One Day You Will Ache Like I Ache is a collaborative studio album between American extreme metal bands the Body and Full of Hell. The album was released on March 25, 2016, though Neurot Recordings—a label founded by members of Neurosis and Tribes of Neurot. The title, One Day You Will Ache Like I Ache, is a nod to the lyrics of the 1994 Hole song, "Doll Parts". The album was also listed on Consequence of Sound's most anticipated 2016 metal releases.

Background
Following the success of their 2014 collaborative album Full of Hell & Merzbow, Full of Hell began planning other collaboration projects for the future, including one with the Body. In a March 2015 interview with Full of Hell vocalist Dylan Walker, he said: "[It'll] be a really cool thing, and again The Body are another band who are, really, kind of outside the metal scene. It'll be something pretty unexpected; we're actually on tour with them when we get back from Japan, and it's going to be kind of cool because we're going to record the collaboration, without writing anything, right at the end of the tour. I'm really excited to see what we're going to come up with."

In February 2016, the Body and Full of Hell made the closing track "The Little Death" available for online streaming to promote the album. The title is a reference to the French saying "la petite mort," which translates to "the little death" and used to be a reference to a fainting fit but in modern times is used to describe the sensation after an orgasm. The track concludes with an audio sample from the 2010 HBO film You Don't Know Jack starring Al Pacino as the physician-assisted suicide activist, Jack Kevorkian. Weeks later, the group streamed the track "The Butcher"—a song originally written and recorded by Canadian folk musician Leonard Cohen and originally released on his 1969 second studio album, Songs from a Room. On the week of One Day You Will Ache Like I Ache'''s release, the collaborative group released a music video for the track "Fleshworks".

Both bands will tour together in support of One Day You Will Ache Like I Ache'' starting with an April 2016 European tour.

Reception
Upon its release the album was met with widespread acclaim with many reviewers praising the cohesive collaboration between the two bands. At Metacritic, the album received an average score of 78, based on 6 critics, which indicates "generally favourable reviews". JJ Anselmi from The A.V. Club wrote, "While other groups that release so much material typically lapse into mediocrity at some point, both of these bands are seemingly inexhaustible wells of brilliance."

In a review for Pitchfork Media, writer Colin Joyce lauded the collaboration as a success saying, "Even as they explore alien aesthetics, the Body and Full of Hell are constantly finding ways to uphold the spirit of each other's work."

Track listing
 "One Day You Will Ache Like I Ache" – 4:09
 "Fleshworks" – 2:55
 "The Butcher" (originally by Leonard Cohen) – 5:39
 "Gehorwilt" – 3:10
 "World of Hope and No Pain" – 0:40
 "Himmel Und Hölle" – 5:55
 "Bottled Urn" – 4:13
 "The Little Death" – 5:00

Bonus tracks
 "Cain" – 6:30
 "Abel" – 4:47

Personnel
 Chip King – guitars, vocals
 Lee Buford – drums, programming
 Dylan Walker – vocals, electronics, noise
 Spencer Hazard – guitar, noise
 David Bland – drums
 Brandon Brown – bass

References

2016 albums
The Body (band) albums
Full of Hell (band) albums
Neurot Recordings albums
Collaborative albums

One Day You Will Ache Like I Ache


John W. Mullen (September 30, 1924 – April 3, 1991) was an American Major League Baseball executive from 1947 to 1991 with the Boston / Milwaukee / Atlanta Braves and the Houston Astros. Born in Maine, Mullen served as the farm system director and head of minor league operations with the Milwaukee/Atlanta Braves from  to .

In , Mullen became the executive assistant to the general manager of the Houston Astros. He served as acting general manager from July 10 to August 7, 1975, when Tal Smith assumed the permanent GM role. He remained with Houston until .

Mullen then returned to the Braves as their general manager in May 1979 after the sudden death of Bill Lucas. Led by sluggers Dale Murphy and Bob Horner, the Braves won the  National League West Division championship during Mullen's tenure in this position.

After being replaced by Bobby Cox in 1986, Mullen served as vice president and assistant general manager of the Braves until 1990. John Mullen died at age 66 in West Palm Beach, Florida, on Wednesday, April 3, 1991, having been found dead in his hotel room that morning. He was survived by his wife, Clair; a daughter, Kathleen; and two sons, Christopher and Richard.

Said Cox upon Mullen's death, "John had been with the Braves since their Boston days. No one has done more for the Braves than John Mullen. We'll all miss him."  The Braves wore his initials, JWM, on the right sleeves of their jerseys during the 1991 season.

References

External links
Baseball America.com
Social Security database
Death info

Atlanta Braves executives
Boston Braves executives
Milwaukee Braves executives
Houston Astros executives
Major League Baseball executives
Major League Baseball general managers
1991 deaths
1924 births

John Mullen (baseball executive)


Paul Hirsch (17 November 1868 – 1 August 1940) was a German politician and a member of the Social Democratic Party who served as Prime Minister of Prussia from 1918 to 1920.

Life
Hirsch was born in Prenzlau, Brandenburg. He attended the Evangelisches Gymnasium zum Grauen Kloster in Berlin and went on to study medicine, social sciences and economics at the Frederick William University. From 1892 he worked as a professional writer and journalist. He joined the Social Democratic Party and in 1899 was elected municipal councillor in the then independent town of Charlottenburg. From 1908 he was one of the first Social Democratic members of the Prussian House of Representatives and served as head of the SPD parliamentary group.

During the German Revolution of 1918–19, Hirsch together with the USPD politician Heinrich Ströbel became chairman of the provisional government of the Free State of Prussia (Rat der Volksbeauftragten) and also served as Interior Minister. On 4 January 1919 he dismissed the USPD chief of police Emil Eichhorn, which sparked the Spartacist uprising.

Hirsch supported the Greater Berlin Act of 1920. He resigned from his post after the Kapp Putsch, but remained a member of the Prussian Landtag until 1932. He served as a borough councillor in Charlottenburg and from 1925 as mayor in Dortmund. Forced to retire after the Nazi Machtergreifung in 1933, Hirsch moved back to Berlin where he died in poverty in 1940.

He was mentioned by name as one of the Jewish politicians who undermined the Weimar Republic in the 1940 Nazi propaganda film Der Ewige Jude produced by Fritz Hippler.

References

1868 births
1940 deaths
People from Prenzlau
Jewish German politicians
Jewish socialists
Members of the Prussian House of Representatives
Politicians from the Province of Brandenburg
Social Democratic Party of Germany politicians
Prime Ministers of Prussia
Humboldt University of Berlin alumni
Mayors of Dortmund
Interior ministers of Prussia

Paul Hirsch (politician)


ActivePerl is a distribution of Perl from ActiveState (formerly part of Sophos) for Windows, macOS, Linux, Solaris, AIX and HP-UX.

A few main editions are available, including: Community (free, for development use only), and several paid tiers up to Enterprise that includes support for OEM licensing. It includes a version of the Perl package manager (PPM) for installing packages from CPAN, etc.

The Windows version includes an Active Scripting component for Windows Script Host (WSH) called PerlScript and an ISAPI module for embedding within Internet Information Services (IIS).

PerlScript
PerlScript was initially solely an ActiveX Scripting Engine produced by the company ActiveState for use with Microsoft's Internet Information Services (IIS) that allows for programmers to use Perl-based code in addition to, or in place of, VBScript or JScript in the context of web servers running the ASP protocol. Subsequently Apache::ASP was created for the Apache web server, which allows for coding with only Perl, but neither VBScript nor JScript. PerlScript can also be used to write Windows Script Host-based programs, similar to VBScript.

Standalone PerlScripts can be executed if they are created with the file extension .pls, in which case they do not require enclosing XML, e.g.
use strict;
our $WScript;
$WScript->Echo("Hello, world!");
.pls files do not gain access to drag and drop WSH functionality.

PerlScripts which have the extension wsf require XML tags which specify the job id and script language, e.g.
<Job ID="DropFiles">
<script language="PerlScript">
    use strict;
    our $WScript;
    $WScript->Echo("Displaying names of dropped files");
    my $arg = $WScript->{Arguments};
    my $countArgs = $arg->{Count};
    for (my $i=0; $i<$countArgs; $i++)
    {
        $WScript->Echo($arg->Item($i));
    }
</script>
</Job>
wsf PerlScripts gain access to WSH drag and drop functionality, similarly to Perl Droplets in the now-obsolete MacPerl.

Most WSH objects are available via the implicitly created $WScript object.

See also

 ActivePython
 ActiveTcl

References

External links

 Introduction to PerlScript
 PerlScript FAQ at ActiveState

Perl
Perl software
Scripting languages

ActivePerl


Wonder Man (Simon Williams) is a fictional character. He appears in American comic books published by Marvel Comics. It was created by writer Stan Lee and artists Don Heck and Jack Kirby. He first appeared in The Avengers #9 (October 1964).

The character, who was introduced as a supervillain with "ionic" energy, fought the Avengers. After a series of events, he was reborn as a superhero joining the team against which he originally fought.

Wonder Man will make his debut in the upcoming Disney+ series of the same name set in the Marvel Cinematic Universe, and will  be played by actor Yahya Abdul-Mateen II.

Marvel Comics superheroes
Avengers (comics) characters

Wonder Man


Dr. Charles Limb is a surgeon, neuroscientist, and musician at the University of California, San Francisco (UCSF) who has carried out research on the neural basis of musical creativity and the impact of cochlear implants on music perception in hearing impaired individuals. As an otologic surgeon and otolaryngologist, he specializes in treatment of ear disorders.

In his research, he has focused on imaging the brains of jazz artists as they improvise in the fMRI. He has worked under the assumption that improvisation is important to creativity more generally, and creativity is vital to basic problem-solving, evolution, and survival.

Academic background
Limb teaches at UCSF, where he is the Francis A. Sooy Professor of Otolaryngology–Head and Neck Surgery, and the Chief of the Division of Otology, Neurotology and Skull Base Surgery at UCSF. In addition, he holds a joint faculty appointment in the Department of Neurological Surgery and is the Director of the Douglas Grant Cochlear Implant Center.

He earned his bachelor's degree at Harvard University, where he directed a jazz band. Later he attended the Yale University School of Medicine, where he played jazz in New Haven restaurants. After graduating from medical school in 1996, he completed a surgical internship in General Surgery,  a residency in Otolaryngology–Head and Neck Surgery, and a subspecialty fellowship in Neurotology at  Johns Hopkins Hospital in Baltimore. He also completed one postdoctoral research fellowship at the Center for Hearing Sciences at Johns Hopkins with Dr. David Ryugo, where he investigated the development of the auditory brainstem, and a second at the National Institutes of Health, where he used fMRI devices to image brain activity when jazz musicians improvise music. He joined the faculty of Johns Hopkins Hospital in 2003, where he remained until 2015,  as Associate Professor of Otolaryngology–Head and Neck Surgery. During this time, he was also a Faculty Member at the Peabody Conservatory of Music and the Johns Hopkins University School of Education, as well as Scientific Advisor to the Baltimore Symphony Orchestra.

Research
Limb has stated that he wants to know what went on in John Coltrane's head when he improvised masterpieces on the saxophone. He has researched creativity with jazz musicians because they can improvise on cue, even in the laboratory conditions of an fMRI.  In several experiments, he has captured moving pictures of their brain activity as they create.

In one, he found that improvising musicians showed: 1) deactivation of the dorsolateral prefrontal cortex, which among other functions acts as a kind of self-censor, and 2) greater activation of the medial prefrontal cortex, which connects to a brain system called the "default network." The default network is associated with introspective tasks such as retrieving personal memories and daydreaming.  It has to do with one's sense of self.

In another experiment, he and his team demonstrated that when two jazz musicians are "trading fours," that is, having an interactive musical conversation, they utilize brain areas important in linguistic grammar and syntax. The finding suggests that these regions process auditory communication generally, rather than just for spoken language.

Limb also investigated the relation of emotion to creativity. He asked jazz musicians in the fMRI to improvise music they felt corresponded to the emotions in photos of a sad, neutral, and happy woman. He found that when musicians responded to happy photos, the dorsolateral prefrontal cortex deactivated much more than in the other conditions. The study also asked why we feel pleasure in sad music, and found that while musicians showed more frontal deactivation and deeper flow states when responding to the happy photos, the creation of sad music elicited a stronger visceral experience and greater activity in the brain's reward centers.

In addition, he has researched music perception in deaf individuals with cochlear implants. As a temporal bone surgeon, he places these devices in patients, and the implants let them hear speech well, but they have trouble perceiving elements of music such as harmony and timbre, as well as performing higher integration. He has recommended training programs and technological innovation to overcome this deficit. Limb has also examined the creativity of composers such as Beethoven and Smetana, who became deaf as adults yet continued to write great music, and he has written about the fact that Thomas Edison invented the phonograph despite his loss of hearing.

Publications and editorships
Limb is the former Editor-in-Chief of Trends in Hearing (then called Trends in Amplification), the only journal focused on hearing aids and other auditory amplification devices, and an Editorial Board Member of the journals Otology & Neurotology and Music and Medicine. He has authored over 75 manuscripts, including magazine articles.

Speeches
He has given two TED talks. In the first, "Your Brain on Improv," he showed how during jazz improvisation the brain deactivates the dorsolateral prefrontal cortex and activates the medial prefrontal cortex. In the second, "Building the Musical Muscle," he described restoring music perception in the deaf and focused on the challenges faced by cochlear implant users when trying to process music.  He has also been a featured panelist at the Sundance Film Festival, and he has spoken about his work internationally in Europe, Asia, Australia, and Canada.

Other media appearances
Among the media outlets and organizations that have featured his work are the New York Times, CNN, PBS, National Geographic, Scientific American, the BBC, the Smithsonian Institution, National Public Radio, the Library of Congress, the American Museum of Natural History, the Kennedy Center, the Baltimore Symphony Orchestra, and the Canadian Broadcasting Company.

Awards and honors
Limb won the 2004 Resident Teaching Award at Johns Hopkins Hospital, has been named one of the "Top Doctors in Baltimore" in 2007 in Baltimore magazine, and has had the American flag flown over the U.S. Embassy in Baghdad in 2011 in his honor, in recognition of his war efforts. Most recently, in 2016, he won the UCSF Department of Otolaryngology–Head and Neck Surgery Resident Teaching Award.

References

External links
Charles Limb, MD

American neuroscientists
Living people
Year of birth missing (living people)
Harvard University alumni
University of California, San Francisco faculty
Yale School of Medicine alumni

Charles Limb


Mikhail Osipovich Eisenstein (, ;  – 2 July 1920) was a civil engineer and architect working in Riga, the present-day capital of Latvia, when the city was part of the Russian Empire. He was active as an architect in the city at a time of great economic expansion and consequent enlargement, which coincided with the flourishing of Art Nouveau architecture. During the years 1901–1906, Eisenstein designed many of the best-known Art Nouveau buildings of Riga. His son, Sergei Eisenstein, became a well-known Soviet film director.

Biography

The archival documents from his personal file as a student at Saint-Petersburg University of Civil Engineering (1887-1893), published by professor and head of the Department of the History of Western Art of Saint Petersburg State University Roman Sokolov, Ph.D., show that Mikhail Eisenstein was born as Moisey Eisenstein into a merchant Jewish family in Bila Tserkva (Kiev Governorate, in present-day Ukraine). Some suggest that his maternal side were of Swedish roots.

Eizenstein converted to the Russian Orthodox Church in 1897 and became a devout Christian. According to his son, he was a "staunch representative and admirer of the Russian bureaucratic class". He studied in Saint Petersburg and graduated as a civil engineer in 1893. Soon thereafter he moved to Riga, the present-day capital of Latvia, which was then part of the Russian Empire. He would continue living in Riga until 1917. He was employed at the traffic road department of the regional authorities in the Governorate of Livonia in 1895 and in 1900 appointed head of the department. His work at the department contributed to a rationalization of the maintenance and management of infrastructure in the region. He was awarded several medals and awards for his work as a civil servant, including the Order of Saint Anna (II and III classes) and the Order of Saint Stanislaus (II and III classes). At the same time, he practiced as an independent architect.

In 1897 he married Yulia Ivanovna Konetskaya, who came from a prosperous non-Jewish family in Saint Petersburg. The couple settled in a large apartment in central Riga and took active part in the social life of the city's upper strata. According to the recollections of his son, the family had an international outlook and Eisenstein spoke both German and French in addition to Russian. He was interested in history and literature, and his library contained the works of Nikolai Gogol, Leo Tolstoy, Emile Zola, Alexander Dumas and Victor Hugo. Apart from his interest in contemporary architecture, Eisenstein enjoyed art and especially admired the paintings of Konstantin Makovsky. Due to "differences in temperament" and after Yulia had an affair with a general, the couple separated in 1909 and formally divorced in 1912. The couple had only one son, Sergei Eisenstein, who would become a well-known Soviet film director.

Following the Russian Revolution, Eisenstein joined the "Whites" (anti-revolutionaries) as an engineer in 1918. His son chose to join the Bolsheviks, which ended their relationship. After the end of the Russian Civil War, Eisenstein settled in Berlin, where he died in 1920. He is buried at the Berlin-Tegel Russian Orthodox Cemetery.

Architecture

Eisenstein was active as an independent architect in Riga at a time of great economical expansion and consequent enlargement of the city, which coincided with the flourishing of Art Nouveau in the city. Even today, Riga has the highest concentration of Art Nouveau buildings anywhere in the world.

Eisenstein designed some of the arguably most well-known of these Art Nouveau buildings, several of which are grouped together on Alberta iela (Albert Street) with other noteworthy buildings by Konstantīns Pēkšēns and Eižens Laube. Since almost no archival or biographical documents remain connected to the life of Eisenstein, his artistic development can only be sketched. It is known that he visited Paris and he may have attended to Exposition Universelle of 1900 and experienced the Art Nouveau architecture of Hector Guimard and Gustave Serrurier-Bovy as well as the L'Art Nouveau art gallery of S. Bing first-hand; he certainly brought home large numbers of French architectural reviews. Inspiration may also have come from the Vienna Secession and the architecture of Viennese architects Otto Wagner and Josef Hoffmann, which display some superficial similarities with that of Eisenstein. Contemporary Art Nouveau architecture in Saint Petersburg also clearly influenced Eisenstein. It has furthermore been noted that the decorative motifs employed by Eisenstein suggest a strong association with Symbolist ideas.

In any case, the main corpus of buildings designed by Eisenstein share a number of characteristics. They are representatives of a highly, occasionally extremely, decorative form of Art Nouveau and display some innovative use of new materials such as cast iron but are conservative in their spatial layout. Although well known because they are so lavish, Eisenstein's buildings are not representative of Art Nouveau buildings in Riga more broadly.

Buildings by Eisenstein

Eisenstein designed a total of about 20 buildings in Riga. While Eisenstein designed buildings as early as 1897, these were in a rather typical and plain Historicist style and bear little resemblance with his later work, characterized by "exuberance and love of ornament".

The work for which Eisenstein is most well-known are a set of buildings on and near Alberta iela built between 1901 and 1906. Together they form an architectural ensemble which Jeremy Howard has described in the following way: "As a whole the tenements create a distinctively stylised and energised ensemble, yet at the same time each building appears to compete with its neighbours in terms of modern decorative extravagance." Several of these houses were commissioned by Eisenstein's wealthy client A. Lebedinsky.

The first of the buildings forming this loose ensemble is a tenement house on Elizabetes iela (Elisabeth Street) 33, built in a transitional style between Historicism and Art Nouveau in 1901. Already in this building, Eisenstein's characteristic use of pronounced stringcourses and rich sculptural decoration drawing from a Symbolist vocabulary of forms is present. These and other traits, such as Eisenstein's "dramatic sense of contrasts expressed in architectural, sculptural and decorative forms as well as in color, texture and scale" become even more pronounced in the somewhat later buildings on Alberta iela, for example the somewhat more vertically oriented house on number 8 (1903), the strikingly red- and cream-coloured building on number 6 (1903) and the building on Elizabetes iela 10b (1903) with its unusual giant female heads flanking the central bay.

The facade of Elizabetes iela 10b was based on patterns and drawings published by two Leipzig-based architects, G. Wünschmann and H. Kozel. The building on Alberta iela 10a was originally designed by Eižens Laube but the facade was rebuilt in 1903 by Eisenstein, containing elements which may have been inspired by the Secession Building in Vienna by Joseph Maria Olbrich. The building on Alberta iela number 4 (1904), also commissioned by Lebedinsky, is more ornamentally restrained with a facade dominated by contrastic window shapes and several large sculptures, including two standing lions elevated above the roof on pedestals at the corners, Medusa heads and reliefs of lions or griffins flanking the entrance. It has been described as one of the most distinctive of Eisenstein's facades, together with the building on 2a.

The building on Alberta iela 2a (in which the Russian-British philosopher Isaiah Berlin lived 1905–1915) on the other hand is characterized by strong colour contrasts and a strong vertical orientation of the facade; it was designed in 1905. Another project for Lebedinsky is the building on the corner of Alberta iela and Strēlnieku iela, built 1904–1906 again in a richly decorated Symbolist form of Art Nouveau with elements of Historicism. The last building of this ensemble, located on Brīvības iela 99 and built in 1905, again displays plentiful sculptural ornament and deep horizontal grooves and stringcourses.

A few later buildings by Eisenstein also survive in Riga, so for example on Strūgu iela 3 and Lomonosova iela 3. These buildings, built in 1911, lack the characteristic profuse sculptural decoration of Eisenstein's earlier work and may reflect an adaptation to changing international trends towards a reduction in ornamentation, formulated in Adolf Loos' influential essay from 1910, Ornament and Crime. These later buildings by Eisenstein however still contain recognizable traits of the architect, notably the use of lively colour contrasts.

Representative buildings

Examples of decorative sculpture from facades

See also
Art Nouveau architecture in Riga

References

Bibliography

Further reading
 Berkovich, Gary. Reclaiming a History. Jewish Architects in Imperial Russia and the USSR. Volume 1. Late Imperial Russia: 1891–1917. Weimar und Rostock: Grunberg Verlag. 2021. P. 145.

External links

 Information about Mikhail Eisenstein on the webpage of Riga Art Nouveau Centre (in Latvian)

1867 births
1920 deaths
19th-century architects from the Russian Empire
Art Nouveau architects
Converts to Eastern Orthodoxy from Judaism
Russian Christians
Russian people of Jewish descent
Jews from the Russian Empire
Russian exiles
Engineers from Saint Petersburg
Burials in Germany
Art Nouveau architecture in Riga
Saint-Petersburg State University of Architecture and Civil Engineering alumni
Architects from Riga

Mikhail Eisenstein


Southern Spaces is a peer-reviewed open-access academic journal that publishes articles, photo essays and images, presentations, and short videos about real and imagined spaces and places of the Southern United States and their connections to the wider world. The intended audience includes researchers and teachers, students in and out of classrooms, library patrons, and the general public.

A multimedia digital publication, Southern Spaces encourages the representation and analysis of many souths and southern regions, the critical scrutiny of any monolithic "South", the discovery of time-space relationships, and the mapping of expressive cultural forms associated with place. The journal covers areas such as geography, southern studies, regional studies, women's studies, queer studies, public health, and African American, Native American, and American studies.

Southern Spaces is published by the Emory Center for Digital Scholarship of Emory University in Georgia, United States.

External links

 Review
 Sarah Toton and Katherine Skinner. "A Space of Our Own: Bridging New Media and Traditional Scholarship with Southern Spaces in the Classroom" Journal of Online Teaching and Learning Fall 2006.
 Editors of Southern Spaces. "Southern Spaces: A Partial History". September 2017.

Area studies journals
Open access journals
English-language journals
Culture of the Southern United States
Academic journals established in 2004

Southern Spaces


SPARCstation 5 or SS5 (code-named Aurora) is a workstation introduced by Sun Microsystems in March 1994. It is based on the sun4m architecture, and is enclosed in a pizza-box chassis. Sun also offered a SPARCserver 5 without a framebuffer. A simplified, cheaper version of the SS5 was released in February 1995 as the SPARCstation 4. Sun also marketed these same machines under the "Netra" brand, without framebuffers or keyboards and preconfigured with all the requisite software to be used as web servers. An estimated 400,000+ SPARCstation 5s were sold.

Specifications

Release Price
Sun rolled out the SPARCstation 5 for .

CPU support
The SPARCstation 5 may incorporate one of the following processors: 70, 85, or 110 MHz Sun Microsystems microSPARC-II, or a 170 MHz Fujitsu Microelectronics, Inc. (FMI) TurboSPARC. Fujitsu also provided a 160 MHz TurboSPARC CPU Upgrade Kit for upgrading 70, 85 and 110 MHz microSPARC-II models. The SPARCstation 5 has no MBus and thus is limited to use as a single-processor machine.

Memory
The SPARCstation 5 has eight DSIMM slots for memory expansion.  Slots can be filled individually with either 8 MB or 32 MB modules giving a maximum of 256 MB memory.  The SPARCstation 4 uses the same memory.

Disk drives
The SPARCstation 5 can hold two internal 80-pin SCA, single-ended, fast-narrow SCSI drives, a SCSI CD-ROM drive and a floppy. It also supports external SCSI devices. There is no IDE/ATAPI support.

Network support
The SPARCstation 5 comes with an on-board AMD Lance ethernet chipset providing 10BASE-T networking as standard and 10BASE2 and 10BASE5 via an AUI transceiver. A 10/100Mbit/s hme "Happy Meal" NIC can be added for faster connections. The OpenBoot ROM is able to boot from network, using RARP and TFTP. Like all other SPARCstation systems, the SS5 holds system information such as MAC address and serial number in NVRAM. If the battery on this chip dies, then the system will not be able to boot until the NVRAM is reprogrammed.

Expansion / AFX
The SPARCstation 5 has three SBus expansion slots which are typical of Sun computer equipment of this era.  The third of these shares its expansion backplate and physical space with a special AFX connector which was unique to the SPARCstation 5.  Only one card was released for this slot, known as the S24 or TCX.  This was a framebuffer that allowed the use of 24-bit colour graphics instead of the 8-bit colour of the SBus CG6 card, also known as the LEGO (Low End Graphics Option).

SPARCstation 4
The SPARCstation 4 (code-named Perigee) was introduced in February 1995 to provide a lower price point than the SPARCstation 5 and replace the SPARCclassic. Although offered with the same 70, 85, or 110 MHz microSPARC-II processor as the SPARCstation 5, it has only one SBus expansion slot instead of three, a single 1.05 GB hard drive, and maximum memory capacity of 160 MB instead of 256 MB (five DSIMM slots). Instead of the built-in audio of the SPARCstation 5, the SPARCstation 4 requires an optional module, installed in its own dedicated slot. The system includes a built-in 8-bit color pixel-accelerated graphics adapter (TCX) capable of 1152x900 (or 1280x1024 with an optional 1 MB VSIMM), and a new lower-cost 17" monitor was introduced as an option. There is no AFX graphics port.

The SPARCstation 4 has a standard AUI Ethernet connector, unlike the SPARCstation 5 which requires a special cable to mate with a non-standard connector.

SPARC Xterminal 1
Sun used the same enclosure as the SPARCstation 4 for the SPARC Xterminal 1, which was, as the name implies, marketed as an X terminal, with no local storage. Unlike the earlier SPARCclassic X, it did not use the same motherboard as the workstation it was derived from, instead using a lower-powered 50 MHz microSPARC processor and expansion from its base memory of 8 MB to 128 MB rather than 160 MB (four DSIMM slots).

Rather than running Solaris, the SPARC Xterminal 1 and SPARCclassic X loaded and ran special software over the network.

Sun offered an upgrade kit to a full workstation that included a swap to a SPARCstation 4 motherboard, a hard drive and additional memory.

Operating systems

The following operating systems will run on a SPARCstation 5:
SunOS 4.1.3_U1B onwards
Solaris 2.3 Edition II to Solaris 9
Linux - Most distributions of Linux have compatibility issues with TurboSPARC variants
MirBSD/sparc
NetBSD/sparc
OpenBSD/sparc
NeXTSTEP - TurboSPARC variants not supported
OPENSTEP/Mach - TurboSPARC variants not supported

See also
 SPARCstation

References

External links
 Obsolyte: SPARCstation 5
 Parts List for SPARCstation 5
 "Sun AFX bus speeds graphics", article about the AFX bus and AFX graphics cards in Electronic News

Sun workstations
SPARC microprocessor products

SPARCstation 5


Thomas Harold Netherton Jr. (January 11, 1947 – January 7, 2018), was an American singer. He was known for his tenure on The Lawrence Welk Show.

Early life
Netherton was born on January 11, 1947, in Munich, Germany while his father, a United States Army officer, was stationed there. The eldest of four children, Netherton and his family relocated frequently due to his father's Army career.  The Nethertons permanently settled in Bloomington, Minnesota in 1961.

After enlisting in the Army during the Vietnam War, Netherton was stationed in Panama, serving as a 2nd Lieutenant. He had also decided to pursue a singing career and sang with Army and Air Force music ensembles.  Netherton became a born again Christian following a sermon he heard at a Baptist church in Panama, spending a year at the Bethany Fellowship Missionary Training Center in Bloomington after his discharge from the Army.  Faced with making a choice between missionary service and a career in entertainment, Netherton chose to follow the same path taken by his idol, Pat Boone, and became a Christian singer.

Career
Netherton joined the Lawrence Welk show cast in 1973.  His inclusion with Welk's group of entertainers came as a result of a recommendation to Welk by Harold and Sheila Schafer, owners of a North Dakota theater where Netherton had been performing. Netherton appeared regularly on the Lawrence Welk show from 1973 to 1982.  In 1975 he appeared on "The Dating Game", choosing from three bachelorettes. In 1979, he wrote an autobiography titled "In The Morning of My Life".

Apart from his long-time attachment to the Welk program, Netherton recorded both Christian and secular music albums while still on the program and after.  His career post-Lawrence Welk included touring and performing around the United States as well as acting in stage musical productions of Oklahoma! and Carousel.  During the 1970s and 1980s he appeared on television commercials for Rose Milk skin care lotion and Nabisco's Triscuits crackers.  Netherton was a guest on television shows such as Pat Robertson's The 700 Club, Robert Schuller's The Hour of Power and would appear at Billy Graham religious crusades.

Personal life
As of late 2007, Netherton had been living in Goshen, Indiana where he performed for holiday programs and entertaining local senior citizens at Greencroft Senior Center.
Netherton never married.
On January 11, 2018, Netherton's younger brother, Brad Netherton, announced on his Facebook page that the singer had died from pneumonia and the flu on January 7, 2018, at age 70, just 4 days before his 71st birthday.  An obituary appeared on the Nashville Funeral and Cremation web site.

Discography
1975: My Favorite Hymns
1975: What a Friend We Have in Jesus
1977: Love Songs
1978: Hem of His Garment
1979: The Lord's Prayer
1981: Reflection
1984: Scrap Book
1985: Songs of the Savior
1987: The Tom Netherton Christmas Album
1992: How Great Thou Art
1994: 22 Great Songs Of Faith
1995: Gospel Favorites
1996: Just As I Am

Books

1979: In the Morning of My Life, autobiography, Tyndale House, 1979.

References

External links
Lawrence Welk Show Website

Video biography from Welk Stars through the Years, 2009
East Coast Entertainment

1947 births
2018 deaths
American performers of Christian music
American male singers
German emigrants to the United States
People from Bloomington, Minnesota
United States Army soldiers
Lawrence Welk
Deaths from pneumonia in Indiana

Tom Netherton


The Smith & Wesson Model 3 is a single-action, cartridge-firing, top-break revolver produced by Smith & Wesson (S&W) from around 1870 to 1915, and was recently again offered as a reproduction by Smith & Wesson and Uberti.

It was produced in several variations and subvariations, including both the "Russian" model, so named because it was supplied to the military of the Russian Empire (41,000 No. 3s were ordered in .44 caliber by the Imperial Russian Army in 1871), and the "Schofield" model, named after Major George W. Schofield, who made his own modifications to the Model 3 to meet his perceptions of the cavalry's needs. S&W incorporated these modifications into an 1875 design they named after the major, planning to obtain significant military contracts for the new revolver.

The Model 3 was originally chambered for the .44 S&W American and .44 Russian cartridges, and typically did not have the cartridge information stamped on the gun (as is standard practice for most commercial firearms). Model 3 revolvers were later produced in an assortment of calibers, including .44 Henry Rimfire, .44-40, .32-44, .38-44, and .45 Schofield. The design influenced the smaller S&W .38 Single Action that is retroactively referred to as the Model 2.

Russian model

Smith & Wesson produced large numbers of the Model 3, in three distinct models, for the Russian Empire by special order. The first was the 1st Model Russian (the original order design), with the Russian Ordnance Inspector mandating a number of improvements to the design, resulting in the 2nd Model Russian, with a final revision to the Russian design being known as the 3rd Model Russian.

Schofield revolver
The U.S. Army adopted the .44 S&W American caliber Model 3 revolver in 1870, making it the first standard-issue, cartridge-firing revolver in U.S. service. Most military pistols until that point were black powder cap-and-ball revolvers, which were (by comparison) slow, complicated, and susceptible to the effects of wet weather.

In 1875, the U.S. Ordnance Board granted S&W a contract to outfit the military with Model 3 revolvers incorporating the design improvements of Major George W. Schofield (the so-called "Schofield revolvers"), providing that they could make the revolvers fire the .45 Colt (or ".45 Long Colt") ammunition already in use by the US military. S&W instead developed their own, slightly shorter .45 caliber round, the .45 Schofield, otherwise known as the .45 S&W.

When it became obvious in the field that the two cartridges would not work interchangeably in the Schofield (although they both worked in the Colt), the U.S. government adopted the shorter .45 Schofield cartridge as the standard cartridge. Despite the change, old stocks of the longer .45 Colt rounds in the supply line caused the Army to drop most of the Schofields and continue with the Colt. Major Schofield had patented his locking system and earned a payment on each gun that S&W sold; and at the time, his older brother, John M. Schofield, was the head of the Army Ordnance Board, so this conflict-of-interest may have been the main reason for the adoption of the .45 Schofield.

Many of the Model 3 Schofield revolvers served in the Indian Wars, with reports of them in use as late as the Spanish–American War and Philippine–American War. Like the other  Model 3s, they were also reportedly popular with lawmen and outlaws in the American West, and were reportedly used by Jesse James, Bob Ford (who used one to kill James), John Wesley Hardin, Pat Garrett, Theodore Roosevelt, Virgil Earp, Billy the Kid, and many others. The S&W No. 3 revolver was famously used by Wyatt Earp during the gunfight at the O.K. Corral with the Clanton Gang.

While the standard barrel length was 7 inches, many Schofields were purchased as surplus by distributors, and had the barrels shortened to 5 in, and were refinished in nickel. After the Spanish–American War of 1898, the US Army sold off all their surplus Schofield revolvers, which were reconditioned by wholesalers and gunsmiths (at professional factory-quality level), with a considerable number offered for sale on the commercial market with a 5-in barrel, as well as the standard size barrel of 7 in.

Of the most notable purchasers of these reconditioned Model 3 Schofield revolvers was Wells Fargo and Company, which purchased the revolvers for use by Wells Fargo road agents, and had the barrels shortened to a more concealable 5-in length. These revolvers were then inspected by the Wells Fargo armorer and uniquely stamped "W.F. & Co" or "Wells Fargo & Co", along with the original Smith & Wesson serial number restamped alongside the Wells Fargo stamping on the flat part of the barrel just forward of the barrel pivot, as well as restamping any part of each revolver that had not originally been stamped or stamped in a location that would be difficult to view the serial number, when needed.

The Wells Fargo Schofield revolvers became so popular with collectors from the 1970s onwards that the unique Wells Fargo markings were being "counterfeited" or "faked" by unscrupulous sellers to enhance the value of other similar versions that had not been genuinely owned by Wells Fargo & Co.  More "fake" Wells Fargo-marked Schofield revolvers than genuine ones are in existence, and accordingly, a collector interested in purchasing a "Wells Fargo" Schofield revolver would be well advised to have a prepurchase inspection and verification performed by an expert who specializes in this model.

Lieutenant Colonel Schofield shot himself on December 17, 1882, with a Schofield revolver after suffering a bout of mental illness, stress, and isolation.

An engraved, gold-plated New Model No. 3 with pearl grips was presented to sharpshooter Annie Oakley in the 1890s by her husband Frank Butler. The revolver was one of three embellished guns that were cased for Oakley as a presentation group.

Versions
The First Model Schofield has a latch configuration that is rather pointed at the top and has a circle around the screw head at the bottom.

The Second Model latch has a large raised circle at the top of the latch.

One of General Schofield's revisions and improvements to the predecessor Model 3 revolvers included mounting the spring-loaded barrel catch on the frame as opposed to the standard  Model, 3 which has the latch mounted on the barrel.  In the previous engineering, the posts of the frame would wear out after heavy usage.  Schofield's improvement called for heat-treated, replaceable components at this sensitive "wear" area of the catch and latch. The serial number range also gives an indication of whether it is First or Second Model, with the serial numbers changing from the First Model to the Second Model at a little over 3,000.

New Model No. 3

In 1877, S&W discontinued production of its other Model 3s, such as the American, Russian, and Schofield, in favor a new improved design called the New Model No. 3. This new model was originally offered in the same frame and cylinder lengths as the original No: 3 but soon, Smith and Wesson offered a "Frontier" version with a longer frame and cylinder, allowing it to fire the longer WCF (44-40) cartridges. Standard chambering was .44 Russian (barrels were often stamped 44 S&W and was Smith and Wesson's attempt to re-brand the 44 Russian cartridge), although other calibers were available on special order or in related models such as the .44-40 Frontier model, the .32-44 and .38-44 Target models, and the very rare .38-40 Winchester model.

Australian Model
In 1880, the South Australia Police, which were then interested in rearming with up-to-date weapons, noted a display of New Model No. 3 revolvers at the Australian Exposition in Melbourne. At the direction of Police Commissioner Peterswald, an order was placed through S&W's New York agent for 250 nickel revolvers in .44 Russian with a 7-in barrel length. The order, which included extension shoulder stocks, ammunition, and reloading kits, arrived at Adelaide in March 1882. The revolvers and stocks were thereupon marked with a government broad-arrow punch mark, and were called revolver-carbines. They were issued to mounted police, known as troopers, who at that period also policed the Northern Territory. Both the South Australia and Western Australia police made further small purchases during 1886–88, none of which was marked with the broad arrow.  For some 30 years, the revolver-carbine was the front-line weapon of the mounted police of S.A., W.A., and N.T.  Nearly all serial numbers are known, and are listed in the book Service Arms of the South Australian Police. The S.A. revolvers were sold as surplus in 1953 to the Western Arms Corporation of Los Angeles.

1st Model .44 Double Action
Often improperly referred to as a "New Model 3 Double Action", the 1st Model .44 Double Action is not a Model 3 production or variation, but rather a stand-alone model.

Copies
The popular Model 3 was copied in many countries. Most common were the versions made in Spain, Mexico, and Belgium, but companies such as Ludwig Loewe & Company of Germany and the Tula Arsenal in Russia played a hand in the counterfeit game, too. Copies have been found in Turkey and Pakistan, as well, made by local manufacturers.

11mm Orbea Hermanos y Cia. M1884 Sistema ONÁ ("S&W Model 7")

In 1884, the Spanish government made a decree stating that any invention not copyrighted by their copyright office was not under their protection. One victim of this was S&W, whose lucrative contract to produce Model 3 revolvers for the Spanish Army was quickly cancelled. Its work given to local gunsmiths in Eibar by different firms without any standardization of parts.

The Orbea Hermanos Modelo 1884 Sistema ONÁ (Basque oná > "good") or "S&W Model 7" revolver was made from 1884 until the 1920s. It is notable for its grip medallion, which is an "OH" interlaced like the Smith & Wesson "S&W".

An interesting footnote is that S&W immediately copyrighted all of their other designs in Spain from then on. That is why their firearms have MARCA REGISTRADA and the date of the Spanish patent on their barrels.

Liege copies
A number of unauthorized Belgian copies were made in .44 Russian and .44-40 Winchester as single- and double-action revolvers. These copies, mostly manufactured in Liege, were marked as if to deceive a buyer into thinking that they were a revolver produced by Smith & Wesson. Many of the finer details, such as the location of the S&W factory, were incorrectly stamped on the revolvers ("New York" and "VK" being the two most common).

Smith & Wesson brought lawsuits against two gunmakers in Liege, which they originally lost, but won on appeal.

Users

Italy
The prime contractor for the Italian military was Orbea, which chambered their revolvers for the Italian 10.4 mm cartridge.  These Spanish-made revolvers were used during World War I, and  were the preferred handgun of elite Arditi troops.

Philippines
Many Spanish firearms were captured by the Liberation Army during the Revolution, among them Orbea Model 1884 revolvers in .44 Russian. Some were brought by defectors from the Spanish military. These handguns also had service, later, in the Philippine–American War.

Romania
Revolvers for the Romanian military were chambered for the .44 Russian cartridge, and were made by Trocaola, Aranzabal y Cía.  These Spanish-made revolvers were used during World War I.

Spain
Spain used these revolvers, which were chambered for the .44 Russian cartridge, during the Philippine Revolution, the Spanish–American War, the Rif War, and the Spanish Civil War.

United Kingdom
The M1884 was later briefly made chambered in .455 Webley for British government contracts in 1915 and 1916. It was designated by the British Army as the "Pistol, Old Pattern", due to its old design. They were dubbed "Spanish Webleys" by troops, though they were copies of the S&W Model 3. Orbea Hermanos y Cia., Garate, Anitua y Cia., and Trocaola, Aranzabal y Cia. were contracted to make 30,000 revolvers among them. Orbea Hermanos was the major contractor and the other two were subcontractors. Rexach & Urgoite was later contracted in 1916 to make 500 pistols, but all failed proofing and the lot was refused.

Finish and quality control varied throughout the run of production. The fact that they were making service pistols and revolvers for France and Italy at the same time was definitely a factor.

As no standardization of design or parts existed between manufacturers, each manufacturer's model was considered a different gun altogether. The Garate, Anitua y Cia. model was designated the Pistol, Old Pattern, No.1 Mk.I, the Trocaola, Aranzabal y Cia. model was designated the Pistol, Old Pattern, No.2 Mk.I, and the Orbea Hermanos model was designated the Pistol, Old Pattern, No.3 Mk.I.

The weapons were given to the Royal Ulster Constabulary after the war. The RUC later sold them off to the New South Wales Police Force, who made snub-nosed revolvers out of them and issued them as backup pistols. A cut-down, snub-nosed .455 "Old Pattern" revolver was carried by one of Michael Collins' bodyguards.

Modern reproductions
Modern reproductions of the Model 3 revolver are made by a number of companies, including (most notably) Smith & Wesson themselves, as well as the Italian arms-makers Uberti and Armi San Marco.

Smith & Wesson
S&W manufactured a modern reproduction of the original Model 3 revolvers from 2000 to 2003. Despite being touted as a "true" reproduction, significant differences exist between the modern version and the original. Side-by-side comparison of an original with the preproduction gun showed that the new version is slightly more stout than the original around the barrel and top strap, though not as much as on the Navy Arms guns. Changes in the internal lock mechanism were also made.

The "reproduction" S&W Model 3 firing pin is frame-mounted instead of being an integral part of the hammer, a modern safety feature – with a transfer bar as a practical safety catch in a revolver, to prevent accidental discharge if dropped.

No transfer bar is on the firing pin, but a blocking bar is on the hammer, should it slip off the thumb when cocking the pistol. A heavier cylinder was fitted into the stronger frame. Unlike the Uberti reproductions that have a longer-than-original cylinder and frame, the S&W was made to only accommodate the shorter original Schofield rounds.

Uberti/Armi San Marco

The Uberti version, imported by Navy Arms and Cimarron Firearms, has external dimensions generally similar to the original 2nd Model Schofield, but the barrel and top strap are considerably thicker, for additional strength. These replica Model 3 revolvers have lengthened cylinders to accommodate .45 Colt and .44-40 cartridges. Although some problems arose with the locking latch angles in early versions, these were generally corrected or the revolvers were replaced. European reproduction Model 3 revolvers have changes made to their lockwork to meet import regulations. A Uberti produced reproduction was also marketed as the Beretta Laramie.

Cultural significance
Clint Eastwood's 1992 film Unforgiven features an amateur bounty hunter called the "Schofield Kid" (Jaimz Woolvett), named after the Model 3, his weapon of choice. Eastwood's character uses the Kid's Schofield in the movie's final gunfight.
In the 2007 film 3:10 to Yuma, Charlie Prince (Ben Foster) carries two S&W Schofield Model 3 revolvers as his personal sidearms.
In the 1983 anime Aura Battler Dunbine, both Show Zawa and Todd Guinness make use of what appear to be S&W Schofield Model 3 revolvers in battle starting in the 10th episode.

References

Single-action revolvers
Smith & Wesson revolvers
Early revolvers
Guns of the American West
Revolvers of the Russian Empire
Revolvers of the United States
Weapons of the Ottoman Empire
Russo-Japanese war weapons of Russia
Black-powder pistols
Weapons of the Philippine Army

Smith & Wesson Model 3


Alphonse du Congé (or Ducongé) Dubreuil (19 June 1734 – 22 February 1801) was an 18th-century French poet and playwright.

In 1777, he wrote an opera libretto on the theme of Iphigénie en Tauride, which he proposed to Christoph Willibald Gluck but the text was eventually set in music by Niccolò Piccinni.

Works
1776: La Pucelle de Paris, poème en douze chants
1781: Iphigénie en Tauride, opera, music by Niccolò Piccinni, premiered at Academy Royale de musique 23 January
1790: L'Amant travesti ou les Muletiers, two-act opéra bouffon, after Jean de La Fontaine, music by Marc-Antoine Désaugiers, premiered in Paris,  Théâtre de Monsieur, 2 November
1794: Paul et Virginie ou le Triomphe de la vertu, three-act drame lyrique, after Jacques-Henri Bernardin de Saint-Pierre, music by Jean-François Lesueur, premiere at Academy Royale de musique 13 January

External links
 Alphonse Dubreuil on CÉSAR
 Alphonse Dubreuil on Data.bnf.fr

1734 births
1801 deaths
18th-century French dramatists and playwrights
18th-century French poets
18th-century French male writers
French opera librettists

Alphonse du Congé Dubreuil


"Porphyria's Lover" is a poem by Robert Browning which was first published as "Porphyria" in the January 1836 issue of Monthly Repository. Browning later republished it in Dramatic Lyrics (1842) paired with "Johannes Agricola in Meditation" under the title "Madhouse Cells". The poem did not receive its definitive title until 1863.

"Porphyria's Lover" is Browning's first ever short dramatic monologue, and also the first of his poems to examine abnormal psychology. Although its initial publication passed nearly unnoticed and received little critical attention in the nineteenth century, the poem is now heavily anthologised and much studied.

In the poem, a man strangles his lover – Porphyria – with her hair; "... and all her hair / In one long yellow string I wound / Three times her little throat around, / And strangled her." Porphyria's lover then talks of the corpse's blue eyes, golden hair, and describes the feeling of perfect happiness the murder gives him. Although he winds her hair around her throat three times to throttle her, the woman never cries out. The poem uses a somewhat unusual rhyme scheme: A,B,A,B,B, the final repetition bringing each stanza to a heavy rest.

A possible source for the poem is John Wilson's "Extracts from Gosschen's Diary", a lurid account of a murder published in Blackwood's Magazine in 1818. Browning's friend and fellow poet Bryan Procter acknowledged basing his 1820 "Marcian Colonna" on this source, but added a new detail; after the murder, the killer sits up all night with his victim.

Psychological interpretations

Browning's monologues are frequently voiced by eccentrics, lunatics, or people under emotional stress. Their ramblings illustrate character by describing the interactions of an odd personality with a particularly telling set of circumstances. In both "Porphyria's Lover" and "My Last Duchess", Browning uses this mode of exposition to describe a man who responds to the love of a beautiful woman by killing her. Each monologue offers the speaker's reasons for the desired woman from subject to object: in "My Last Duchess", the Duke may have jealously murdered his wife, but keeps a portrait of her behind a curtain so none can look upon her smile without his permission; in "Porphyria's Lover", the persona wishes to stop time at a single perfect moment and so kills his lover and sits all night embracing her carefully arranged body. In "My Last Duchess" the woman's murder is at best implied, while in "Porphyria's Lover" it is described quite explicitly by the speaker. The unchanging rhythmic pattern may also suggest the persona's insanity.

The "Porphyria" persona's romantic egotism leads him into all manner of monstrously selfish assumptions compatible with his own longings. He seems convinced that Porphyria wanted to be murdered, and claims "No pain felt she" while being strangled, adding, as if to convince himself, "I am quite sure she felt no pain."  He may even believe she enjoyed the pain, because he, her lover, inflicted it. When she is dead, he says she has found her "utmost will", and when he sees her lifeless head drooping on his shoulder, he describes it as a "smiling rosy little head", possibly using the word "rosy" to symbolise the red roses of love, or to demonstrate his delusion that the girl, and their relationship, are still alive.  More likely, however, is the thought that blood returning to her face, after the strangulation, makes her cheeks "rosy".  Her "rosy little head" may also be a sly reference to the hymen; Porphyria leaves a "gay feast" and comes in from the outside world wearing "soiled gloves"; now her blue eyes, open in death, are "without a stain". The lover may also be a fetishist, indicated by the fact that he refers to her hair numerous times throughout the poem, and strangles her with it. He also refers to the "shut bud that holds a bee" which backs up the view of it being a sexual fetish.

Since the speaker may (as many speculate) be insane, it is impossible to know the true nature of his relationship to Porphyria. Theories, some of them rather bizarre, abound: some contemporary scholars suggest, for example, that the persona may be a woman; if so, the strangulation could stem from frustration with the world.  An incestuous relationship has also been suggested; Porphyria might be the speaker's mother or sister. Another possibility is that she is a former lover, now betrothed, or even married, to some other man. Alternatively, she may simply be some kind lady who has come to look in on him, or even a figment of his imagination.

Other sources speculate that the lover might be impotent, disabled, sick, or otherwise inadequate, and, as such, unable to satisfy Porphyria. There is much textual evidence to support this interpretation: he describes himself as "one so pale / for love of her, and all in vain." At the beginning of the poem, the persona never moves; he sits passively in a cold, dark room, sadly listening to the storm until Porphyria comes through "wind and rain", "shuts the cold out and the storm," and makes up his dying fire.  Finally, she sits beside him, calls his name, places his arm around her waist, and puts his head on her shoulder; she has to stoop to do this.  At the poem's midpoint, the persona suddenly takes action, strangling Porphyria, propping her body against his, and boasting that afterward, her head lay on his shoulder.

In line with the persona's suggested weakness and sickness, other scholars take the word "porphyria" literally, and suggest that the seductress embodies a disease, and that the persona's killing of her is a sign of his recovery. Porphyria, which usually involved delusional madness and death, was classified several years before the poem's publication; Browning, who had an avid interest in such pathologies, may well have been aware of the new disease, and used it in this way to express his knowledge.

Much has been made of the final line: "And yet, God has not said a word!" Possibly, the speaker seeks divine condonement for the murder. He may believe God has said nothing because He is satisfied with his actions.  God may be satisfied because: He recognises that the persona's crime is the only way to keep Porphyria pure; or, because He doesn't think her life and death are important compared to the persona's. The persona may also be waiting in vain for some sign of God's approval. Alternatively, the line may represent his feelings of emptiness in the wake of his violence; Porphyria is gone, quiet descends, and he's alone. The persona may also be schizophrenic; he may be listening for a voice in his head, which he mistakes for the voice of God. It has also been postulated that this is Browning's statement of "God's silence", in which neither good nor bad acts are immediately recompensed by the deity.

The final line may also register the persona's sense of guilt over his crime. Despite his elaborate justifications for his act, he has, in fact, committed murder, and he expects God to punish him – or, at least, to take notice. The persona is surprised, perhaps a little uneasy, at God's continued silence.

As tableau vivant
The mirrored effect produced by Porphyria's modelling of the persona in the first half, and the persona's reciprocal modelling of her after strangulation is indicative of the popular Victorian art form tableau vivant, in which humans were used as art to recreate actual paintings. This is indicative of the allegorical content of "Porphyria's Lover" in which both characters imitate the process of artistic creation: when art is created or published, it is dead and forever unchanging.  In the last few lines of the poem, Porphyria is manipulated in much the same way as the speaker was in the first few lines of the poem. Tennyson shares similar ideas in "The Lady of Shalott", as do other Victorian authors who contribute to the popular conversation about the artistic processes.

See also
My Last Duchess – A wealthy nobleman delivers a monologue telling a guest that he had his former wife killed because everybody and everything she saw seemed to make her happy. Now, she exists only as a painting on the wall, which he usually keeps concealed behind a curtain so none but he can see the look of happy welcome on her face.
Soliloquy of the Spanish Cloister – A comic monologue in which a monk spews out venom against one of his colleagues, Brother Lawrence; in the process, he merely reveals his own depravity while showing what a good, pious man his "enemy" is.
"Where the Wild Roses Grow" – A contemporary song sharing similar themes.

References

External links

 John Wilson's "Extracts from Gosschen's Diary". Full text from Project Gutenberg.
 An article from the academic journal Explicator which compares "Porphyria's Lover" and "My Last Duchess" to Shakespeare's Othello and interprets both as critiques of male sexual possessiveness.

Poetry by Robert Browning
1836 poems
British poems
Fiction with unreliable narrators
Fiction about murder
Works originally published in Monthly Repository

Porphyria's Lover


The Ministry of Labour, War Invalids and Social Affairs (MOLISA, ) is a government ministry in Vietnam responsible for state administration on labour, employment, occupational safety, social insurances and vocational training; policies for war invalids, martyrs and people with special contribution to the country; social protection and prevention of social evils; child care and gender equality.

Ministerial units
 Department of Labour and Wage
 Department of Social Insurance
 Department of Gender Equality
 Department of Legal Affairs
 Department of Planning and Finance
 Department of International Cooperation
 Department of Organisation and Personnel
 Ministry's Inspectorate
 Ministry's Office
 General Bureau of Vocational Training
 Bureau of Employment
 Bureau of Social Assistance
 Bureau of Overseas Labour
 Bureau of Work Safety
 Bureau of Social Evils Prevention and Combat
 Bureau of National Devotees
 Bureau of Child Care and Protection

Administrative units
 Institute of Labour Science and Social Affairs
 Institute of Orthopaedics & Rehabilitation
 Labour and Social Affairs Information Centre
 Labour and Society Magazine
 Dan Tri newspaper
 National Fund for Vietnamese Children

External links
 (VN) and (EN) Official site

Labour, Invalids and Social Affairs
Governmental office in Hanoi
Vietnam, Labour, Invalids and Social Affairs
Vietnam

Ministry of Labour, Invalids and Social Affairs (Vietnam)


"Someone (Laissons nous une chance)" is a song by American pop/rock band Hanson and French singer Emma Daumas. It was written mainly by Isaac Hanson while attending Miles Copeland's annual "songwriting bootcamp" at Château de Marouatte in France in May 2001. Daumas was chosen to collaborate with Hanson for this song. "Someone (Laissons nous une chance)" was released on the French version of Hanson's album Underneath in February 2005, with rumors that a single would be released in the coming months. The single was not heavily promoted and a retail single was never released, although a few promo versions of the single were pressed in the UK, France and Canada. The song had some limited airplay on the radio.

Track listing
"Someone (Laissons nous une chance)" written by Isaac Hanson, Taylor Hanson, Zac Hanson, Damon Lee, Dominique Grimaldi and Emma Daumas. "Dream Girl" written by Hanson. "Ain't No Sunshine" written by Bill Withers.

French and Canadian promo release:
 "Someone (Laissons nous une chance)"
 "Dream Girl"
 "Ain't No Sunshine" (live; taken from the Underneath Acoustic Live DVD)

UK promo release:
 "Someone (Laissons nous une chance)"

References

External links
 http://www.hanson.net

Hanson (band) songs
2004 songs
2005 singles
Songs written by Isaac Hanson
Songs written by Taylor Hanson
Songs written by Zac Hanson

Someone (Laissons nous une chance)


Wong Tung Jim, A.S.C. (; August 28, 1899 – July 12, 1976), known professionally as James Wong Howe (Houghto), was a Chinese-born American cinematographer who worked on over 130 films. During the 1930s and 1940s, he was one of the most sought after cinematographers in Hollywood due to his innovative filming techniques. Howe was known as a master of the use of shadow and one of the first to use deep-focus cinematography, in which both foreground and distant planes remain in focus.

Born in Canton (Taishan), China, Howe immigrated to the United States at age five and grew up in Washington. He was a professional boxer during his teenage years, and later began his career in the film industry as an assistant to Cecil B. DeMille. Howe pioneered the use of wide-angle lenses and low-key lighting, as well as the use of the crab dolly.

Despite the success of his professional life, Howe faced significant racial discrimination in his private life. He became an American citizen only after the repeal of the Chinese Exclusion Act in 1943, and due to anti-miscegenation laws, his marriage to a white woman was not legally recognized in the United States until 1948.

Howe earned 10 nominations for the Academy Award for Best Cinematography, winning twice, once for The Rose Tattoo (1955), and once more for Hud (1963). He also received Oscar nominations for Algiers (1938), Abe Lincoln in Illinois (1940), Kings Row (1942), The North Star (1943), Air Force (1943),  The Old Man and the Sea (1958), Seconds (1966), and Funny Lady (1975). He was selected as one of the 10 most influential cinematographers in a survey of the members of the International Cinematographers Guild.

Career

Background
Howe was born Wong Tung Jim in Taishan, Canton Province, Qing China in 1899. His father Wong Howe moved to America that year to work on the Northern Pacific Railway and in 1904 sent for his family. The Howes settled in Pasco, Washington, where they owned a general store. A Brownie camera, said to have been bought at Pasco Drug (a now-closed city landmark) when he was a child, sparked an early interest in photography.

After his father's death, the teenaged Howe moved to Oregon to live with his uncle and briefly considered (1915–16) a career as a bantamweight boxer. After compiling a record of 5 wins, 2 losses and a draw, Howe moved to the San Francisco Bay Area in hopes of attending aviation school but ran out of money and went south to Los Angeles. Once there, Howe took several odd jobs, including work as a commercial photographer's delivery boy and as a busboy at the Beverly Hills Hotel.

After a chance encounter with a former boxing colleague who was photographing a Mack Sennett short on the streets of Los Angeles, Howe approached cinematographer Alvin Wyckoff and landed a low-level job in the film lab at Famous Players–Lasky studios. Soon thereafter he was called to the set of The Little American to act as an extra clapper boy, which brought him into contact with silent film director Cecil B. DeMille in 1917. Amused by the sight of the diminutive Asian holding the slate with a large cigar in his mouth, DeMille kept Howe on and launched his career as a camera assistant. To earn additional money, Howe took publicity stills for Hollywood stars.

Silent film

One of those still photographs launched Howe's career as a cinematographer when he stumbled across a means of making silent film star Mary Miles Minter's eyes look darker by photographing her while she was looking at a dark surface. Minter requested that Howe be first cameraman, that is director of photography, on her next feature, and Howe shot Minter's closeups for Drums of Fate by placing black velvet in a large frame around the camera. Throughout his career, Howe retained a reputation for making actresses look their best through lighting alone and seldom resorted to using gauze or other diffusion over the lens to soften their features. Howe worked steadily as a cinematographer from 1923 until the end of the era of silent film.

In 1928, Howe was in China shooting backgrounds for a movie he hoped to direct. The project he was working on was never completed (although some of the footage was used in Shanghai Express), and when he returned to Hollywood, he discovered that the "talkies" had largely supplanted silent productions. With no experience in that medium, Howe could not find work. To reestablish himself, Howe first co-financed a Japanese-language feature shot in Southern California entitled Chijiku wo mawasuru chikara (The Force that Turns the Earth around its Axis), which he also photographed and co-directed. When that film failed to find an audience in California's nisei communities or Japan, Howe shot the low-budget feature Today for no salary. Finally, director/producer Howard Hawks, whom he had met on The Little American, hired him for The Criminal Code and then director William K. Howard selected him to be the cinematographer on Transatlantic.

Sound film and the war years
Howe's innovative work on Transatlantic reestablished him as one of the leading cinematographers in Hollywood, and he worked continuously through the 1930s and 1940s, generally on several movies per year. Howe gained a reputation as a perfectionist who could be difficult to work with, often overruling and even berating other members of the film crew. In a 1945 issue of The Screen Writer, Howe stated his views of a cameraman's responsibility, writing in The Cameraman Talks Back that
"[t]he cameraman confers with the director on: (a) the composition of shots for action, since some scenes require definite composition for their best dramatic effect, while others require the utmost fluidity, or freedom from any strict definition or stylization; (b) atmosphere; (c) the dramatic mood of the story, which they plan together from beginning to end; (d) the action of the piece." Howe's broad view of a cinematographer's responsibilities reflected those established for first cameramen in silent films and continued through the studio era where most directors were also contract employees mainly in charge of actor performances.

Howe was nominated for an Academy Award in 1944 in the "Best Cinematography: Black-and-White" category for his work on the movie Air Force, a nomination he shared with Elmer Dyer, A.S.C., and Charles A. Marshall.

In the early 1930s, while at MGM, Howe, who had generally been billed as "James Howe", began listing his name in film credits as "James Wong Howe". Over the course of his career, he was also credited as "James How", "Jimmie Howe", and "James Wong How." Often publicized as a Chinese cameraman, Howe was prevented from becoming a U.S. citizen until the repeal of the Chinese Exclusion Act in 1943.
Prior to World War II, Howe met his future wife, novelist Sanora Babb, whom he married in 1937 in Paris.  Due to anti-miscegenation laws, the marriage would not be legally recognized in the United States until 1948. Babb died in 2005, aged 98.

Post-war work
After the end of World War II, Howe's long-term contract with Warner Bros., lapsed, and he visited China to work on a documentary about rickshaw boys. When he returned Howe found himself gray-listed. While never a Communist, Howe was named in testimony as a sympathizer. Howe and his wife Sanora Babb, who had been a member of the Communist Party, moved to Mexico for a time; Howe was cinematographer for the RKO movie Mr. Blandings Builds His Dream House (1948) starring Cary Grant, Myrna Loy and Melvyn Douglas. Howe had trouble finding employment until writer/director Samuel Fuller hired him to shoot The Baron of Arizona released in 1950.

Again reestablished, Howe's camerawork continued to be highly regarded. In 1949 he shot tests and was hired for a never made comeback film starring Greta Garbo (a screen adaptation of Balzac's La Duchesse de Langeais). In 1956, Howe won his first Academy Award for The Rose Tattoo. The film's director Daniel Mann originally had been a stage director and later stated that he gave Howe control over almost all decisions about the filming other than those regarding the actors and dialogue. In Sweet Smell of Success (1957), Howe worked with director Alexander Mackendrick to give the black-and-white film a sharp-edged look reminiscent of New York tabloid photography such as that taken by Arthur "Weegee" Fellig. During the 1950s, Howe directed his only English-language feature films, Invisible Avenger, one of many film adaptations of The Shadow, and Go Man Go, a movie about the Harlem Globetrotters. Neither was a critical or commercial success. In 1961 Howe directed episodes of Checkmate and 87th Precinct, then returned to cinematography.

Later life and work
Howe's best known work was almost entirely in black and white. His two Academy Awards both came during the period when Best Cinematography Oscars were awarded separately for color and black-and-white films. However, he successfully made the transition to color films and earned his first Academy Award nomination for a color film in 1958 for  The Old Man and the Sea. He won his second Academy Award for 1963's Hud. His cinematography remained inventive during his later career. For instance, his use of fish-eye and wide-angle lenses in Seconds (1966) helped give an eerie tension to director John Frankenheimer's science fiction movie.

During the mid to late 1960s, he taught cinematography at UCLA's Film School. Some of his students include Dean Cundey, Stephen H. Burum, and Alex Funke. Howe would take a minimal set and teach how to achieve a particular mood and style with just lighting. Cundey said, "it was my most valuable class I took in film school" and it changed his career direction to cinematography.

After working on The Molly Maguires (1970), Howe's health began to fail, and he entered semi-retirement. In 1974, he was well enough to be selected as a replacement cinematographer for Funny Lady. He collapsed during the filming; American Society of Cinematographers president Ernest Laszlo filled in for Howe while he was recovering in the hospital. Funny Lady earned Howe his tenth and final Oscar nomination. Three documentaries were made about Howe during the last two decades of his life.

Association of Asian Pacific American Artists created the James Wong Howe Award in his honor. Past winners of "The Jimmy" have included Arthur Dong, Genny Lim, and Jude Narita.

Personal life

Howe met his wife, a white woman named Sanora Babb, before World War II. They traveled to Paris in 1937 to marry, but their marriage was not recognized by the state of California until 1948, after the law banning interracial marriage was abolished.  Due to the ban, the "morals clause" in Howe's studio contracts prohibited him from publicly acknowledging his marriage to Babb. They would not cohabit due to his traditional Chinese views, so they had separate apartments in the same building.

During the early years of the House Un-American Activities Committee hearings, Babb was blacklisted due to supposedly having Communist ties from her marriage to Howe; she moved to Mexico City to protect the "graylisted" Howe from racial harassment.

Howe raised his godson, producer and director Martin Fong after Fong arrived in the United States.

He is buried at Pierce Bros. Westwood Memorial Park in Los Angeles.

Technical innovations
Howe's earliest discovery was the use of black velvet to make blue eyes show up better on the orthochromatic film stock in use until the early 1920s. Orthochromatic film was "blue blind"; it was sensitive to blue and green light, which showed as white on the developed film. Reds and yellows were darkened.  Faced with the problem of actors' eyes appearing washed out or even stark white on film, Howe developed a technique of mounting a frame swathed with black velvet around his camera so that the reflections darkened the actors' eyes enough for them to appear more natural in the developed film.

Howe earned the nickname "Low-Key Howe" because of his penchant for dramatic lighting and deep shadows, a technique that came to be associated with film noir. Later in his career, as film-stocks became faster and more sensitive, Howe continued to experiment with his photography and lighting techniques, such as shooting one scene in The Molly Maguires solely by candlelight.

Howe also was known for his use of unusual lenses, film stocks, and shooting techniques. For the 1927 film The Rough Riders, Howe created an early version of a crab dolly, a form of camera dolly with four independent wheels and a movable arm to which the camera is attached. For the boxing scenes of Body and Soul (1947), he entered the boxing ring on roller-skates, carrying an early hand-held camera. Picnic (1955) features a very early example of the helicopter shot, filmed by the second-unit cinematographer, Haskell Wexler, and planned by Wexler and Howe.

Howe was the first minority cinematographer admitted to the ASC, and mentored other minority cinematographers, such as John Alonzo, who shot Chinatown and many other productions in the 1970s, 1980s, and 1990s. Alonzo credited Howe with giving him his big break on the film Seconds as a camera operator, doing hand-held sequences during the wild party scenes with Rock Hudson. Alonzo became known for his hand-held technique.

Howe also shot The Outrage, a remake of Rashomon. During the chase scenes through the woods, Howe had the actors run around him in a circle, which when filmed, looks like a chase. Alonzo used this technique in Sounder, in the wooded chase sequence.

Although the innovation of deep focus cinematography is usually associated with Gregg Toland, Howe used it in his first sound film, Transatlantic, 10 years before Toland used the technique in Citizen Kane. For deep focus, the cinematographer narrows the aperture of the camera lens, and floods the set with light, so that elements in both the foreground and background remain in sharp focus. The technique requires highly sensitive film and was difficult to achieve with early film stocks. Along with Toland and Arthur Edeson, Howe was among the earliest cinematographers to use it successfully.

Frequent collaborators

 Herbert Brenon
 John Cromwell
 Victor Fleming
 Samuel Fuller
 Howard Hawks
 William K. Howard
 Charles Maigne
 Mary Miles Minter
 Paul Newman
 Sidney Olcott
 Martin Ritt
 David O. Selznick
 W. S. Van Dyke
 Raoul Walsh

Filmography

Cinematographer

 Drums of Fate (1923)
 The Trail of the Lonesome Pine (1923)
 The Woman With Four Faces (1923)
 To the Last Man (1923)
 The Spanish Dancer (1923)
 The Call of the Canyon (1923)
 The Breaking Point (1924)
 The Side Show of Life (1924)
 The Alaskan (1924)
 Peter Pan (1924)
 The Charmer (1925)
 Not So Long Ago (1925)
 The Best People (1925)
 The King on Main Street (1925)
 The Song and Dance Man (1926)
 Sea Horses (1926)
 Mantrap (1926)
 Padlocked (1926)
 The Rough Riders (1927)
 Sorrell and Son (1927)
 Laugh, Clown, Laugh (1928)
 The Perfect Crime (1928)
 Four Walls (1928)
 The Rescue (1929)
 Desert Nights (1929)
 Today (1930)
 The Criminal Code (1930)
 Transatlantic (1931)
 The Spider (1931)
 Surrender (1931)
 The Yellow Ticket (1931)
 Surrender (1931)
 Dance Team (1932)
 After Tomorrow (1932)
 Amateur Daddy (1932)
 Man About Town (1932)
 Chandu the Magician (1932)
 Hello, Sister! (1933)
 The Power and the Glory (1933)
 Beauty for Sale (1933)
 The Show-Off (1934)
 Viva Villa! (1934)
 Manhattan Melodrama (1934)
 The Thin Man (1934)
 Hollywood Party (1934)
 Stamboul Quest (1934)
 Have a Heart (1934)
 Biography of a Bachelor Girl (1935)
 The Night Is Young (1935)
 Mark of the Vampire (1935)
 The Flame Within (1935)
 O'Shaughnessy's Boy (1935)
 Whipsaw (1935)
 Three Live Ghosts (1936)
 Fire Over England (1937)
 Farewell Again (1937)
 Under the Red Robe (1937)
 The Prisoner of Zenda (1937)
 The Adventures of Tom Sawyer (1938)
 Algiers (1938)
 Comet Over Broadway (1938)
 They Made Me a Criminal (1939)
 The Oklahoma Kid (1939)
 Daughters Courageous (1939)
 Dust Be My Destiny (1939)
 On Your Toes (1939)
 Dr. Ehrlich's Magic Bullet (1940)
 Abe Lincoln in Illinois (1940)
 Saturday's Children (1940)
 Torrid Zone (1940)
 My Love Came Back (1940)
 City for Conquest (1940)
 A Dispatch from Reuters (1940)
 Fantasia (1940, uncredited for Philadelphia Orchestra sequences)
 The Strawberry Blonde (1941)
 Shining Victory (1941)
 Out of the Fog (1941)
 Navy Blues (1941)
 Kings Row (1942)
 Yankee Doodle Dandy (1942)
 Air Force (1943)
 The Hard Way (1943)
 Hangmen Also Die! (1943)
 The North Star (1943)
 Passage to Marseille (1944)
 Objective, Burma! (1945)
 Counter-Attack (1945)
 Confidential Agent (1945)
 Danger Signal (1945)
 My Reputation (1946)
 Nora Prentiss (1947)
 Pursued (1947)
 Body and Soul (1947)
 Mr. Blandings Builds His Dream House (1948)
 The Time of Your Life (1948)
 The Baron of Arizona (1950)
 The Eagle and the Hawk (1950)
 Tripoli (1950)
 The Brave Bulls (1951)
 He Ran All the Way (1951)
 Behave Yourself! (1951)
 The Lady Says No (1951)
 The Fighter (1952)
 Come Back, Little Sheba (1952)
 Main Street to Broadway (1953)
 Jennifer (1953)
 Picnic (1955)
 The Rose Tattoo (1955)
 Death of a Scoundrel (1956)
 Drango (1957)
 Sweet Smell of Success (1957)
 The Old Man and the Sea (1958)
 Bell, Book and Candle (1958)
 The Last Angry Man (1959)
 The Story on Page One (1959)
 Song Without End (1960)
 Tess of the Storm Country (1960)
 Hud (1963)
 The Outrage (1964)
 The Glory Guys (1965)
 This Property Is Condemned (1966)
 Seconds (1966)
 Hombre (1967)
 The Heart Is a Lonely Hunter (1968)
 Last of the Mobile Hot Shots (1970)
 The Molly Maguires (1970)
 Funny Lady (1975)

Director
Go Man Go (1954)
Invisible Avenger (1958)

Awards and nominations

References

Further reading

 Higham, Charles (1970). Hollywood Cameramen. London: Thames & Hudson.
 Rainsberger, Todd (1981). James Wong Howe Cinematographer. London: The Tantivy Press.
 Silver, Alain (2011). James Wong Howe The Camera Eye. Santa Monica: Pendragon.
  (documentary)

External links

"The Camera Talks Back" by James Wong Howe
"Lighting" by James Wong Howe, Cinematographic Annual, Vol. 2 (1931) pp. 47–59
James Wong Howe Talk at 1974 San Francisco International Film Festival (audio only)
James Wong Howe papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
Selected Bibliography on James Wong Howe at the Smithsonian Institution Libraries
Photographs of San Francisco's Chinatown by James Wong Howe (1944), The Bancroft Library
James Wong Howe's Google Doodle
James Wong Howe: A Relative's Perspective by Richard Francis James Lee

1899 births
1976 deaths
American cinematographers
American film directors of Chinese descent
Best Cinematographer Academy Award winners
Burials at Westwood Village Memorial Park Cemetery
Chinese emigrants to the United States
Chinese cinematographers
People from Pasco, Washington
People from Taishan, Guangdong
Film directors from Washington (state)

James Wong Howe


Somerville is an unincorporated hamlet in Fauquier County, in the U.S. Commonwealth of Virginia.
Somerville, two miles (3 km) west of the remote southwest corner of Marine Corps Base Quantico, can be said to lie at the center of a  diamond-shaped area of mostly countryside bordered by routes US 15, 17, I-95, and SR 234. (These meet at Manassas to the north, Dumfries to the east, Fredericksburg to the south, and Warrenton to the west.) The tongue-in-cheek label "Downtown Somerville" appears on the front of the only retail establishment anywhere near the rural intersection of Midland Road and Bristersburg Road—Groves Store and Somerville Post Office. No other mailboxes lie within ZIP code 22739. No other occupied dwellings are in sight, and it is over six miles (10 km) to the nearest main road, US 17 at Morrisville. In its undated leaflet "Fauquier County Towns, Villages, and Communities", the Fauquier Historical Society says "[o]riginally Somerville was at Ensor's Shop but presently is nearby at what was once called White Ridge". That name survives today as White Ridge Farm. (A decaying homemade sign "Ensor's Shop" appears on the roadside  west of Somerville near where Ensors Shop Road intersects Midland Road.) How and when this place was first called Somerville may be unknown, but family names are a common source of place names. Wikipedia says elsewhere that "Sir Gualtier de Somerville was one of William the Conqueror's knights... in 1066. The name most likely comes from 'Saint-Omer,' a town about 20 miles south of Dunkirk at the North of France." Almost eight centuries of this noble family's history were documented in a book edited by Sir Walter Scott in 1815.

References

Unincorporated communities in Fauquier County, Virginia
Unincorporated communities in Virginia

Somerville, Virginia