Mary Elizabeth Bennett Ritter (June 7, 1860 – March 17, 1949) was an American physician and an advocate for women's rights and public health issues in Berkeley, California. She was known as a pioneer in her time because women were largely excluded from medical training and employment. Despite restricted access, Ritter built a successful private practice. She also advocated for women in medical professions, training for nurses, and sanitation standards in hospitals and doctor's offices. She helped start the Pacific Dispensary for Women and Children, free clinics for poor women and children. In 1933, she published her autobiography, More Than Gold in California.

Biography
Ritter was born Mary Elizabeth Bennett in Salinas, California. She was the daughter of farmers, William Bennett and Abigail Noble Bennett, who did not support her ambition to become a doctor. Before entering medical school, Ritter earned an independent income, which she saved to pay for educational expenses. In 1886, she earned her medical degree from Cooper Medical College in San Francisco, which is now Stanford School of Medicine.

Bennett remained in the Bay Area and built a successful personal practice for 20 years. She treated both rich and poor on a sliding scale and was known to provide free services for those most in need. In addition to her medical practice, Ritter was also an advocate. In 1891, she worked with women medical students of the University of California (UC) in Berkeley, with funding from Phoebe Hearst, the only woman on the UC Board of Regents, in order to build a gymnasium for women students.  She also advocated for better housing for women students. In 1935, UC Berkeley awarded Ritter an honorary Ph.D. for her work as an unofficial first dean of women.

She married zoologist William Emerson Ritter on June 23, 1891. In 1909, Mary Ritter retired from her medical practice and moved to La Jolla, California, where her husband was employed. In La Jolla, She continued her advocacy work and gave many lectures about public health issues as well as woman and infant care.

Ritter wrote an autobiography called More than Gold in California, detailing her work as a physician, her work as a women's advocate, and her role as a partner in her husband's biological projects.

Ritter died in Mountain View, California.

Works
 More than Gold in California. Berkeley: Professional Press, 1933.
 Medical Student and Intern, in: Recollections of Cooper Medical College (1883-1905), by Mary B. Ritter, George Blumer, Louis F. Alvarez, and Walter C. Alvarez. Palo Alto: Stanford Medical School, 1964.

References

External links

1860 births
1949 deaths
People from Salinas, California
American primary care physicians
American women physicians
Physicians from California

Mary Bennett Ritter


Geoffrey Michaels (born 1944 in Perth, Western Australia) is a prominent violinist and violist. A child prodigy in the 1950s, he currently performs and teaches primarily in the United States.

Biography

Geoffrey Michaels began taking violin lessons at the age of five, and soon was recognized as a prodigy.   At 14, he became the youngest performer ever to win the Australian Broadcasting Commission's concerto competition,   and made his first recording, which sold out within weeks of its release.

At the age of 16 he went to the United States to attend the Curtis Institute of Music, where he studied violin with Efrem Zimbalist, and violin and viola with Oscar Shumsky. While still a student he became a member of the Curtis String Quartet. He then pursued a solo career, winning the fourth annual Emma Feldman Competition in Philadelphia, and placing among the finalists in the Long-Thibaud-Crespin Competition in Paris, the Queen Elizabeth Competition in Brussels, and the Tchaikovsky Competition in Moscow,  where he played  Zimbalist's 'Coq d'Or Fantasy.

He has been a professor at Swarthmore College, Florida State University and the University of British Columbia. Michaels currently lives in the Philadelphia area.

Performances
Michaels is a sought-after soloist and chamber music player. Notable contemporary concerto performances include the US premier of Alfred Schnittke's Concerto Grosso   (broadcast on Voice of America), and Arvo Pärt's Tabula Rasa for Two Violins and Strings and Fratres, both at Lincoln Center in New York.

During his many tours of Australia, he collaborated with pianist and composer Roger Smalley. Smalley's "Trio for Violin, Cello, and Piano" (1990–91), commissioned by the Melbourne International Chamber Music Competition, bears the dedication "To Geoffrey Michaels."

He is a founding member of the Liebesfreud Quartet and has also performed in many other chamber ensembles, including the Janus Piano Trio, Performers' Committee for Twentieth Century Music (New York), Richardson Chamber Players (Princeton), and Vancouver New Music Society.

References

1944 births
Living people
20th-century classical violinists
21st-century classical violinists
Australian classical violinists
Male classical violinists
Musicians from Perth, Western Australia
20th-century Australian male musicians
20th-century Australian musicians
21st-century Australian male musicians
21st-century Australian musicians

Geoffrey Michaels


Aadhaar eSign is an online electronic signature service in India to facilitate an Aadhaar holder to digitally sign a document. The signature service is facilitated by authenticating the Aadhaar holder via the Aadhaar-based e-KYC (electronic Know Your Customer) service.

To eSign a document, one has to have an Aadhaar card and a mobile number registered with Aadhaar. With these two things, an Indian citizen can sign a document remotely without being physically present.

Procedure
The notification issued by Government of India in this regard stipulates the following procedure for the e-authentication using Aadhaar e-KYC services.

Authentication of an electronic record by e-authentication technique, which shall be done by
the applicable use of e-authentication, hash function, and asymmetric cryptosystem techniques, leading to issuance of digital signature certificate by Certifying Authority,
a trusted third party  service  by subscriber's key pair generation, storing of the key  pairs  on  hardware  security  module and creation  of  digital  signature provided  that  the  trusted  third  party  shall  be  offered  by  the  certifying authority (the  trusted  third  party  shall  send  application  form  and  certificate signing  request  to  the  Certifying  Authority  for  issuing  a digital  signature certificate to the subscriber),
issuance  of  digital  signature  certificate  by  Certifying  Authority  shall  be based on e-authentication, particulars given in the prescribed format,  digitally signed  verified  information  from  Aadhaar  e-KYC  services  and  electronic consent of digital signature certificate applicant,
the  manner  and  requirements  for  e-authentication  shall  be  as  issued  by  the Controller  from time to time,
the  security  procedure  for  creating  the      subscriber's  key  pair  shall  be  in accordance with the e-authentication guidelines issued by the Controller,
the   standards   referred   to   in   rule   6   of      the   Information   Technology (Certifying Authorities) Rules, 2000 shall be complied with, in so far as they relate   to   the   certification   function   of   public   key of   Digital   Signature Certificate applicant, and
the  manner  in  which  information  is  authenticated  by  means  of  digital signature      shall  comply  with  the  standards  specified  in  rule  6  of  the Information  Technology  (Certifying  Authorities)  Rules,  2000  in  so  far  as they  relate  to  the  creation,  storage  and  transmission  of  Digital  Signature.

eSign Service Providers
Organisations and individuals seeking to obtain the eSigning Service can utilize the services of various service providers. There are empanelled service providers with whom organisations can register as an Application Service Prover after submitting the requisite documents, getting UAT access, building the application around the service and going through an IT Audit by an CERT-IN empanelled auditor.

However, the process of registering as an Application Service Provider is cumbersome, and requires huge investments of time, money and resources in complying with the regulations and building a suitable application. Most organisations prefer using services of plug-n-play gateway providers who take the responsibility of complying with the regulations, hence simplifying the process for the market.

See also
 DigiLocker

References

Authentication methods
Biometrics
Cryptography
Computer law
E-commerce in India

ESign (India)


The London Declaration concerning the Laws of Naval War was a proposed international code of maritime law, especially as it relates to wartime activities, in 1909 at the London Naval Conference by the leading European naval powers, the United States and Japan, after a multinational conference that occurred in 1908 in London. The declaration largely reiterated existing law, but dealt with many controversial points, including blockades, contraband and prize, and showed greater regard to the rights of neutral entities.

The declaration was signed by most of the great powers of the day: Austria-Hungary, France, Germany, Italy, Japan, Russia, the United Kingdom, and the United States. (It was also signed by the Netherlands and Spain.)
However, no state ever ratified the declaration and consequently it never came into force. The United States insisted that the belligerent nations fighting in World War I abide by the Declaration, while the British and Germans ignored it.

The British geostrategist and naval historian Sir Julian Corbett argued strongly against the provisions of the Declaration, which sought to outlaw 'general capture' of enemy commerce on the high seas during wartime. In his earlier 1907 essay 'The Capture of Private Property at Sea', he argued that the curtailment of the Royal Navy's right to seize enemy shipping would have a detrimental impact on Britain's ability to wage economic warfare against a continental enemy, economic warfare being the single most important function of the Navy, in his view. The arguments he set out gained currency within the Navy and British government, and would eventually prevail with Britain's decision not to ratify the Declaration and the successful waging of maritime economic warfare, including 'general capture', against Germany during the First World War.

In any case, the London Declaration was greatly deficient in referring only to surface ships and completely ignoring submarine warfare, which was to play a major role in both World Wars. By its very nature, a submarine can neither capture an enemy (or neutral) vessel nor give any warning before attacking; a submarine's only chance of success is to launch a surprise attack intending to sink the targeted vessel. Thus, by definition, a submarine could not abide by many of the rules of conduct made for surface vessels.

Notes

References

 John Westlake, International Law: War (London, 1910)
 American Journal of International Law (supplement, New York, 1909)
 Andrew Lambert (ed.) 21st Century Corbett: Maritime Strategy and Naval Policy for the Modern Era. (Annapolis, 2017) Ch. 3.

External links

 Declaration concerning the Laws of Naval War, icrc.org (includes full text and signatory states and dates)
 Declaration concerning the Laws of Naval War, 208 Consol. T.S. 338 (1909), Human Rights Library, University of Minnesota

Law of the sea treaties
International humanitarian law treaties
Treaties concluded in 1909
Blockades
Unratified treaties
1909 in London


William James Henderson (December 4, 1855 – June 5, 1937) was an American musical critic and scholar.

Biography
He was born on December 4, 1855 in Newark, New Jersey.

He graduated from Princeton in 1876 and immediately began work as a journalist, later as a reporter, then as the musical critic of The New York Times, and in 1902 of The New York Sun. He wrote perceptive press reviews of the performances of the Metropolitan Opera's star singers which remain valuable for today's scholars. Henderson's perspicacity as a musical reviewer and evaluator was recognised when he was appointed lecturer on musical history in the New York College of Music. He was also elected a member of the National Institute of Arts and Letters in 1914.

Three days after the death of his longtime friend and fellow newspaper music critic, Richard Aldrich, he committed suicide with a .38-calibre revolver in his West-Side Manhattan hotel room.  His New York Times obituary called him "for fifty years one of America's best known music critics."

Publications
 Sea Yarns for Boys
 Afloat with the Flag
 The Last Cruise of the Mohawk
 Preludes and Studies (1891)
 The Story of Music (1889; 12 enlarged ed., 1912)
 Elements of Navigation (1895)
 What is Good Music? (1898)
 How Music Developed (1899)
 The Orchestra and Orchestral Music (1902)
 Richard Wagner, His Life and His Dramas (1901)
 Modern musical Drift (1904)
 The Art of the singers (1906)
 Some Forerunners of Italian Opera (1911)
 The Soul of a Tenor (1912) a novel
 Early History of Singing (1921)

References

Baker, Theodore and Remy, Alfred, Ed. "Henderson, William James", Baker's Biographical Dictionary of Musicians, third edition, New York, 1919.
Slonimsky, Nicolas, Ed. Baker's Biographical Dictionary of Musicians, sixth edition, New York, 1978.
"Music: Silenced Oracles", Time, June 14, 1937.

External links

19th-century American novelists
20th-century American novelists
American male novelists
American male journalists
Critics employed by The New York Times
New York College of Music faculty
Opera critics
Princeton University alumni
Writers from Newark, New Jersey
1855 births
1937 suicides
1937 deaths
American opera librettists
Suicides by firearm in New York City
19th-century American male writers
20th-century American male writers
Novelists from New Jersey
Novelists from New York (state)
20th-century American non-fiction writers

William James Henderson


Backstage, also previously written as Back Stage, is an American entertainment industry trade publication. Founded by Allen Zwerdling and Ira Eaker in 1960, it covers the film and performing arts industry from the perspective of performers, unions, and casting, with an emphasis on topics such as job opportunities and career advice. The brand encompasses the main Backstage magazine, and related publications such as its website, Call Sheet (formerly Ross Reports)—a bi-monthly directory of talent agents, casting directors, and casting calls, and other casting resources.

The publication was founded in, and originally focused primarily on New York City and the U.S. east coast. In the 1990s, Back Stage established the Los Angeles–based Back Stage West, which competed primarily with the longer-established Drama-Logue; in 1998, Drama-Logue was acquired by Back Stage and merged into Back Stage West. In 2008, both versions were merged into a single national edition.

From the 1990s through the early 2010s, Backstage was a sister to fellow entertainment publications Billboard and The Hollywood Reporter, and later Adweek, via Billboard Publications and its corporate successors, such as Nielsen Business Media and Prometheus Global Media. In 2011, Back Stage was divested by Prometheus to a group led by John Amato, who relaunched the print and digital publications. After being briefly being re-acquired by Prometheus, it was sold to RZ Capital in 2013.

History

Backstage (the company) was founded by Allen Zwerdling and Ira Eaker in New York City in December 1960 as a weekly tabloid-sized newspaper called Back Stage. Zwerdling and Eaker had worked together for years as editor and advertising director, respectively, of the Show Business casting newspaper, which was founded by Leo Shull as Actor's Cues in 1941. After Zwerdling and Eaker left Show Business they looked into creating a casting section within The Village Voice newspaper; but, having been turned down, they decided to launch Backstage on their own.

At the time of its founding, Backstage (the newsmagazine) was primarily a casting paper for New York actors intended to compete with Show Business Weekly. It gradually broadened its scope to include coverage of New York's television commercial production industry and a variety of performing arts, the former of which proved to be so lucrative advertising-wise that the commercial-production beat came to dominate the publication. Additionally, Backstage's reach began to slowly spread across the U.S., although the largest portion of its readership remained on the East Coast.

Owing to the disparity between its main areas of coverage—a focus on casting and entertainment-industry job opportunities, general coverage of the performing arts (acting, legitimate theatre, cabaret, etc.), and its expanding coverage of the commercial production market—Backstage eventually incorporated the film and video production elements of its coverage into a weekly pull-out section called Backstage Shoot, a sort of mini-publication with a special focus on the commercials industry.

Then, in 1975, Backstage opened a Los Angeles bureau and began to more actively extend its casting and editorial coverage across the U.S., with correspondents based in Boston, Florida, Chicago, London, and other key entertainment-industry-centric areas added to the Backstage roster over the years.

Around 1977, co-founder Ira Eaker's daughter, Sherry Eaker, joined Backstage as an editor and worked to further expand Backstages editorial coverage, especially in the areas of theater criticism, cabaret, dance, union news, and advice columns for performers. Sherry Eaker also fostered a relationship between Backstage and its historical antecedent, the British-based newspaper The Stage, which shared a similar look, printing schedule, and market-focus.

In 1986, Backstage was bought by Billboard Publications Inc. (BPI), owner of such publications as Billboard (magazine). In 1988, BPI bought The Hollywood Reporter. Backstage and The Hollywood Reporter along with a few other related brands, were grouped together within BPI, becoming its film and performing arts division, a group designed to compete with Variety and other entertainment-industry trade publications. Backstage would become involved in a number of other acquisitions, mergers, spin-offs, and sales over the next few decades.

Backstage Shoot

On July 6, 1990, the Backstage Shoot pull-out section of Backstage magazine was spun off into a full, standalone publication, SHOOT. The concept was to have Backstage concentrate on actors, performing artists, and theatre, while SHOOT would continue to "serve the news and information needs of creative and production decision-makers at ad agencies, and executives & artisans in the production industry" (according to their official press materials found on ShootOnline.com). To emphasize the change, the official Backstage tagline "The complete service weekly for the communications and entertainment industry" was switched to The Performing Arts Weekly.

Ross Reports
Around this time, Backstage acquired the New York–based Ross Reports publication, a monthly digest founded in 1949 by Wallace A. Ross.  The Ross Reports compiled information on casting directors, agents, managers, production companies, and upcoming film and television productions.

In early 1994, Netherlands-based company VNU bought Backstage owner BPI. VNU eventually came to own a variety of trade publications—including all of the BPI magazines as well as Mediaweek, Adweek, Film Journal International, The Hollywood Creative Directory, and many others—along with measurement company Nielsen Media Research, and events such as ShoWest and the Clio Awards.

Back Stage West
Also in early 1994, Back Stage publisher Steve Elish hired a West Coast editor-in-chief, Rob Kendt, to help create a new publication, Back Stage West, a weekly trade paper similar to the New York–based Back Stage but with a focus on the West Coast acting community and casting opportunities based in California. At the time, despite past efforts, Backstage was still popular primarily in the Northeast U.S.

In May 1998, Back Stage acquired its main local competitor, Drama-Logue; The Drama-Logue company was founded by Bill Bordy in 1969 as a casting hotline, and in 1972 it became a weekly trade publication entitled The Hollywood Drama-Logue Casting Sheet, commonly known simply as Drama-Logue. Before the end of 1998, Drama-Logue's holdings were fully integrated into Backstage.com and Back Stage West, which for a time was co-branded as Back Stage West/Drama-Logue.

Backstage.com
Beginning in the late 1990s, a number of casting information and entertainment job websites began cropping up, offering specialized online tools for actors, performers, and models, including online casting submission systems and video-enhanced resumes. Backstage.com, introduced by Publisher Steve Elish, was a leader in taking the casting industry online. Its early products included a paid member's area, which charged $9.95 per month for unlimited access to articles and casting calls across New York, Los Angeles, Chicago, Florida, Las Vegas, and other key entertainment-industry hubs. The monthly fee also entitled subscribers to inclusion in the website's first iteration of a headshot and resume database.

Starting in 2000, writer-editor-filmmaker and web-developer Luke Crowe joined the company, and began working on the development of online casting tools for Backstage. Over the next few years, Backstage.com introduced options for casting directors to self-post breakdowns, a searchable acting-jobs database of casting notices, interactive audition lists, casting coverage in every state in the U.S., and an advanced headshot and resume talent database, among other new options, some of the first online tools ever developed for actors and casting directors. The number of new casting notices listed on Backstage.com each week expanded from the hundreds to the thousands over the next few years, while monthly site traffic increased from the hundreds-of-thousands to the millions.

In addition to encompassing all of the content from Backstages print publications, the website's scope continued to expand to include more online-exclusive casting notices and original online-only news stories, feature articles, entertainment-industry listings, and reviews. During this time period, several competitors challenged the brand, but it remained the industry leader. However, the competition eventually sparked major changes in Backstages development, and in October 2005 Backstage relaunched its print and online publications in order to regain its edge.

Relaunches and acquisitions
During this 2005 relaunch process, all Backstage publications were redesigned (including Backstage West); various staffing changes took place; the East Coast/New York edition of Backstage was renamed Backstage East; Backstage.com began publishing more articles on a daily basis and introduced more exclusive editorial content, blogs, feeds, and tools; and Casting. Backstage.com was founded, giving Backstage.com users access to even more advanced casting/job search, sort, alert, and application tools, along with a more robust talent database featuring resumes, pictures, video reels, and audio reels of thousands of working and aspiring actors and performers.

Around this same time, the primary Backstage tagline changed from "The Performing Arts Weekly" to "The Actor's Resource." A secondary branding slogan, "Casting You Can Trust—Since 1960" was also added and given prominent placement both on Backstage.com and on the front covers of the weekly East Coast and West Coast newspaper/magazine versions of Backstage. And sister publication SHOOT (and ShootOnline.com) was sold to another publishing company.

In 2006, a company called Valcon Acquisition B.V., run by a private equity group consortium, bought VNU, making Valcon the new owner of Backstage and all other VNU holdings. Then, on January 18, 2007, VNU rebranded itself The Nielsen Company, with its trade-publication division being renamed Nielsen Business Media.

In early 2007, VP/Group Publisher Steve Elish retired from Backstage after 34 years. However, co-founder Ira Eaker's daughter, former longtime Backstage editor-in-chief Sherry Eaker, carried on her father's work as Backstage's editor at large, along with editor-at-large David Sheward, who left his executive editor position at Backstage after working for the brand for over 28 years. Former publishers include Steve Elish, Jeff Black, and Charlie Weiss. Former lead editors include Sherry Eaker, Rob Kendt, Jamie Painter Young, Daniel Holloway, Dany Margolies, Tom Penketh, Erik Haagensen, Roger Armbrust, Leonard Jacobs, David Fairhurst, Andrew Salomon, Dan Lehman, dance editor Jennie Schulman (who wrote for Backstage for over 40 continuous years, starting with its first issue on Dec. 2, 1960), film and television editor Jenelle Riley, contributing editor Jackie Apodaca, and actor-columnist Michael Kostroff (known for his work in The Wire), among others.

In October 2008, Backstage East and Backstage West were permanently combined into a single weekly publication with an expanded national focus. This new "national edition" was given the same name as the original 1960 edition: Back Stage.

Backstage also launched a number of blogs around this time, including Blog Stage, Espresso, Backstage Unscripted, and The Backstage 411 Casting FAQ, all of which were discontinued in early 2012.

In early 2009, Ross Reports was renamed Call Sheet by Backstage, working with The Hollywood Creative Directory to expand its listings to include a wider variety of entertainment-industry contacts.

In late 2009, Backstage and other Nielsen Business Media brands were sold to e5 Global Media, which was later renamed Prometheus Global Media, and then renamed Guggenheim Digital Media.

The Backstage brand remained closely tied to its primary sister publications, The Hollywood Reporter and Billboard, as well as the other e5 Global Media publications, such as Adweek, Film Journal International, and The Hollywood Creative Directory. However, Backstage also carved out its own industry niche by focusing on the needs of actors, models, performers, and casting directors; publishing directories (such as Call Sheet, a bimonthly listing of talent agents, casting directors, and film productions), books (actor handbooks and biographies published under the Watson-Guptill imprint Backstage Books), casting-director mailing labels, and special "insert" magazines (such as award-season nomination guides, theatre-school guides, and the ACTION magazine for actors interested in making their own movies); producing live events; and continuing the development of Internet casting technology.

Backstage continued to be a resource for audition information, casting calls/casting notices, training opportunities, and entertainment-industry jobs, news, and interviews. Film and theatre were the main topics reviewed and reported upon, but the television, radio, dance, music, cabaret, voice-over, modeling, commercial advertising, and stand-up comedy industries were also included in Backstages coverage.

In October 2011, media entrepreneur John Amato led Backstage through a spin-off from Prometheus Global Media as part of a new strategic partnership, with the new company being called Backstage, LLC. Prometheus shareholder Guggenheim Partners backed the sale.

In August 2012, Back Stage was relaunched again, with the magazine switching from a tabloid-sized newspaper to a smaller, full-color glossy magazine (and also being slightly rebranded from Back Stage to Backstage). The magazine added increased cross-promotion for the resources and utilities on the similarly-redesigned Backstage.com. Amato stated readers had requested that the print edition have a smaller form factor to make it easier to take to casting calls, while the redesigned website was meant to "[lead] the user into the products and content that we've seen historically be the most helpful for our audience".

In January 2013, Backstage LLC acquired Sonicbids, a service designed to help musicians find gigs, for $15 million. In April 2013, Prometheus Global Media, now fully owned by Guggenheim, bought the remainder of Backstage LLC. John Amato was made president of the Billboard Group, a new unit that would oversee Backstage, Billboard, and Sonicbids. In December 2013, Backstage and Sonicbids were acquired by RZ Capital.

In December 2016, Backstage expanded its online casting tools and editorial coverage to include a wider international scope, with an initial focus on casting in the United Kingdom.

In October 2017, Backstage launched its first fully integrated mobile casting app.

Current team
As of 2017, principals at Backstage included vice president and national casting editor Luke Crowe. Current Backstage writers and editors include managing casting editor Melinda Loewenstein and supervising casting editor Veronika Daddona, among many others.

Casting
Backstage's casting department reviews and publishes more than 30,000 casting notices on Backstage.com every year, for projects that range from major studio and network productions and Broadway shows to indie and student films. By monitoring the notices, Backstage is able to quickly work to protect actors from scams, while facilitating the distribution of hundreds of thousands of performance opportunities via a suite of online casting tools.

Editorial
Backstage Magazine features a different actor on its cover every week with original photography, along with entertainment-industry news and advice columns. Previous cover subjects have included Academy Award winners Kevin Spacey, Benicio Del Toro, Jennifer Lawrence, Lupita Nyong'o, and Eddie Redmayne. Backstage.com also features a series of advice columns written by industry insiders called Backstage Experts, offering aspiring and working actors the know-how to find work and improve their craft. There are also features on different acting schools, coaches, and theater companies around the country.

Events

From 1992 to 2012, Backstage produced annual Actorfest trade shows, entertainment-industry networking events held in various cities. Past Actorfest events took place in New York City, Los Angeles, Philadelphia, and Detroit. Other Backstage events in the past included the annual Backstage Garland Awards (previously known as the Drama-Logue Award) honoring the California theatre scene; the annual Bistro Awards honoring the cabaret industry, especially NYC-based cabaret; and the bi-coastal An Evening With ... series that combined film screenings with Q&A sessions featuring key actors and directors from each film being shown.

Additionally, Backstage hosted classes, workshops, and networking events through its Backstage University brand, and sponsors numerous events and panels for talent working in the fields of film, television, commercials, radio/voice-overs, theatre, dance, modeling, and club talent (comedians, singers, etc.). Its "Successful Actor" panel series was done in partnership with the American Academy of Dramatic Arts.

References

External links

1960 establishments in New York City
1998 mergers and acquisitions
2013 mergers and acquisitions
Magazines established in 1960
Entertainment trade magazines
Magazines published in New York City
Weekly magazines published in the United States

Backstage (magazine)


This is a list of museums in Kenya. Many of these national and provincial museums are administered by the National Museums of Kenya (NMK).

Museums
 Abasuba Community Peace Museum, Mfangano Island.
 Aeumbu Community Peace Museum, near Embu.
 African Heritage Pan African Gallery, Nairobi.
 African Heritage House, Mlolongo Machakos county
 August 7th Memorial Park, Nairobi.
 Akamba Community Peace Museum, near Machakos.
 Bomas of Kenya
 Community Museums of Kenya
 Fort Jesus Museum, Mombasa
 Garissa Museum
 Gede National Monument
 Hyrax Hill Site Museum
 Jumba la Mtwana
 Kabarnet Museum
 Kapenguria Museum
 Karen Blixen Museum, near Nairobi
 Kariandusi Pre-Historic Site Museums
 Kenya National Archives, Nairobi.
 Kenyatta House
 Kisumu Museum
 Kitale Museum
 Koobi Fora Pre-Historic Site
 Krapf Memorial Museum
 Lamu Museum
 Lari Memorial Peace Museum, Kiambu District.
 Loiyangalani Desert Museum
 Malindi Museum
 Meru Museum
 Mnarani Ruins
 Nairobi Botanic Garden, Nairobi
 Nairobi Gallery, Nairobi.
 Nairobi National Museum, Nairobi
 Nairobi Railway Museum, Nairobi
 Nairobi Snake Park, Nairobi
 Narok Museum
Nyeri Museum
 Olorgesailie Pre-Historic Site, Olorgesailie.
 Porini Association
 Rabai Museum
 Seu-Seu Community Peace Museum.
 Siyu Fort
 Takwa Ruins
 Tambach Museum
 Thimlich Ohinga
 Treasures of Africa Museum
 Wajir Museum
Wray Memorial Museum

See also
 Sites and monuments in Kenya
 List of museums

References

External links

 Museums in Kenya ()

Kenya
Museums
Museums
Museums
Kenya

List of museums in Kenya


Adrián Cañas Ortiz (born 17 June 1992) is a Spanish footballer who plays for Internacional de Madrid CF as a midfielder.

Club career
Cañas was born in Madrid, and finished his formation with Getafe CF. He made his senior debuts with the reserves in the 2010–11 campaign, in Segunda División B.

Cañas made his professional debut on 16 December 2010, starting and being booked in a 1–0 home win against BSC Young Boys for the season's UEFA Europa League. He would spend the majority of his spell with the Juvenil and with the B-team, however.

On 25 July 2011 Cañas signed a two-year deal with another reserve team, Real Valladolid B in Tercera División. He subsequently represented clubs in his native community, appearing for AD Alcorcón B, RCD Carabanchel and Internacional de Madrid CF.

References

External links

1992 births
Living people
Footballers from Madrid
Spanish men's footballers
Men's association football midfielders
Segunda División B players
Tercera División players
Getafe CF B players
Getafe CF footballers
Real Valladolid Promesas players
AD Alcorcón B players
Internacional de Madrid players

Adrián Cañas


The Sungei Buloh Wetland Reserve (Chinese: 双溪布洛湿地保护区, Malay: Kawasan Simpanan Alam Semulajadi Sungei Buloh, Tamil: சுங்காய் புலோ ஈரநில வளம்) is a nature reserve in the northwest area of Singapore. It is the first wetlands reserve to be gazetted in Singapore (2002), and its global importance as a stop-over point for migratory birds was recognised by the inclusion of the reserve into the East Asian Australasian Shorebird Site Network. The reserve, with an area of 130 hectares, was listed as an ASEAN Heritage Park in 2003.

History

Previously unheard of as a nature area, the site only gained prominence in 1986 when a call was made to conserve the area by members of the Singapore Branch of the Malayan Nature Society. Particularly significant was its unusually high variety of bird species, which included migratory birds from as far as Siberia on their way to Australia to escape the winter months. Their suggestion was taken up by the government, and a site with an area of 0.87 km² was given nature park status in 1989. The Parks & Recreation Department, a precursor to today's National Parks Board, developed and managed the nature park with a team of experts. The most notable names from the team included the Wildfowl & Wetlands Trust from the United Kingdom and World Wide Fund for Nature. Sungei Buloh Wetland Reserve, then known as Sungei Buloh Nature Park, was officially opened on 6 December 1993 by then Prime Minister Goh Chok Tong.

The government formally announced on 10 November 2001 that the park would be accorded nature reserve status, a step that protects the area from any unauthorized destruction or alteration. The second phase of the park was opened, and the entire site of 130 hectares officially gazetted on 1 January 2002 as the Sungei Buloh Wetland Reserve. It is one of the four nature reserves to be gazetted. The others are Labrador Nature Reserve, Bukit Timah Nature Reserve and Central Catchment Nature Reserve.

Wildlife

Among the many birds that can be spotted feeding on the diverse fauna variety of worms and molluscs, are Eurasian whimbrel, common greenshank, common redshank, Mongolian plover, curlew sandpiper, marsh sandpiper and Pacific golden plover, yellow bittern and cinnamon bittern. Lucky visitors to the reserve may be able to spot the resident family of smooth otters, as well as the rare lesser whistling-duck, and the rare milky stork. The reserve forms part of the Kranji-Mandai Important Bird Area (IBA), identified as such by BirdLife International because it supports Chinese egrets, greater spotted eagles and greater crested terns. Atlas moth, the largest species of moth in Southeast Asia can be found in the back mangrove.

Observation hides are available where visitors can observe the flora and fauna in the surroundings in tranquility and at a distance from the animals and birds. Saltwater crocodiles (Crocodylus porosus) are occasionally seen in the reserve, although it is not known whether or not these are individuals that had wandered over from Malaysia/Indonesia or a remnant localised population. (This species was once common in Singapore but was said to be extinct.)

Snakes
The park is home to many species of snakes including Dog-faced water snakes, Oriental whip snakes, spitting cobras, and King cobras.

Nature education
Since its inception, the reserve provided nature education programs as well as a volunteer guide programme for schools and the general public. These include the SUN Club programme which are meant for students with special needs, mentorship programmes for secondary school students and a Young Naturalists Programme. Many such programmes were collaboration efforts with partners such as the British Council and the Ministry of Education. The reserve distributes education materials such as workshops, guidebook and a triannual magazine, Wetlands, to further enrich the students and public. Each year, the nature reserve receives more than 400 organised school visits.

On 25 August 2007, a wireless learning trail was launched at Sungei Buloh Nature Reserve. The new initiative which integrates technology with nature education was a partnership amongst Ministry of Education (Singapore) (MOE), Infocomm Development Authority of Singapore (IDA) and a private sector company iCELL Network. Sungei Buloh Nature Reserve was the first park in Singapore to engage such a learning method.

See also
Labrador Nature Reserve
Central Catchment Nature Reserve
Bukit Timah Nature Reserve
Kranji Marshes
List of parks in Singapore

References

External links

National Parks Board Official site
National Parks Board Archives

Wetlands of Singapore
Nature reserves in Singapore
Parks in Singapore
Lim Chu Kang
ASEAN heritage parks
Important Bird Areas of Singapore

Sungei Buloh Wetland Reserve


Frederick Christian Lewis (1779–1856) was an English etcher, aquatint and stipple engraver, landscape and portrait painter and the brother of Charles Lewis (1786–1836).

Life
He studied under J. C. Stadler and in the schools of the Royal Academy and aquatinted most of Thomas Girtin's etchings of Paris, 1803. He made transcripts of drawings by the Old masters for William Young Ottley's Italian School of Design 1808-12 and executed plates for the publisher John Chamberlaine's Original Designs of the most celebrated Masters in the Royal Collection, 1812. He engraved Sir Thomas Lawrence's crayon portraits and was engraver of drawings to Princess Charlotte, Prince Leopold, George IV, William IV, and Queen Victoria. He also painted landscapes, mainly of Devonshire scenery and published several volumes of plates depicting the Devonshire rivers between 1821 and 1843, as well as etchings of the Scenery of the Rivers of England and Wales 1845–7.

Lewis transformed numerous natural history paintings by Philip Reinagle into aquatints. His superlative skills as engraver led to frequent commissions from Royalty, and to his contribution to J. M. W. Turner's Liber Studiorum, a collection of seventy-one etchings with mezzotint, greatly influencing landscape painting.

Family
Lewis's son, John Frederick Lewis (1805–1876), was a painter of Italian, Spanish, and Oriental themes.

Another son, also named Frederick Christian Lewis (1813–1875), studied under Sir Thomas Lawrence, went to India, 1834, and painted pictures of durbars for native princes, engraved by his father, and published in England. He died at Genoa.

A third son Charles George Lewis, was known as an engraver.

References

Sources

Attribution

English engravers
18th-century English painters
English male painters
19th-century English painters
1779 births
1856 deaths
19th-century English male artists
18th-century English male artists

Frederick Christian Lewis


A Husa knife, also sometimes called Achang knife, is a traditional forged weapon of the Achang people of China. The Achang live mainly in the village of "Husa", and smaller villages nearby, in Longchuan County, Dehong Autonomous Prefecture in Yunnan Province, near the border between China and Burma.

Husa is well known for its knife and sword makers, who have sold their products to Burma and regions along the Nu River since ancient times. The Achang craftsmen make a variety of types of blades.

Husa knives are made with a special process which gives the metal a pure texture and a really sharp and durable blade. The handles and sheaths are also inscribed with various traditional patterns, such as "flying dragon and phoenix", "tiger roaring", and "eastern sunrise", making each knife a work of art.

Each Achang family keeps at least one knife of high quality. When young Achang men get married, they carry back knives to show their heroic vitality. This ethnic custom has continued to the present time.

History
Forging techniques have been passed down through the generations of the Achang people since the Tang dynasty. According to historical records, around 600 years ago, during the "Hongwu" period of the Ming dynasty, soldiers from the army of Mu Ying, a general of the Ming government, were settled in this area. The soldiers brought military techniques of weapon making, gathered during their campaigns against Mongolia, Tibet, the Hui and the Yi, to the local Achang people. Husa village become the "arsenal" of Ming government armies. Achang people absorbed the Ming government army's weapon manufacturing technology and evolved a unique Husa knife forge craftsmanship, which matured during the late Ming dynasty and early Qing dynasty (around 1600–1680), reached its peak in the early twentieth century.

In the fight against Napoleon's army, those sabers, forged by the Husa were highly prized by the soldiers.

During the First World War, British forces set up a "Jingpo" nationality army in Burma and every soldier was equipped with a special Husa saber, called "Geleka".

In 1990, the master forgers in Husa created a "Nine dragons" commander's sword. This sword is worn by the honor guard of Chinese People's Liberation Army, guarding the Chinese national flag on Tian'anmen Square.

Husa knives have long been in demand by nearby Han, Dai, Jingpo, Lisu, Tibetan, Bai and other ethnic people. Recently, Husa knives have been sold widely from Yunnan Province to Beijing, Tibet, Qinghai, Xinjiang, Gansu, Inner Mongolia and other places, and exported to Burma, Thailand, India and other countries.

Under the pressure of the modern culture and the social economy, the Husa knife, forged by traditional techniques and devices, faces heavy competition from less expensive knives made by modern machinery and raw materials. As the traditional masters age, apprentices are rare, and the techniques of Husa knife creation face the danger of extinction.

Variations

Many variations of the Husa knife have been developed during its long history. Some of these are: back swords (cane knives), machetes, broadswords, Tibetan knives (specifically made for Tibetans), daggers, and sabers. The best known types are the back sword (long blade) and Tibetan knife, and these are made with particularly elaborate quality and style. The Tibetan knife has wide and thick blade, and is made in various lengths, with delicate inscription "tiger roaring", "swallow flying" and other traditional patterns on the handle and sheath. Many Tibetan people wear the knife as their essential tool and ornament.

Forging process
The production process of Husa knife has 10 steps:
processing of raw materials
billet making
proofing
grinding
decorating with leaf
quenching
polishing
handle-making
belt-making
assembling.
Special technique is especially important in the process of quenching. Through heat treatment, the quenching optimizes the hardness and toughness of the blade. In historical records, the blades are described as "flexible enough to be bent, one hair blown on the blade, cut two, just can chop iron".

The tools to make Husa knives include a wooden bellows, a clay-made stove, as well as hammers, clamps, and iron pillows. Raw iron with high carbon content is selected by an experienced old master from specific locations around Baoshan, Tengchong regions, the traditional mine areas in Yunnan. Younger craftsmen, put the selected raw iron into the stove, heating, forging repeatedly, to purify the texture and form different shapes. The resulting metal is ground into blade blanks; and after all these lengthy processes, comes the most important and subtlest process: quenching. Quenching technology requires special know-how. The quality of a knife largely depends on the quenching skills. There is a kind of thin blade Husa back sword which can bend its blade as a cycle. It can only be built after repeatedly and precisely water quenching and oil tempering.

The knife production comes under a model of co-operation between each "Zhai" (small, stockaded village) in Husa. Each "Zhai"   has its "fist" product. The whole Husa "Bazi" (small plain), likes a handicraft factory, and each "Zhai" is one workshop, which is famous for one special product. Laifu "Zhai" has well-known black cane knife, Mangdong "Zhai" has broadsword and dagger, Lajie "Zhai" has sharp sickles, Xin "Zhai" has back knife and Mangsuo "Zhai" has delicate sheaths.

References

Chinese melee weapons
Chinese culture
Knives

Husa knife


Medusozoa is a clade in the phylum Cnidaria, and is often considered a subphylum. It includes the classes Hydrozoa, Scyphozoa, Staurozoa and Cubozoa, and possibly the parasitic Polypodiozoa. Medusozoans are distinguished by having a medusa stage in their often complex life cycle, a medusa typically being an umbrella-shaped body with stinging tentacles around the edge. With the exception of some Hydrozoa (and Polypodiozoa), all are called jellyfish in their free-swimming medusa phase.

Evolution

The phylum Cnidaria is widely accepted as being monophyletic and consisting of two clades, Anthozoa and Medusozoa. Anthozoa includes the classes Hexacorallia, the hard corals, and Octocorallia, the soft corals, as well as Ceriantharia, the tube-dwelling anemones. There is strong support for this group having been the first to branch off from the ancestral line.

Medusozoa includes the classes Staurozoa, Cubozoa, Scyphozoa and Hydrozoa, but the relationships between these are unclear. Analysis using ribosomal RNA subunits suggests that within Medusozoa, Staurozoa was the first group to diverge, with Cubozoa and Scyphozoa forming a clade, a sister group to Hydrozoa. Further study involving the order of mitochondrial genes supports this view, and their possession of linear mitochondrial genomes is striking evidence of the monophyly of medusozoans. The stem group of Medusozoa also includes Auroralumina attenboroughii, the earliest known animal predator from the late Ediacaran. Burgessomedusa from the mid-Cambrian Burgess Shale is the oldest known free-living medusa (commonly known as jellyfish).

The affinities of the class Polypodiozoa, containing the single species Polypodium hydriforme, have long been unclear. This species is an endoparasite of fish eggs and has a peculiar life cycle. It has traditionally been considered to be a cnidarian because of its possession of nematocysts, but molecular studies using 18S rDNA sequences have placed it closer to Myxozoa. Further studies involving 28S rDNA sequences suggest that it is either part of the hydrozoan clade Leptothecata, or a sister taxon to Hydrozoa, and does not group with myxozoans.

Characteristics

Medusozoans differ from anthozoans in having a medusa stage in their life cycle. The basic pattern is medusa (usually the adult or sexual phase), planula larva, polyp, medusa. Symmetry is tetramerous, with parts in fours or multiples of four. The mitochondrial DNA molecules are linear rather than circular as in anthozoans and almost all other animals. The cnidae, the explosive cells characteristic of the Cnidaria and used in prey capture and defence, are of a single type, there being nematocysts but no spirocysts or ptychocysts. In contrast, the anthozoan life cycle involves a planula larva which settles and becomes a sessile polyp, which is the adult or sexual phase.

Diversity
There is considerable divergence from the basic life cycle pattern among medusozoans.

Scyphozoa is the group commonly known as "true jellyfish" and occur in tropical, temperate and polar seas worldwide. Scyphozoans generally have planula larvae that develop into sessile polyps. These reproduce asexually, producing similar polyps by budding, and then either transform into medusae, or repeatedly bud medusae from their upper surface in a process known as strobilation.

Cubozoa is a group commonly known as box jellyfish, that occur in tropical and warm temperate seas. They have cube-shaped, transparent medusae and are heavily-armed with venomous nematocysts. Cubozoans have planula larvae, which settle and develop into sessile polyps, which subsequently metamorphose into sexual medusae, the oral end of each polyp changing into a medusa which separates and swims away.

Staurozoa is a small group commonly known as stalked jellyfish. The animals remain attached to the substrate by a stalk at the opposite end from the mouth. Staurozoans can be regarded as large polyps that have partially differentiated into sexually mature medusae. These spawn gametes which develop into non-swimming planulae that crawl away to new locations.

Hydrozoa is a large group of solitary and colonial cnidarians from both marine and freshwater environments worldwide. Hydrozoans exhibit the greatest variety of life cycles among medusozoans, with either the polyp or the medusa stage being missing in some groups. In general, medusae are budded laterally from polyps, become mature and spawn, releasing gametes into the water. The planulae may settle to become polyps or continue living in the water column as medusae.

References

Cnidarian taxonomy
Animal subphyla
Cambrian cnidarians
Extant Cambrian first appearances
Endoparasites

Medusozoa


The New Zealand budget for fiscal year 2012–2013 was presented to the New Zealand House of Representatives by Finance Minister Bill English on 24 May 2012.

This was the fourth budget Bill English has presented as Minister of Finance.

Outline
Budget 2012 set out the Government's main priorities:
 Responsibly managing the Government's finances.
 Building a more productive and competitive economy.
 Delivering better public services within tight financial constraints.
 Rebuilding Christchurch.

The Budget set out $4.4 billion of new operating spending over the succeeding four years matched by a combination of savings and revenue initiatives.

Budget forecasts show an operating deficit before gains and losses of $8.4 billion in 2011/12, which compares with the $12.1 billion deficit forecast in the Budget Policy Statement in February 2012. This reflects lower-than-expected government spending and a delay in some expenses, such as earthquake costs.

The Budget forecast the deficit falling to $7.9 billion in 2012/13 and $2 billion in 2013/14, before a $197 million surplus in 2014/15.

The forecasts also showed Budget decisions will keep net core Crown debt below 30% of gross domestic product. It forecast a peak at 28.7% of GDP in 2013/14.

Budget forecasts also showed economic growth picking up from 2% in 2012 to more than 3% in 2014 and 2015.

The Treasury forecast a further 154,000 New Zealanders to gain work over the next four years, on top of the 60,000 increase in employment over the past two years.

The Government's annual spending on science and innovation increased by $385 million over four years, taking total science and innovation spending across government to more than $1.3 billion by 2015/16.

Free "Youth Guarantee" places increased to 3,000 at a cost of $37.7 million over four years.

The Government established the Future Investment Fund to invest the expected $5 billion to $7 billion proceeds from selling minority shares in five state-owned enterprises, into modern schools and hospitals, innovation, and transport.

The fund's first $558.8 million allocation is:
 The first $33.8 million of $1 billion ring-fenced for modernising and transforming New Zealand schools as part of the Government's 21st Century Schools program.
 A further $250 million towards the KiwiRail Turnaround Plan.
 $88.1 million for the health sector, most of which will go towards hospital redevelopments.
 $76.1 million for the creation of the Advanced Technology Institute.

In addition to the previously announced target of having 85% of 18-year-olds achieving NCEA Level 2 or equivalent qualification in five years, the Budget added two more measurable targets for the next three to five years:
 Reducing prisoner reoffending by 25% by 2017. Reaching this target would mean 18,500 fewer victims of crime every year.
 Increasing the rate of participation in early childhood education to 98% by 2016 from 94.7% currently.

In the first phase of welfare reform, Budget 2012 invests $287.5 million on education and training. This includes $148.8 million over four years for youth services, including wrap-around support.

Over the four years from 2012, the Government is committed almost $1.5 billion extra to health. District Health Boards will receive $1.11 billion of additional funding.

Education will focus on increasing student achievement. Over the next four years, the Government will commit $511.9 million towards new early childhood and schooling initiatives, in addition to setting aside further funding in tagged contingencies. In tertiary education, the Government will continue to better target student assistance to where it is most needed and ensure better value for taxpayers.

Rebuilding Christchurch

Budget 2012 continued the Government's commitment to rebuilding Christchurch following the 2010 and 2011 earthquakes. The total cost of the damage was estimated at more than $20 billion.

$5.5 billion was allocated in the 2011 New Zealand budget for the Canterbury Earthquake Recovery Fund, and the Canterbury Earthquake Recovery Authority was established. More than $3.46 billion of the Recovery Fund was forecast to have been spent by June 2013, with the rest to be spent by 2015/16.

Analysis
The New Zealand Herald's Brian Fallow noted a higher than expected tax take and lower spending gave the deficit a "rosier glow". Fran O'Sullivan criticised the government for "side-stepping" the issue of New Zealand's ageing population.

References

Budget, 2012
New Zealand budgets
New Zealand Budget
May 2012 events in New Zealand

2012 New Zealand budget


Craig James Ostler (born 1954) is an American historian of the Church of Jesus Christ of Latter-day Saints (LDS Church) and a professor of Church History and Doctrine at Brigham Young University (BYU).

Ostler served a mission for the LDS Church in the Colombia Bogota Mission.  Prior to joining the BYU faculty Ostler was an instructor with the Church Educational System. Ostler received his Ph.D. from BYU.

In the LDS Church Ostler has served as a bishop. He and his wife Sandy are the parents of seven children.  He currently lives in Pleasant Grove, Utah.

Ostler's main area of expertise is the Doctrine and Covenants and sites related to the early history of the LDS Church; he has compiled photographs from these early sites.

Along with Susan Easton Black and Joseph Fielding McConkie, Ostler was a creator of much of the material at Virtual Historian.

Works
Joseph Fielding McConkie and Craig J. Ostler. Revelations of the Restoration.
Guy L. Dorius, Craig K. Manscill and Ostler, ed., Regional Studies in Latter-day Saint History: Ohio and Upper Canada.
John P. Livingstone, W. Jeffrey Marsh, Lloyd D. Newell, John P. Starrs, David M. Whitchurch and Ostler. Hallow Ground, Sacred Journeys: Salt Lake City, An Ensign to The Nations.
Ostler has also been a co-editor of the compilation of the Sperry Symposium talks on at least three occasions.

Notes

External links

 BYU Religious Education faculty website

1954 births
American leaders of the Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in Colombia
Brigham Young University alumni
Brigham Young University faculty
Church Educational System instructors
Historians of the Latter Day Saint movement
Living people
People from Pleasant Grove, Utah
Latter Day Saints from Utah

Craig J. Ostler


Circle of Violence: A Family Drama (also known as Circle of Violence: A Family on the Edge or simply Circle of Violence) is a 1986 CBS television movie.  Directed by David Greene and starring Tuesday Weld, Geraldine Fitzgerald, Peter Bonerz and River Phoenix, the film  tells the tragic story of the seldom addressed issue of elder parent abuse.

Synopsis
Georgia Benfield is at a difficult place in her life; her husband, Pete, has left her for a younger woman, her teenage son, Chris, is unmanageable, and she's struggling financially when her widowed mother, Charlotte, moves in.  Amid juggling a new full-time job, raising two children, and her failing marriage, the constant bickering between mother and daughter continues as it has ever since Georgia was a child.

Finally, at her wit's end, Georgia loses control and begins physically abusing her elderly mother, just as Georgia had been abused herself as a child.  As family and friends slowly begin to learn of the abuse, and long buried family secrets come to light, both mother and daughter must learn to accept the past, to change what is happening at present, in order to face a better future.

Cast
 Tuesday Weld as Georgia Benfield
 Geraldine Fitzgerald as Charlotte Kessling
 Peter Bonerz as Pete Benfield
 River Phoenix as Chris Benfield
 Philip Sterling as Jim McLane
 Zoaunne LeRoy as Florence McLane
 Ellen Travolta as Marion
 Sue Giosa as Dr. Kalmeir
 Christina Maria Hutter as Addie Benfield
 Bradley Lieberman as Mark
 Jeanette Miller as Woman Singer
 Adele Gilbert as Mrs. Edwards

Awards

References

External links

1986 television films
1986 films
1986 crime drama films
American crime drama films
CBS network films
Films about domestic violence
Films directed by David Greene
Films scored by Gil Mellé
American drama television films
1980s English-language films
1980s American films
English-language crime drama films

Circle of Violence: A Family Drama


The Secret Language of Birds is the third studio album by Jethro Tull frontman Ian Anderson, released in 2000. It is named after the dawn chorus, the natural sound of birds heard at dawn, most noticeably in the spring.

Track listing
"The Secret Language of Birds" – 4:17
"The Little Flower Girl" – 3:37
"Montserrat" – 3:21
"Postcard Day" – 5:07
"The Water Carrier" – 2:56
"Set-Aside" – 1:29
"A Better Moon" – 3:46
"Sanctuary" – 4:42
"The Jasmine Corridor" – 3:54
"The Habanero Reel" – 4:01
"Panama Freighter" – 3:21
"The Secret Language of Birds, PT. II" – 3:06
"Boris Dancing" – 3:07
"Circular Breathing" – 3:45
"The Stormont Shuffle" – 3:20
 Extra Track Intro (unlisted) – 0:08
 "In the Grip of Stronger Stuff" (unlisted bonus track on US release. Recorded by Dutch TV for '2 Meter Sessies', 19 October 1999. Broadcast 23 December) – 2:50
 "Thick as a Brick" (unlisted bonus track on US release. Recorded by Dutch TV for '2 Meter Sessies', 19 October 1999. Broadcast 23 December) – 2:37

Introductions
To each track, Anderson wrote an introduction:

 The Secret Language of Birds: "The big dawn chorus. Morning after a night before. Could turn out to be the special person. Everything's riding on this one."
 The Little Flower Girl: "Sir William Russell Flint's fully clad but coquettish flower girl. Was it his favourite model Cecilia? Just showing up for another day's work. Hats off to one of the greatest technical watercolourists of all time."
 Montserrat: "Been there. Between eruptions. Last gasp of colonial betrayal. Heart goes out. Dwarf Poincianas still growing strong, here at home. Ashfall wasteland where I picked them."
 Postcard Day: "Holiday guilt. Having a simply wonderful time. Wish you were here, but sort of glad you're not."
  The Water Carrier: "H2O at any price. No Delhi Belly. No regrets. No small change left. The best earthenware pots by Sir W.R.F. and Walter Langley. Would they have as lovingly executed the form and colour of the 1.5-litre plastic bottle? Of course."
 Set-Aside: "Pointless and undignified prevarication." See Set-aside
 A Better Moon: "Sultry and sub-tropical images of a Foweraker fantasy five thousand miles from home."
 Sanctuary: "Last haven of zoo rejects and children wasted. Tricky one to try. Made me cry."
 The Jasmine Corridor: "Nice place to say goodbye. Smells good, looks good, was good. Faces east. Always the optimistic light. Nothing ever really ends."
 The Habanero Reel: "On a lighter note, I think quite a few people know that I'm keen on spicy food,  particularly those who have visited our website. I use a lot of chilli peppers when I cook at home and the generally accepted number 10 strength killer is the habanero – in the Caribbean a close relative of this is the Scotch Bonnet, which I also refer to in this song. 'The Habanero Reel' is just an ode to capsicum, which gives off that excessive, burning heat. Of course, the best thing about it, as I say in the song, is that it is strictly legal!"
 Panama Freighter: "Lonely Planet guide to traveller's romance. Pragmatism. Cynicism. You take U.S. dollar?"
 The Secret Language of Birds, Pt. II: "Semantic set-aside. You with me?"
 Boris Dancing: "I've always had a soft spot for Boris Yeltsin, I wrote the music to 'Boris Dancing' based on a visual image of a CNN news report from when Boris was seeking re-election. He was filmed in Red Square, sweating profusely, bright red in the face, boogieing frantically in front of a young Moscow rock band. He nearly died from a heart attack just a couple of days later. The song is in several rather difficult to follow time signatures, as when Boris was dancing he wasn't quite on the beat. 'Boris Dancing' is just a celebration of his strange, individual dance style."
 Circular Breathing: "The deep breath that goes on forever. Strangely detached but objective view from a height. Pink Floyd's 'Learning To Fly' meets L.S. Lowry meets Status Quo's 'Pictures of Matchstick Men'. Or not."
 The Stormont Shuffle: "Peace, Love, Misunderstanding. Decommissioning the vipers' tongues. Two part tune: north and south, slippery Sams, moaning Minnies. Doublecross, double talk, double trouble."

Personnel
 Ian Anderson – vocals, flute, acoustic guitar, bouzouki, acoustic bass guitar, mandolin, percussion, piccolo
 Andrew Giddings – accordion, piano, organ, marimba, percussion, electric bass, keyboards, orchestral sounds
 Gerry Conway – drums on "The Secret Language of Birds" and "The Little Flower Girl"
 Darrin Mooney – drums on "Sanctuary" and "The Secret Language of Birds, Pt.II"
 James Duncan Anderson – drums on "Panama Freighter"
 Martin Barre – electric guitar on "Boris Dancing" and "The Water Carrier"

See also
 Circular breathing
 Stormont Castle
 Habanero chile

Notes
 The Little Flower Girl, Senlis is a painting by Sir William Russell Flint.
 The Water Carrier is a painting by Walter Langley.
 "A Better Moon" was inspired by the work of Albert Moulton Foweraker.
 "Montserrat" refers to 18 July 1995 eruption of the Soufriere Hills volcano.
 "Lowry matchstick figures" refers to the work of L. S. Lowry.
 "a Constable sky..." refers to painter John Constable.
 "Rousseau garden" refers to Henri Rousseau.
 US release 7 March 2000.

References

External links
 Mike Ross review

Ian Anderson albums
2000 albums
Albums produced by Ian Anderson
Fuel 2000 albums

The Secret Language of Birds


Morton Kaish (born 1927) is an American artist whose work integrates the abstract and the figurative. Kaish's paintings and prints have been exhibited by and included in the collections of major national and international museums: the Smithsonian American Art Museum, the Metropolitan Museum of Art and the British Museum, among others. In addition to his accomplishments as an artist, Kaish has had a successful career as a fashion illustrator.

Biography
Kaish's father immigrated from Romania to the U.S. and served in World War I, where he fought and was wounded in the Meuse–Argonne offensive before marrying and starting a family.

Kaish was born in Newark, New Jersey, grew up in Maplewood, New Jersey and attended Columbia High School. Kaish had an early affinity for drawing and painting, which was fostered by weekend trips to the Metropolitan Museum in New York City. He accelerated his high school studies, graduating at the age of 16 in order to attend Syracuse University's College of Fine Arts. Syracuse's College of Fine Arts had developed a national reputation after becoming the first university fine arts program to grant degrees in the United States.

During Kaish's years at Syracuse, the College of Fine Arts underwent radical change. Midway through Kaish's course of study, the university's president, William Tolley, swept out the current art faculty—artists steeped in Realism who taught traditional techniques—and hired Norman Rice, former head of the Art Institute of Chicago, who ushered in an emphasis on Abstraction and contemporary approaches to art. Kaish was deeply influenced by these changes, as were classmates including Sol LeWitt.

When Kaish turned 18, he enlisted in the U.S. Maritime Service and put his studies on hold in order to serve in World War II. His first post was as base artist at the Sheepshead Bay Maritime Training Center, where Kaish painted officers' portraits. One of his works was on view and won an award at the annual art exhibition by Merchant Seamen of the United Nations, held in December 1945. After being moved to a new post, Kaish received an officer's commission and served on missions to Europe on the S.S. Laconia Victory and the S.S. Helen Hunt Jackson.

Upon returning from service, he married artist Luise Kaish in 1948 and completed his BFA degree in 1950. The couple lived briefly in Rochester, New York, before traveling extensively throughout Europe during the 1950s. During these years, Kaish worked and studied at the Académie de la Grande Chaumière in Paris, the Istituto statale d'arte, Florence, and the Accademia di Belle Arti, Rome.

In the early 1960s, Kaish returned to the U.S. and settled in New York City's Greenwich Village. Living in a MacDougal Street loft above the Cafe Reinzi—hailed as a center for Village intellectual life—Kaish pursued his art. Shortly after the birth of his daughter, Melissa Kaish Dorfman, the Kaishes relocated to the Upper West Side studios where they worked side-by-side.

In 1970, after Luise Kaish was honored with the prestigious Rome Prize from the American Academy in Rome, Kaish and his family departed to Rome, where they lived for almost three years. Kaish continued his artistic practice in a studio at the American Academy. While there, the Kaishes forged relationships with a dynamic group of artists, writers and intellectuals, including Philip Guston, Harold Clurman, Dimitri Hadzi and Buckminster Fuller.

For over 30 years, Kaish has served and advised various arts organizations. Serving for 27 years as Vice President and board member with the Artists Fellowship, Kaish helped further the mission of the organization to assist professional artists and their families in times of emergency, disability or bereavement.  At the National Academy Museum & School, he served on the Executive Committee of the Council for more than 10 years, where he also led workshops at the school, joining with other artists to promote achievement and education in the arts. Carrying out this work has connected him with many other contemporary artists, including Wolf Kahn, Jane Wilson, Will Barnet and Everett Raymond Kinstler.

From the 1970s to present, a variety of prestigious awards, exhibitions and artist's residencies have taken Kaish and his work across the country and around the world.

Painter
Theodore Wolff situates Kaish as part of a group of artists with roots in the modernist tradition: some of whose work evolved toward "pure abstraction", others whose work gravitated toward "a modified form of representationalism", and others still toward "an imaginative synthesis of a variety of modes." He writes, "Morton Kaish is a valued member of this group, both as artist and teacher. His handsome, highly accomplished paintings grace the walls of museums and galleries and have done so for decades. He has earned the esteem of critics, the devotion of collectors, and the admiration of his peers. Everything he exhibits reflects a high level of intelligence and a creative sensibility capable of transforming even the most commonplace of objects into art."

Across the last fifty years, Kaish has been represented by Staempfli Gallery, Hollis Taggart Galleries and Irving Gallery as well as Haynes Galleries, Stremmel Gallery and Oxford Gallery, among others. Notable national and international exhibitions of Kaish's work have been held at the New School, the University of Haifa, the American Cultural Center in Rome, the American Cultural Center in Jerusalem and Dartmouth College, among others. Over the years, critics have pointed to Kaish's affinity to masters like Joaquín Sorolla—for his treatment of light and the figure—and Pierre Bonnard—for his use of color.

Major themes
Throughout the course of his career, several key themes have characterized Kaish's work. In an interview with Ira Goldberg, Director of the Art Students League, Kaish identifies them: the urban architecture visible from his studio windows, the American landscapes, and the figure.

Figures and interiors
Interiors, figures and landscapes graced Kaish's first one-person exhibition at the Staempfli Gallery in 1964. Termed a "latter-day Bonnard" by Emily Genauer, he has been praised as being "richly gifted" in "recording the movements of light across landscapes and figures that celebrate the bounty of nature and the human spirit." Whether at rest or at play, his figures exist within an atmosphere bathed in light.

Kaish's work bends towards abstraction in its experimentation with color and light. Commenting on a 1967 exhibition, TIME Magazine acclaimed Kaish's rendering of interiors, in which he adapts "the best devices of contemporary painting to limn some timeless verities." "The Music Room", for example, is described as having "all the gracious intimacy of an old Dutch parlor—open piano, children at play, light bursting through the window in an incendiary display of warmth—and yet its jubilant colors and relaxed brushwork proclaim its modern vintage."

Views from the studio and landscapes
A sensitive observer of his surroundings, Kaish became fascinated by the panoply of urban architecture visible from the windows of his Upper West Side studio. A solo exhibition at the Staempfli Gallery in 1984 centered on this theme as well as landscapes, and critics commented on Kaish's ability to infuse the urban with lushness and a sense of the exotic. In an Arts Magazine review of the show, John Gruen writes, "Morton Kaish's long involvement with the sensuousness of Impressionist color and light as seen in nature continues to be in evidence in a number of large and small garden paintings. By now, his command of the subject is nothing less than masterful; to be in the presence of these fresh and radiant paintings is to experience anew the vigorous range of the brush."

America
Following his service in the Merchant Marines during World War II, and in light of his father's military service in World War I, patriotic themes have long interested Kaish. During the 1990s Kaish's exploration of these themes culminated in two exhibitions at Hollis Taggart Galleries: "Morton Kaish: The America Series" in 1993 and "Morton Kaish, Stars and Stripes" in 1996. In his "America Series" paintings, weathered wooden structures are adorned with latches, sketches of Abraham Lincoln's profile, and battered flags. They also bear the marks of a difficult past: the names of Civil War battlefield.

Offering insight into these works, Kaish remarks: "The structures, the hardware and apertures, the light beyond, the graphic notation, and of course, the Lincoln presence speak of a time of loss, change, and inherent resiliency . . . They speak of the seasons and renewal, of fragility and monumentality. And they speak of the moment when these qualities came together in the collective American experience of the Civil War and the miracle by which America has survived."

One of the paintings from this series, which was included in the 1996 Hollis Taggart exhibition, "Stars and Stripes, Blossoms and Bridges", was selected for the cover art on the Beach Boys album Stars and Stripes Vol. 1.

Gallery

Printmaker
Kaish's interest in printmaking extends throughout his career, and his prints often reflect the major themes outlined above.

In the record for Kaish's prints in the collection of the British Museum, the curator has included a comment from Kaish, revealing something of both the artist's inspiration and his technique: "The artist wrote to Frances Carey on 5/4/1998, saying 'It has occurred to me that a background/technical word on the making of 'Summer's End' (1998-4-26-222) and 'Evening Song' might be of interest. Though the medium is intaglio, the beginnings come from the series of brush and ink 'dune' drawings I rejoice in doing each summer on Martha's Vineyard. One finds there that confluence of sea and shore and sky, wildflowers, the change of tide and season – that speaks to us all of moments lost, though perhaps of better yet to come. The sketch was photo-transferred to a copper plate providing a basic configuration and arena for several months of work, first with etching followed by aquatint and finally drypoint. The plate was then steel-faced for completion of the edition of 30 with 5 artist's proofs.'"

Fashion illustrator
To support his painting during the 1950s and 1960s, Kaish worked as a fashion illustrator for Harper's Bazaar, Esquire and Lord & Taylor. His work during this era was featured in a 2012 exhibition at the Boston Museum of Fine Arts titled "Figure/Fabric/Fantasy: Selections from the Jean S. and Frederic A. Sharf Collection of Fashion Drawing". In notes accompanying the exhibition, Sharf writes, "This exhibition marks the first time that a major American art museum has devoted an entire gallery to displaying fashion drawing ... Fashion art does more than simply illustrate a garment. It describes the social life of its moment, and opens a window into the lifestyle of the era in which it was created."

Academic and other positions
For nearly 25 years, Kaish was a Professor of Art and Design at the Fashion Institute of Technology (SUNY/FIT). While at FIT, he created and led a summer study abroad program to Florence, Italy where he taught students how to combine traditional techniques used by Renaissance masters with contemporary approaches and materials. Kaish has held the position of Artist-in-Residence at Dartmouth College, the University of Washington and Haifa University, Israel, and he led workshops and courses at the New School, the National Academy and the Art Students League of New York. Through the length and breadth of his teaching career, Kaish has influenced the work of a generation of aspiring artists.

Kaish has been Visiting Artist at a number of universities across the country, including Columbia University, The Parsons School of Design, Queens College, Philadelphia College of Art, Susquehanna University and The Sedona Arts Center.

In 1989, Kaish gave the commencement address at Syracuse University's College of Visual and Performing Arts and received its Distinguished Alumni award.

Kaish has served as a board member for the Century Association, the Artist's Fellowship and the Artist's Choice Museum, as well as on the council's executive committee of the National Academy Museum & School. He has also received top honors from these organizations: the Benjamin West Clinedinst Memorial Medal from the Artists' Fellowship and the Lifetime Achievement Award from the National Academy.

Museum and corporate collections
 Smithsonian Museum of American Art, Washington, DC
 Metropolitan Museum of Art, New York
 The British Museum, London
 Fitzwilliam Museum, Cambridge, UK
 Brooklyn Museum, Brooklyn
 National Academy Museum, New York
 Indianapolis Museum of Art
 Museum of Fine Arts, Boston
 Butler Institute of American Art, Youngstown, Ohio
 New Britain Museum of American Art, New Britain, Connecticut
 Newark Museum, Newark, New Jersey
 Memorial Art Gallery, Rochester, New York
 Hood Museum of Art, Hanover, New Hampshire
 University of Michigan Museum of Art, Ann Arbor, Michigan
 Williams College Museum of Art, Williamstown, Massachusetts
 Syracuse University Art Galleries, Syracuse, New York
 Swarthmore College, Swarthmore, Pennsylvania
 Guilford College, Greensboro, North Carolina
 Lewis and Clark College, Portland, Oregon
 Bates College Museum of Art, Lewiston, Maine
 Guild Hall, Easthampton, New York
 Shearson Lehman, New York
 Atlantic Richfield Company, La Palma, California
 J.C. Penney Co., Plano Texas
 Equitable Life Insurance Company, New York
 MBNA/ Bank of America, Charlotte, North Carolina
 Overseas Shipbuilding Group, New York
 New York Public Library Collection
 Philadelphia Print Club, Philadelphia
 Century Association Centennial Collection, New York

Awards
 Andrew Carnegie Prize
 Benjamin West Clinedinst Memorial Medal, the Artists' Fellowship
 Alumni Award for Achievement in the Arts, Syracuse University
 Named as a National Academician, National Academy Museum & School
 Benjamin Altman Landscape Prize
 Gervasi Award for Painting
 Obrig Prize for Watercolor
 William A. Paton Award
 William Ward Ranger Purchase Fund Award
 National Academy Lifetime Achievement Award
 Appointed to the State University of New York Committee on Honorary Degrees

References

External links

Kaish Family Art Project

1927 births
20th-century American artists
21st-century American artists
American contemporary painters
20th-century American painters
Artists from New York (state)
Fashion illustrators
Living people
National Academy of Design members
Syracuse University College of Visual and Performing Arts alumni
21st-century American painters

Morton Kaish


Dendrites are the branches of neurons that receive signals from other neurons. The signals go into the cell body (or soma).

A cell may have hundreds of dendrites, but may have only one axon. The dendrites carry signals from other neurons into the soma, and the axon carries a single signal from the soma to the next neuron or to a muscle fiber.

A dendrite from one neuron and an axon from another neuron meet at a synapse, which is a very narrow gap between the two cells. When electrical impulses reach the end of an axon, they trigger the release of chemicals called neurotransmitters. These chemicals cross the synapse to the dendrite, where they trigger the flow of ions into or out of the cell.

The movement of the charged ions in the dendrite causes an electrical current, which spreads to the soma briefly before being restored to normal.

If the dendrites get lots of signals from axons, then it sets off a chain reaction. The chain reaction is a strong electrical current called an action potential that flows down the axon to the next synapse.

Fully differentiated neurons do not divide. However, stem cells in the adult brain may regenerate functional neurons throughout the life of an organism. Generally, once born, neurons do not divide. Many will live the whole lifetime of the animal.

References

Anatomy of the nervous system

Dendrite


The Tehuantepec Ridge is a linear undersea ridge located off the west coast of Mexico in the Pacific Ocean.  It is the remnant of an old fracture zone, and not a tectonic spreading center ridge (see mid-ocean ridge).  It extends from the eastern end of the Clipperton Fracture Zone northeastward toward Mexico into Chiapas and El Chichón until it is subducted into the Middle America Trench.  It lies within the tectonic Cocos Plate, separating the lower and older seafloor of the Guatemala Basin which lies southeast of the ridge from higher and younger seafloor which lies to its northwest.

Current research indicates that the ridge was formed as a fracture zone and transform fault along the East Pacific Rise.  As a result of a change in the motion of the Pacific Plate about 13 million years ago, there was also a change in the orientation of the East Pacific Rise, which in turn reoriented the fracture zone, creating the current alignment that is today's Clipperton Fracture Zone.  The Tehuantepec Ridge preserves the previous orientation.

Some researchers have hypothesized that the subducted portion of the Tehuantepec Ridge under Mexico is responsible for the existence of El Chichón volcano as well as the other volcanoes of what is called the Chiapanecan Volcanic Arc.  Studies of the 1982 eruption of El Chichón indicated its erupted output was unusual compared to other volcanoes in the Trans-Mexican Volcanic Belt which lies well to the northwest.  The anomaly is thought to result from the distinctive composition of the rocks which comprise the Tehuantepec Ridge.

References

 Manea, Marina, et al., Tectonic evolution of the Tehuantepec Ridge, Earth and Planetary Science Letters 238 (2005) 64– 77 (1.9mb)

Geology of Mexico
Underwater ridges of the Pacific Ocean
Plate tectonics
Geography of Mexico

Tehuantepec Ridge


The Abercrombie River is a river in New South Wales, Australia. It flows west from Mount Werong to the Wyangala Dam near Cowra. The river is a tributary of the Lachlan, which it joins at Wyangala lake.

The Abercrombie River is  in length, and passes through the Abercrombie River National Park. It provides habitat for platypus and rakali. The Goulburn-Oberon Road crosses the Abercrombie River in the steep-sided Abercrombie Gorge.

The first people to live alongside the river were Aborigines of the Wiradjuri and Gundungara tribes. They may have used the river as a trading route. The first European to visit the river was explorer Charles Throsby on 5 May 1819, during an expedition from Sydney to the Central West of New South Wales. Alluvial gold was discovered in and along the river in 1851. This started a small gold rush. It was difficult to find gold because of the rough terrain, and changing water levels in the river. Early miners found up to  of gold a day along the river. By 1862 about 45 mining parties were working at Milburne Creek, a minor tributary of the Abercrombie.
It is the furthest east of the inland flowing rivers.

References

Rivers of New South Wales

Abercrombie River


Robert Bohdan Klymasz (born May 14, 1936, Toronto, Canada) is a Ukrainian-Canadian folklorist. He was a pioneer in the field and published widely in the English language.

Educated at the University of Toronto (Russian, 1957) under George Luckyj, the University of Manitoba (MA in Slavic Studies, under Jaroslav Rudnyckyj, 1960), Harvard University (1960–62), and Indiana University (PhD in Folklore Studies, 1971), he was a long-time Curator of the Slavic and East European Program at the Canadian Museum of Civilization, Ottawa. He has taught at several North American universities, served as executive director of the Ukrainian Cultural and Educational Centre, Winnipeg (1976–78), and for several years an adjunct professor at the Centre for Ukrainian Canadian Studies,  University of Manitoba.

During the 1950s, at the suggestion of Jaroslav Rudnyckyj, Klymasz undertook a research trip to Czechoslovakia and the USSR, specifically western Ukraine, to expand his knowledge of Slavonic studies and do first-hand work in the field. This was a relatively rare event for a Ukrainian Canadian scholar during the Cold War.

During the early 1960s, Klymasz traversed the Canadian prairies recording the folksongs and gathering other materials concerning the early pioneer Ukrainian immigration to Canada. These elderly immigrants and their descendants provided him with a wealth of material with which he was able to construct a portrait of Ukrainian-Canadian folk culture, especially rural culture, as it then existed. Most of these materials are today preserved in archives in Edmonton, Alberta, and Winnipeg, Manitoba and remain valuable resources for contemporary folklorists.

Klymasz's major published works consist of studies in Slavic-Canadian onomastics, and Ukrainian-Canadian folklore, including the groundbreaking Introduction to the Ukrainian-Canadian Immigrant Folksong Cycle (1970), The Ukrainian Winter Folksong Cycle in Canada (1970), and the comprehensive Ukrainian Folklore in Canada (1980). His other contributions to scholarship include studies of subjects as varied as ethnic jokes, Ukrainian-Canadian pictorial art and icons, stories, and various musical genres.

References
 Robert Klymasz in the Encyclopedia of Music in Canada
 Article in Ukrainian on "Klymash, Robert Bohdan," in Mykhailo Marunchak, Biohrafichnyi dovidnyk do istorii ukraintsiv Kanady (Winnipeg: Ukrainska Vilna Akademiia Nauk v Kanadi, 1986), p. 299.
 Materials on his research trip to Czechoslovakia and Ukraine, based on his personal reminiscences, may be found in the article by Thomas M. Prymak on Oseredok, the Ukrainian Museum and Library in Winnipeg, Manitoba, Canada: https://oseredok.ca/wp-content/uploads/2019/03/A-VISIT-TO-THE-UKRAINIAN-MUSEUM-AND-LIBRARY.pdf

External links
 Archives of Robert Klymasz (Robert Bohdan Klymasz fonds, MG55/31-No41) are held at Library and Archives Canada

1936 births
Harvard University alumni
Indiana University alumni
Canadian people of Ukrainian descent
Living people
University of Toronto alumni
University of Manitoba alumni
Canadian folk-song collectors
Folklorists of Canadian folklore
Onomastics
Ukrainianists
Canadian curators
Canadian Museum of History Corporation
Ethnic studies in Canada
Culture of the Canadian Prairies
Rural culture in North America
Ethnic jokes
Rural society in Canada

Robert Klymasz


The Iron Maiden is a 1963 British comedy film. The film was directed by Gerald Thomas, and stars Michael Craig, Anne Helm, Jeff Donnell and Alan Hale, Jr. There are minor roles for Carry On stalwarts Jim Dale and Joan Sims, and the veteran actor Sam Kydd also appears with his then six-year-old son Jonathan Kydd. The film was widely perceived as an attempt to repeat the success of the film Genevieve, with traction engines in place of vintage cars.

Plot
Jack Hopkins is an aircraft designer and hands-on engineer with a passion for traction engines and he owns one called The Iron Maiden. His boss, Sir Giles Thompson, is eager to sell a new supersonic jet aircraft (which Jack has designed) to American millionaire airline owner, Paul Fisher, who has come to England with his wife and daughter Kathy.

The first encounter between Fisher and Jack goes badly, as (without knowing their connection) the traction engine crashes into the front of Fisher's car on a narrow lane. They then meet again at the airfield where the aircraft is shown to Paul Fisher and they recognise each other. Fisher has developed a disliking of Jack (without knowing he is the aircraft designer) and states that he will not purchase the aircraft (which he is very happy with) unless he likes the designer. Later Jack goes to the Fisher's hotel and meets Fisher and talks to him about the aircraft.

Fisher asks Jack to take Kathy to see some friends (her hire car broke down before she got it) while he looks at a rival aircraft built by Lord Upshott. His son Humphrey Gore-Brown takes the Fisher in his car. On the way Jack and Kathy stop to see a Duchess which is another traction engine powering a ferris wheel. It is broken and while Jack works on it, Kathy sits in a chair and when it suddenly starts, she is taken up. However, it stops again and she ends up trapped in mid-air and it starts to pour rain. When Fisher climbs to rescue her, the owner gets it going and brings her down but Jack gets stuck at the top. It breaks down again and cannot be restarted. She then takes his car, but abandons it in the middle of nowhere. Jack tracks her to her friends and finds out where his car was left.

Sir Giles invites the Fishers to the Ascot Racecourse but again they have problems, coming across a broken-down traction engine called "Princess Caroline". Jack tries to help fix it. While here Sir Giles and Kathy get tar all over themselves, inside their Rolls-Royce and on Mrs Fisher. Lord Upshott of the opposition aircraft company then arrives and takes the Fishers to Ascot. Sir Giles believes that he has lost the sale to Fisher and sacks Jack, but he also resigns.

Kathy goes to see Jack at his fireman Fred Trotter's house where the traction engine is that day. After parking the Iron Maiden on the road, Kathy attempts to drive it out of the way of her car and takes off down the road. She runs over a policeman's pushbike and crashes into a barn. Jack paddles Kathy on the bottom and she runs to her parents. This has damaged The Iron Maiden'''s safety valve, rendering it impossible to be driven solo.

Jack is desperate to enter the annual Woburn Abbey steam rally with the machine. Fred and Jack head off and stop at Fred's house to get some grub. While there Fisher turns up to take Jack to task about what he did to his daughter. However, Fred breaks his leg by falling over his son's roller skate and is unable to participate. He then runs over the policeman's new pushbike and forces Fisher's car into a ditch. Jack gives Fisher a lift when his car cannot get out of the ditch. When all seems lost, Fisher is won over by Jack's plight and joins him in driving the engine, and the two soon become firm friends (Fisher says he was stoking boilers when Jack was in short pants - probably a reference to actor Alan Hale Jr's role as Casey Jones).

It is a long trip to Woburn and they have to stop a number of times, including overnight where they camp next to the engine. The next morning they cook breakfast on a shovel, but leave a bag of coal at the campsite. They take a short cut through land owned by the rival traction engine owner, Admiral Sir Digby Trevelyan (his engine is "England Expects"). The Admiral has laid a trap of a hidden pit. They go into the pit and get stuck. They steal all his wooden "no trespassing" signs to use as fuel. After a lot of digging, they eventually get out and continue on their way. They are still short of fuel so they have to burn bags, their footwear and clothing, leaving them in their underclothes.

After an eventful journey, Fisher and Jack finally reach Woburn Abbey and enter the rally, which includes almost every English traction engine of the period, around 100 in total. The Iron Maiden arrives just in time. When Fisher collects a bag of coal, he injures his back and withdraws from the race within the rally. Mrs Fisher and Kathy previously arrived with Lord Upshott (Gore-Brown's father) and the Duke of Bedford and witness Fisher in his underwear running with the coal.

When all seems lost, Kathy decides to join Jack on the engine. The two pilot The Iron Maiden from last place to first, winning the race; at the finish line, Jack and Kathy embrace and kiss, while The Iron Maiden boils over and explodes. The engine is memorialised when Jack's new jet is named after it.

Cast
 Michael Craig as Jack Hopkins
 Anne Helm as Kathy Fisher
 Jeff Donnell as Miriam Fisher
 Alan Hale Jr. as Paul Fisher
 Noel Purcell as Admiral Sir Digby Trevelyan
 Cecil Parker as Sir Giles Thompson
 Roland Culver as Lord Upshott
 Joan Sims as Nellie Trotter
 John Standing as Humphrey Gore-Brown
 Brian Oulton as Vicar
 Sam Kydd as Fred Trotter
 Judith Furse as Mrs. Webb
 Cyril Chamberlain as Mrs. Webb's Cabman
 Richard Thorp as Harry Markham
 Jim Dale as Bill
 George Woodbridge as Sid Ludge
 Ian Wilson as Sidney Webb
 Brian Rawlinson as Albert, Village Constable
 Raymond Glendenning as the Rally's MC.
 Ian Russell, 13th Duke of Bedford as himself.

Production
A Handley Page Victor military bomber is featured in the film as Hopkins' supersonic jetliner. A number of sequences show a Victor in close-up, taxiing, taking off, climbing, flying past and landing with drogue parachute deployed. These scenes were filmed at Radlett Aerodrome.

History of the traction engine The Iron Maiden

The traction engine that featured as The Iron Maiden was a John Fowler & Co. 7 nhp showman's road locomotive (works no. 15657, reg no. FX 6661). She was built in September 1920 as a class R3 road locomotive for heavy haulage work and saw many years' service on the Isle of Portland, hauling blocks of stone from the quarries to the harbour.

She returned to Fowler's works for conversion into a showman's engine, which entailed the addition of a dynamo bracket in front of the chimney, and a full-length canopy, among other things. Once converted she was based in Alfreton, Derbyshire, and undertook fairground work, until bought for preservation in 1952. From new she was named Kitchener – until the film was made, whereupon she was renamed The Iron Maiden.

The engine was first owned during restoration by John Crawley, the man behind its use in the production of the film. It was then sold to George Hawkins, before passing into the Dr Tony Marchington collection in Derbyshire, following its sale at the 1993 Great Dorset Steam Fair and became part of the same collection as Flying Scotsman. The Iron Maiden'' is today owned by Graeme Atkinson, who displays the engine alongside a collection of other engines and fair organs as part of the Scarborough Fair Collection, at his holiday park in Lebberston, near Scarborough, North Yorkshire. The engine was featured on the cover of the Official Programme for the 38th Great Dorset Steam Fair, in 2006, and continues to make regular appearances at that event.

It has also made at least one appearance at the Yorkshire Air Museum at Elvington near York to be photographed next to the Handley Page Victor belonging to Andre Tempest that is preserved there.

References

External links

1963 films
1963 comedy films
British auto racing films
British aviation films
British comedy films
1960s English-language films
Films directed by Gerald Thomas
Films shot at Pinewood Studios
Films set in England
Films set in Bedfordshire
Films set in London
Films produced by Peter Rogers
1960s British films
English-language comedy films
Films scored by Eric Rogers (composer)

The Iron Maiden


Rudolf Steiner University College (; RSH) is a state-accredited and state-funded private university college in Oslo, Norway.

It was founded in 1981 and is recognised under the Law for Private University Colleges and is fully state-funded (state funding increased gradually from 50% in 1983 to 100% from 1997 onwards). The university college offers bachelor's degrees in Waldorf education for teachers and kindergarten teachers, a master's degree in Waldorf education, and various other courses.
It is organised as a non-profit foundation, and its board of trustees is chaired by Cato Schiøtz.

In cooperation with the Alanus University of Arts and Social Sciences (Germany), the university college publishes the international academic journal Research on Steiner Education. It is also involved in cooperation with East European countries, hosting the International Waldorf Summer Seminar.

Since 1994, the former Berle School in Professor Dahls gate 30, Frogner, has served as its main building. The college also has a campus in Fyresdal.

References

External links
Official website

Universities and colleges in Norway
Education in Oslo
Universities and colleges established in 1981
Non-profit organisations based in Norway
Anthroposophy
Waldorf schools

Rudolf Steiner University College