Mission San José is a Spanish mission located in the present-day city of Fremont, California, United States. It was founded on June 11, 1797, by the Franciscan order and was the fourteenth Spanish mission established in California. The mission is the namesake of the Mission San José district of Fremont, which was an independent town subsumed into the city when it was incorporated in 1957.
The Mission entered a long period of gradual decline after Mexican secularization act of 1833. After suffering decline, neglect and earthquakes most of the mission was in ruins.  Restoration efforts in the intervening periods have reconstructed many of the original structures. The old mission church remains in use as a chapel of Saint Joseph Catholic Church, a parish of the Diocese of Oakland. The museum also features a visitor center, museum, and slide show telling the history of the mission.

History
The original site considered by Juan Crespí in 1772 for what was to become Mission San José was in what is today known as the San Ramon Valley. However, the Native Americans living in that area were very hostile towards the Spanish, so it was decided to locate the Mission further south, in an area that is now part of Fremont, California.

Work on the site of Mission San Jose commenced in May 1797, many years after Crespí's death, by Native American people from Mission Santa Clara, 13 miles to the south, under the direction of Franciscan missionaries and secular Hispanic overseers. The location, on slopes overlooking the Fremont plain on the east side of San Francisco Bay, had been inhabited for countless generations by Indians who spoke the San Francisco Bay Ohlone language. The Ohlone lived a hunting and wild-plant harvesting lifestyle. Their food included seeds, roots, berries, the flour from acorns, small game, deer, fish, and shellfish. In 1797 most of the Indians, from the immediate vicinity of the mission site had already been baptized at Mission Santa Clara during the 1780s and early 1790s. It was these people who returned home to form the founding population of the new community. Mission San José's walls were 5  ft thick. The church is 126 feet long, 30 feet wide, 24 feet high; made of adobe and redwood, the floor and the wall are made of tiles.

By the end of 1800, the neophyte population had risen to 277, including both Ohlone and Bay Miwok speakers. By the end of 1805, all Indians of the East Bay south of Carquinez Strait were at the missions. After a devastating measles epidemic that reduced the mission population by one quarter in 1806, people from more distant areas and new language groups began to join the Mission San Jose community. The first such language group was the Yokuts or Yokutsan, whose speakers began to move to Mission San José from the San Joaquin Valley in 1810. Members of two more language groups, the Coast Miwok from present Sonoma County and Patwin from present Napa and Solano counties, moved down to Mission San Jose in the 1812–1818 period, but in smaller numbers than the Yokuts. By 1825 Delta Yokuts was the dominant language in the multi-lingual community of 1,796 people. Over the next few years speakers of yet another language group, Plains Miwok, moved to the mission from the north side of the Sacramento-San Joaquin River Delta. By the time Mission San Jose was closed as an agricultural commune in the mid-1830s, Plains Miwok was the predominant native language among its neophyte Indian people.
Father Narciso Durán became the pastor of the mission in 1806 and remained until he was replaced by Father José González Rubio in February 1833 as part of a post-independence policy requiring the replacement of Spanish-born clerics with those born in Mexico. Durán trained the neophytes in music, organizing both a choir and a 30 piece orchestra that became famous throughout California. While at San José, Father Durán twice served as Father-Presidente of the Franciscan missions.

The Mission's first permanent Adobe church was dedicated with great ceremony on April 22, 1809.  Valuable gifts of vestments, sacred vessels, religious statues, and paintings attest to the generosity of friends of the Mission in the Bay Area and abroad. The majority of vestments in the modern collection date from the late 18th and early 19th centuries. The silken fabrics and embroideries were products of various textile centers of the Spanish Empire, whose suppliers extended from Europe to Asia. Mission San José was the center of industry and agriculture. The site was chosen for the abundance of natural resources of the area including water, fertile ground, stones, and adobe soil suitable for building. Thousands of cattle roamed the Mission ranges, and acres of wheat and other crops were planted and harvested under the direction of the Padres. In 1868, it produced 4,070 bushels (110 metric tons) of wheat and much produce, including grapes, olives, and figs.

In 1832, the Mission's 12,000 cattle, 13,000 horses, and 12,000 sheep roamed Mission lands from present-day Oakland to San Jose. San José was one of the most prosperous of all of the California missions. An 1833 inventory prepared by Father José González Rubio lists a church, monastery, guardhouse, guest house, and a women's dormitory, in addition to the thousands of acres of crops and grazing land.  This prosperity was not to last long, however. On August 17 of that year, the Mexican Congress passed An Act for the Secularization of the Missions of California.

Rancho period (1836–1853)

During the transition to full secularization, Father José González Rubio remained at the Mission as chief administrator for the church, while José de Jesús Vallejo (brother of General Mariano G. Vallejo) was appointed a civil administrator.  The Mission lands were gradually parceled out to private landowners.  In 1842, Father González Rubio was transferred to Mission Santa Barbara.  The native people fled but found themselves unable to readjust to their former way of life; many subsequently died of disease and starvation.  The Mission buildings, granaries, orchards, and gardens were allowed to decay, and the great herds scattered. Mexican Governor Pío Pico sold the Mission property to private interests in 1845 for $12,000. During the 1848 California Gold Rush, H. C. Smith converted the Mission to a general store, saloon, and hotel. The town of Mission San José became a thriving provision center at the gateway to the Southern Mines. The names of many pioneer families prominent in early California history, including Livermore, Peralta, and Alviso, were closely linked to the Mission.

California statehood (1850–1980)
 The Rancho period ended with the succession of California to the United States in the Treaty of Guadalupe-Hidalgo, and the establishment of California as a state in 1850. Some of the original exterior adobe buttresses were removed on orders of the parish priest. On March 18, 1865, President Abraham Lincoln restored the California missions to the Catholic Church.

On October 21, 1868, a magnitude 6.3–6.7 earthquake on the Hayward Fault which runs through the grounds of the Mission shattered the walls of the Mission church and broke open the roof. Other Mission buildings, including the Tienda, the Priest's Quarters, and the Mission itself were also damaged by the earthquake.

The site was cleared and a wood-framed, Gothic-style church was erected directly over the original red-tiled Mission floor. In 1890, a Victorian-style rectory was built over the site of a portion of the adobe wing which housed the Padres and served as the administration building during the Mission Era.

The 20th century and beyond (1900–present)

The original mission complex consisted of over 100 adobe buildings. Restoration efforts by the Native Sons of the Golden West in 1915 and 1950 saved the surviving portion of the Mission wing and converted it into a museum, set in the gracious surroundings of flowers and palm trees. In 1956, the town of Mission San José incorporated with four others to become the City of Fremont.  Plans to reconstruct the church of Mission San José were launched in 1973. The Victorian-style rectory was relocated to nearby Anza Street and the Gothic-style wooden church was moved to San Mateo where it has been restored as a house of worship by an Anglican church group. After extensive archaeological excavations and planning, construction began in 1982 on a replica of the 1809 adobe church.  Work was completed and the facility rededicated on June 11, 1985.  The walls vary in thickness from 4 to .  Old timbers and rawhide thongs demonstrate the practicality of the Padres who, having no iron nails for building, substituted the leather laces.  Consequently, the lumber used in the reconstruction has been given a hand-hewn appearance.

With its "simple and forthright" exterior, the Mission church stands as a tribute to those whose efforts made this dream come true.  The richly decorated interior follows the descriptions in the historic inventories of the 1830s.  The crystal chandeliers are copies of period pieces similar to ones listed in the old church inventories. Two of the original statues have been placed on the two side altars. Ecce Homo, a figure of Christ clothed in a scarlet robe and crowned with thorns, stands on a balcony above one of the side altars. The other statue of Saint Bonaventure was carved from wood and then painted. The original baptismal font of hammered copper on a turned wood base has been returned to the church, as has the bell wheel used by the Ohlones during the sacred parts of the Mass.

The reredos behind the main altar features a painting of Christ, a statue of Saint Joseph, and two carved figures: a dove represents the Holy Spirit, and at the top sits God the Father with detailed golden rays surrounding him. The altar and choir railings were copied from an original piece found in the museum during the reconstruction. The Mission cemetery (camp Santo), where a great number of Mission pioneers are buried, is situated to the side of the church.  During the dig, the marble grave marker of Robert Livermore was located in the original tile floor of the church.  It was carefully repaired and replaced in the reconstructed church. Many prominent Spaniards are buried in the floor of the Mission church, but only Livermore's grave is marked. Thousands of Ohlones are resting in the Ohlone cemetery located almost a mile away from the mission down Washington Boulevard. Three of the original Mission bells were transferred from the destroyed adobe church to the wooden church of 1869, where they hung until the 1970s. The fourth bell had been given to a church in Oakland and recast, but was returned to the Mission during the reconstruction of the bell tower. Now all four bells are hung, ready to ring on special occasions.

In 1985, the restoration of the church was completed by the Committee for the Restoration of the Mission San Jose and the Catholic Diocese of Oakland.  It is considered to be a near-perfect replica of the original church, though it incorporates a concealed structural steel frame which provides earthquake resistance.  Further reconstruction of the missing part of the Padres' living quarters and a restoration of the surviving adobe wing are part of the overall plans for the Mission. Today, the Mission is administered by St. Joseph's parish, which includes the Mission building and the surrounding areas, an ordinary church building used to fulfill the daily needs of the parish, and a school serving students in grades 1–8.

See also
 Spanish missions in California
 List of Spanish missions in California
 Mission Boulevard
 Mission Peak
 USNS Mission San Jose (AO-125) – a Mission Buenaventura class fleet oiler built during World War II

Notes

References

 Mission San José at www.pressanykey.com accessed July 22, 2005.
 Hispanic Catholicism in transitional California: the life of José González Rubio, O.F.M. (1804–1875), by Michael Charles Neri, published 1997 by the Academy of American Franciscan History (v.14, history monograph series).

External links

Historic Mission San José — museum and tour website.
Saint Joseph Parish Old Mission San José
The Dominican Sisters of Mission San José
Elevation & Site Layout sketches of the Mission proper

Virtual Reality Panorama "Inside the Recreated Church at Mission San José"
Official website of the Muwekma Ohlone Indian Tribe
Zarzycki.org: Collection of contemporary photographs of Mission San José — large collection.
Early History of the California Coast, a National Park Service Discover Our Shared Heritage Travel Itinerary

San Jose
1797 in Alta California
Buildings and structures in Fremont, California
Churches in Alameda County, California
Museums in Alameda County, California
Religious museums in California
Archaeological sites in California
1797 establishments in Alta California
California Historical Landmarks
National Register of Historic Places in Alameda County, California
Churches on the National Register of Historic Places in California
Roman Catholic Diocese of Oakland
Culture of Fremont, California
El Camino Viejo
Tourist attractions in Fremont, California
Historic American Buildings Survey in California

Mission San José (California)


Iloosh Judge Ahluwalia is an Indian artist, "brand ambassador", and businesswoman.

Life
Educated at the Lawrence School, Sanawar, where she began to paint in earnest, Ahluwalia married an Indian Army officer and has two daughters. In 1998 she began to sell her paintings at exhibitions in Delhi.

In the early part of her career Ahluwalia painted human figures, mostly women and children, often using only the palette knife and focussing on the eyes. She said of this preference in 2011

In painting figures, Ahluwalia likes to showcase the huge range of clothes worn by women around the Indian subcontinent, including traditional and tribal dress. For several years she specialized in painting pretty Indian girls, or "sohni kurhis", in oils on canvas. These often resembled the artist herself and sold well, both in India and in London, appealing to those who like art to be decorative and easy on the eye. Until 2005. Ahluwalia held at least two exhibitions a year in Delhi, and they always sold out. She also became a "Page Three" celebrity and was much photographed by the paparazzi.

On International Women's Day, 2004, Ahluwalia was among the notable Indian women artists who came together for an art festival at the Indira Gandhi National Centre for the Arts "Mud House" which was opened by Bhavna Chikhalia, Minister of Culture and Parliamentary Affairs. She exhibited a "sohni kurhi" of which Manohar Khushalani wrote that "Her brush work displayed a remarkable control on the craft and a realism which was almost photographic".

Ahluwalia has been called a "society painter", while her work has been described as "shining with optimism".
She was also a "brand ambassador" for the Uppal's Orchid Hotel, a five-star hotel in Delhi, now called The Orchid, and launched her own scent called "Sohni Kurhi".

In 2005, she was diagnosed as suffering from glaucoma and advised to stop painting for the sake of her eyes. After surgery she did less new work. In 2007, a new exhibition at the India International Centre was entitled "Sea Urchins".
In August 2011, after a break of four years, Ahluwalia and her daughter Malika opened a joint exhibition at the Arpana Fine Arts Gallery, near Siri Fort, called "Walking on Sunshine", when she explained her wish to celebrate the benefits of sunshine.

Notes

External links
 Passion: Chocolate canvas so tempting to resist! at ndtv.com (video with Iloosh Ahluwalia)

1970s births
Living people
Lawrence School, Sanawar alumni
Indian women painters
21st-century Indian women artists

Iloosh Ahluwalia


Asian Dust (also yellow dust, yellow sand, yellow wind, or China dust storms) is a weather occurrence that happens each year. It affects much of East Asia during the spring. The dust comes from deserts in Mongolia, northern China, and Kazakhstan. The dust comes from surface winds and dust storms in the desert. The wind carries the clouds eastward to China, Japan, Eastern Siberia, and the Koreas. Smaller particles in the clouds can travel much farther to places like the United States. In the last ten years, these dust storms have become a serious problem because they have picked up industrial pollutants.

Other websites
 Asian Dust in Korea
 Ostapuk, Paul Asian Dust Clouds
 Szykman, Jim et al.Impact of April 2001 Asian Dust Event on Particulate Matter Concentrations in the United States
 Kwon Ho-Jang et al.Effects of the Asian Dust Events on Daily Mortality in Seoul, Korea
 Carbon Monoxide Measurements in the Mongolian Desert Dust Cloud at Boulder
 The Bibliography of Aeolian Research

Weather events

Asian Dust


Pinocchio is a 1940 American animated musical fantasy film produced by Walt Disney Productions and released by RKO Radio Pictures. Based on Carlo Collodi's 1883 children's novel The Adventures of Pinocchio, it is the second Disney animated feature film. It is also the third animated film overall produced by an American film studio, after Fleischer Studios' Gulliver's Travels (1939). With the voices of Cliff Edwards, Dickie Jones, Christian Rub, Walter Catlett, Charles Judels, Evelyn Venable, and Frankie Darro, the film follows a wooden puppet Pinocchio, who is created by an old woodcarver Geppetto and brought to life by a blue fairy. Wishing to become a real boy, Pinocchio must prove himself to be "brave, truthful, and unselfish." Along his journey, Pinocchio encounters several characters representing the temptations and consequences of wrongdoing, as Jiminy Cricket, who takes the role of Pinocchio's conscience, attempts to guide him in matters of right and wrong.

The film was adapted by several storyboard artists from Collodi's book. The production was supervised by Ben Sharpsteen and Hamilton Luske, and the film's sequences were directed by Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, and Bill Roberts. Pinocchio was a groundbreaking achievement in the area of effects animation, giving realistic movement to vehicles and machinery as well as natural elements such as rain, water, lightning, smoke, and shadow. After premiering at the Center Theatre in New York City on February 7, 1940, Pinocchio was released in theatres on February 23, 1940.

Although it received critical acclaim and became the first animated feature to win a competitive Academy Award — winning two for Best Music, Original Score and for Best Music, Original Song for "When You Wish Upon a Star" — it was initially a box office bomb, mainly due to World War II cutting off the European and Asian markets. It eventually made a profit after its 1945 rerelease, and is considered one of the greatest animated films ever made, with a  rating on the website Rotten Tomatoes. The film and characters are still prevalent in popular culture, featuring at various Disney parks and other forms of entertainment. In 1994, Pinocchio was added to the United States National Film Registry for being deemed "culturally, historically, or aesthetically significant."

In 2000, a live-action made-for-television film titled Geppetto, told from Geppetto's perspective, was released via ABC. A live-action remake of the same title directed by Robert Zemeckis was released in 2022 via Disney+, where it was poorly received by both critics and audiences alike.

Plot

Jiminy Cricket addresses the audience as the narrator and begins telling a story.

Jiminy came to a village in Italy sometime in the late 19th century, where he arrived at the shop of a woodworker and toymaker named Geppetto, who creates a puppet he names Pinocchio. As he falls asleep, Geppetto wishes upon a star for Pinocchio to be a real boy. Late that night, the Blue Fairy visits the workshop and brings Pinocchio to life, although he remains a puppet. She informs him that if he proves himself to be brave, truthful, and unselfish, he will become a real boy. When Jiminy reveals himself, the Blue Fairy assigns him to be Pinocchio's conscience. Geppetto awakens upon hearing the commotion from Pinocchio falling, and is overjoyed to discover that he is alive and will become a real boy.

The next morning, while walking to school, Pinocchio is led astray by con artist fox Honest John and his sidekick Gideon the Cat. Honest John convinces him to join Stromboli's puppet show, despite Jiminy's objections. Pinocchio becomes Stromboli's star attraction, but when he tries to go home, Stromboli locks him in a bird cage and leaves to tour the world with Pinocchio. After Jiminy unsuccessfully tries to free his friend, the Blue Fairy appears, and an anxious Pinocchio lies about what happened, causing his nose to grow. The Blue Fairy restores his nose and frees Pinocchio when he promises to make amends, but warns him that she can offer no further help.

Meanwhile, a mysterious Coachman hires Honest John to find disobedient boys for him to take to Pleasure Island. Though the Coachman's implication of what happens to the boys frightens Honest John and Gideon, the former reluctantly accepts the job and finds Pinocchio, convincing him to take a vacation on Pleasure Island. On the way to the island, Pinocchio befriends Lampwick, a delinquent boy. At Pleasure Island, without rules or authority to enforce their activity, Pinocchio, Lampwick, and many other boys soon engage in vices such as vandalism, fighting, smoking and drinking. Jiminy eventually finds Pinocchio in a bar smoking and playing pool with Lampwick, and the two have a falling out after Pinocchio defends Lampwick for his actions. As Jiminy tries to leave Pleasure Island, he discovers that the island hides a horrible curse that turns the boys into donkeys after making "jackasses" of themselves, and they are sold by the Coachman into slave labor. Pinocchio witnesses Lampwick transform into a donkey, and with Jiminy's help, he escapes before he can be fully transformed, though he still has a donkey's ears and tail.

Upon returning home, Pinocchio and Jiminy find Geppetto's workshop deserted and get a letter from the Blue Fairy in the form of a dove, stating that Geppetto had gone out looking for Pinocchio and sailed to Pleasure Island. However, he was swallowed by a sperm whale called  Monstro and is now trapped in its stomach. Determined to rescue his father, Pinocchio jumps into the ocean with Jiminy and is soon swallowed by Monstro, where he reunites with Geppetto. Pinocchio devises a scheme to make Monstro sneeze and allow them to escape, but the whale chases them and smashes their raft with his tail. Pinocchio selflessly pulls Geppetto to safety in a cove just as Monstro crashes into it and Pinocchio is seemingly killed.

Back at home, Geppetto, Jiminy, Figaro, and Cleo mourn Pinocchio. However, having succeeded in proving himself brave, truthful, and unselfish, Pinocchio is revived and turned into a real human boy by the Blue Fairy, much to everyone's joy. As the group celebrates, Jiminy steps outside to thank the Fairy and is rewarded with a solid gold badge that certifies him as an official conscience.

Voice cast
 Dick Jones as Pinocchio, an exuberant and endearing wooden puppet carved by Geppetto and brought to life by the Blue Fairy.
 Jones also voiced Alexander, a disobedient boy who is turned into a donkey at Pleasure Island, but still talks.
 Cliff Edwards as Jiminy Cricket, a cheerful, optimistic, intelligent, and wisecracking cricket, who acts as Pinocchio's "conscience" and is the partial narrator of the story.
 Christian Rub as Geppetto, a kind and elderly wood-carver and Pinocchio's creator, who wishes for him to become a real boy. He speaks with an Austrian accent.
 Clarence Nash as Figaro, Geppetto's spoiled pet cat who is prone to sulk. Cleo, Geppetto's flirty pet goldfish with a habit of being Figaro's counselor, is unvoiced. Figaro and Cleo were original characters not present in the original story, and were added to the script by the Disney team.
 Walter Catlett as "Honest" John Worthington Foulfellow, an anthropomorphic red fox con artist who swindles Pinocchio.
 Gideon the Cat, Honest John's mute, dimwitted, and bumbling anthropomorphic feline partner and sidekick who serves as comic relief. He was originally intended to be voiced by Mel Blanc, in his second work for Disney until his final work in Who Framed Roger Rabbit, but the filmmakers instead went with a mute performance for the character. However, Gideon's hiccups were provided by Blanc.
 Charles Judels as Stromboli, a greedy, sadistic, and abusive puppeteer who intends to force Pinocchio to perform onstage to make money and use as "firewood" once he gets "too old" to perform. He speaks English with an Italian accent, and curses in Italian gibberish when angry. He is called "Gypsy" by Honest John, likely due to his theatre and caravan always travelling, as well as other names like "rascal" and "faker".
 Judels also voiced the nefarious and cunning Coachman, the owner and operator of Pleasure Island.
 Evelyn Venable as the Blue Fairy, who brings Pinocchio to life and promises to turn him into a real boy if he proves himself brave, truthful, and selfless. Live-action references for the Blue Fairy were provided by Marge Champion, who served as the live-action reference for the titular heroine in Snow White and the Seven Dwarfs.
 Frankie Darro as Lampwick, a naughty and spoiled boy who Pinocchio befriends on his way to Pleasure Island and is turned into a donkey for his mischief.
 Stuart Buchanan as the Carnival Barker, the announcer at Pleasure Island. In a book adaptation of the film, "Barker" is the Coachman's name.
 Thurl Ravenscroft as Monstro, the sperm whale. He swallows Pinocchio, Geppetto, Figaro, and Cleo, then tries to kill them after they escape from his belly by making him sneeze.

The voice cast was all uncredited, as was the practice at the time for many animated films.

Production

Development
In September 1937, during the production of Snow White and the Seven Dwarfs, animator Norman Ferguson brought a translated version of Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio to the attention of Walt Disney. After reading the book, "Walt was busting his guts with enthusiasm," as Ferguson later recalled. Disney then commissioned storyboard artist Bianca Majolie to write a new story outline for the book, but after reading it, he felt her outline was too faithful. Pinocchio was intended to be the studio's third feature, after Bambi (1942). However, due to difficulties with Bambi (adapting the story and animating the animals realistically), Disney announced that Bambi would be postponed while Pinocchio would move ahead in production. Ben Sharpsteen was then re-assigned to supervise the production while Jack Kinney was given directional reins.

Writing and design
Unlike Snow White, which was a short story that the writers could expand and experiment with, Pinocchio was based on a novel with a very fixed, although episodic, story. Therefore, the story went through drastic changes before reaching its final incarnation. In the original novel, Pinocchio is a cold, rude, ungrateful, inhuman brat that often repels sympathy and only learns his lessons the hard way. The writers decided to modernize the character and depict him similar to Edgar Bergen's dummy Charlie McCarthy, but equally as rambunctious as the puppet in the book. The story was still being developed in the early stages of animation.

Early scenes animated by Frank Thomas and Ollie Johnston show that Pinocchio's design was exactly like a real wooden puppet with a long pointed nose, a peaked cap, and bare wooden hands. Disney, however, was not impressed with the work that was being done on the film. He felt that no one could really sympathize with such a character and called for an immediate halt in production. Fred Moore redesigned the character slightly to make him more appealing, but the design still retained a wooden feel.

Young and upcoming animator Milt Kahl felt that Thomas, Johnston, and Moore were "rather obsessed with the idea of this boy being a wooden puppet" and felt that they should "forget that he was a puppet and get a cute little boy; you can always draw the wooden joints and make him a wooden puppet afterwards." Co-supervising director Hamilton Luske suggested to Kahl that he should demonstrate his beliefs by animating a test sequence.

Kahl then showed Disney an animation test scene in which Pinocchio is underwater looking for his father. From this scene, Kahl re-envisioned the character by making him look more like a real boy, with a child's Tyrolean hat and standard cartoon character four-fingered (or three and a thumb) hands with Mickey Mouse-type gloves. The only parts of Pinocchio that still looked more or less like a puppet were his arms, legs, and little button wooden nose. Disney embraced Kahl's scene and immediately urged the writers to evolve Pinocchio into a more innocent, naïve, somewhat coy personality reflecting Kahl's design.

However, Disney discovered that the new Pinocchio was too helpless and was far too often led astray by deceiving characters. Therefore, in the summer of 1938, Disney and his story team established the character of the cricket. Originally, the talking cricket was only a minor character whom Pinocchio abruptly killed by squashing with a mallet and who later returned as a ghost. Disney dubbed the cricket "Jiminy", and made him a character who would try to guide Pinocchio into the right decisions. Once the character was expanded, he was depicted as a realistic cricket with toothed legs and waving antennae, but Disney wanted something more likable. Ward Kimball had spent several months animating two sequences—a soup-eating musical number and a bed-building sequence—in Snow White, which was cut from the film due to pacing reasons. Kimball was about to quit when Disney rewarded him for his work by promoting him to the supervising animator of Jiminy Cricket. Kimball then conjured up the design for Jiminy Cricket, whom he described as a little man with an egg head and no ears. Jiminy "was a cricket because we called him a cricket," Kimball later joked.

Casting

Due to the huge success of Snow White, Walt Disney wanted more famous voices for Pinocchio, which marked the first time an animated film had used celebrities as voice actors. He cast popular singer Cliff Edwards, also known as "Ukulele Ike", as Jiminy Cricket. Disney rejected the idea of having an adult play Pinocchio and insisted that the character be voiced by a real child. He cast 11-year-old child actor Dickie Jones, who had previously been in Frank Capra's Mr. Smith Goes to Washington (1939). He also cast Frankie Darro as Lampwick, Walter Catlett as "Honest" John Foulfellow the Fox, Evelyn Venable as the Blue Fairy, Charles Judels as both the villainous Stromboli and the Coachman, and Christian Rub as Geppetto, whose design was even a caricature of Rub. Another actor voiced Geppetto originally, but Disney recast him with Rub after feeling that his voice was "too harsh".

Another voice actor recruited was Mel Blanc, best remembered for voicing many of the characters in Warner Bros. cartoon shorts, including Looney Tunes and Merrie Melodies. Blanc recorded the voice of Gideon the Cat in sixteen days. However, it was eventually decided that Gideon would be mute, so all of Blanc's recorded dialogue was subsequently deleted except for a solitary hiccup, which was heard three times in the finished film.

Animation

Animation on the film began in January 1938, but work on Pinocchio's animation was discontinued as the writers sought to re-work his characterization and the film's narrative structure. However, animation on the film's supporting characters started in April 1938. Animation would not resume again with the revised story until September.

During the production of the film, story artist Joe Grant formed a character model department, which would be responsible for building three-dimensional clay models of the characters in the film, known as maquettes. These models were then given to the staff to observe how a character should be drawn from any given angle desired by the artists. The model makers also built working models of Geppetto's elaborate cuckoo clocks designed by Albert Hurter, as well as Stromboli's gypsy wagon and wooden cage, and the Coachman's carriage. However, owing to the difficulty of animating a realistic moving vehicle, the artists filmed the carriage maquettes on a miniature set using stop motion animation. Then, each frame of the animation was transferred onto animation cels using an early version of a Xerox. The cels were then painted on the back and overlaid on top of background images with the cels of the characters to create the completed shot on the rostrum camera. Like Snow White, live-action footage was shot for Pinocchio with the actors playing the scenes in pantomime, supervised by Luske. Rather than tracing, which would result in stiff unnatural movement, the animators used the footage as a guide for animation by studying human movement and then incorporating some poses into the animation (though slightly exaggerated).

Pinocchio was a groundbreaking achievement in the area of effects animation, led by Joshua Meador. In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters---vehicles, machinery, and natural effects such as rain, lightning, snow, smoke, shadows and water, as well as the fantasy or science-fiction type effects like the pixie dust of Peter Pan (1953). The influential abstract animator Oskar Fischinger, who mainly worked on Fantasia (1940), contributed to the effects animation of the Blue Fairy's wand. Effects animator Sandy Strother kept a diary about his year-long animation of the water effects, which included splashes, ripples, bubbles, waves, and the illusion of being underwater. To help give depth to the ocean, the animators put more detail into the waves on the water surface in the foreground, and put in less detail as the surface moved further back. After the animation was traced onto cels, the assistant animators would trace it once more with blue and black pencil leads to give the waves a sculptured look. To save time and money, the splashes were kept impressionistic. These techniques enabled Pinocchio to be one of the first animated films to have highly realistic effects animation. Ollie Johnston called it "one of the finest things the studio's ever done, as Frank Thomas said, 'The water looks so real a person can drown in it, and they do.'"

Music

The songs in Pinocchio were composed by Leigh Harline with lyrics by Ned Washington. Harline and Paul J. Smith composed the incidental music score. The climactic Whale Chase was co-composed by Edward H. Plumb. The soundtrack was first released on February 9, 1940. Jiminy Cricket's song, "When You Wish Upon A Star", became a major hit and is still identified with the film, and later as the theme song of The Walt Disney Company itself. The soundtrack won an Academy Award for Best Original Score.

Themes

M. Keith Booker considers the film to be the most down-to-earth of the Disney animated films despite its theme song and magic, and notes that the film's protagonist has to work to prove his worth, which he remarked seemed "more in line with the ethos of capitalism" than most of the Disney films. Claudia Mitchell and Jacqueline Reid-Walsh believe that the male protagonists of films like Pinocchio and Bambi (1942) were purposefully constructed by Disney to appeal to both boys and girls. Mark I. Pinsky said that it is "a simple morality tale—cautionary and schematic—ideal for moral instruction, save for some of its darker moments", and noted that the film is a favorite of parents of young children.

Nicolas Sammond argues that the film is "an apt metaphor for the metaphysics of midcentury American child-rearing" and that the film is "ultimately an assimilationist fable". He considered it to be the central Disney film and the most strongly middle class, intended to relay the message that indulging in "the pleasures of the working class, of vaudeville, or of pool halls and amusement parks, led to a life as a beast of burden". For Sammond, the purpose of Pinocchio is to help convey to children the "middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American".

Author and illustrator Maurice Sendak, who saw the film in theaters in 1940, called the film superior to Collodi's novel in its depiction of children and growing up. "The Pinocchio in the film is not the unruly, sulking, vicious, devious (albeit still charming) marionette that Collodi created. Neither is he an innately evil, doomed-to-calamity child of sin. He is, rather, both lovable and loved. Therein lies Disney's triumph. His Pinocchio is a mischievous, innocent and very naive little wooden boy. What makes our anxiety over his fate endurable is a reassuring sense that Pinocchio is loved for himself -- and not for what he should or shouldn't be. Disney has corrected a terrible wrong. Pinocchio, he says, is good; his "badness" is only a matter of inexperience," and also that "Pinocchio's wish to be a real boy remains the film's underlying theme, but "becoming a real boy" now signifies the wish to grow up, not the wish to be good."

Home media
On July 16, 1985, it was released on VHS, Betamax, CED, and LaserDisc in North America for the first time as part of the Walt Disney Classics label, the second title with the Classics label after Robin Hood (1973) which was released the previous December. It would become the best-selling home video title of the year selling 130–150,000 units at $80 each. It was re-issued on October 14, 1986 to advertise the home video debut of Sleeping Beauty (1959), this release also helped leave out the preview of The Black Cauldron from the original 1985 VHS release due to the preview being too dark and scary for kids. Then, for the first time, it was released on VHS in the US in 1988, 1995, and 2000. The digital restoration that was completed for the 1992 cinema re-issue was released on VHS and Laserdisc on March 26, 1993 and sold 13.5 million copies. Its fourth VHS release and first release on Disney DVD was the 60th Anniversary Edition on October 25, 1999.

The film was re-issued on DVD and one final time on VHS as part of the Walt Disney Gold Classic Collection release on March 7, 2000. Along the film, the VHS edition also contained a making-of documentary while the DVD had the film's original theatrical trailer as supplemental features. The Gold Classic Collection release was returned to the Disney Vault on January 31, 2002.

A special edition VHS and DVD of the film was released in the United Kingdom on March 3, 2003. The fourth DVD release and first Blu-ray Disc release (the second Blu-ray in the Walt Disney Platinum Editions series) was released on March 10, 2009. Like the 2008 Sleeping Beauty Blu-ray release, the Pinocchio Blu-ray package featured a new restoration by Lowry Digital in a two-disc Blu-ray set, with a bonus DVD version of the film also included. This set returned to the Disney Vault on April 30, 2011. A Signature Edition was released on Digital HD on January 10, 2017 and was followed by a Blu-ray/DVD combo pack on January 31, 2017.

Reception

Initial release

Frank S. Nugent of The New York Times gave the film five out of five stars, saying "Pinocchio is here at last, is every bit as fine as we had prayed it would be—if not finer—and that it is as gay and clever and delightful a fantasy as any well-behaved youngster or jaded oldster could hope to see." Time magazine gave the film a positive review, stating "In craftsmanship and delicacy of drawing and coloring, in the articulation of its dozens of characters, in the greater variety and depth of its photographic effects, it tops the high standard Snow White set. The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself."

Variety praised the animation as superior to Snow Whites writing the "[a]nimation is so smooth that cartoon figures carry impression of real persons and settings rather than drawings to onlooker." In summary, they felt Pinocchio "will stand on [its] own as a substantial piece of entertainment for young and old, providing attention through its perfection in animation and photographic effects. The Hollywood Reporter wrote "Pinocchio is entertainment for every one of every age, so completely charming and delightful that there is profound regret when it reaches the final fade-out. Since comparisons will be inevitable, it may as well be said at once that, from a technical standpoint, conception and production, this picture is infinitely superior to Snow White."

Box office
Initially, Pinocchio was not a box-office success. The box office returns from the film's initial release were both below Snow White's unprecedented success and below studio expectations. Of the film's $2.6 million negative cost—twice the cost of Snow White—Disney only recouped $1 million by late 1940, with studio reports of the film's final original box office take varying between $1.4 million and $1.9 million. Animation historian Michael Barrier notes that Pinocchio returned rentals of less than one million by September 1940, and in its first public annual report, Walt Disney Productions charged off a $1 million loss to the film. Barrier relays that a 1947 Pinocchio balance sheet listed total receipts to the studio of $1.4 million. This was primarily due to the fact that World War II and its aftermath had cut off the European and Asian markets overseas, and hindered the international success of Pinocchio and other Disney releases during the early and mid-1940s. Joe Grant recalled Walt Disney being "very, very depressed" about Pinocchio's initial returns at the box office. The distributor RKO recorded a loss of $94,000 for the film from worldwide rentals of $3,238,000.

Accolades
The film was nominated and won two Academy Awards in 1941 for Best Original Score and Best Original Song (for "When You Wish Upon a Star"), the first Disney film to win either category.  To date, only six other Disney films have made this achievement: Mary Poppins (1964), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Pocahontas (1995).

Reissues
With the re-release of Snow White and the Seven Dwarfs in 1944 came the tradition of re-releasing Disney films every seven to ten years. Pinocchio was theatrically re-released in 1945, 1954, 1962, 1971, 1978, 1984, and 1992. RKO handled the first two reissues in 1945 and 1954, while Disney itself reissued the film from 1962 on through its Buena Vista Distribution division. The 1992 re-issue was digitally restored by cleaning and removing scratches from the original negatives one frame at a time, eliminating soundtrack distortions, and revitalizing the color.

Despite its initial struggles at the box office, a series of reissues in the years after World War II proved more successful and allowed the film to turn a profit. By 1973, the film had earned rentals of $13 million in the United States and Canada from the initial 1940 release and four reissues. After the 1978 reissue, the rentals had increased to $19.9 million from a total gross of $39 million. The 1984 reissue grossed $26.4 million in the U.S. and Canada, bringing its total gross there to $65.4 million and $145 million worldwide. The 1992 reissue grossed $18.9 million in the U.S. and Canada bringing Pinocchio'''s lifetime gross to $84.3 million at the U.S. and Canadian box office.

 Modern acclaim
On the review aggregator website Rotten Tomatoes, the film has the website's highest rating of , meaning every single one of the 60 reviews of the reviews from contemporary, to modern re-appraisals, on the site are positive, with an average rating of . The general consensus of the film on the site is "Ambitious, adventurous, and sometimes frightening, Pinocchio arguably represents the pinnacle of Disney's collected works – it's beautifully crafted and emotionally resonant.". On Metacritic, Pinocchio has a weighted score of 99 out of 100 based on 17 critics, indicating "universal acclaim". It is currently the highest-rated animated film on the site, as well as the highest-rated Disney animated film.

Many film historians consider this to be the film that most closely approaches technical perfection of all the Disney animated features. Film critic Leonard Maltin said, "with Pinocchio, Disney reached not only the height of his powers, but the apex of what many critics consider to be the realm of the animated cartoon."

In 1994, Pinocchio was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant". Filmmaker Terry Gilliam selected it as one of the ten best animated films of all time in a 2001 article written for The Guardian and in 2005, Time magazine named it one of the 100 best films of the last 80 years, and then in June 2011 named it the best animated movie of "The 25 All-TIME Best Animated Films".

In June 2008, the American Film Institute revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Pinocchio was acknowledged as the second best film in the medium of animation, after Snow White. It was nominated for the AFI's 100 Years...100 Movies,
and received further nominations for their Thrills and Heroes and Villains (Stromboli in the villains category) lists. The song "When You Wish Upon A Star" ranked number 7 on their 100 Songs list, and the film ranked 38th in the 100 Cheers list. The quote "A lie keeps growing and growing until it's as plain as the nose on your face" was nominated for the Movie Quotes list, and the film received further nomination in the AFI's Greatest Movie Musicals list.

On June 29, 2018, Pinocchio was named the 13th best Disney animated film by IGN. Film critic Roger Ebert, adding it to his list of "Great Movies", wrote that the movie "isn't just a concocted fable or a silly fairy tale, but a narrative with deep archetypal reverberations."

 Legacy

After the film, Jiminy Cricket became an iconic Disney character, making numerous other appearances in a major role, including the film Fun and Fancy Free (1947), educational serials from The Mickey Mouse Club (1955–1977), the featurette Mickey's Christmas Carol (1983), and the video game Disney's Villains' Revenge (1999).

Figaro, Geppetto's kitten, primarily animated by Eric Larson, has been described as a "hit with the audiences", which resulted in him making appearances in several subsequent Disney short films in the 1940s.

Many of Pinocchios characters are costumed characters at Disney parks. Pinocchio's Daring Journey is a popular ride at the original Disneyland, Tokyo Disneyland, and Disneyland Park in Paris. Pinocchio Village Haus is a quick service restaurant at Walt Disney World that serves pizza and macaroni and cheese. There are similar quick-service restaurants at the Disneyland parks in Anaheim and Paris as well, with almost identical names.Disney on Ice starring Pinocchio, toured internationally from 1987 to 1992. A shorter version of the story is also presented in the current Disney on Ice production "One Hundred Years of Magic".

 Cancelled sequel
In the mid-2000s, Disneytoon Studios began development on a sequel to Pinocchio. Robert Reece co-wrote the film's screenplay, which saw Pinocchio on a "strange journey" for the sake of something dear to him. "It's a story that leads Pinocchio to question why life appears unfair sometimes," said Reece. John Lasseter cancelled Pinocchio II soon after being named Chief Creative Officer of Walt Disney Animation Studios in 2006.

Live-action adaptations
 Geppetto

A Disney's made-for-television movie titled Geppetto was released in 2000. It was based on a book by David Stern, which was a re-telling of the original 1883 original Pinocchio book but told from Geppetto's perspective. While not a direct adaptation of the 1940 animated film, it features few commons elements such as the character of Figaro, the song "I've Got No Strings", and Pleasure Island. It stars Drew Carey as Geppetto and Seth Adkins as Pinocchio, and features music and lyrics by Stephen Schwartz.

The movie was in turn adapted into a musical, Disney's My Son Pinocchio: Geppetto's Musical Tale, which premiered at The Coterie Theatre, Kansas City, Missouri in 2006.

 2022 remake

A live-action adaptation directed by Robert Zemeckis who also co-produced and co-written with Chris Weitz, and stars Tom Hanks as Geppetto, Benjamin Evan Ainsworth as Pinocchio, Joseph Gordon-Levitt as Jiminy Cricket, Cynthia Erivo as the Blue Fairy, Keegan-Michael Key as Honest John, Luke Evans as the Coachman and Lorraine Bracco as a new character named Sofia the Seagull. The film was released to the streaming service Disney+ on September 8, 2022.

 In other media
The Silly Symphony Sunday comic strip published an adaptation of Pinocchio from December 24, 1939 to April 7, 1940. The sequences were scripted by Merrill De Maris and drawn by Hank Porter.

 Video games
Aside from the Sega Genesis/Mega Drive, Game Boy, and SNES games based on the animated film, the characters appear in several Disney video games.

Jiminy Cricket appears as a main character in Disney's Villains' Revenge, being player's guide during the progress of the game.

In the Kingdom Hearts series, Jiminy Cricket appears acting as a recorder, keeping a journal of the game's progress in Kingdom Hearts, Kingdom Hearts: Chain of Memories, Kingdom Hearts II, and Kingdom Hearts III. Pinocchio, Geppetto and Cleo also appear as characters in Kingdom Hearts. and the inside of Monstro is also featured as one of the worlds. Pinocchio's home world was slated to appear in Kingdom Hearts 358/2 Days, but was omitted due to time restrictions, although talk-sprites of Pinocchio, Geppetto, Honest John and Gideon have been revealed. As compensation, this world appears in Kingdom Hearts 3D: Dream Drop Distance, under the name "Prankster's Paradise", with Dream world versions of Pinocchio, Jiminy Cricket, Geppetto, Monstro and the Blue Fairy appearing.

Pinocchio, Jiminy Cricket, Geppetto, Figaro, the Blue Fairy, Honest John and Stromboli appear as playable characters in the video game Disney Magic Kingdoms, along with some attractions based on locations of the film. Monstro also appeared temporarily as a non-player character for a Boss Battle during the limited time "Pinocchio'' Event" in which the characters and material related to the film were included. In the game, the characters are involved in new storylines that serve as a continuation of the film.

See also
 1940 in film
 List of American films of 1940
 List of Walt Disney Pictures films
 List of Disney theatrical animated features
 List of animated feature films of the 1940s
 List of highest-grossing animated films
 List of Disney animated films based on fairy tales
 List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
 List of films considered the best

References

"Threads of Melody: Evolution of a Major Film Score" by Ross B. Care in the Library of Congress book, Wonderful Inventions.

Bibliography

External links

1940 animated films
1940 films
1940s children's animated films
1940s American animated films
1940s musical fantasy films
1940s fantasy adventure films
American animated feature films
American children's animated adventure films
American children's animated fantasy films
American children's animated musical films
American fantasy adventure films
American musical fantasy films
Animated films about cats
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Animated films about friendship
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Animated films set in the 19th century
Animated Pinocchio films
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Films about disability
Films about fairies and sprites
Films about father–son relationships
Films about wish fulfillment
Films adapted into comics
Films directed by Norman Ferguson
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Films directed by Wilfred Jackson
Films directed by Jack Kinney
Films directed by Hamilton Luske
Films directed by Bill Roberts
Films directed by Ben Sharpsteen
Films produced by Walt Disney
Films scored by Leigh Harline
Films scored by Paul Smith (film and television composer)
Films set on fictional islands
Films that won the Best Original Score Academy Award
Films that won the Best Original Song Academy Award
Hugo Award for Best Dramatic Presentation, Short Form-winning works
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Pinocchio (1940 film)


Philip Dominic Seghi (March 9, 1909 – January 8, 1987) was an American front-office executive in Major League Baseball. A longtime associate of Gabe Paul, Seghi was credited with signing Pete Rose, the all-time leader in hits, when Seghi was farm system and scouting director of the Cincinnati Reds in 1960.

He was born in Cedar Point, Illinois, to an Italian immigrant family, attended Northwestern University, and was an infielder in minor league baseball during his playing career.

After World War II, Seghi was a manager in the lower minor leagues in 1946–55, working in the Pittsburgh Pirates and Cleveland Indians organizations. After joining the Redlegs (as the Reds were known from 1953 to 1958) as a scout, Seghi succeeded Bill McKechnie Jr. as Cincinnati's farm director after the  season. Serving under Paul and his successor, Bill DeWitt, Seghi remained with the Reds until 1968, a period during which the Reds built a player development organization that provided the foundation for the "Big Red Machine" dynasty.

In 1963, Seghi was promoted by DeWitt to assistant general manager, but a change in ownership and the arrival of Bob Howsam in 1967 as GM caused Seghi to leave Cincinnati for the Oakland Athletics at the close of that season. Led by flamboyant owner Charlie Finley and awash with young talent, the A's also were on the verge of a dynasty, winning five consecutive American League West Division titles (1971–75) and three consecutive AL pennants and World Series titles (1972–74). From 1968 to 1971 Seghi served as Oakland's farm and scouting director and assistant to Finley, who was his own general manager.

By 1972, however, Seghi was back working with Paul as assistant general manager of the Cleveland Indians, and succeeded Paul as the Indians' GM in 1973. His most notable achievement occurred after the 1974 season, when he and owner Nick Mileti appointed Frank Robinson (signed and developed by the Cincinnati farm system of the 1950s) as Major League Baseball's first African-American manager. Seghi would serve 13 full seasons as Cleveland's general manager, but the Indians enjoyed only three above-.500 seasons during that time (,  and ).

Seghi stepped down after the 1985 campaign to become a senior player personnel adviser with Cleveland. He died of cancer in Thousand Oaks, California, on January 8, 1987, at the age of 77.

External links

References

Obituary, The New York Times, January 9, 1987.

1909 births
1987 deaths
Albany Senators players
American people of Italian descent
Baltimore Orioles (International League) players
Birmingham Barons players
Cedar Rapids Bunnies players
Cedar Rapids Raiders players
Cincinnati Reds executives
Cincinnati Reds scouts
Cleveland Indians executives
Dallas Rebels players
Deaths from cancer in California
Fargo-Moorhead Twins players
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Keokuk Pirates players
Major League Baseball executives
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Tallahassee Pirates players
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Phil Seghi


The Traffic Violations Bureau (TVB) is an administrative court of the New York State Department of Motor Vehicles that adjudicates non-criminal traffic violations (other than parking violations) in New York City.

Proceedings

The TVB conducts its proceedings according to the Administrative Adjudication of Traffic Violations regulations in the New York Codes, Rules and Regulations. The National Motorists Association assists motorists and offers attorney referrals to motorists appearing before the TVB.

The DMV TVB is an administrative court that is not part of the judiciary, but an executive agency with different procedures regarding elements ranging from rules of evidence to threshold for conviction. The function of the judge is carried out by an administrative law judge, or ALJ. The sole options are to plead guilty or not guilty: plea bargains are not conducted, nor can the judge reduce a charge, only rule guilty or not guilty on the stated charge. After a guilty finding, the DMV ALJ may impose any penalty authorized by the Vehicle and Traffic Law, including suspension or revocation of a driver's license and/or motor vehicle registration, but not including imprisonment. There is no absolute right to a supporting deposition, and rules on admissibility of hearsay evidence are far more lax than in court. Typically, the hearing consists simply of each side presenting its story, the allowance of hearsay negating the necessity of formalities such as sworn witnesses and the like.

Administrative appeals are made to the DMV Motor Vehicle Appeals Board. There is a fee of $10 for the appeal and $50 for the transcript that must be ordered. Judicial review of the appeal is made under article 78 of the Civil Practice Law and Rules, which is equivalent to a writ or order of certiorari, mandamus and/or prohibition.

Criticisms

Because the rules of evidence, specifically the right of discovery and the admissibility of hearsay, are more lax than in normal court, the TVB system has often been characterized as a difficult or biased one. The absence of an option to plead to reduced charges, traditionally a staple of traffic court, has been especially criticized.

The threshold of conviction is "clear and convincing evidence", in contrast to the general definition of proof beyond a reasonable doubt. This is a lower standard, making conviction easier. Conversely, the argument has been made that the more streamlined process, coupled with the judge being an expert on traffic law, makes for a fairer trial. The concept of administration adjudication was upheld by New York State's highest court, the Court of Appeals, in Rosenthal v. Hartnett,  (1975).

The New York State Department of Motor Vehicles has in the past noted that a 65% conviction rate is required to maintain the financial viability of the Traffic Violations Bureau System (Source: New York State Bar Association Committee on Administrative Adjudication).

History

The TVB is authorized by Vehicle and Traffic Law article 2-A, which was created by chapter 1074 of the laws of 1969 (enacted May 26, 1969, effective July 1, 1970) under Governor Rockefeller. The rationale behind the establishment of this office was to offload the large volume of such cases from the New York City Criminal Court, and also authorized local parking violations bureaus.

Effective April 1, 2013, the Suffolk County Traffic and Parking Violations Agency began adjudicating parking summonses, red light camera citations and moving violations in the five western towns of Suffolk County. Effective July 1, 2015, the Buffalo TVB closed. Effective April 21, 2018 the Rochester TVB closed.

See also
 New York City Parking Violations Bureau
 New York City Office of Administrative Trials and Hearings

References

External links
 Administrative Adjudication of Traffic Violations in the New York Codes, Rules and Regulations
 DMV brochure on the Traffic Violations Bureau

New York (state) state courts
New York state Traffic Violations Bureau
Traffic law
Courts and tribunals established in 1969
1969 establishments in the United States

Traffic Violations Bureau


Gregory Francis Burke (born September 21, 1982) is an American former professional baseball pitcher. He attended Duke University, and played in Major League Baseball (MLB) for the San Diego Padres and New York Mets.

Born in the Marlton section of Evesham Township, New Jersey, Burke played prep baseball at Gloucester Catholic High School.

Amateur career
Burke was selected by the New York Mets in the 42nd round (1262nd overall) of the 2000 Major League Baseball Draft, but opted to play at Duke University from  until .

Professional career

San Diego Padres

On February 27, 2006, Burke signed a minor league deal with the San Diego Padres out of tryout camp. He played with the Atlantic City Surf, then of the Atlantic League in 2005. Burke split the 2006 season with Single-A Fort Wayne, then the Wizards, and High-A Lake Elsinore. Burke started at Lake Elsinore, where in 12 games, he had a 5.79 ERA as a reliever. He was then demoted to Fort Wayne, where as a starter, he went 6–5 with a 3.58 ERA while striking out 87 in 120.2 innings. Burke spent all of 2007 with Lake Elsinore, pitching 4–4 with a 5.23 ERA while striking out 67 in 96.1 innings pitched. Burke pitched 2008 with Double-A San Antonio, where he went 2–7 with a 2.24 ERA with 23 saves while striking out 92 in 84.1 innings. He was a mid-season all star in the Texas League. Burke began 2009 with Triple-A Portland, where he pitched 3–0 in 13 games with a 2.25 ERA. Burke was called up to the Padres' roster on May 15, 2009. In 48 games with the Padres, Burke pitched 3–3 with a 4.14 ERA while striking out 33. Burke spent all of 2010 with Portland, where he had a 5.68 ERA in 53 games while striking out 46. Burke spent all of 2011 with the Padres' new Triple-A affiliate, Tucson, where he pitched in a career-high 64 games, striking out 76 with a 5.70 ERA.

Baltimore Orioles
On February 10, 2012, Burke signed a minor league deal with the Baltimore Orioles. Towards the end of spring training, he was likely to be released, but he told the Orioles director of pitching development Rick Peterson he was experimenting with a sidearm delivery. After throwing a bullpen with him, Peterson liked what he saw, and he was given an opportunity during the season. Burke began the year with Double-A Bowie, where he had a 1.53 ERA in 23 games with 20 strikeouts and 14 saves. Burke was promoted to Triple-A Norfolk, where he pitched 2–1 with a 1.53 ERA in 21 games with 30 strikeouts.

New York Mets
On November 7, 2012, Burke signed a minor league deal with the New York Mets with an invitation to spring training. After giving up 5 runs in 9 innings and striking out 12 in spring training, Burke made the Opening Day roster. In his first appearance, against the Padres, he gave up a run in 0.2 innings. After pitching in both games of a double-header at the Rockies on April 16, he was optioned to Triple-A Las Vegas, and was replaced by Jeurys Familia. In April with the Mets, he went 0–1 with a 7.36 ERA and a .303 OBA. After a month in Las Vegas, he was recalled by the Mets to replace Familia, who went on the disabled list. Burke had a very good May with the Mets, where in 8 appearances, he gave up no earned runs in 7.2 innings with a .172 OBA. He would go down and up three more times before he finished the season with the Mets in September. In 32 games, he went 0–3 with a 5.68 ERA and a .312 OBA, striking out 28 in 31.2 innings. He was outrighted off the roster on October 17, 2013, and elected free agency.

Colorado Rockies
Exactly one year after he signed a minor league deal with the Mets, Burke signed a minor league deal with the Colorado Rockies on November 6, 2013.
Burke also received offers from the New York Mets and Toronto Blue Jays, but he decided to take a minor league deal with the Rockies that allowed him to join them in spring training to try and compete for a job in the bullpen. Burke played in the Blue Jays organization for the 2015 season, and elected free agency on November 6, 2015.

Philadelphia Phillies
Burke signed with the Philadelphia Phillies as a minor league free agent on November 23, 2015. He was released in March 2016.

References

External links

1982 births
Living people
San Diego Padres players
New York Mets players
Baseball players from Camden, New Jersey
Duke Blue Devils baseball players
Gloucester Catholic High School alumni
Major League Baseball pitchers
People from Evesham Township, New Jersey
Sportspeople from Burlington County, New Jersey
Atlantic City Surf players
Lake Elsinore Storm players
Fort Wayne Wizards players
San Antonio Missions players
Portland Beavers players
Tucson Padres players
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Norfolk Tides players
Las Vegas 51s players
Colorado Springs Sky Sox players
Peoria Saguaros players
Yaquis de Obregón players
American expatriate baseball players in Mexico
New Hampshire Fisher Cats players
Buffalo Bisons (minor league) players

Greg Burke (baseball)


The Chevrolet Orlando is a three-row compact MPV manufactured by General Motors under the Chevrolet brand since 2011. The first-generation model was mainly developed and manufactured by GM Korea, while also assembled in four other countries. Its main markets were South Korea, Europe, Canada, Latin America, and several other Asian countries. It was not marketed in the United States.

The second-generation model launched in 2018 is solely built and sold in China by SAIC-GM joint venture, sharing the same platform with the Buick GL6. It also marked the end of Orlando production in South Korea.

First generation (J309; 2010)

Concept

The Orlando concept was unveiled at the 2008 Paris Motor Show and later at the 2009 North American International Auto Show. It was said to be a 5-door, 7-seat vehicle based on Chevrolet Cruze sedan. The concept model features a two-tier grille, headlamps that flow into the front fenders and muscular fender forms that wrap around the wheels, 2.0-litre 4-cylinder turbo-diesel engine rated  and .

In 2010, GM showed the GMC Granite small MPV concept, which is similar to the Orlando.

Production model

In August 2009, at its extended product review, GM previewed the production-spec Orlando and confirmed its production.

The production model was unveiled at the 2010 Busan International Motor Show, followed by the 2010 Paris Motor Show, and the 2013 North American International Auto Show. Production began at the Gunsan assembly plant in South Korea in October 2010. It was sold in South Korea from February 2011, marketed as an "Active Life Vehicle" (ALV), claimed to be the first of its kind.

It is based on the GM Delta II platform mainly used for C-segment vehicles, and closely related with the first-generation Chevrolet Cruze and the third-generation Opel Zafira. Despite being marketed as an MPV, it is designed with a rugged styling similar to crossovers with plastic wheel arches and a boxy stance.

While GM had initially intended to market the Orlando in the United States, they reversed their decision in May 2010. The Chevrolet Orlando was sold in Canada starting in mid-2011 for the 2012 model year. The Orlando was discontinued there for the 2015 model year.

The European model was available from 2011 until 2014 when most of Chevrolet's vehicles, except muscle and sports cars were permanently withdrawn from the European market, except Russia and CIS member nations. Later in 2015, the Chevrolet Orlando was discontinued in the Russian market.

The diesel engine for the Korean market was updated in 2015 to meet the government's Euro 6 requirement. All diesel Chevrolet Orlandos sold in Korea were equipped with a 1.6-litre inline-four CDTi engine outsourced from Opel.

Worldwide production of the first generation Orlando ended in 2018, following its discontinuation by GM Uzbekistan and the closure of the Gunsan plant in South Korea which produced it.

Engines

Canadian models included 2.4-litre direct injection petrol four-cylinder engine. European models include 1.8-litre petrol, 2.0-litre diesel engines. South Korean models include 2.0-litre LPG and 2.0-litre (163PS) diesel engines before update to 1.6-litre Opel diesel in 2015.

Safety

Marketing
As part of the Chevrolet Orlando launch in the UK, a life-sized Play-Doh clay model replica was unveiled in London in 2011.

Second generation (2018)

The second generation Orlando is solely made and sold in China, manufactured by SAIC-GM. It is available in 5- and 7-seater versions. Power comes from a 1.35 L (1,349 cc) turbocharged three-cylinder engine producing  at 5,500 rpm and  between 1,800–4,400 rpm. Optional Redline Package makes engine output to .

Sales

References

External links

 Press kit: Chevrolet Orlando Europe, UK
 Chevrolet Orlando Technical Specification Data (2010–2011 Europe)

Orlando
Orlando
Compact MPVs
Euro NCAP small MPVs
GM Korea vehicles
Cars introduced in 2011
2010s cars

Chevrolet Orlando


Richard Ferdinant Felchlin (October 9, 1888 – January 6, 1960) was born in Stockton, California. He was a civil engineer who designed many of the buildings that give downtown Fresno, California its architectural character. He studied civil engineering at the University of California, then moved to Fresno and entered practice.

Notable buildings
Felchlin and his Fresno company R.F. Felchlin Company (later Felchlin, Shaw, & Franklin) designed many notable Fresno commercial and residential buildings, a number of which are now on the National Register of Historic Places.

Commercial buildings designed by Felchlin and his firm include the San Joaquin Light and Power Corporation Building (1923), the Bank of Italy building (1918), and the California Hotel (1922), which are all on the National Register, and Fresno Pacific Towers (1925) which stood as the tallest structure in the city for 80 years.  A notable residence that is also on the National Register the Kindler home.

See also
List of Registered Historic Places in California#Fresno County

References

1888 births
1960 deaths
20th-century American architects
American civil engineers
People from Stockton, California
Engineers from California

Richard Felchlin


UnitedHealth Group Incorporated is an American multinational healthcare and insurance company based in Minnesota. UnitedHealthcare runs the insurance business.  The healthcare business is called Optum.  It was the world's eleventh-largest company by revenue and the largest healthcare company by revenue, and the largest insurance company by net premiums in 2023.

It was started as  Charter Med in 1974.  It changed its name to UnitedHealth Group in 1988.  It bought EMIS Health in 2022.

Optum runs

 OptumHealth - provides primary and secondary care.
 OptumInsight - provides data analytics, technology, and operations services.
 OptumRX - provides pharmacy services.

UnitedHealthcare

 UnitedHealthcare Employer and Individual - provides health benefit plans and services for large national employers.
 UnitedHealthcare Medicare and Retirement - provides health and well-being services to people over 65.
 UnitedHealthcare Community and State - runs services for disadvantaged people in the USA, paid for by the State governments
 UnitedHealthcare Global - serves 6.2 million people with medical benefits, mostly in Brazil, Chile, Colombia and Peru but also in more than 130 other countries.

References

Healthcare companies of the United States
Companies based in Minnesota

UnitedHealth Group


The Oldsmobile Cutlass Ciera is a mid-size car produced from the 1982 to 1996 model years. The car is similar to the Buick Century, Chevrolet Celebrity and Pontiac 6000. In 1984, a wagon version was introduced as the Cutlass Cruiser.

In 1996 Cutlass name was dropped and sold as the Oldsmobile Ciera.

Oldsmobile automobiles
1980s automobiles
1990s automobiles
Coupes
Sedans

Oldsmobile Cutlass Ciera


The Union automobile was a vehicle manufactured by the Union Automobile Company from 1902 until 1905. It was designed by John William Lambert, who had developed the three-wheel Buckeye gasoline buggy in 1891. Over the next decade, Lambert substantially refined the vehicle, with modifications including an additional wheel, a more powerful engine, and a new transmission system. The Union Automobile Company was formed as a subsidiary of Lambert's Buckeye Manufacturing Company solely to manufacture the Union, which took its name from Union City, Indiana, the city where it was built and which endorsed its production. In total, the company built over three hundred Union automobiles, before development shifted to the Lambert automobile, the Union's successor.

Development

The Union automobile was a modified design of a previous single-cylinder vehicle that John William Lambert had started producing in 1891 in Union City, Ohio. Experimental models were produced in 1898, 1900, and 1901; the 1900 model was the first to feature Lambert's new transmission system. Lambert, who had over six hundred patents for automobile-related parts, secured favorable concessions from the Union City chamber of commerce, in return for the vehicle being named after the city. It would be produced there by the Union Automobile Company from 1902 until 1905.

Manufactured from parts made by the Buckeye Manufacturing Company in Anderson, Indiana, the Union had entered full production by 1902, but improvements to the design were made yearly. In 1903, the motor, which consisted of a pair of opposed 6 x  cylinders, was moved from the front, where it had been initially placed, to the rear. In 1904 and 1905, five-seater tonneau models were produced; while the 1904 model had a 10 horsepower engine, the company produced 12 and 16 horsepower versions the following year.

Manufacturing of the automobile was moved from Union City to Anderson in 1905. Late that year, the car was redesigned, and production was started again under a new name: the Lambert automobile, while production of the union stopped entirely. In total, the company had manufactured 325 vehicles between 1902 and 1905 (25 in 1902, 50 in 1903, 100 in 1904, and 150 in 1905).

Vehicle specifications

The operator of the Union automobile controlled the steering wheel with his right hand and the speed-changing lever, which allowed two speeds for forward movement and one for reversing, with his left. The variation in speed was permitted by the motor, which could be varied from 150 to over 1,500 revolutions per minute. The top speed of the automobile was . The gasoline tank, which was hidden in the back of the seat, had a capacity sufficient to run the automobile for  to . The left foot controlled the handbrake; by throwing the transmission system into reverse, it operated as an emergency brake. This novel transmission system, which was connected by double chain to the rear wheels, was gearless, eliminating the jarring movements then associated with gear changes.

The automobile's motor was devised by Lambert. Started by dry cell batteries, the four-cycle gasoline engine had two opposed cylinders that produced an initial eight horsepower. Both cylinders acted on one crankshaft, producing a balanced engine. After the engine was started, an electric magneto generator sparked the combustion of the gasoline in the cylinders to keep the motor in operation. A gear from the camshaft drove a circulating pump which water-cooled the engine by means of a large radiator coil.

The automobile, which had a  wheelbase and a  axle track, was equipped with  wheels and  wide pneumatic tires and enameled sheet steel mud guards; kerosene oil lamps were additionally provided for evening travel. In 1902 and 1903, a front seat was provided for two people, which could be closed up and the vehicle then used as a four person runabout vehicle. It cost $1,250 , with the option of a $25 dos-à-dos (rear-facing) seat which converted the car into a six-passenger vehicle.

The final model produced by the Union Automobile Company was a 1905 Model E. Fitted with a detachable side entrance tonneau body, which sat three people, the car was upholstered to a high standard: genuine leather was used in combination with a soft insulation material and springs in both the seat cushions and the back. It could hold up to five passengers, and was equipped with two oil lamps, a horn, and necessary maintenance tools, for a total price of $1200  ($1125 without the tonneau).

See also
 Lambert Automobile Company
 Lambert Gas and Gasoline Engine Company

Footnotes

Sources

Further reading

 Bailey, L. Scott, Historic Discovery: 1891 Lambert, New Claim for America's First Car, Antique Automobile magazine, Vol. 24, No. 5, Oct–Nov 1960
 Biography of John W. Lambert, written by his son January 25, 1935 — obtained from the Detroit Public Library, National Automotive History Collection
 Dittlinger, Esther et al., Anderson: A Pictorial History, G. Bradley Publishing, 1990,
 Dolnar, Hugh, Automobile Trade Journal, article: The Lambert, 1906 Line of Automobiles, Chilton Company, v.10 January 1906
 Huffman, Wallace Spencer, Indiana's Place in Automobile History in Indiana History Bulletin, vol 44, no. 2, Feb. 1967; Indianapolis, Indiana Historical Bureau
 Huhti, Thomas, The Great Indiana Touring Book: 20 Spectacular Auto Tours, Big Earth Publishing, 2002,
 James, Wanda, Driving from Japan, McFarland, 2005,
 Madden, W. C., Haynes-Apperson and America's First Practical Automobile: A History, McFarland, 2003,
 Scharchburg, Richard P., Carriages Without Horses: J. Frank Duryea and the Birth of the American Automobile Industry, SAE, 1993,

Brass Era vehicles
Cars introduced in 1902
Anderson, Indiana
1900s cars

Union (automobile)


The Seven Circles Act, 1874, was an act of the Cape Parliament that divided the Cape Colony into seven provinces (or "circles") for the Legislative Council elections.

Previously, the country had been divided into two large provinces, the Western and the Eastern Provinces, which had led to decades of polarisation and competition. The act was important in that it ended the bitter political schism that had divided the Cape for much of the 19th century. It formed part of the 1874 Constitutional Amendment Bill.

Background

The Parliament of the Cape of Good Hope was bicameral, with a lower house (Legislative Assembly) and an upper house (Legislative Council). The latter had considerable power and influence on the lower house, and was elected according to two large provinces:
 The Western Province,  centred on Cape Town
 The Eastern Province,  centred on Port Elizabeth

The Western Province

The Western Province was larger, and was the seat of the country's capital city, Cape Town, however the electoral system gave the two entities near equal political power. (The Western province had only two more seats than the Eastern, though its voting population was very much larger.) The result was political competition, which gradually evolved into growing regional political parties, and then into severe polarisation between the two provinces. The instability of the system often paralyzed government.

The Eastern Province

In fear of dominance by Cape Town, the Eastern Province leaders came to demand greater British Imperial control, and a long-running separatist movement arose. Persistent disputes included frontier issues, with the Eastern Province leaders favouring a far harsher and more expansionist policy towards the neighbouring Xhosa people. The Western Province was dominated by liberals who were less expansionist and were accused by Eastern leaders of favouring the Xhosa in their frontier policy. The deadlock and regional polarisation was complicated by the division between the Eastern towns of Port Elizabeth and Grahamstown, which began competing for political dominance within the Eastern Province.

Earlier political developments

Representative government (1854–1872)

The Cape at the time ran a system of representative government, whereby the legislature was elected, but executive power remained firmly in the hands of an unelected British Governor, who was appointed by the British Colonial Office. A resulting lack of accountability led to budget mismanagement and economic stagnation. Distrust of the Governor also led to a deadlock between the elected parliament and the unelected executive. Popular distrust also scuppered Governor Wodehouse's prior attempt (1869) to redraw the electoral districts (this was to be done by abolishing the lower house and establishing a system of alternating councils with 6 electoral districts and greater British control of nominations).

Responsible government (1872)

A movement began in the Western Province to make the Executive elected and therefore accountable (or "responsible") to the local electorate. This movement for "Responsible Government" was opposed by the Eastern leaders who feared Western Province domination (as well as by conservatives in the West). However, the split in the Eastern Province party between Grahamstown and Port Elizabeth, together with the mobilisation of small but growing electoral minorities such as Black African voters (who generally supported the Western Province party), allowed the Western-based leader John Molteno to institute Responsible Government in 1872.

Factors favouring the change
From the outset, a serious problem was that the two constituencies were geographically so enormous, that it was practically impossible for any candidate to canvas the electorate across a significant area of their province. Such impracticalities, as well as irregularities that caused just two cities (Cape Town and Grahamstown) to account for over 50% of the electoral strength in their respective provinces, meant that interest in the Council elections was minimal.

Therefore, while the Council wielded significant power in the country, it was correctly perceived to be remote and far-removed from the electorate. It was also widely seen as unaccountable.

In addition, the demographics of the country had substantially changed since the original provinces were constituted, in size, in economic development, and in distribution. The two provinces were therefore even more impractical as electoral districts.

However the primary reason that the change was proposed, was the aforementioned polarisation which resulted from having only two provinces of near equal power.

Passing of the bill (1873–74)

In April 1873, Molteno (now the country's first Prime Minister) put forward the Seven Circles Bill for the first time. His government's declared policy of fighting racial and regional divisions in the country led it to believe that the only way to dilute the two-way regional polarisation was to re-draw the country's electoral divisions. The inadequacy of the current system was widely acknowledged and the act passed in the Legislative Assembly with a large majority. However in the upper house the Council's president used his casting vote to throw the bill out.

In May 1874, the act was reintroduced. The Easterners were led by "Jock" Paterson in the Assembly, and by "Moral Bob" Godlonton in the Council. Both fought the bill unsuccessfully. It was once again carried by a large majority in the Assembly and, on reaching the upper house, was passed with a comfortable majority this time.

The final objection raised by the remaining Eastern Province leaders was that the resulting upper house would in no way resemble the British Westminster House of Lords model.
The government's response was that the Cape did not possess, nor should it strive to possess, Lords or any other form of hereditary aristocracy. Molteno himself argued that the Council had a very real authority and power over the country, and that "...it is a serious danger for a body with so much power to be out of touch with the people."
It was therefore necessary to build a connection with the electorate "…so real as to excite the interest of the masses of the people." For "…the greater the interest of the people in their representatives and the closer they are in touch with them, the more valuable are the results of representative institutions likely to prove."

Though the act passed into law in 1874, the first election to take place under the new system was only in November 1878.

Provisions

The act divided the Cape of Good Hope into seven electoral provinces (or "circles"), with each being entitled to elect three representatives to the Legislative Council.

In subdividing the country, Molteno had decided that seven was a sufficiently high number to allow for stable disagreement between the divisions, without causing lasting polarisation. He had insisted on an uneven number so as to avoid political deadlock, and had rejected an earlier suggestion of three, as it would allow for a persistent marginalisation of one of the three.
A proposal for five was worked out in details but more minor objections were raised, and in the end it was decided that seven was the ideal number so as to ensure stability.

The change, together with the overall rising prosperity of the country, finally ended the regional rivalry between East & West, and put an end to the ongoing Separatist movement of the Eastern Province.
In effect, it also ended the Western Province's political hegemony over the country, by dispersing the electoral entities.

The effects were also to eliminate the previous disproportionate advantage which the towns of Cape Town and Grahamstown had wielded under the previous system, whereby they had secured an unfairly large proportion of the votes, relative to their population.

In electing members, the voter was given three votes, which could be all given to one candidate, or distributed to three candidates. This was intended to secure the representation of minorities.

Representatives were elected for seven years (as opposed to the ten years under the previous system) and were to be voted in simultaneously at one time. The Presidency of the Legislative Council was still to be taken by the country's Chief Justice.

References

Repealed South African legislation
History of South Africa
Governance of the British Empire
Legal history of South Africa
Political history of South Africa
Former subdivisions of South Africa
Former provinces of South Africa
1873 in the Cape Colony
1874 in the Cape Colony
19th century in the Cape Colony
Politics of the Cape Colony
Law of the Cape Colony
Election legislation

Seven Circles Act


Armenian Genocide Martyrs' Memorial (; ) in Deir ez-Zor, Syria, was a complex dedicated to victims of the Armenian genocide. The construction of the Martyrs' Memorial started in December 1989 and was completed in November 1990. It was consecrated on 4 May 1991 by Catholicos Karekin II of the Armenian Catholicosate of Cilicia. The memorial complex served as church, museum, monument, archive centre and exhibition. It was under the direct administration of the Armenian Prelacy, Diocese of Aleppo. Every year, on 24 April, tens of thousands of Armenian pilgrims from all over the world visited the Deir ez-Zor complex to commemorate the genocide victims, with the presence of their religious leaders.

On 21 September 2014, the memorial complex was blown up, reportedly by members of Islamic State of Iraq and the Levant.

Background
Deir ez-Zor was designated as the final destination point of the Armenian refugees who were driven out from their lands into a long march within the Syrian desert. That point of the desert was the site of the annihilation of the remaining refugees who were forced by the Ottoman Turks to death marches. Those major killing centres in the region came to be known as Deir ez-Zor camps.

The location of the memorial was a plot of land which had been used as a burial site and concentration camp, and site of execution during the genocide. Later, through the efforts of the Armenian community in Deir ez-Zor, a small chapel dedicated to Saint Hripsime was built in the same place. The new memorial complex replaced this older structure. By the initiative of the Armenian Apostolic Church, Diocese of Aleppo, the ground-blessing ceremony took place on 12 May 1985.

The Genocide Memorial was a large, freestanding sculptural work. At its base the remains of genocide victims were buried. The complex consisted of a circular glass display of genocide victims' remains, out of which a white-marble tower was grown, flanked by khachkars (cross-stones).

The complex

The Wall of Friendship

The architecture of the edifice was designed to immortalize the memory of the innocent martyrs. It consisted of a main entrance, through which one went up to the courtyard with stairs that symbolize the horrible catastrophes and disasters that the Armenian nation was subjected to, but without surrendering to pains, they continued to live proudly and with self-esteem. The facade of the main entrance from inside was decorated with pigeon and crosses to express the struggle and sacrifice to achieve peace. On the right side of the courtyard there was the Wall of Friendship which was decorated with different Arabesque and Armenian-style inscriptions as a kind of symbolic expression of the close ties between these two nations. The two continuously flowing springs on this wall mentioned to the inexhaustible life and donation.

The Monument
Opposite to the main entrance a huge monument was constructed for the memory of the Armenian martyrs. A cross-stone, which was brought from Armenia, was placed on this monument. In front of the monument, the eternity fire burnt continuously. On both sides, one could see five samples of different Armenian genocide monuments found in the whole world. On the left side of the monument there was the memorial wall which carried a number of cross-stones ornamented with beautiful Armenian decorations.

The Church and the Museum
The main structure of the complex, the church with its museum, was constructed on the left side of the courtyard. The church pointed upwards to embrace the sky with pride and glory. Underneath the church was a hall from which a huge column, the Column of Resurrection, rose up, passing through the middle of the church. Around the base of the column were the remnants of victims of the genocide, bones that were dug from the Syrian desert, placed to act as a witness of the death marches. The column referred to the struggle and the revival of the Armenian nation. The hall acted as a small museum, containing books, publications and documentary photographs exhibited to narrate the story of the sufferings during the genocide.

Destruction
On 21 September 2014, the memorial complex was blown up. Most reports blamed the destruction on militants belonging to Islamic State of Iraq and the Levant. However, Shahan Sarkisian, Prelate of Aleppo, said that the identity of the perpetrators "is not verified", and pointed out that, unlike other examples of demolitions by Islamic State, there was no attempt to disseminate footage of the destruction. Robert Fisk wrote that fighters from Jabhat al-Nusra appeared to be the culprits. Commenting on this, Sam Hardy pointed out that Islamic State was in control of Der Zor at the time of the memorial's destruction but that it was possible the act was committed by former Jabhat al-Nusra fighters now serving under the flag of Islamic State.

Aram I, Catholicos of the Armenian Catholicosate of the Great House of Cilicia of the Armenian Apostolic Church, condemned the destruction of the Armenian Church in Syria. According to the Catholicos, it was a specifically planned crime aimed against the Church that was dedicated to the memory of the victims of the Armenian Genocide as well as against the museum affiliated with the church. "We view this atrocity, committed in the run-up to the Armenian Genocide centennial and on the 23rd anniversary of Armenia's independence, as an act of barbarism", said Aram I.

Gallery

See also

 Deir ez-Zor
 Fadel Al-Aboud
 Haj Fadel Government
 Deir ez-Zor Camps
Church of the Holy Mother of God (Aleppo)
Death march
Holy See of Cilicia
List of Armenian genocide memorials
Armenian Apostolic Church
Armenian genocide
Armenians in Syria
Destruction of cultural heritage by ISIL

References

External links

 Official site of the Armenian Catholicosate of Cilicia
 Armenian Prelacy of Beroea (Aleppo, Syria)

Armenian Apostolic churches in Syria
Armenian genocide commemoration
Armenia–Syria relations
Churches completed in 1991
20th-century churches
Buildings and structures in Deir ez-Zor
Buildings and structures demolished in 2014
Churches destroyed by Muslims
Buildings and structures destroyed by ISIL
1991 establishments in Syria
Destroyed churches in Syria

Armenian Genocide Memorial Church, Der Zor


Alfred Newman (March 17, 1900 - February 17, 1970) is an American composer, arranger and conductor of film music.

Early life
Newman was born in New Haven, Connecticut to Russian-Jewish parents who emigrated shortly before his birth.

Film scoring career

1930s
Soon after Newman arrived in Hollywood in 1930 and finished directing the score for Reaching for the Moon, producer Samuel Goldwyn offered him a contract to continue on as a movie composer.

Death
Newman died on February 17, 1970 at the age of 69, a month shy of his 70th birthday, at his home in Hollywood, from complications of emphysema.

Legacy
During his career, Newman was regarded as one of the most important, most influential and most respected in the history of film music.

Partial filmography
Between 1930 and 1970, Alfred Newman wrote music for over 200 films of every imaginable type, including a score for the newsreel made from the World War II footage of the Battle of Midway.

Newman family
He married Martha Louise Montgomery, a former actress and have five children, David Newman, Thomas Newman and Maria Newman.

References

Other websites

1900 births
1970 deaths
American movie score composers
Deaths from emphysema
Grammy Award winners
Jewish American musicians
Musicians from New Haven, Connecticut
Vaudeville performers
Warner Bros. Records artists
Writers from New Haven, Connecticut

Alfred Newman


Jamie Alexander Lidderdale (born 18 September 1973), known professionally as Jamie Lidell, is an English musician, soul singer and podcast host. Lidell was formerly a part of Super Collider. He lives in Nashville, Tennessee.

Career
Lidell is known for layering tracks made with his voice into a microphone and performing the percussion and melody as a sequenced, beatboxing one-man band. Then over his augmented voices, he sings soul-inspired songs. This exercise makes for energetic live performances. Lidell has become renowned for his diverse range of genre-exploration. Following the release of his 2008 album, Jim, Lidell commented, I want it to be about music, I think every musician does. But I think inevitably it ends up becoming about personality, which is what gives rise to the music, so people want to make sure that they get a bit of both. The more things do well, the more people want to know why it does well.

His song "Multiply" was used on the television show Grey's Anatomy, and was also included on its second soundtrack. Another song from his album Multiply, "A Little Bit More", was featured in a series of commercials for the U.S. retailer Target.

He often collaborates with Canadian musicians such as Gonzales, Feist and Mocky. In 2009 he collaborated with British electronic duo Simian Mobile Disco for the song "Off the Map". In 2006, he was part of a live performance collaboration with David Link and F. M. Einheit, which was released on CD as Echohce.  In 2001, he provided vocals for the Lo Fidelity Allstars track "Deep Ellum...Hold On", from their CD Don't Be Afraid of Love.

In early 2009, Lidell's Jim won in the 8th Annual Independent Music Awards for Best Pop/Rock Album.

In 2009, he contributed a cover of Grizzly Bear's song "Little Brother" to the Warp20 (Recreated) compilation, as well as having his song "A Little Bit More" covered by Tim Exile.

In March 2010, Lidell announced that he was releasing a new album entitled Compass which was produced by fellow musician and occasional collaborator Beck. The album was released in May 2010. The title track is featured in the Rockstar video game Red Dead Redemption.

Lidell was the co-writer and vocalist for the Simian Mobile Disco track "Put Your Hands Together", from their 2012 album Unpatterns.

On 18 February 2013, Lidell released his self-titled album Jamie Lidell to critical acclaim. It saw him return to his live one-man show set up. He was also featured in Atom™'s track "I Love U (Like I Love My Drum Machine)" featured on his album HD (released on 26 March 2013).

In February 2015, Lidell was featured on Big Data's song "Clean", also featured in Pro Evolution Soccer 2017 as soundtrack.

Jamie's seventh studio album Building a Beginning was released on 14 October 2016 featuring the lead single "Walk Right Back".

He is also the host of the podcast Hanging Out With Audiophiles, a show about recording techniques and the creative process, often featuring interviews with other musicians.

Personal life
Lidell married his long-term girlfriend, Lindsey Rome, in the summer of 2012 in Nashville. Their son, Julian, was born in November 2015.

Discography

Albums

EPs
Freekin the Frame (1997)
3 4 U (2020)

References

External links
Official website

1973 births
Living people
English emigrants to the United States
English male singers
People from Huntingdon
Independent Music Awards winners
Musicians from Cambridgeshire
English funk musicians
21st-century English singers
21st-century British male singers
Warp (record label) artists

Jamie Lidell