as capital into the company, joining the board of directors as chairman.

In 1985 while still at Lucasfilm, they had made a deal with the Japanese publisher Shogakukan to make a computer-animated movie called Monkey, based on the Monkey King. The project continued sometime after they became a separate company in 1986, but it became clear that the technology was not sufficiently advanced. The computers were not powerful enough and the budget would be too high. As a result they focused on the computer hardware business for years until a computer-animated feature became feasible according to Moore's law.

At the time, Walt Disney Studios was interested and eventually bought and used the Pixar Image Computer and custom software written by Pixar as part of its Computer Animation Production System (CAPS) project, to migrate the laborious ink and paint part of the 2D animation process to a more automated method. The company's first feature film to be released using this new animation method was The Rescuers Down Under (1990).

In a bid to drive sales of the system and increase the company's capital, Jobs suggested releasing the product to the mainstream market. Pixar employee John Lasseter, who had long been working on not-for-profit short demonstration animations, such as Luxo Jr. (1986) to show off the device's capabilities, premiered his creations to great fanfare at SIGGRAPH, the computer graphics industry's largest convention.

However, the Image Computer had inadequate sales which threatened to end the company as financial losses grew. Jobs increased investment in exchange for an increased stake, reducing the proportion of management and employee ownership until eventually, his total investment of $50 million gave him control of the entire company. In 1989, Lasseter's growing animation department which was originally composed of just four people (Lasseter, Bill Reeves, Eben Ostby, and Sam Leffler), was turned into a division that produced computer-animated commercials for outside companies. In April 1990, Pixar sold its hardware division, including all proprietary hardware technology and imaging software, to Vicom Systems, and transferred 18 of Pixar's approximately 100 employees. In the same year Pixar moved from San Rafael to Richmond, California. Pixar released some of its software tools on the open market for Macintosh and Windows systems. RenderMan is one of the leading 3D packages of the early 1990s, and Typestry is a special-purpose 3D text renderer that competed with RayDream.

During this period of time, Pixar continued its successful relationship with Walt Disney Feature Animation, a studio whose corporate parent would ultimately become its most important partner. As 1991 began, however the layoff of 30 employees in the company's computer hardware department—including the company's president, Chuck Kolstad, reduced the total number of employees to just 42, approximately its original number. Pixar made a historic $26 million deal with Disney to produce three computer-animated feature films, the first of which was Toy Story, the product of the technological limitations that challenged CGI. By then the software programmers, who were doing RenderMan and IceMan, and Lasseter's animation department, which made television commercials (and four Luxo Jr. shorts for Sesame Street the same year), were all that remained of Pixar.

Despite the income from these projects, the company still continued to lose money and Steve Jobs, as chairman of the board and now the full owner, often considered selling it. As late as 1994, Jobs contemplated selling Pixar to other companies such as Hallmark Cards, Microsoft co-founder Paul Allen, and Oracle CEO and co-founder Larry Ellison. After learning from New York critics that Toy Story would probably be a hit, and confirming that Disney would distribute it for the 1995 Christmas season, he decided to give Pixar another chance. Also for the first time, he took an active leadership role in the company and made himself CEO. Toy Story grossed more than $373 million worldwide and, when Pixar held its initial public offering on November 29, 1995, it exceeded Netscape's as the biggest IPO of the year. In its first half-hour of trading, Pixar stock shot from $22 to $45, delaying trading because of unmatched buy orders. Shares climbed to  and closed the day at $39.

The company continued to make the television commercials during the production of Toy Story, which came to an end on July 9, 1996, when Pixar announced they would shut down its television commercial unit, which counted 18 employees, to focus on longer projects and interactive entertainment.

During the 1990s and 2000s, Pixar gradually developed the "Pixar Braintrust", the studio's primary creative development process, in which all of its directors, writers, and lead storyboard artists regularly examine each other's projects and give very candid "notes", the industry term for constructive criticism. The Braintrust operates under a philosophy of a "filmmaker-driven studio", in which creatives help each other move their films forward through a process somewhat like peer review, as opposed to the traditional Hollywood approach of an "executive-driven studio" in which directors are micromanaged through "mandatory notes" from development executives outranking the producers. According to Catmull, it evolved out of the working relationship between Lasseter, Stanton, Docter, Unkrich, and Joe Ranft on Toy Story.

As a result of the success of Toy Story, Pixar built a new studio at the Emeryville campus which was designed by PWP Landscape Architecture and opened in November 2000.

Collaboration with Disney (1999–2006)
Pixar and Disney had disagreements over the production of Toy Story 2. Originally intended as a direct-to-video release (and thus not part of Pixar's three-picture deal), the film was eventually upgraded to a theatrical release during production. Pixar demanded that the film then be counted toward the three-picture agreement, but Disney refused. Though profitable for both, Pixar later complained that the arrangement was not equitable. Pixar was responsible for creation and production, while Disney handled marketing and distribution. Profits and production costs were split equally, but Disney exclusively owned all story, character, and sequel rights and also collected a 10- to 15-percent distribution fee.

The two companies attempted to reach a new agreement for ten months and failed on January 26, 2001, July 26, 2002, April 22, 2003, January 16, 2004, July 22, 2004, and January 14, 2005. The new deal would be only for distribution, as Pixar intended to control production and own the resulting story, character, and sequel rights while Disney would own the right of first refusal to distribute any sequels. Pixar also wanted to finance its own films and collect 100 percent profit, paying Disney the 10- to 15-percent distribution fee. In addition, as part of any distribution agreement with Disney, Pixar demanded control over films already in production under the old agreement, including The Incredibles (2004) and Cars (2006). Disney considered these conditions unacceptable, but Pixar would not concede.

Disagreements between Steve Jobs and Disney chairman and CEO Michael Eisner caused the negotiations to cease in 2004, with Disney forming Circle Seven Animation and Jobs declaring that Pixar was actively seeking partners other than Disney. Despite this announcement and several talks with Warner Bros., Sony Pictures, and 20th Century Fox, Pixar did not enter negotiations with other distributors, although a Warner Bros. spokesperson told CNN, "We would love to be in business with Pixar. They are a great company." After a lengthy hiatus, negotiations between the two companies resumed following the departure of Eisner from Disney in September 2005. In preparation for potential fallout between Pixar and Disney, Jobs announced in late 2004 that Pixar would no longer release movies at the Disney-dictated November time frame, but during the more lucrative early summer months. This would also allow Pixar to release DVDs for its major releases during the Christmas shopping season. An added benefit of delaying Cars from November 4, 2005, to June 9, 2006, was to extend the time frame remaining on the Pixar-Disney contract, to see how things would play out between the two companies.

Pending the Disney acquisition of Pixar, the two companies created a distribution deal for the intended 2007 release of Ratatouille, to ensure that if the acquisition failed, this one film would be released through Disney's distribution channels. In contrast to the earlier Pixar deal, Ratatouille was meant to remain a Pixar property and Disney would have received a distribution fee. The completion of Disney's Pixar acquisition, however, nullified this distribution arrangement.

Walt Disney Studios subsidiary (2006–present)
After extended negotiations, Disney ultimately agreed on January 24, 2006, to buy Pixar for approximately $7.4 billion in an all-stock deal. Following Pixar shareholder approval, the acquisition was completed on May 5, 2006. The transaction catapulted Jobs, who owned 49.65% of total share interest in Pixar, to Disney's largest individual shareholder with 7%, valued at $3.9 billion, and a new seat on its board of directors. Jobs' new Disney holdings exceeded holdings belonging to ex-CEO Michael Eisner, the previous top shareholder, who still held 1.7%; and Disney Director Emeritus Roy E. Disney, who held almost 1% of the corporation's shares. Pixar shareholders received 2.3 shares of Disney common stock for each share of Pixar common stock redeemed.

As part of the deal, John Lasseter, by then Executive Vice President, became Chief Creative Officer (reporting directly to president and CEO Robert Iger and consulting with Disney Director Roy E. Disney) of both Pixar and Walt Disney Animation Studios (including its division Disneytoon Studios), as well as the Principal Creative Adviser at Walt Disney Imagineering, which designs and builds the company's theme parks. Catmull retained his position as President of Pixar, while also becoming President of Walt Disney Animation Studios, reporting to Iger and Dick Cook, chairman of the Walt Disney Studios. Jobs's position as Pixar's chairman and chief executive officer was abolished, and instead, he took a place on the Disney board of directors.

After the deal closed in May 2006, Lasseter revealed that Iger had felt that Disney needed to buy Pixar while watching a parade at the opening of Hong Kong Disneyland in September 2005. Iger noticed that of all the Disney characters in the parade, none were characters that Disney had created within the last ten years since all the newer ones had been created by Pixar. Upon returning to Burbank, Iger commissioned a financial analysis that confirmed that Disney had actually lost money on animation for the past decade, then presented that information to the board of directors at his first board meeting after being promoted from COO to CEO, and the board, in turn, authorized him to explore the possibility of a deal with Pixar. Lasseter and Catmull were wary when the topic of Disney buying Pixar first came up, but Jobs asked them to give Iger a chance (based on his own experience negotiating with Iger in summer 2005 for the rights to ABC shows for the fifth-generation iPod Classic), and in turn, Iger convinced them of the sincerity of his epiphany that Disney really needed to re-focus on animation.

Lasseter and Catmull's oversight of both the Disney Feature Animation and Pixar studios did not mean that the two studios were merging, however. In fact, additional conditions were laid out as part of the deal to ensure that Pixar remained a separate entity, a concern that analysts had expressed about the Disney deal. Some of those conditions were that Pixar HR policies would remain intact, including the lack of employment contracts. Also, the Pixar name was guaranteed to continue, and the studio would remain in its current Emeryville, California, location with the "Pixar" sign. Finally, branding of films made post-merger would be "Disney•Pixar" (beginning with Cars).

Jim Morris, producer of WALL-E (2008), became general manager of Pixar. In this new position, Morris took charge of the day-to-day running of the studio facilities and products.

After a few years, Lasseter and Catmull were able to successfully transfer the basic principles of the Pixar Braintrust to Disney Animation, although meetings of the Disney Story Trust are reportedly "more polite" than those of the Pixar Braintrust. Catmull later explained that after the merger, to maintain the studios' separate identities and cultures (notwithstanding the fact of common ownership and common senior management), he and Lasseter "drew a hard line" that each studio was solely responsible for its own projects and would not be allowed to borrow personnel from or lend tasks out to the other. The rule ensures that each studio maintains "local ownership" of projects and can be proud of its own work. Thus for example, when Pixar had issues with Ratatouille and Disney Animation had issues with Bolt (2008), "nobody bailed them out" and each studio was required "to solve the problem on its own" despite knowing that there were personnel at the other studio who theoretically could have helped.

Expansion and John Lasseter's exit (2010–2018)
On April 20, 2010, Pixar opened Pixar Canada in the downtown area of Vancouver, British Columbia, Canada. The roughly 2,000 square meters studio produced seven short films based on Toy Story and Cars characters. In October 2013, the studio was closed down to refocus Pixar's efforts at its main headquarters.

In November 2014, Morris was promoted to president of Pixar, while his counterpart at Disney Animation, general manager Andrew Millstein, was also promoted to president of that studio. Both continued to report to Catmull, who retained the title of president of both Disney Animation and Pixar.

On November 21, 2017, Lasseter announced that he was taking a six-month leave of absence after acknowledging what he called "missteps" in his behavior with employees in a memo to staff. According to The Hollywood Reporter and The Washington Post, Lasseter had a history of alleged sexual misconduct towards employees. On June 8, 2018, it was announced that Lasseter would leave Disney Animation and Pixar at the end of the year, but would take on a consulting role until then. Pete Docter was announced as Lasseter's replacement as chief creative officer of Pixar on June 19, 2018.

Sequels and financial success (2018–2019)
On June 15, 2018, Incredibles 2 was released, setting a record for widest opening weekend worldwide and domestic for an animated film. The film would eventually gross $1.2 billion worldwide. On October 23, 2018, it was announced that Catmull would be retiring. He stayed in an adviser role until July 2019. On January 18, 2019, it was announced that Lee Unkrich would be leaving Pixar after 25 years. On June 21, 2019, Toy Story 4 was released, surpassing the widest opening worldwide weekend record that Incredibles 2 set. The film would make over $1 billion dollars and win the Academy Award for Best Animated Feature. During the 2019 D23 Expo, Pixar announced that their next film, Soul, would release in 2020. Ahead of the launch of Disney+, Pixar debuted SparkShorts, experimental shorts done by Pixar staff.

COVID-19, Disney+ releases, and financial struggles (2020–present)
Pixar released Onward on March 6, 2020. However, due to the start of the COVID-19 pandemic, the film underperformed at the box office and was instead released onto rental digital services on March 20, and later on Disney+ on April 3. Due to the pandemic, Soul was moved to November 2020, and ultimately released on December 25, 2020 on Disney+ at no additional cost to subscribers, and later became the first animated streaming film to win the Academy Award for Best Animated Feature. Pixar's next two features, Luca and Turning Red, were also released free on Disney+ in June 2021 and March 2022, respectively. In 2021, several Pixar employees anonymously criticized Disney's decision to release their films direct to Disney+.

Lightyear, Pixar's first movie to return to theaters was released in June 2022. However, the film became a box-office bomb with Deadline Hollywood calculating the film lost the studio $106 million, when factoring together all expenses and revenues. In September 2022, Jonas Rivera was promoted to Executive VP of Film Production at Pixar overseeing all film and streaming production. In December 2022, Disney CEO Bob Iger noted that they would rely more on the Pixar brand. In June 2023, Disney laid off 75 employees including Angus MacLane, director of Lightyear, and Galyn Susman, the film's producer.

During that same month, Elemental was released. During the film's opening weekend, Docter stated that Pixar "trained audiences that these films will be available for you on Disney+". Despite opening below projections, Elemental ultimately made a box office comeback by early August 2023, crossing $400 million at the worldwide box office. Disney's EVP of Theatrical Distribution Tony Chambers stated "After a disappointing opening weekend, we're really pleased that audiences have discovered what a great movie it is." That same month, Jim Morris said "at the box office we're looking at now, [the film] should do better than break even theatrically. And then we have revenue from streaming, theme parks and consumer products. This will certainly be a profitable film for the Disney company."

Campus

When Steve Jobs, chief executive officer of Apple Inc. and Pixar, and John Lasseter, then-executive vice president of Pixar, decided to move their studios from a leased space in Point Richmond, California, to larger quarters of their own, they chose a 20-acre site in Emeryville, California, formerly occupied by Del Monte Foods, Inc. The first of several buildings, the high-tech structure designed by Bohlin Cywinski Jackson has special foundations and electricity generators to ensure continued film production, even through major earthquakes. The character of the building is intended to abstractly recall Emeryville's industrial past. The two-story steel-and-masonry building is a collaborative space with many pathways.

The digital revolution in filmmaking was driven by applied mathematics, including computational physics and geometry. In 2008, this led Pixar senior scientist Tony DeRose to offer to host the second Julia Robinson Mathematics Festival at the Emeryville campus.

Filmography

Traditions

Some of Pixar's first animators were former cel animators including John Lasseter, and others came from computer animation or were fresh college graduates. A large number of animators that make up its animation department had been hired around the releases of A Bug's Life (1998), Monsters, Inc. (2001), and Finding Nemo (2003). The success of Toy Story (1995) made Pixar the first major computer-animation studio to successfully produce theatrical feature films. The majority of the animation industry was (and still is) located in Los Angeles, and Pixar is located  north in the San Francisco Bay Area. Traditional hand-drawn animation was still the dominant medium for feature animated films.

With the scarcity of Los Angeles-based animators willing to move their families so far north to give up traditional animation and try computer animation, Pixar's new hires at this time either came directly from college or had worked outside feature animation. For those who had traditional animation skills, the Pixar animation software Marionette was designed so that traditional animators would require a minimum amount of training before becoming productive.

In a 2007 interview with PBS talk show host Tavis Smiley, Lasseter said that Pixar's films follow the same theme of self-improvement as the company itself has: with the help of friends or family, a character ventures out into the real world and learns to appreciate his friends and family. At the core, Lasseter said, "it's gotta be about the growth of the main character and how he changes."

Actor John Ratzenberger, who had previously starred in the television series Cheers (1982–1993), has voiced a character in every Pixar feature film from Toy Story through Onward (2020). A non-speaking background character in Soul (2020) bears his likeness. Pixar paid tribute to Ratzenberger in the end credits of Cars (2006) by parodying scenes from three of its earlier films (Toy Story, Monsters, Inc., and A Bug's Life), replacing all of the characters with motor vehicle versions of them and giving each film an automotive-based title. After the third scene, Mack (his character in Cars) realizes that the same actor has been voicing characters in every film.

Due to the traditions that have occurred within the films and shorts such as anthropomorphic creatures and objects, and easter egg crossovers between films and shorts that have been spotted by Pixar fans, a blog post titled The Pixar Theory was published in 2013 by Jon Negroni, and popularized by the YouTube channel Super Carlin Brothers, proposing that all of the characters within the Pixar universe were related, surrounding Boo from Monsters Inc. and the Witch from Brave (2012).

Additionally, Pixar is known for their films having expensive budgets, ranging from $150–200 million. Some of these films include Ratatouille (2007), Toy Story 3 (2010), Toy Story 4 (2019), Incredibles 2 (2018), The Good Dinosaur (2015), the aforementioned Onward and Soul, Turning Red, Lightyear (both 2022), and Elemental (2023). In a 2023 interview, Pixar's president Jim Morris stated that one of the reasons why their films have expensive budgets is because they are produced entirely in the U.S. with all of the artists under one roof, while almost all of their competitors keep costs down by doing work offshore.

Sequels and prequels

As of September 2022, six Pixar films have received or will receive sequels or prequels. These films are Toy Story, Cars, Monsters, Inc., Finding Nemo, The Incredibles, and Inside Out.

Toy Story 2 was originally commissioned by Disney as a 60-minute direct-to-video film. Expressing doubts about the strength of the material, John Lasseter convinced the Pixar team to start from scratch and make the sequel their third full-length feature film.

Following the release of Toy Story 2 in 1999, Pixar and Disney had a gentlemen's agreement that Disney would not make any sequels without Pixar's involvement though retaining a right to do so. After the two companies were unable to agree on a new deal, Disney announced in 2004 they would plan to move forward on sequels with or without Pixar and put Toy Story 3 into pre-production at Disney's then-new CGI division Circle Seven Animation. However, when Lasseter was placed in charge of all Disney and Pixar animation following Disney's acquisition of Pixar in 2006, he put all sequels on hold and Toy Story 3 was canceled. In May 2006, it was announced that Toy Story 3 was back in pre-production with a new plot and under Pixar's control. The film was released on June 18, 2010, as Pixar's eleventh feature film.

Shortly after announcing the resurrection of Toy Story 3, Lasseter stated, "If we have a great story, we'll do a sequel." Cars 2, Pixar's first non-Toy Story sequel, was officially announced in April 2008 and released on June 24, 2011, as their twelfth. Monsters University, a prequel to Monsters, Inc. (2001), was announced in April 2010 and initially set for release in November 2012; the release date was pushed to June 21, 2013, due to Pixar's past success with summer releases, according to a Disney executive.

In June 2011, Tom Hanks, who voiced Woody in the Toy Story series, implied that Toy Story 4 was "in the works", although it had not yet been confirmed by the studio. In April 2013, Finding Dory, a sequel to Finding Nemo, was announced for a June 17, 2016 release. In March 2014, Incredibles 2 and Cars 3 were announced as films in development. In November 2014, Toy Story 4 was confirmed to be in development with Lasseter serving as director. However, in July 2017, Lasseter announced that he had stepped down, leaving Josh Cooley as sole director. Released in June 2019, Toy Story 4 ranks among the 40 top-grossing films in American cinema.

After Toy Story 4, Pixar's chief creative officer Pete Docter said that the studio would take a break from sequels and focus on original projects. However, in a later interview, Docter said the studio would have to return to making sequels at some point for its "financial safety". In September 2022, during the D23 Expo, Docter and Amy Poehler (voice of Joy in Inside Out) confirmed that Inside Out 2 is in development, scheduled to release on June 14, 2024. In February 2023, Disney CEO Bob Iger announced that Toy Story 5 is in development.<ref>{{cite news|last=D'Alessandro|first=Anthony|url=https://deadline.com/2023/02/frozen-toy-story-zootopia-sequels-in-the-works-bob-iger-disney-earnings-1235253824/|title='Frozen, 'Toy Story' & 'Zootopia' Sequels In The Works, Disney CEO Bob Iger Says|website=deadline.com|date=February 8, 2023|accessdate=April 5, 2023|archive-date=February 8, 2023|archive-url=https://web.archive.org/web/20230208215907/https://deadline.com/2023/02/frozen-toy-story-zootopia-sequels-in-the-works-bob-iger-disney-earnings-1235253824/|url-status=live}}</ref>

 Adaptation to television Toy Story is the first Pixar film to be adapted for television as Buzz Lightyear of Star Command film and TV series on the UPN television network, now The CW. Cars became the second with the help of Cars Toons, a series of 3-to-5-minute short films running between regular Disney Channel show intervals and featuring Mater from Cars. Between 2013 and 2014, Pixar released its first two television specials, Toy Story of Terror! and Toy Story That Time Forgot. Monsters at Work, a television series spin-off of Monsters, Inc., premiered in July 2021 on Disney+.

On December 10, 2020, it was announced that three series would be released on Disney+. The first is Dug Days (featuring Dug from Up) premiered on September 1, 2021. A Cars show, titled Cars on the Road, premiered on Disney+ on September 8, 2022 following Mater and Lightning McQueen as they go on a road trip, and an original show entitled Win or Lose will be released on Disney+ in December 2023. The series will follow a middle school softball team the week leading up to the big championship game where each episode will be from a different perspective.

A TV series based on Inside Out was announced to be in development for Disney+ in June 2023, with Soul co-writer Mike Jones hired as developer.

 2D animation and live-action
The Pixar filmography to date has been computer-animated features, but so far, WALL-E (2008) has been the only Pixar film not to be completely animated as it featured a small amount of live-action footage including Hello, Dolly! while Your Friend the Rat, Day & Night (2010), Kitbull (2019), Burrow (2020), and Twenty Something (2021) are the only five shorts to feature 2D animation. 1906, the live-action film by Brad Bird based on a screenplay and novel by James Dalessandro about the 1906 earthquake, was in development but has since been abandoned by Bird and Pixar. Bird has stated that he was "interested in moving into the live-action realm with some projects" while "staying at Pixar [because] it's a very comfortable environment for me to work in". In June 2018, Bird mentioned the possibility of adapting the novel as a TV series, and the earthquake sequence as a live-action feature film.

The Toy Story Toons short Hawaiian Vacation (2011) also includes the fish and shark as live-action.

Jim Morris, president of Pixar, produced Disney's John Carter (2012) which Andrew Stanton co-wrote and directed.

Pixar's creative heads were consulted to fine tune the script for the 2011 live-action film The Muppets. Similarly, Pixar assisted in the story development of Disney's The Jungle Book (2016) as well as providing suggestions for the film's end credits sequence. Both Pixar and Mark Andrews were given a "Special Thanks" credit in the film's credits. Additionally, many Pixar animators, both former and current, were recruited for a traditional hand-drawn animated sequence for the 2018 film Mary Poppins Returns.

Pixar representatives have also assisted in the English localization of several Studio Ghibli films, mainly those from Hayao Miyazaki.

In 2019, Pixar developed a live-action hidden camera reality show, titled Pixar in Real Life, for Disney+.

 Upcoming films
Four upcoming films have been announced: Inside Out 2, directed by Kelsey Mann, to be released on , Elio, directed by Adrian Molina, to be released on , and two untitled films on March 6, 2026 and June 19, 2026.

 Co-op Program
The Pixar Co-op Program, a part of the Pixar University professional development program, allows their animators to use Pixar resources to produce independent films. The first 3D project accepted to the program was Borrowed Time (2016); all previously accepted films were live-action.

 Franchises
This does not include the Cars spinoffs produced by Disneytoon Studios.

 Legacy
Pixar has a strong legacy with its reach on many different generations. Its emotional depth combined with its imagination integrated in a cutting-edge technology has left it with a lasting legacy among children and adult viewers. With Pixar's success, many have considered it an integral part of what it means to be a child, which may contribute to its popularity in an often separate adult audience. From the 1990s to the present, Pixar movies have become a central force in animation. Discover Magazine wrote:
The message hidden inside Pixar's magnificent films is this: humanity does not have a monopoly on personhood. In whatever form non- or super-human intelligence takes, it will need brave souls on both sides to defend what is right. If we can live up to this burden, humanity and the world we live in will be better for it.

 See also

 The Walt Disney Company
 Disney's Nine Old Men
 12 basic principles of animation
 Disney Animation: The Illusion of Life''
 Modern animation in the United States: Disney
 Animation studios owned by The Walt Disney Company
 Walt Disney Animation Studios
 Disneytoon Studios
 Circle Seven Animation
 Blue Sky Studios
 20th Century Animation
 List of animation studios
 List of Disney theatrical animated feature films

References

External links

 List of the 40 founding employees of Pixar

Computer animation studios
1986 establishments in California
2006 mergers and acquisitions
American animation studios
American companies established in 1986
Cinema of the San Francisco Bay Area
Companies based in Emeryville, California
Disney acquisitions
Disney production studios
Entertainment companies based in California
Film production companies of the United States
Mass media companies established in 1986
Steve Jobs
Walt Disney Studios (division)

Pixar


Bougainvillea is a genus of flowering plants.it is often grown as gardening plant in warm climate. Bougainvilleas first came from South America. They are climbing plants grown for decoration in tropical countries, and in the southern United States.it is Grenada's national flower. Farther north, the plants are grown in greenhouses. The bougainvillea is named for the French navigator Louis-Autoine de Bougainville.

Description
Bougainvillea, a tropical vine known for the beauty of the large, colorful bracts (modified leaves) which surround its flowers. The flowers are small and plain. The bracts may be magenta, purple, yellow, or crimson, and are one inch (2.5 cm) or more long. One common type of bougainvillea has a climbing stem that sometimes reaches a length of 100 feet (30 m).it's has a nickname the "paper flower " due to it's to thin and papery bracts.

Caryophyllales

Bougainvillea


The 1920 United States presidential election in Massachusetts took place on November 2, 1920, as part of the 1920 United States presidential election, which was held throughout all contemporary 48 states. Voters chose 18 representatives, or electors to the Electoral College, who voted for president and vice president.

Massachusetts was won in a landslide by Republican Senator Warren G. Harding of Ohio, who was running against Democratic Governor James M. Cox of Ohio. Harding's running mate was Governor Calvin Coolidge of Massachusetts, while Cox ran with Assistant Secretary of the Navy Franklin D. Roosevelt of New York. Also running that year was Socialist candidate Eugene V. Debs of Indiana and his running mate Seymour Stedman of Illinois.

Harding carried Massachusetts overwhelmingly with 68.55% of the vote to Cox's 27.84%, a Republican victory margin of 40.71%. Debs finished third, with 3.25%.

Massachusetts had long been a typical Yankee Republican bastion in the wake of the Civil War, having voted Republican in every election since 1856, except in 1912, when former Republican President Theodore Roosevelt had run as a Progressive candidate against incumbent Republican President William Howard Taft, splitting the Republican vote and allowing Democrat Woodrow Wilson to win Massachusetts with a plurality of only 35.53% of the vote. In 1916, the state had returned to the Republican column, although only by a fairly narrow 4-point margin.

With the deeply unpopular Democratic administration of Woodrow Wilson as the backdrop for the 1920 campaign, Warren G. Harding promised a "return to normalcy" that appealed to many voters, while Cox was tied to the policies of the Wilson administration, whose unpopularity was especially severe among Irish-Americans who saw Wilson as pro-Britain and against their independence. Harding won nationally in one of the most decisive landslides in American history, and Massachusetts, already a fiercely Republican state, went even harder for Harding than the nation, voting a solid 15% more Republican than the national average.

Harding was also helped in the state by his running mate, Calvin Coolidge, a traditional Yankee Republican born in neighboring Vermont and being the popular sitting Governor of Massachusetts.

Harding swept every county in the state of Massachusetts, including even Suffolk County, home to the state's capital and largest city, Boston. Boston had been a Democratic-leaning city prior to this, and while Calvin Coolidge would win the city once more for the GOP in 1924, Boston would defect to the Democrats for Catholic Al Smith in 1928 and become reliably Democratic in every election that followed. As Coolidge won Suffolk County with a plurality in 1924, 1920 thus remains the last election in which a Republican has won an absolute majority of the vote in Suffolk County.

In 13 of the state's 14 counties (all but Suffolk), Harding broke 60% of the vote, and in nine, Harding broke seventy percent. He even reached eighty percent in the island county of Dukes and peninsular Barnstable.

Results

Results by county

See also
 United States presidential elections in Massachusetts

References

Massachusetts
1920
1920 Massachusetts elections


is a beat 'em up arcade game released by Jaleco in 1991.

Plot
The story starts out in a typical Double Dragon/Final Fight style setting at 64th Street with two protagonists: Rick (Anderson), a calm and intelligent, 35-year-old professional private detective and manager of the detective agency; and Allen (Tombs), a 19-year-old, reformed delinquent trained by Rick, who is "short-tempered and violent when angry". At the start of the plot, an evil corporation known as the Legacy organization, kidnapped the daughter of a mid-aged rich man and left him a letter explaining why they kidnapped her.

Late one night, before Rick and Allen was about to close their office, the mid-aged rich man rushed inside the office while being exhausted. He asked for help saving his daughter and gave the letter to Rick and Allen. The next day, Allen notices an advertisement in the classifieds with similar sentence structure to the letter left by the kidnappers. Allen couldn't understand it so easily, until Rick told him to look cautiously at both, the letter and the ad. They soon realised that the writing was actually a secret code, only understood by certain crime lords, so Rick and Allen struggled toward the main base of the Legacy organisation to find the truth and save the kidnapped daughter. The setting later takes on a steampunk feel as it goes along, coming to a head in a battle inside a blimp.

Gameplay

Players One and Two start with the two selectable protagonists, Rick and Allen. Each private detective uses different fighting styles, attempt to solve cases by beating up each criminal they encounter. Many special items can be found by throwing enemies into the background and breaking things, typical of this popular genre in the 1990s arcades. Along the way they are harangued by all manner of thugs and toughs, whose costumes range from 1980s hip-hop wear to stereotypical pirates. The bosses are tough by way of strange special attacks.

Legacy
64th Street spawned a series of beat 'em ups for the Nintendo Super Famicom titled Rushing Beat. The game's two protagonists later made a cameo appearance in another Jaleco game, Chimera Beast.

Further reading
Review on SlideToPlay.com
64th Street: A Detective Story – Rare Arcade Brawler Rereleases on iPhone and iPad  on About.com's ClassicGames section

External links
Version on iTune by dotemu
64th Street: A Detective Story playable at the Internet Archive

References

1991 video games
Arcade video games
Arcade-only video games
Nintendo Switch games
PlayStation 4 games
Detective video games
Jaleco beat 'em ups
Video games developed in Japan
Video games set in 1939
Hamster Corporation games
Multiplayer and single-player video games

64th Street: A Detective Story


"Weight Loss" is the collective name for the first and second episodes of the fifth season of the American comedy television series The Office and the show's 73rd and 74th episodes overall. Written by Lee Eisenberg and Gene Stupnitsky, and directed by Paul Feig, the episode first aired as a single 60 minute show in the United States on September 25, 2008, on NBC. "Weight Loss" guest stars Amy Ryan as Holly Flax, Dale Raoul as Ronni, and Rich Sommer as Alex.

The series—presented as if it were a real documentary—depicts the everyday lives of office employees in the Scranton, Pennsylvania, branch of the fictional Dunder Mifflin Paper Company. In this episode, the whole office participates in a company-wide weight loss contest. Pam (Jenna Fischer) is in New York City for art school, which causes her and Jim to have to adjust to being temporarily apart. An awkward tension between Michael (Steve Carell) and Holly (Amy Ryan) develops after she accepts a date with another man. Meanwhile, Angela (Angela Kinsey) and Dwight (Rainn Wilson) continue their secret relationship despite Angela's upcoming wedding to Andy. Later, Jim asks Pam a very important question.

Plot

The office partakes in a company-wide weight loss competition, with the prize of extra vacation days for the winning branch. Initially enthusiastic, the staff become over-competitive, especially Kelly Kapoor (Mindy Kaling) who stops eating and tries numerous diets, eventually passing out during one weigh-in. She buys what she believes is a tapeworm from Creed Bratton (Creed Bratton) as another measure, but Creed privately admits that it "wasn't a tapeworm." After Dwight Schrute (Rainn Wilson) abandons Phyllis Vance (Phyllis Smith) miles away from the office with no phone or money to force her to exercise, corporate responds with a memo that staff should not resort to drastic weight loss measures. The Scranton branch ends up losing the competition, although Stanley Hudson (Leslie David Baker) is proud of his individual results, and decides to take the vacation anyway.

Pam Beesly (Jenna Fischer) begins a three-month graphic design class in New York City. Wanting to see her, Jim Halpert (John Krasinski) meets Pam for lunch at an interstate rest stop between Scranton and New York City. He proposes to her outside in the pouring rain, and she accepts ecstatically.

Plotting his return to the company, Ryan Howard (B. J. Novak) apologizes to various people around the office for his past behavior, while keeping a list of people who wrong him to take revenge on them when he's back on top. Most notably, he apologizes to, and then proceeds to ask his former girlfriend Kelly Kapoor (Mindy Kaling) out, only to be rejected when she tells him that she is dating Darryl Philbin (Craig Robinson).

Holly Flax (Amy Ryan) yells at Angela Martin (Angela Kinsey) for chastising Kevin Malone (Brian Baumgartner), still believing he is mentally challenged. He awkwardly reveals he is "not retarded", and an embarrassed Holly apologizes and walks away. Holly continues to show interest in Michael Scott (Steve Carell), who now sports a goatee, until she catches him talking to a pregnant Jan Levinson (Melora Hardin). Holly then goes out on a date with Oscar's yoga instructor, and buys Counting Crows tickets as a surprise for their next date. When he never calls her, Michael berates the yoga instructor to Holly's pleasure, then offers to buy the tickets from her only to tear them up.

Phyllis takes over the Party Planning Committee by blackmailing Angela with her knowledge of Angela and Dwight's secret affair. After Angela shoots down all of Andy's wedding ideas, she warms up to him until he tells her that he booked his a cappella band 'Here Comes Treble' to play at their wedding (he states the members are Carl One, Carl Two, Broccoli Rob, Spare Rib, Doobie, Lunchbox, Boner Champ (Andy), Pubie Lewis and the News, Hopscotch, Jingle Jangle, and Sandwich).

Toby Flenderson (Paul Lieberstein) is briefly seen in a Costa Rican hospital due to a neck injury while zip-lining.

Production

"Weight Loss" was directed by Paul Feig and written by Lee Eisenberg and Gene Stupnitsky. Greg Daniels proposed the idea of Jim proposing to Pam in a gas station parking lot, as well as the decision to include the proposal in the season premiere episode - instead of during a season finale - to catch viewers off guard.

The proposal scene, which was filmed at a set built on an empty parking lot in Los Feliz, California, was the most expensive scene shot during the entire run of the show. The crew built a replica of an actual rest stop on the Merritt Parkway in Greenwich, Connecticut, that Daniels often visited as a child; the crew used Google Street View imagery to recreate the facade. The prop gas station building was large enough for background actors to move around, and a four-lane racetrack was built in front, where a team of 35 professional drivers drove cars and semi trucks at 55 miles per hour. Rainfall was created using rain machines, and an artificial "wooded" background was added in pre-production in place of the mountainous California backdrop.

Reception
In the 18–49 demographic, "Weight Loss" earned a 4.9/11 ratings share. The episode was watched by 9.1 million viewers.

The episode received critical acclaim, with praise mainly focusing on the episode's balance between comedy and character-driven moments, especially Jim's proposal to Pam. This scene ranked number 2 in phillyBurbs.com's top ten moments from the fifth season of The Office. Dwight and Angela carrying on their affair in the hidden corner of the warehouse during business hours ranked number 7 on that list. Writer Jen Weilgus described Dwight's line, "We done good in there, Half Pint," as the best quote of the season. Ryan's return as a temp in this episode, tied with his second return appearance in the episode "Dream Team", ranked number 5 in the list. Travis Fickett of IGN gave the episode a 9.2 of 10, indicating that it was "amazing". He wrote, "It's another terrific mix of character and comedy that is perfectly balanced," concluding that "The Office remains one of the funniest, best written, best performed and one of the best shows of TV. Period." Nathan Rabin, writing for The A.V. Club, graded the episode an "A−", giving particular praise to the development of the romance between Pam and Jim. "It was an episode full of big laughs and neat little character moments, as well as a number of gags rooted in camera placement. Ah, but I'm leaving out the big moment, that glorious milestone where years and years of flirtation, meaningful glances and missed chances finally paid off in a surprisingly satisfying, genuinely surprising beauty of a scene where Jim proposed to Pam outside a truck stop in the pouring rain."

Aubry Arminio of Entertainment Weekly also lauded the episode's more dramatic aspects over the comedic moments: "That's what was so great about yesterday's episode: I'll admit I wasn't rolling on the floor laughing, but I did find myself clutching my hand over my heart several times. Last night had those tender moments only The Office can pull off without seeming corny: Jim's proposal in the rain in front of a rest stop, Michael pumping up Kelly's self-esteem by having the staff point out her beauty (Creed: "Hell of an ass"), and Angela realizing that she's been terrible to Andy, then smooching in front of everyone." Oscar Dahl of BuddyTV lauded the episode, opining that it stayed true to the spirit of the show's previous four seasons. "The Office is the unique comedy in which characters evolve, story-lines take seasons to play out and the mythology is never dispensed at the expense of the humor.  Five season in, and tonight's premiere was every bit as funny as anything from the previous four.  It's a testament to the writers and the actors, and their continued focus on staying the course, sticking to what makes The Office perhaps the best and most consistent all-around comedy." Screen Junkies expressed hope for the season as a whole, stating "Everything that makes the show awesome is still there and firing on all cylinders, so I'm really looking forward to the rest of the season."

"Weight Loss" was voted the second highest-rated episode out of 26 from the fifth season, according to an episode poll at the fansite OfficeTally; the episode was rated 8.92 out of 10.

References

External links
"Weight Loss" at NBC.com

The Office (American season 5) episodes
2008 American television episodes
The Office (American TV series) episodes in multiple parts
Television episodes directed by Paul Feig

Weight Loss (The Office)


Huron Island Light is a lighthouse on Lake Superior near Big Bay, Michigan. It was listed on the National Register of Historic Places as Huron Islands Lighthouse in 1975.  It is on one of the Huron Islands Wilderness .

History
Reefs, shoals and islands presented an increasing danger to freighters as commerce developed in the area.  This location lies astride a critical turning point—for vessels entering Huron Bay, Keweenaw Bay, or Portage Entry—and is often shrouded in fog.  Beginning mid-nineteenth century, with the copper boom in the Keweenaw Peninsula, the Huron Islands were a navigational hazard to vessels following the coast to/from Portage River, Michigan.

In 1860 the side wheeler S.S. Arctic ran into the easternmost of the Huron Islands.  The ship was lost, but passengers, crew and cattle were evacuated onto the island—still known as "Cattle Island" to this day from the marooned beasts.  "Even though no lives were lost, the wreck became the final straw in the battle to get a lighthouse in this location."

In 1867, Congress appropriated $17,000 for a lighthouse located in the Huron Islands.  The survey crew chose the highest point on Lighthouse Island, the westernmost of the group as the location for the light. With the exception of  Grand Island North Light, this is the highest focal plane in the western Great Lakes.  The lighthouse was constructed in 1868, along with a privy, oil house, boat dock, and tramway, and was first lit on October 20 of that year.

In 1881, two fog signal buildings were constructed about a half-mile away.  Originally steam-powered, the steam whistles were converted to diaphones.  Improvements were made in 1887, and again in 1891 to repair damage caused by a lightning strike. The light was upgraded to incandescent oil vapor in 1912, and in the 1930 the entire station was electrified. In 1961, a new barracks building was constructed and a solar-powered light installed. The lighthouse was automated in 1972, and the structure boarded.   The light is still an active aid to navigation.

In 2006, the roof of the structure was replaced.

A private group, the Huron Island Lighthouse Preservation Association, P.O. Box 381, L'Anse, Michigan 49946, has been formed with an intent to save the light.  It is recognized that this is an uphill battle, as members of the general public neither see the light nor have access to it.  The organization is part of the Michigan Lighthouse Alliance.

Description
The light station is a duplicate of the one built at the same time on nearby Granite Island.  Other sister designs include Gull Rock and Marquette Harbor lighthouses.  The station is 1 stories tall and built from granite, with a square light tower,  in height, integrated into the structure.  The original light was a decagonal cast iron lantern with a 3½-order Fresnel lens.

It is owned by the United States Fish and Wildlife Service.

Getting there
The light is accessible only by private or tour boat.  This is the only island in the Huron Islands that is open to the public; however the lake is rough, cold, dangerous and punctuated by reefs and shoals, so the three mile trip should be undertaken with caution.

Further reading
 Efforts to Save Huron Island Lighthouse (October, 1999) , from the Lighthouse Digest.
 Major Effort Tops Huron Island Light  (November, 2006) from the Lighthouse Digest.
 National Park Service Maritime Heritage Project, Inventory of Historic Lighthouses -- Michigan, Huron Islands Lighthouse.
 Roach, Jerry.  Lighthouse Central, "Huron Island Lighthouse", The Ultimate Guide to Upper Michigan Lighthouses (Publisher: Bugs Publishing LLC - 2007).  .
Wagner, John L., Michigan Lighthouses: An Aerial Photographic Perspective -- Huron Island Lighthouse (East Lansing, Michigan: John L. Wagner, 1998)  .
Great Lakes Lighthouse Encyclopedia -  Firefly Books - Larry and Pat Wright

References

External links

Aerial view at marinas.com.

Lighthouses completed in 1868
Buildings and structures in Marquette County, Michigan
Lighthouses on the National Register of Historic Places in Michigan
Uninhabited islands of Michigan
National Register of Historic Places in Marquette County, Michigan

Huron Island Light


Abdullahi Shelleng (born 20 January 1942) was the first Military Governor of Benue State, Nigeria from 3 February 1976 to July 1978 during the military regime of General Olusegun Obasanjo, after Benue State had been split from the old Benue-Plateau State.

Background and education
Abdullahi Shelleng was born on 20 January 1942 in Shelleng, in the Numan Local Government Area of the former Gongola State (now Adamawa State). He was educated in Shelleng and Yola, and attended the Government College, Zaria (1957–1961). He joined the Army in 1962 and attended the Nigerian Defence Academy, Kaduna (April 1962 – August 1962), and then the Pakistan Military Academy, Kakul (1962–1965).

Military career

He was commissioned 2nd Lieutenant in April 1965. He served as a Company Commander during the Nigerian Civil War.
He attended Command and General Staff College, Fort Leavenworth, Kansas, USA (1973–1974), and then was appointed Colonel, General Staff in Hq. 2nd Infantry Division, Nigerian Army, Ibadan (1974–1975).
He was one of the participants in the July 1975 coup against General Yakubu Gowon, monitoring the situation from the 2nd Division HQ at Ibadan.
Following the coup, he became a Principal Staff Officer, Supreme Headquarters, Lagos (1975–1976).

Governor of Benue State

General Murtala Mohammed appointed Abdullahi Shelleng as Military Governor of Benue State on 3 February 1976, a post he held until July 1978.
Shellung had the difficult job of creating a functioning state machinery with an ethnically mixed and politically dissatisfied population. He built accommodation for civil servants and established schools and colleges, including the Murtala College of Arts, Science and Technology. He also initiated Benue Brewery at Makurdi, Idah Sanitary Ware Industry at Idah, and the Burnt Brick Industry at Otukpo. However, he failed to repair the untarred roads in the state. In many cases he opened establishments on temporary sites, thus storing up problems for the future. He was also criticized for destroying the mini Makurdi Stadium.

Later career

After retiring from the army, Abdullahi Shelleng became one of the leaders of the umbrella union of the North, the Arewa Consultative Forum.
In October 2005, he was one of the Adamawa State delegates at the National Convention of the People's Democratic Party (PDP).
In April 2006 he was one of a group of Adamawa State PDP members who announced they had suspended Vice President Atiku Abubakar the state governor Boni Haruna.

References

1942 births
Living people
Governors of Benue State
People from Adamawa State
Nigerian Muslims
Nigerian Army officers
Nigerian Defence Academy alumni
Military personnel of the Nigerian Civil War
Nigerian Defence Academy Commandants

Abdullahi Shelleng