Dean Saunders (born 9 January 1981 in London) is a Dutch singer. On 22 January 2011, he won in 2011 the Dutch version of Popstars in its third season in 2010–2011.

Career
He is the older brother of Ben Saunders who had won on 21 January 2011, just one day prior to Dean's win, the first ever title of the music competition The Voice of Holland.

Both Dean and his younger brother Ben started applying to talent competitions early on such as for the series Daddy's Wish. They also took part in 1998 in Life is like a box of chocolates program.

1998–2003: Follow That Dream

In 2000, Dean and Ben Saunders both took part in RTL 4's Alles voor de band: Follow that dream. They were part of the band Follow That Dream (F.T.D.) (that included besides the two brothers Vanessa Eman, Rosa Vuik, Linda van Toornburg and Peter van der Meer. The band was signed to Dino Music record label.

Their debut single the self-titled "Follow That Dream" was released in November 2000 reaching #25 in the Dutch Top 40. 6 months later, the band split after the great popularity of the rival Starmaker show.

2003: Eurovision Song Contest entry
On 15 February 2003 the Saunders brothers took part in the 2003 Dutch Nationaal Songfestival, a Dutch national music pre-selection contest for qualification to Eurovision Song Contest to be held in Riga, Latvia. They performed the song "Stand As One" in the third heat under the name "The Brothers" getting just 10 points and finishing with 3% of the popular vote as seventh out of 8 participants.

2010–present: Popstars
In 2010 he applied for the Popstars competition winning the title on 22 January 2011 against the runner-up Simone Nijssen. He got 60% of the popular vote. He released his winning song "You and I Both" originally by Jason Mraz as his debut single.

Personal life
Dean Saunders was born in England in 1981. He moved to the Netherlands in 1986 when he was just 5. He resides in Hoorn.

28 August 2014 Dean Saunders was arrested on suspicion of arson. In October 2015 he was sentenced to prison for eight months, a fine of 400 euros, and community service of 40 hours.

Discography

Albums
As part of band Follow That Dream
2000: The Album on Dino Music

Singles
As part of band Follow That Dream
2000: "Follow That Dream"
2001: "One Night in Shanghai"
As The Brothers
2003: "Stand As One"
Solo
2011: "You and I Both"

References

External links
Dean Saunders Official website

1981 births
Living people
Dutch male singers
Dutch people of English descent
English emigrants to the Netherlands
English male singers
Popstars winners
Singers from London
21st-century English singers
21st-century Dutch singers
21st-century British male singers

Dean Saunders (singer)


Atmea was a joint venture between Mitsubishi Heavy Industries (MHI) and EDF Group set up in 2006 to develop, market, license and sell the ATMEA1 reactor, a new generation III+, medium-power  pressurized water reactor (PWR). The company was headquartered in Paris. The joint venture was abandoned in 2019.

History
A memorandum of understanding between AREVA and MHI effectively creating the entity was signed 19 October 2006 and the name of the joint venture was announced on 3 September 2007. The European Commission cleared the joint venture in October 2007 on the grounds that the activities of Areva and MHI were geographically complementary and Atmea was unlikely to strengthen the competitiveness of each parent company.

The completion of the French nuclear industry reorganisation under EDF leadership in 2018 also led to a renewed partnership within ATMEA. ATMEA was initially formed as a joint venture between AREVA NP and MHI to develop the next-generation AT-MEA1 reactor. Under the new structure, there was a fifty-fifty ownership of ATMEA between EDF and MHI, along with a special share owned by Framatome. This would reinforce the Franco/Japanese new nuclear power offering to many countries recognizing the key role of nuclear energy in the transition towards low-carbon power generation.

The joint development was abandoned in 2019, following the similar fate of the French-Japanese ASTRID fast reactor design the same year.

The ATMEA1 reactor
The ATMEA1 reactor design was an about 1200 MWe generation III+ pressurized water reactor with three coolant loops and a thermal power level of 3,150 MWth. The design has high thermal efficiency (typically 10% higher than currently operating reactors), a 60-year service life and a load-following capability. The reactor can be set to a 12- to 24 month operational cycle.

The ATMEA1 reactor's systems and components were previously developed by AREVA and MHI for the EPR and APWR respectively, including steam generators with axial economizer and TT690 tubes, advanced accumulators and reactor internals with Heavy Neutron Reflector.

The ATMEA1 safety features include three redundant trains of emergency core cooling systems and a core-melt retention system.

With a power output of about 1200 Mwe, the ATMEA1, was targeted to attract new-entry countries looking to develop nuclear power. In comparison, Mitsubishi's APWR was slated to have a power of 1700 MWe while Areva's European Pressurized Reactor has an output of 1600 Mwe.

Compliance
In 2013, the Canadian Nuclear Safety Commission (CNSC) released a pre-project design review of the ATMEA1 reactor and found the design compliant with CNSC regulatory requirements and expectations for new nuclear power plants in Canada.

In 2012 the French Nuclear Safety Authority, (Autorité de sûreté nucléaire or ASN), released a report finding the safety options and design choice of the ATMEA1 satisfactory and in compliance with French regulations.

On 7 July 2008 the International Atomic Energy Agency (IAEA) completed the review of the conceptual safety design features for the ATMEA1. The report concluded that the ATMEA1 conceptual design addresses the IAEA's fundamental safety principles and key design and safety assessment requirements.

Planned construction
On 3 May 2013, Turkish prime minister Recep Tayyip Erdoğan and his Japanese counterpart Shinzo Abe, signed an outline US$22 billion deal for the construction of the Sinop Nuclear Power Plant in Turkey. Plans for the 4400 MWe plant were ratified by Turkey's government in April 2015. Ownership of the plant would be split between a consortium of  Japan's Mitsubishi Heavy Industries (MHI) and Itochu, and France's Areva and GDF Suez with 51%, and Turkey's state-run power producer EUAS with 49%. The plant would comprise four ATMEA1 reactors. As of 2015, subject to final agreement, construction was planned to begin in 2017, with the first unit to be in operation by 2023.

In 2018 an Environmental Impact Assessment application was submitted to the Environment and Urban Planning Ministry. Location and construction licenses were still to be obtained from the Turkey Atomic Energy Agency.

In April 2018, Nikkei reported that Itochu would withdraw from the project, while MHI and other investors were continuing the feasibility study through the summer of 2018. The remaining members of the Japanese consortium abandoned the project in December 2018 after a failure to reach agreement with the Turkish government on financing terms. Construction costs had almost doubled to about $44 billion, because of post-Fukushima safety improvements and the fall in the value of the Turkish lira.

See also
Nuclear power in Japan
Nuclear power in France

References

External links
Mitsubishi press release
Areva press release

Areva
Mitsubishi Heavy Industries
Nuclear technology companies of France
Nuclear power reactor types
Pressurized water reactors

Atmea


Abdalla Uba Adamu () (born 25 April 1956) is a Nigerian academic, educator, publisher, filmmaker, ethnomusicologist, and media scholar. He hold double professorships in Science Education (1997) and Media and Cultural Communication (2012).

He taught media and science education courses in many Nigerian universities and around the world, including serving as a European Union Visiting Professor at University of Warsaw, Poland, in 2012, visiting professor, Rutgers University, New Jersey, and visiting professor, University of Florida in 2010.  He was Fulbright African Senior Research Scholar at the Center for Studies in Higher Education, University of California, Berkeley, 1991-1992.

In his contribution to the development of Hausa language in modern era, he developed 'hooked' Hausa language character font sets (ɓ Ɓ ɗ Ɗ ƙ Ƙ), which were not present at the advent of the word processors in Nigeria in the 1990s. He named them 'rabi'at' and 'abdalla'.

Early life and education
Adamu was born in Daneji, Kano city, Kano State, on April 25, 1956. He received his undergraduate B.Sc. (Education) degree in Education, Biology and Physiology in 1979 at Ahmadu Bello University. He did his National Youth Service at a high school in Umoarkrika, Imo State, teaching Biology and Agricultural Science.

He was employed as the first Graduate Assistant in Science Education in Bayero University Kano in July 1980. After a year, he was sponsored by the Kano State Government to study for M.A. Science Education at Chelsea College, University of London from 1982 to 1983. At Chelsea College, he was tutored by direct students of Karl Popper and subsequently became influenced by Popper's theories on the Philosophy of Science. On return to Bayero University, he re-oriented his Science Education classes towards Popper's theories, in particular falsification and conjectures and refutations. He subsequently developed both undergraduate and postgraduate courses on History and Philosophy of Science in the Department of Science and Technology Education where he domiciled at the time. He served as Head of Department of Education (1995-1998, 1999-2001), Head of Department of Science and Technology Education (2010-2013).  Additionally, he served as Director, Management Information Systems (MIS) in Bayero University Kano from 1999 to 2004.

In October 1985 he became the first Kano State indigene to be awarded the British Commonwealth Scholarship  which enabled him to proceed to Sussex University where he studied for his D.Phil. in Science Education with focus on Human Resource Development under the tutelage of Keith Lewin. Titled Science, schooling and manpower production in Nigeria: a study of Kano state science secondary schools, 1977-1987, his research explored the role of Science Education policies in national development. He returned to Bayero University in 1988 and continued to raise up in academic ranks.

Career
In 1991, Adamu was appointed Fulbright African Senior Research Scholar and given a place at the Center for Studies in Higher Education, University of California, Berkeley. During the year he was at Berkeley, was mentored by Sheldon Rothblatt, the Director of the Center at the time, and Martin Trow, who both encouraged his residency and intention to write about the transnational nature of Nigerian Higher Education by incorporating him into the History of the University cluster. During the Berkeley Residency he wrote a monograph, Reform and Adaptation in Nigerian University Curricula, published by Edwin Mellen Press, New York, in 1994. The monograph explores the transfer of educational influence and structures from the United States to Nigeria, and the substitution of British educational system in Nigeria in the process. He was also Resident at the Rockefeller Foundation's Bellagio Resident Fellows program at the Bellagio Study Center, Bellagio, Italy, October to November 1993. During the Rockefeller Residency, he developed a monograph on the introduction of the American-style course unit system into the academic structure of Bayero University and the challenges such process faced. Thus, his main focus in Education were comparative higher education, curriculum and indigenous science education and science policy development.

In 1991 he participated in a UNESCO project on Planning science education provision in general secondary schools directed by Françoise Caillods with Gabriele  Göttelmann-Duret and curated by Keith Lewin. The project led to the publication of a series of policy monographs targeted at Ministers of Education of various countries published by International Institute of Educational Planning. Adamu's contribution was Operation, efficiency and desirability of special science schools at secondary level: the Nigerian experience.

Adamu become professor of Science Education and Curriculum Studies in 1997. In 2004 he presented his Professorial Inaugural Lecture, Sunset at Dawn, Darkness at Noon: Reconstructing the Mechanisms of Literacy in Indigenous Communities to the University community in which he explored the use of Arabic alphabet as Hausa language literary device—the resultant script being labeled 'Ajami' (non-Arabic).

Media Studies
From 1996, the public Islamicate culture in Kano started voicing out concerns and criticisms about the new wave of Hausa prose fiction that has started to become popular, particularly among Hausa school girls and married women in purdah. The fiction, similar to Mills & Boon romantic stories were referred to as Littattafan Soyayya (Romantic Fiction). The Hausa romantic stories had started being written since 1980 and it took a decade for the Hausa public culture in Kano to note their overwhelming popularity. The novelists were accused of  promoting immoral behavior because of their romantic themes. Predominantly popular, the genre became dominated by women writers with stories to tell about domestic lives of fairly typical Hausa married women. A censorship regime was instituted in 2001, and in 2007 a 'book burning' event was held in Kano to 'cleanse' the romantic fiction of its perceived immorality, Newly written story books with moral themes were given out instead to school girls, from whom the burnt novels were seized.

Having felt saturated in studies in Education with its main focus on policy dialogues, Adamu had, by 1996, switched his research interest to interrogating the interface between the new Hausa entertainment media forms and the Hausa Islamicate public culture. By then, the Islamicate public in Kano had started noticing the transformation of the Hausa popular cultural industries from its staid traditional orientation with focus on African Muslim traditional family values, to an emergent variety that was increasingly become transglobal, with Hindi films strongly influencing the Hausa entertainment forms, especially in music, literature and video film production. This transformation was spearheaded by the Hausa prose fiction romantic writers who eventually migrated and formed the Hausa video film industry that was officially and commercially launched in March 1990 in the city of Kano, thus earning it the sobriquet of 'Kannywood' in 1999. This became the first label of an indigenous film industry in Africa. In 2020 the term entered into The Oxford English Dictionary as a legitimate word. The other term connected to Nigerian cinema, Nollywood, was coined in 2002 by Norimitsu Onishi of The New York Times.

While Kannywood refers to Hausa Cinema, Nollywood refers to Nigerian Cinema in the official English Language of the Federal Republic of Nigeria. Adamu is therefore one of those advocating for Hausa Cinema rather than Kannywood. This was because the term Kennywood has spatial roots in Kano, northern Nigeria which was the center for the production, censorship and distribution and consumption of Hausa films. With the availability of internet and greater involvement of Hausa communities in Congo, Cameroon, Chad, Togo, Ghana and Niger Republic actively producing Hausa-language films, the term Kannywood therefore becomes anachronistic.

Subsequently, he embedded himself into the community of novelists, scriptwriters, producers, directors, actors and cinematographers in Kano, getting an in-depth perspective of their art and craft as part of what Victor Turner and Edward Bruner refer to as the 'anthropology of experience'. From 1999 he started his foray into discourse on media and cultural communication through documenting Hausa prose fiction, commonly referred to as Kano Market Literature,

With the formal starting of the Hausa video film industry in March 1990, many of the Hausa prose fiction romantic writers migrated to the video film with the intention of converting their prose fiction into video film. Adamu migrated with them to then new medium, further embedding himself in the new entertainment ecosystem. These pioneer writers who turned into film makers and subsequently gave Hausa Cinema its ethnographic focus included Ado Ahmad Gidan Dabino, Balaraba Ramat Yakubu, Bala Anas Babinlata and Ɗan Azumi Baba Ceɗiyar ƴan Gurasa.

Against the backdrop of censorship regime by a newly introduced Shari'a constitution in the State of Kano in 2000, Adamu immersed himself in a study of the outcomes of the censorship regime and popular culture in the Islamicate society of Kano. In 2001 he stablished early social networks on defunct Yahoo! Groups to discuss Hausa music, literature and video films in an increasingly interconnected world. This attracted a series of debates centered on the relationship between popular culture and Muslim Hausa traditional values. In 2003 he organized an international conference on Hausa video films, the first of its kind in Nigeria. The conference led to the establishment of Center for Hausa Cultural Studies in Kano that focused attention on the transnational flow of media to African Islamic societies and the public reaction to such media emergence. The Center also published the proceedings of the conference as Hausa Home Videos: Technology, Economy and Society, which presents the first academic study on indigenous language films in Nigeria. The conference opened up Hausa video films to international studies, drawing researchers from the US, UK and Europe.

Thus, from 2001 to 2023 he helped to establish Hausa Cinema Studies as an academic focus of study, leading to many theses and dissertations on the subject. For instance, in 2006 he delivered Mary Kingsley Zochonis Lecture for the African Studies Association, UK Biennial Conference at the School of African and Oriental Studies, University of London on 12 September 2006. The lecture was subsequently published in Kano as Transglobal Media Flows and African Popular Culture: Revolution and Reaction In Muslim Hausa Popular Culture.

Within Bayero University Kano campus, he participated in academic activities in the Department of English and Department of Mass Communication where he shared his field experiences during seminars and book collectives. He rooted his studies in Frankfurt School's critical theory, with particular focus on Jürgen Habermas whose private sphere/public sphere dichotomy Adamu found appealing as it applies to critical studies of Islamicate public culture. He also adopted Marshal Hodgson's concept of Islamicate culture as an analytical framework in his subsequent studies of Muslim Hausa entertainment culture.

His research started gaining visibility with an invitation to participate in The Media and the Construction of African Identities conference held in Kenya in 2004. This led to the publication of the proceedings as Media and Identity in Africa edited by Kimani Njogu and John Middleton. During the Kenyan meeting, he was introduced to Heike Behrend, one of the founders of media anthropology, and then the Director of Institute of African Studies, University of Cologne who invited him to address her postgraduate class at the University. His presentation on Islam and censorship opened up debates in northern Nigeria about the role of media in Muslim affairs, especially as it affects women and cinematic representation. His lecture, delivered under the research cluster of Media and Cultural Communication on 15 November 2004 opened him to internationalization of Muslim Hausa popular culture which saw him collaborating with colleagues to explore the various perspectives of media and culture of the Hausa. These included Graham Furniss (School of Oriental and African Studies, University of London), Brian Larkin (Barnard College, Columbia University, New York), Till Förster (University of Basel, Switzerland), Joe McIntyre (University of Hamburg), Nina Pawlak (University of Warsaw, Poland), Mariusz Kraśniewski (Institute of Mediterranean Studies, Polish Academy of Science, Warsaw) and Ousseina Alidou (State University of Rutgers, New Jersey). Based on his new research focus, the Department of Mass Communication Bayero University Kano in 2005 offered him employment as a Lecturer (in addition to his tenured professorship at the Department of Science and Technology Education) in media technologies and cultural studies.

Adamu subsequently served as Visiting Professor at the School of Oriental and African Studies, University of London; University of Florida, Gainesville, the State University of New Jersey, Columbia University, New York; Universität zu Köln and the University of Basel. He also gave special lectures at the Freie Universität Berlin, Universität Hamburg, Universität zu Köln, Humboldt-Universität zu Berlin, and the Gutenberg-Universität Mainz.

In 2012 he was appointed European Union Visiting Professor for the project 'The Modern University' at the Department of African Languages and Cultures, University of Warsaw, Poland from 1 March to 31 May 2012. At Warsaw, he taught two courses: Transnationalism and African Popular Culture, and Oral Traditions in Local and Global Contexts.

Based on his research outputs, in 2012 the Bayero University Council appointed him Professor of Media and Cultural Communication – some fifteen years after his first professorship in Science Education in 1997. With this appointment, which included his transfer from the Faculty of Education to the Department of Mass Communication, Bayero University Kano, he became the first professor in the Nigerian University system to occupy two professorial chairs in two different disciplines and Faculties.

With his transfer to the Department of Mass Communication, the University tasked him with the responsibility of using his experience in curriculum design to convert the single Department into a Faculty of Communication. He was thus able to design the curricular structure of what came to the first Faculty of Communication in Nigeria which split the main Mass Communication program into six individual degree programs. Before this new structure could be implemented in Bayero University, however, the National Universities Commission (NUC), the Nigerian higher education regulator and accreditation body, in a system-wide revitalization and transformation officially unbundled  Mass Communication studies in Nigerian Universities into nine degree programs and endorsed universities to establish a Faculty of Communication if they so wish.

National Open University of Nigeria (NOUN)
He was the Vice-Chancellor of National Open University of Nigeria from February 10, 2016 to February 11, 2021. During his tenure in NOUN, he focused attention on raising the visibility of Open and Distance Learning especially for the disadvantaged and disenfranchised members of the Nigerian public. Specially targeted for free scholarship were persons living with disabilities, female nomadic children, female students in South Eastern Nigeria, individuals displaced by terrorist insurgency in the North East of Nigeria and who had to relocate to Internally Displaced Camps (IDP). He massively increased the number of NOUN Study Centers from 65 he found to 103 he left, with a combined enrolment of over 640,000 (from 245,000) students. He also instituted free scholarships to individuals in correctional centers, judging that since they do not earn any income, they were incapable of paying their way through schooling. This has resulted in the enrolment of over 700 correctional center inmates in various NOUN degree programs, with Peace and Conflict Studies leading the choice of study. For his services to NOUN, he was admitted as Honorary Fellow of the Commonwealth of Learning in 2019. At the end of his tenure in February 2021, spent a Sabbatical year at the Kaduna State University (KASU), Department of Mass Communication, returning to his Department of Information and Media Studies, Bayero University Kano at the end of his Sabbatical year in 2022 where he continued his teaching and research activities.

The Gutenberg Principle and Ajamization of Knowledge
Since 1996 Adamu had been proposing for what he referred to as 'Ajamīzatioin of Knowledge' as an alternative educational strategy for millions of Hausa  Qur'ānic school pupils to acquire contemporary education in a literary script they know, rather than Latin alphabet they struggle to learn or not learn at all as these conflicts with their Qurʾānic schooling. This will remove the perspective that education can only be delivered through Latin alphabet. Ajamī script is the use of Arabic letters for non-Arabic languages, of which Hausa is one of them. Being literate in Qurʾānic sciences gave Muslim Hausa the ability to use the Arabic alphabet in different contexts from the Qur'ān—thus creating Ajamī. He argued that their familiarity with the script through six-year period of learning the Qur'an sufficiently empowers them to master the script and use it in non-religious setting—thus enhancing their literacy. This was done with Urdu, Persian, and many other Arabic-script based languages.

In 2017, SIL International, as part of a Hausa Bible translation initiative, released Alƙalami TrueType font that renders the Hausa Arabic Warš (locally referred as Warsu) Ajamī script more accurately visually than the standard Ḥafs Arabic letters. The Alƙalami font was an Arabic script font and targeted for users in Niger and Nigeria. It was released as a modified Etincelle font originally created for SIL by Becca Hirsbrunner Spalinger who graduated from the MATD program at the University of Reading in 2015. Etincelle was her graduation project. The font was the first attempt to create a visually appealing font that approximates the handwritten Hausa Ajamī manuscripts commonly available in the Kano Kurmi market and based on the template of Sharu Bala Gabari's hand-written calligraphic Warš style of writing the Qur'ān. The font was developed for the purpose of translating the Bible into Hausa Warš script tradition—a common literacy skill of millions of Hausa Qur'ānic school pupils, their teachers, and general Muslim Hausa. The Bible Society of Nigeria had also translated the Bible into Hausa Ajami Ḥafṣ script based on Kigelia font and is available as an application for devices.

With the Alƙalami font in the public domain, Adamu embarked on a digitization project in 2022 that rendered the previously Warš hand-written documents on the history of Kano into the new Alƙalami rendition for public use. This was a second stage of his Ajamīzation of Knowledge—using Arabic Ajamī script for general, rather than exclusively religious education. Support in the project was rendered by Abdullahi Abba Dalhatu who converted the Hausa translation of the Holy Qur'ān by Abubakar Mahmud Gumi into the Alƙalami Warš version. The Alƙalami-rendered Hausa Qur'ān was to be converted into an application and uploaded to Google Play for easy download by the target audiences—the Muslim Hausa. A newspaper, Tabarau, was also published with the Hausa Alƙalami Warš script—making it the first in modern times, as the previous Hausa Ajamī newspaper in Kano, Alfijir, relied on Arabic Ḥafs script, which accounts for its lack of acceptance among readers as it was considered an 'Arabic' newspaper, despite being written in Hausa.

Adamu is Member of the Nigerian Academy of Letters. as well as Member, Nigerian Academy of Education.

Festschrifts in the Honor of Abdalla Uba Adamu

 2021. Educational Issues, Developments and Innovations. Festschrift in Honour of Abdalla Uba Adamu. Edited by U.S.A. Osuji. Abuja: National Open University of Nigeria Press. ISBN 978-978-058-068-1.
 2021. Pedagogy: Teaching and Learning in Contemporary Nigeria. A Festschrift in the Honour of Abdalla Uba Adamu. Edited by Hakeem Ibikunle Tijani & Adegbite Tobalase. Houston, Texas: Africa Diaspora Press. ISBN 978-978-53893-5-7,
 2017. Media, Knowledge Transfer and African Identity. A Festschrift in Honour of Abdalla Uba Adamu, Edited by Sa'idu Ahmed Ɓaɓura and Nura Ibrahim. Kano: Bayero University Press, 2017. ISBN 978-978-54522-6-6.

Selected Books
 2022. Status of Online Learning in Nigeria. British Columbia, Canada:  Commonwealth of Learning, 2022. https://doi.org/10.56059/11599/4070.
 2007. Transglobal Media Flows and African Popular Culture: Revolution and Reaction in Muslim Hausa Popular Culture: Visually Ethnographic Productions, 2007. .
 2007. Chieftaincy and Security in Nigeria: Past, Present, and Future (ed): Lagos, Tellettes Consulting Company, 2007.
 1993. Reform and Adaptation in Nigerian University Curricula, 1960-1992: Living on the Credit Line: New York, Edwin Mellen Press, 1993. .

Selected Book Chapters/Articles

 2023. "Komai Nisan Dare, Akwai Wani Online": Social Media and the Emergence of Hausa Neoproverbs. Humanities 12(3), 44, pp. 1–14. DOI: https://doi.org/10.3390/h12030044J.
 2022. Media, Post-Truth and Information Disorder in Hausa Political Communication. Journal of Communication and Media Research (JCMR), 14(1), pp. 12–18. ISSN: 2141-5277.
 2022. Genesis to Revelation: The Emergence of Kannywood Film industry. In D. Gambo, The Media Industry in Northern Nigeria, 1930-2020 (pp. 283–315). Jos: University of Jos Press. ISBN 9789789964253.
 2021. Popular Culture in Muslim Africa. In Østebø, T. (Ed.)., pp. 281–292. Handbook of Islam in Africa (1st ed.). Routledge. ISBN 9781032127422.
 2021, Inclusive Rapport: Nation, Language, and Identity in Nigeriène and Nigerian Hausa Rap Music. In Pepetual Mforbe Chiangong & Susanne Gehrmann (Eds.). Crossings and Comparisons in African Literary and Cultural Studies, (pp. 153–174). Trier: WVT Wissenschaftlicher Verlag. ISBN 978-3-86821-934-0.
 2021. "There Goes the Neighborhood.": Film Soundstages and the Islamicate Public in Northern Nigeria. In Kristian Petersen (Ed.). Muslims in the Movies: A Global Anthology (pp. 206–218).  Cambridge, MA: Harvard University Press. ISBN 9780674257788.
 2021. Genesis to Revelation: Literature Bureau, Literary Associations and the Hausa Novel. In Adamu, Y. (Ed.). Hausa Prose Fiction: A Reader. pp. 25–56. Kano: Bayero University Press. ISBN 9789785645248.
 2021. The Intangible Migrant: Language, Migration and Identity. International Journal of Migration and Global Studies, 1(1): 38-62. National Open University of Nigeria (NOUN). ISSN: 2782-7534.
 2020. Islamic Calligraphy, Abstraction and Magic in Northern Nigeria. In Toyin Falola Fallou Ngom & Mustapha Kurfi (Eds.). The Palgrave Handbook of Islam in Africa (pp. 303–336). New York: Macmillan/Palgrave. DOI: https://doi.org/10.1007/978-3-030-45759-4.
 2020. Gender and Delineation of Intimisphäre in Muslim Hausa Video Films. In: Brunn S., Kehrein R. (eds) Handbook of the Changing World Language Map (pp. 1805–838). Cham: Springer. ISBN 978-3-030-02437-6.
 2020. "We Are Not in Baghdad Anymore": Textual Travels and Hausa Intertextual Adaptation of Selected Stories in 1001 Nights." In Orhan Elmaz (Ed.). Endless Inspiration: One Thousand and One Nights in Comparative Perspective (pp. 35-59). Piscataway, NJ: Gorgias Press. ISBN 9781463241872.
 2020. "Nigeria".  In Wells, Karen (ed.). Teen Lives around the World [2 volumes]: A Global Encyclopedia. Vol 1 - Australia to Nigeria, pp. 329–340. Santa Barbara, California: ABC-CLIO. ISBN 9781440852442.
 2020. Suna Linzami: Hausa Names as Ethnographic Markers. Algaita, 3(1), 1-15 (Bayero University, Kano). ISSN: 2414-9434.
 2019. Transcultural Language Intimacies: The Linguistic Domestication of Indian Films in the Hausa Language. In Kenneth Harrow and Carmela Garritano (Eds.). Companion to African Cinema (pp. 157–175). Chichester: John Wiley & Sons Limited. ISBN 978-1-119-10031-7.
 2019. The Political Economy of the Hausa Popular Cultural Industries. Politique africaine n°153, p. 59-84. ISBN 9782811126971.
 2019. Hausa Popular Music (Northern Nigeria, pp. 168–178), Hip-Hop in Nigeria (Hausa Rap, pp. 258–260). In David Horn, John Shepherd, Gabrielle Kielich, and Heidi Feldman (eds.) Bloomsbury Encyclopedia of Popular Music of the World, Volume 12: Genres: Sub-Saharan Africa, . New York: Bloomsbury. ISBN 9781501342028.
 2018. Hausa Language and Literature. In Thomas Spear (Ed.). Oxford Bibliographies in African Studies. New York: Oxford University Press. DOI: https://doi.org/10.1093/OBO/9780199846733-0202.
 2017. Transcultural Connections - Hindi Films, Transborder Fandom and Muslim Hausa Audiences in Northern Nigeria, African and Asian Studies 16: 103-127. DOI: https://doi.org/10.1163/15692108-12341373.
 2017. Controversies and Restrictions of Visual Representation of Prophets in Northern Nigerian Popular Culture. Journal of African Media Studies, 9 (1): 17-31. DOI: https://doi.org/10.1386/jams.9.1.17_1.
 2017. Education for Development - Theoretical Perspectives and the Nigerian Situation. Jerrold Keilson & Michael Gubser (Eds.). The Practice of International Development (pp. 215–232). New York: Routledge. DOI: https://doi.org/10.4324/9781315098432.
 2016. Tribute to Hajiya Sa'adatu Ahmad Barmani Choge, Griotte, northern Nigeria, 1948-2013. The Annual Review of Islam in Africa, Issue No. 12/13, pp. 166–172. (University of Cape Town, South Africa).
 2016. Media-Mediated Urban Sexuality and Islamicate Popular Culture in Northern Nigeria. In Muhammad O. Bhadmus (Ed.). The Nigerian Cinema: Reading Nigerian Motion Pictures (pp. 349–372). Ibadan: Spectrum Book Limited. ISBN 978-978-926-417-9.
 2016. Trans-fictional migration and inter-textual re-interpretation: The Grimm Brothers' tales in Muslim Hausa Literature. In Isma'ila A. Tsiga & M. O. Bhadmus (Eds.), Literature, history, and identity in northern Nigeria (pp. 101–128). Ibadan: Safari Books Ltd. ISBN 978-978-8431-87-9.
 2015. The Remediation of Events: 9/11 in Nigerian Videos. In H. Behrend & T. Wendl (Eds.), 9/11 and its Remediations in Popular Culture and Arts in Africa (pp. 39–57). Berlin: Lit. Verlag.  ISBN 9783643906274.
 2015. Out of India, coming to Africa: The emergence of Kanywood, the Muslim Hausa video film industry in northern Nigeria, published as "Dall'India all'Africa. La nascita di Kanywood: l'industria dei video musulmani in lingua hausa, nel Nord della Nigeria". In A. Jedlowski & G. Santanera (Eds.), Lagos calling: Nollywood e la reinvenzione del cinema in Africa (pp. 135–166). Aracne editrice int. le S.r.l. ISBN 978-88-548-8850-0.
 2015. PDP reloaded: Political mobilization through urban musics in Kano. Bayero Journal of Political Science (Maiden Edition), June 2014, pp. 65–89.
 2014. The Beggar's Opera: Muslim Beggar-Minstrels and Street Oral Poetry Theatre in Northern Nigeria. In T. F. Deubel, S. M. Youngstedt & H. Tissières (Eds.), Saharan Crossroads: Exploring Historical, Cultural, and Artistic Linkages between North and West Africa (pp. 195–216). Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 1-4438-5826-9.
 2013. Transgressing Boundaries: Reinterpretation of Nollywood Films in Muslim Northern Nigeria. In M. Krings & O. Okome (Eds.), Global Nollywood: Transnational Dimensions of an African Video Film Industry (pp. 287–305). Bloomington and Indianapolis: Indiana University Press. ISBN 9780253009234.
 2012. Transnational Media Flows and Contra-Flows: Shifting Paradigms in South-South Entertainment Flows. Hemispheres – Studies of Cultures and Societies,  27: 5–32.  Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw, Poland. ISBN 978-83-7452-064-5.
 2012. Al-Hausawi, Al-Hindawi: Media Contraflow, Urban Communication and Translinguistic Onomatopoeia Among Hausa of Northern Nigeria. Studies of the Department of African Languages and Cultures (ALC), 46: 23-57. Department of African Languages and Culture, University of Warsaw, Poland. ISSN: 0860-4649.
 2012. "Go by appearances at your peril": The Raina Kama writers' association in Kano, Nigeria, carving out a place for the "popular" in the Hausa literary landscape. with Graham Furniss., Research in African Literatures, 43(4): 88-121. ISSN: 00345210.
 2010. Transnational flows and local identities in Muslim Northern Nigerian Films: From Dead Poets Society through Mohabbatein to So…" In H. Wasserman (Ed.). Popular Media, Democracy and Development in Africa (pp. 223–234). London: Rutledge. ISBN 978-0-415-57793-9.
 2010. The Muse's Journey: Transcultural Translators and Domestication of Transnational Music in Hausa Popular Culture. Journal of African Cultural Studies, 22(1): 41–56.
 2010. Islam, Shari'a and Censorship in Hausa Video Film. In M. Saul & R. A. Austen (Eds.). Viewing African cinema in the twenty-first century: FESCAPO art films and the Nollywood video revolution (pp. 63–71). Cleveland, Ohio: The University Press. ISBN 978-0-8214-1931-1.
 2009. Media Parenting and Construction of Media Identities in Northern Nigerian Muslim Hausa Video Films. In J. Middleton & N. Kimani (Eds.). The Media and the construction of African Identities (pp. 171–186). London: International African Institute/Twanzega Communications. ISBN 9780748635214.
 2008. The Hindi Cinema Factor in Hausa Video Film Soundtracks. In M. Slobin (Ed.).  Global soundtracks: The culture of world film music (pp. 152–176). Connecticut: Wesleyan University Press. ISBN 9780819568823.
 2006. Loud bubbles from a silent brook: Trends and tendencies in contemporary Hausa prose writing. Research in African Literatures, 37(3): 133-153.

See also
 List of Nigerian film producers

References

Academic staff of Bayero University Kano
1956 births
Living people
Nigerian film producers
Ahmadu Bello University alumni
Alumni of the University of London
Alumni of the University of Sussex
Academic staff of the National Open University of Nigeria

Abdalla Uba Adamu


A blenny is a member of a large order of teleost fish called the Blenniiformes. The suborder has about 900 species in 151 genera.

Blennies are generally small fish. They have long bodies (some almost eel-like), and relatively large eyes and mouths. Their dorsal fins are continuous and long. The pelvic fins have a single embedded spine, and are short and slender. The tail fin is rounded.

The blunt heads of blennies often have whisker-like structures called cirri. As generally benthic fish, blennioids spend much of their time on or near the sea floor.

They are quite similar in form to some gobies.

Teleosts

Blenny


Alexander is an unincorporated community located in southern Erath County in Central Texas, United States. Alexander is located in the southern part of the county, along Texas State Highway 6 and Fm-914. The town was originally called: "Harper's Mill" when the Post Office was approved for operation around the 1870s. The name was changed in the 1880s, when the Texas Central line, part of the historic Katy Railroad, was built from east to west through the townsite on its way from the Waco area to Stamford, with a branch to Cross Plains from the line at De Leon. In 1907, the Stephenville North and South Texas Railway, part of the Cotton Belt Route, was constructed from north to south and intersected with the Katy's line in Alexander. This made the town an important community for business in the area. The Cotton Belt Route ran from Stephenville through to nearby Carlton. On October 17, 1934, the Cotton Belt Route was abandoned from Stephenville to Hamilton. The Katy Railroad remained through Alexander until its abandonment in the late 1960s. The Alexander post office closed in 1970 and the population remained at a steady 40 from the 1970s through 2000.

References

 Texas Escapes.com Online entry for Alexander
 Katy Railroad Historic Society website
 Handbook of Texas Online entry for the Stephenville North & South Texas
 Handbook of Texas Online entry for Alexander, Texas

Unincorporated communities in Erath County, Texas
Unincorporated communities in Texas
Ghost towns in North Texas

Alexander, Texas


GT3 (Gas Turbine 3) was a prototype mainline gas turbine locomotive built in 1961 by English Electric at its Vulcan Foundry in Newton-le-Willows to investigate the use of its gas turbines in rail traction applications. It followed 18000 and 18100 as gas turbines 1 and 2. It was designed by English Electric engineer J. O. P. Hughes in a project that started in the early 1950s. Externally it resembled a steam tender locomotive, but the tender carried kerosene fuel. The designer said the traditional chassis and mechanical transmission avoided complications with (at the time of its conception) relatively untried technologies for bogies and electrical transmission.

Overview
The National Railway Museum Archives hold the JOP Hughes papers which contain initial concept sketches for various 4-8-4 wheel arrangement single-unit configurations of the machine and early 4-6-0 tender locomotive drawings. These early concept drawings show various names, numbers and liveries, and were drawn with Boxpok-type wheels. The final design was for a 4-6-0 wheel arrangement locomotive with a fuel tender, looking much like a traditional steam locomotive in form.

As constructed the locomotive was built with bespoke heavy steel frames which not only bore the auxiliaries, combustion chamber, turbines, heat exchanger and locomotive cab, but also provided adhesive weight for the finished machine. The frames were carried by a leading two-axle outside-framed bogie and three main axles. The driving wheels were of conventional design in the finished locomotive and were of  diameter with 19 spokes and conventional balance weights. The centre axle mounted a mechanical transmission shaft driven from the turbine assembly, with power to the outer axles being transmitted by side rods. Power came from an English Electric EM27L gas turbine arrangement of  with high- and low-pressure turbines. The low-pressure turbine ran continuously in operation and was used to drive the locomotive's auxiliaries, with the high-pressure turbine operating as higher power outputs were required. Both the locomotive and its fuel tender were vacuum-braked, with vacuum brake ejectors being driven by air pressure bled from the turbine. The locomotive's other auxiliaries (housed in its leading end beneath the large side air intakes) were shaft- and belt-driven.

The tender was permanently coupled behind the locomotive and contained a Spanner train heating boiler at the leading end and fuel tanks either side of a central corridor with a boiler water tank beneath. A crew toilet compartment and British Standard corridor connection were located at the rear. The six-wheel chassis was based on then standard British Railways practice, albeit it with specially made and shaped side frames and bespoke tank and bodywork assembled at Vulcan Foundry. The locomotive had a designed maximum speed of , weighed , and was painted in a lined Beech Leaf Brown Livery, earning it the nickname The Chocolate Zephyr by railway enthusiasts. Underframes, grilles and the front access and cab doors were painted Brunswick Green with lettering and lining in Orange.

Testing

The locomotive was taken to British Railways' Rugby test centre in an incomplete state for testing on rollers, and then on a short section of specially laid track. After returning to Vulcan Foundry for final assembly, the locomotive was then based at the former locomotive shed at Whitchurch in Shropshire for initial light testing and crew training on the Malpas line between Crewe and Chester, before commencing loaded test runs to Llandudno Junction. One of these runs was filmed from on board the locomotive by British Movietone News and the resulting film also showed the locomotive being turned on Llandudno Junction turntable. In the event not all of the planned North Wales Coast Line test runs were completed.

GT3 then moved to Leicester Shed on the Great Central Main Line line for testing and crew training between Leicester and Woodford Halse and then Leicester and Marylebone. Leicester was convenient for English Electric's Whetstone turbine works. During this period it was displayed at Marylebone for the 50th anniversary of the Institute of Locomotive Engineers. The event ran from 11 to 14 May 1961 and GT3 was filmed by British Pathé being inspected by the Duke of Edinburgh. Later testing was undertaken on the West Coast Main Line from Crewe over Shap Summit to Carlisle. On one of these runs Oswald Nock travelled on board and was able to both witness the locomotive in operation and record its performance, his log of the trip later appearing in The Railway Magazines practice and performance feature for February 1962. Commenting on the testing the designer noted that, despite some of the expected teething troubles and modifications, once it had departed on a test run GT3 had never failed to complete its booked workings. The locomotive was described as being comfortable and easy to handle for the crew, with conversation at normal volumes possible in the fully enclosed cab.

Demise

Despite returning favourable performances on longer runs requiring sustained power outputs, the prototype nature of the locomotive would have required further investigation and development into a configuration which would have matched the convenience of the new double-ended diesel-electric locomotives then being built. Neither English Electric or British Railways were prepared to fund this work  as they were committed to diesel-electric locomotives.They were rapidly becoming the future of rail traction with ever-improving power-to-weight ratios.

Upon completion of the Shap test runs GT3 was returned to English Electric at Vulcan Foundry at the end of 1962 and stored. Following internal correspondence in September 1965 the locomotive was partially dismantled and its turbine and heat exchanger equipment removed. It was finally scrapped at Thos. W. Ward, Salford in February 1966 having been towed there by a Standard class steam locomotive.

Surviving Records

The most complete record of the locomotive is contained in the paper written by its designer in 1962 and in his papers now held at the National Railway Museum Archives in York. Much of what had been written about the locomotive was based on conjecture until these sources became available; subsequently an article in The Railway Magazine for December 2015 brought together an accurate and verifiable record of the locomotive. No detailed engineering drawings of the locomotives as built are thought to have survived, the York archive containing an internal memo instructing that these were to be returned to the Gas Turbine division of English Electric when dismantling commenced in 1965. Several articles with drawings have appeared in the railway modelling press since the locomotive was scrapped, but most appear to be based on a contemporary sectional view widely published at the time and are flawed with regard to details such as driving wheels (19-spoke), roof and side access hatches, cab rear, tender front and tender rear. The most accurate drawing appears to have been a contemporary "Skinley" drawing produced with the assistance of JOP Hughes. A copy resides with correspondence between Hughes and Skinley in the JOP Hughes papers at the National Railway Museum. In recent years a 5-inch (127 mm) gauge turbine powered model of the locomotive has been built and exhibited in the UK.

Models
Canadian-based Model Railway manufacturer KR Models announced that would be creating a OO Scale model of the GT3 in its prototype brown livery in 2018, and the model was delivered in 2020.

References

Further reading

British Railways gas turbine locomotives
English Electric locomotives
Vulcan Foundry locomotives
4-6-0 locomotives
Experimental locomotives
Individual locomotives of Great Britain
Railway locomotives introduced in 1961
Standard gauge locomotives of Great Britain
Scrapped locomotives
Unique locomotives

British Rail GT3


Summercourt fair is a charter fair held annually in Summercourt, a village five miles (8 km) south-east of Newquay in Cornwall, United Kingdom. The fair is held during the last week of September each year. It is one of the largest  fairs in Cornwall and is over 800 years old.<ref name="newquay">{{cite web|url=http://www.newquayvoice.co.uk/nvnews/news/newsItem.php?news_id=646&offset=2&phpShop=62dc047c875112b776d73f39ae9d51a7|title= 'County's biggest fair marks 800 years', Newquay Voice, 2004|website=newquayvoice.co.uk}}</ref>

History
Charles Henderson, a noted a historian and antiquarian of Cornwall, researched the fair in the early years of the twentieth century for his Essays in Cornish History and Cornwall; A Guide. He found that the fair evolved from "The Long Fayre" held in Bodmin which dated back before the 11th century. The fair moved west to St Enoder parish where it was held throughout the early middle ages, first at Penhale before moving to Summercourt in the reign (1307–1327) of King Edward II.

Documents in the care of Cornwall Council include a reference to the customs, rights, and history of the Charter dating back as far as 1234. The fair was traditionally held on 14 September until 1752, when Britain adopted the Gregorian calendar. The change involved correcting the calendar by eleven days so the fair day changed to 25 September. In 1838, Davies Gilbert wrote that the fair "is considered to be the most important in Cornwall".

The modern fair runs from the third Thursday in September, with the main market day the following Monday. Apart from the market, the principal attraction is the funfair provided by travelling showmen of The Showmens Guild's western section. The funfair lessee is David Rowland and Sons.

Cornish wrestling tournaments were part of the fair attractions.

In art and literature
 Arthur Quiller-Couch refers to Summercourt fair in The Astonishing History of Troy Town'' (written in 1888).
 Newquay based artist Ruarri Joseph has written a song called Summer Court Fair - 1995. It appears on his first album Tales of Grime and Grit

See also

References

Annual events in the United Kingdom
Annual fairs
Charter fairs
Events in Cornwall
September events
Tourist attractions in Cornwall
Autumn events in England

Summercourt fair


Immigration and Naturalization Service v. Abudu, 485 U.S. 94 (1988), was a United States Supreme Court case in which the Court shifted the balance toward adjudications made by the INS and away from those made by the federal courts of appeals when aliens who had been ordered deported seek to present new evidence in order to avoid deportation. The Court ruled that courts must review the Board of Immigration Appeals's decision to deny motions to reopen immigration proceedings—the name of the procedural device used to present new evidence to immigration officials—for abuse of discretion.

Facts
Assibi Abudu first came to the United States from his native Ghana in 1965 as a student. He went to medical school, and spent the summer of 1973 in his home country. When Assibi Abudu returned to the United States that fall, his student visa allowed him to remain until 1976. When the visa expired, however, Assibi Abudu did not return to Ghana. Instead, he remained in the United States and married an American citizen. In 1981, Assibi Abudu pleaded guilty to charges of attempting to obtain demerol by fraud. The immigration department then began deportation proceedings.

In these first deportation proceedings, Assibi Abudu tried to remain in the United States by adjusting his status on account of his marriage to an American citizen. But his conviction for a drug crime made him excludable from the United States, and so immigration officials denied his request for adjustment of status. Assibi Abudu expressly did not seek asylum during these proceedings. He selected England as his country of deportation in the event he should lose his deportation hearing, which he did in July 1982. The BIA affirmed in August 1984. Assibi Abudu asked the Ninth Circuit to review this decision.

In February 1985, Abudu sought to reopen his immigration proceedings so that he might present evidence in support of an application for asylum. He claimed he had a well-founded fear that if England would not accept him and he returned to Ghana, his life and freedom would be threatened by the regime in power there. After that regime seized power, it had carried out a system of persecution against its political enemies, including Assibi Abudu's brother and other close friends. A surprise visitor from Ghana in 1984, who was a high-ranking official in the government of Ghana, ostensibly tried to persuade Abudu to return to Ghana because physicians were in short supply there. Assibi Abudu suspected that the visitor was attempting to trick him into revealing his brother's whereabouts instead.

The BIA denied Assibi Abudu's motion to reopen the immigration proceedings because Assibi had not adequately explained why he did not present these concerns in earlier proceedings. The immigration judge had given Abudu extra time to present evidence in support of an application for asylum, but Assibi Abudu instead told the immigration judge he would not be presenting such an application. Moreover, all this evidence—except for the 1984 surprise visit—was available to Assibi Abudu during the first round of proceedings. Furthermore, even if he had, the BIA concluded it would not have made out a prima facie case for asylum or withholding of deportation. He did not present an affidavit from his brother, and his claims were too speculative to the BIA to make out the requisite showing. Assibi Abudu asked the Ninth Circuit to review the denial of his motion to reopen as well.

The Ninth Circuit consolidated the two pending petitions for review. It ultimately ordered the BIA to reevaluate Assibi Abudu's requests for asylum and withholding of deportation and grant him a full-blown hearing on the matters. In the Ninth Circuit's view, the "sole issue" was whether Assibi Abudu had made out a prima facie case for reopening. Because the BIA did not adequately credit the affidavits Abudu had submitted, the Ninth Circuit demanded that it give Assibi Abudu another chance to present more evidence. The INS asked the Supreme Court to review the Ninth Circuit's decision, and the Supreme Court agreed to do so.

Opinion of the Court
The BIA may deny a motion to reopen on at least three grounds.  First, it may determine that the applicant has not established a prima facie case to the underlying relief he seeks, such as asylum or withholding of removal. Second, the BIA may determine that the new evidence the applicant seeks to present was not previously unavailable, or in an asylum case, that the applicant has not adequately explained why he did not apply for asylum earlier. Third, in cases where the ultimate relief the applicant seeks depends on the exercise of some discretion committed to immigration officials, the BIA may determine that the applicant is not entitled to the discretionary relief sought. Thus, "in a given case the BIA may determine, either as a sufficient ground for denying relief or as a necessary step toward granting relief, whether the alien has produced previously unavailable, material evidence, and, in asylum cases, whether the alien has reasonably explained his or her failure to request asylum earlier."  The Court held that these determinations were subject to review in the federal courts of appeals for abuse of discretion and not any higher standard. "Although all adjudications by administrative agencies are to some degree judicial and to some degree political—and therefore an abuse-of-discretion standard will often apply to agency adjudicatons not governed by specific statutory commands—INS officials must exercise especially sensitive political functions that implicate questions of foreign relations, and therefore the reasons for giving deference to agency decisions on petitions for reopening or reconsideration in other administrative contexts apply with even greater force in the INS context." Moreover, in other totally judicial contexts, such as motions for new trials on the basis of newly discovered evidence, the movant bears an "especially heavy burden."  There is no reason not to require an alien seeking to reopen his deportation proceedings to carry an equally heavy burden.

See also
 List of United States Supreme Court cases, volume 485
 List of United States Supreme Court cases
 Lists of United States Supreme Court cases by volume
 List of United States Supreme Court cases by the Rehnquist Court

External links

 American Immigration Lawyers Association, who filed an amicus brief
 asylumlaw.org

United States immigration and naturalization case law
United States Supreme Court cases
United States Supreme Court cases of the Rehnquist Court
1988 in United States case law
Deportation from the United States


This is a list of public art in Ward 6 of Washington, D.C.

This list applies only to works of public art accessible in an outdoor public space. For example, this does not include artwork  visible inside a museum.

Most of the works mentioned are sculptures. When this is not the case (i.e. sound installation, for example) it is stated next to the title.

References

Ward 6

List of public art in Washington, D.C., Ward 6


Rico Levi Gear (born 26 February 1978) is a former New Zealand rugby union player. He was a specialist right wing but also covered midfield positions.

He is the older brother of New Zealand winger Hosea Gear

Club career
Gear was educated at Gisborne Boys' High. As a young man Gear also played for the Tolaga Bay rugby union club just outside Gisborne. In 1990 Gear played for the Gisborne East Coast under 13 rugby league team. He also studied anthropology at Massey University with an emphasis on Māoridom and Māori language for two years.

Gear made his provincial debut in 1997, playing for Poverty Bay against King Country. He has since played for provincial sides; Auckland, Bay of Plenty, North Harbour and Nelson Bays.

He made his Super 12 debut for the Auckland Blues in 1999 against the Queensland Reds. He also had a stint with the Highlanders, however his career really ignited when he went to the Crusaders at the end of the 2004 season.

Gear played every game in the 2005 season, for the Crusaders, and he scored 15 times for the 2005 champions. He was also named Rebel Sport Super 12 player of the Year and the Tom French Memorial Māori Player of the Year.

He was first choice right wing for the Crusaders in the 2006 Super 14 season. Gear has a younger brother Hosea Gear who played wing for the Chiefs.

In June 2007 Gear was signed by Guinness Premiership side Worcester Warriors. Gear was regarded as one of the most dangerous and clinical wingers in world rugby and carved up defenses in the Guinness Premiership during the 2008/09 campaign.

He became one of the biggest signings in the club's long history after agreeing a three-year deal that kept him at Sixways until 2010.

Gear started his Warriors career with four tries in a match on his full debut – equalling the competition record – as Warriors punished Gran Parma and he continued to rack up the tries.

He scored one of the most memorable individual tries ever seen at Sixways Stadium with his solo stunner against Bucuresti and also scored a breathtaking one-handed effort against Harlequins at The Stoop.

Despite being hit by a number of injuries towards the end of the campaign, Gear still finished the season with a staggering record of
12 tries in only 19 appearances for the club and vowing he would show his real form in the 2008/09 term.  After Worcester Warriors got relegated after the 2009–2010 season, he signed with Japanese Top League team Kintetsu Liners in April 2010.

International career
Gear made his international debut on 10 July 2004 in a match against the Pacific Islanders, where he also scored a try. He went on to play in numerous matches against the British & Irish Lions in their 2005 tour of New Zealand. He scored his first All Blacks hat-trick against Wales at the Millennium Stadium in 2005. He also played in the 2006 Tri Nations.

He won a Commonwealth Games gold medal when he was part of the New Zealand Sevens side and also has World Cup Sevens medals.

In spite of appearances in the All Blacks in the 2007 season, Gear was omitted from the Rugby World Cup squad, announced on 22 July 2007. Doug Howlett was selected in his place.

In all he scored 11 tries in 19 tests for the All Blacks including a hat trick against Wales at Cardiff and two against Scotland on the same tour.

Post rugby career
When he was recruited for season 2 of Match Fit as the youngest and fittest recruit, but has battled asthma all his life. He had lived in Gold Coast, Australia as a schoolboy coach, and married with Australian wife, Rebecca Miles, who was a professional basketball player, and 2 children, Isaiah and Ava. The family still reside on the Gold Coast in 2023. On episode 3, Rico, as the only other fluent Maori speaker, was forced into lead the Classic All Blacks to reply in traditional Powhiri as Glenn Osbourne and Piri Weepu, along with non-speakerDaniel Braid, failed to return in time as pig and deer hunters.

References

External links

 Worcester Warriors Profile at Warriors.co.uk
 Guinness Premiership Profile at GuinnessPremiership.com

1978 births
Living people
Bay of Plenty rugby union players
Hanazono Kintetsu Liners players
Commonwealth Games gold medallists for New Zealand
People educated at Gisborne Boys' High School
New Zealand international rugby union players
Māori All Blacks players
New Zealand rugby union players
North Harbour rugby union players
Rugby union players from Gisborne, New Zealand
Rugby union wings
Tasman rugby union players
Worcester Warriors players
Te Aitanga-a-Hauiti people
New Zealand expatriate rugby union players
Expatriate rugby union players in Japan
Expatriate rugby union players in England
New Zealand expatriate sportspeople in England
New Zealand expatriate sportspeople in Japan
Nelson Bays rugby union players
New Zealand international rugby sevens players
New Zealand male rugby sevens players
Blues (Super Rugby) players
Crusaders (rugby union) players
Commonwealth Games rugby sevens players for New Zealand
Commonwealth Games medallists in rugby sevens
Rugby sevens players at the 1998 Commonwealth Games
Medallists at the 1998 Commonwealth Games

Rico Gear


Shropshire Council, known between 1980 and 2009 as Shropshire County Council and from 1889 to 1980 as Salop County Council, is a unitary authority which governs the district of Shropshire, which is part of the ceremonial county of the same name in the West Midlands of England. The council's headquarters are at Shirehall in Shrewsbury, the largest town (with a population of 70,600) in the district and the county town of Shropshire.

The area covered by Shropshire Council is rural and has an area of 3,197 square kilometres (1,234 sq mi), which is 91.7% of the ceremonial county of Shropshire. The remainder of the county is covered by Telford and Wrekin Council, which was established as a unitary authority in 1998. Shropshire was a two-tier county from 1974 until a major reorganistion in 2009, when its districts were abolished and the county council took on their responsibilities.

History

The Council was created under the Local Government Act 1888 on 1 April 1889, and was known as Salop County Council until 1 April 1980. It was based at the Old Shirehall in Shrewsbury until it moved to the new Shirehall on Abbey Foregate in 1966.

Between 1974 and 1998, the county contained six districts: Bridgnorth, North Shropshire, Oswestry, Shrewsbury and Atcham, South Shropshire, and The Wrekin. In 1998, the latter district became a unitary authority and was renamed 'Telford and Wrekin', removing it from the non-metropolitan county of Shropshire.

In 2009, the five districts which remained in the non-metropolitan county were abolished and replaced by a single district which covered the whole area, called 'Shropshire'. The county council was not abolished and was instead designated the 'continuing authority' and given the powers and responsibilities of the districts.  The councillors of the county council were the councillors of the unitary authority until 4 June 2009, when the first elections to the reformed council were held. Shropshire Council inherited almost all of the properties and assets of the former district councils (some assets were handed to the newly established Shrewsbury Town Council).

The 2009 reorganisation was the result of a 2006 a local government white paper which supported proposals for unitary authorities to be set up in England, particularly in non-metropolitan counties with small populations. The counties would be reorganised into one or more unitary authorities, however existing unitary authorities would be unaffected.

Shropshire County Council, supported by South Shropshire District Council and Oswestry Borough Council, proposed to the government that the non-metropolitan county of Shropshire should become a single unitary authority. This was opposed by the other three districts in the county, with Shrewsbury & Atcham Borough Council unsuccessfully taking their objection to the High Court in a judicial review. The proposal was supported by the Department of Communities and Local Government.

The council

The council, which is elected in full every four years, consists of 74 councillors from 53 single-member electoral divisions, nine 2-member divisions and one 3-member electoral division. In most instances the electoral division boundaries follow civil parish boundary lines, with the main exceptions being in the larger towns, where the parish contains more than one electoral division. Shrewsbury for example, which was parished in 2008 as part of the change in local governance, contains 16 electoral divisions, one of which is the sole 3-member division that also encompasses the parish of Bayston Hill.

Main positions
The council has two major positions to which councillors may be appointed:

 Chairman – the ceremonial head of the council who also chairs meetings of the full council
 Leader – the leader of the controlling political group

The Leader and nine additional portfolio holders form the Cabinet. This is effectively the executive branch of the authority.

Elections

 Shropshire Council elections (including results of by-elections)
 1977 Salop County Council election
 2001 Shropshire County Council election
 2005 Shropshire County Council election
 2009 Shropshire Council election
 2013 Shropshire Council election
 2017 Shropshire Council election
 2021 Shropshire Council election

The 2017 election resulted in the election of 49 Conservative, 12 Liberal Democrat, 8 Labour and 5 others giving a Conservative majority of 24.

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Administration

The permanent head of the administration of the council is the chief executive. The employees of the council are structured within services, which are themselves structured as part of directorates, each of which is headed by a permanent member of staff. There are two corporate directors – that for people and another for places, with a further three area directors, for the county's geographical subdivisions. Beneath director level there are a number of group managers, who oversee the councils individual service managers. It is the service managers who then oversee much of the council's day to day administrative functions and, with the help of their officers, provide its frontline services. Currently the service managers at Shropshire Council have responsibility for policy areas such as Shared Services, Planning and Education.

The council employs around 6,500 staff, of which around 900 are based at their main Shirehall site. Further sites used by the council are spread across the county and include, amongst others, the Guildhall in Shrewsbury and former district council properties in lesser market towns such as Bridgnorth, Wem, Oswestry and Ludlow. With major reductions in staff numbers in recent years, a re-organisation is taking place, which will see the eventual closure of the Shirehall and other local moves including planning staff moved from Ludlow to Craven Arms. The former offices of South Shropshire District Council in Ludlow (Stone House on Corve Street) closed in 2014.

Sub-divisions

The area covered by the unitary authority is sub-divided into 63 electoral divisions, which are equivalent to wards. Shropshire Council established three area planning committees which deal with town and country planning matters. Originally other functions were planned to be dealt with by the committees, including licensing, but these plans never came to fruition. The area planning committees cover a geographical area based on the former (pre-2009 reform) districts of Shropshire and which consist of electoral divisions with a combined representation of 24 or 25 councillors. The councillors who represent an area's electoral divisions then form the area planning committee for that area.

The area planning committee setup is similar to the arrangements at the neighbouring Powys County Council, where the area covered is sub-divided into three areas, which were the previous (pre-merger) administrative divisions, namely the Counties of Radnorshire, Brecknockshire and Montgomeryshire. The areas also correspond to the Westminster Parliament constituencies of Shropshire, with the North and Central areas being exactly coextensive with constituencies.

Committee meetings in the North and South areas did rotate between two meeting places in each of these areas, which were the headquarters of the former district councils, from 2009 to 2013. The Central area had just one meeting location, Shirehall, though some staff are at The Guildhall in Shrewsbury, which was the headquarters of the former borough council. Since 2013 all meetings take place at Shrewsbury's Shirehall.

The county is entirely parished, with the formerly unparished area of Shrewsbury having been parished in 2008, with a single parish covering the town. Most parishes have a parish council, with the towns having a town council (with a mayor chairing), and some less populated parishes having parish meetings instead of a council.

28 "local joint committees" exist, which consist of councillors from both Shropshire Council and the parish council(s) for the locality they cover (often a market town and its hinterland, or a part of Shrewsbury). These committees deal with a variety of very local matters.

See also

 Parliamentary constituencies in Shropshire
 Flag of Shropshire
Shropshire local elections
1977 Salop County Council election
2001 Shropshire County Council election
2005 Shropshire County Council election
Telford child sexual exploitation scandal

Notes

References

1889 establishments in England
Local government in Shropshire
English unitary authorities created in 2009
Unitary authority councils of England
Leader and cabinet executives
Local education authorities in England
Local authorities in Shropshire
Billing authorities in England

Shropshire Council


Labour laws (also known as labor laws or employment laws) govern the relationship between workers, employers,  trade unions, and the government.

Individual labour law gives employees' rights at work. Employment standards are social norms (sometimes also technical standards) for the minimum conditions under which people are allowed to work. Government agencies enforce labour law. Trade unions also play an important role in labour law, as they represent workers and negotiate with employers on their behalf.

There were laws in Assyria about work. The Code of Hammurabi set the wages to be paid to an ox driver or a surgeon.

Labour laws developed more as factories were built in the Industrial Revolution. Laws were passed in the United Kingdom in the nineteenth century to stop young children from working in factories. The Earl of Shaftesbury led the campaign for the Factories Act 1833, which limited the employment of children under eighteen years of age, stopped all night work, and provided for inspectors to enforce the law. Later there were more laws about working conditions for all workers. Similar laws were brought into other industrial countries.

The basic feature of labour law in almost every country is that the rights and obligations of the worker and the employer are set by a contract of employment between the two. In most countries, employers must give their workers a written contract. There may be a  minimum wage. There may be rules about how many hours a day people can work, about their rights to holidays and to sick pay. There are often rules about safety at work. There may be laws about treating people fairly and not discriminating.

References

Employment law

Labour law


Endrin is an organochlorine compound with the chemical formula C12H8Cl6O that was first produced in 1950 by Shell and Velsicol Chemical Corporation. It was primarily used as an insecticide, as well as a rodenticide and piscicide. It is a colourless, odorless solid, although commercial samples are often off-white. Endrin was manufactured as an emulsifiable solution known commercially as Endrex. The compound became infamous as a persistent organic pollutant and for this reason it is banned in many countries.

In the environment endrin exists as either endrin aldehyde or endrin ketone and can be found mainly in bottom sediments of bodies of water. Exposure to endrin can occur by inhalation, ingestion of substances containing the compound, or skin contact. Upon entering the body, it can be stored in body fats and can act as a neurotoxin on the central nervous system, which  can cause convulsions, seizures, or even death.

Although endrin is not currently classified as a mutagen, nor as a human carcinogen, it is still a toxic chemical in other ways with detrimental effects. Due to these toxic effects, the manufacturers cancelled all use of endrin in the United States by 1991. Food import concerns have been raised because some countries may have still been using endrin as a pesticide.

History
J. Hyman & Company first developed endrin in 1950. Shell International was licensed in the United States and in the Netherlands to produce it. Velsicol was the other producer in the Netherlands.  Endrin was used globally until the early 1970s. Due to its toxicity, it was banned or severely restricted in many countries. In 1982, Shell discontinued its manufacturing.

In 1962, an estimated  2.3-4.5 million kilograms of endrin were sold by Shell in the USA. In 1970, Japan imported 72,000 kilograms of endrin. From 1963 until 1972, Bali used 171 to 10,700 kilograms of endrin annually for the production of rice paddies until endrin use was discontinued in 1972. Taiwan reported to show higher levels  of organochlorine pesticides including endrin in soil samples of paddy fields, compared to other Asian countries such as Thailand and Vietnam. During the 1950s-1970s over two million kilograms of organochlorine pesticides were estimated of having been be released into the environment per year. Endrin was banned in the United States on October 10, 1984. Taiwan banned endrin's use as a pesticide in 1971 and regulated it as a toxic chemical in 1989.

In May 2004, the Stockholm Convention on Persistent Organic Pollutants came into effect and listed endrin as one of the 12 initial persistent organic pollutants (POPs) that have been causing adverse effects on humans and the environment. The convention requires the participating parties to take measures to eliminate or restrict the production of POPs.

Production
The synthesis of endrin begins with the condensation of hexachlorocyclopentadiene with vinyl chloride. The product is then dehydrochlorinated.  Following reaction with cyclopentadiene, isodrin is formed. Epoxide formation by adding either peracetic acid or perbenzoic acid to the isodrin is the final step in synthesizing endrin.

Endrin is a stereoisomer of dieldrin with comparable properties, though endrin degrades more easily.

Use
Endrin was formulated as emulsifiable concentrates (ECs), wettable powders (WPs), granules, field strength dusts (FSDs), and pastes. The product could then be applied by aircraft or by handheld sprayers in its various formulations.

Endrin has been used primarily as an agricultural insecticide on tobacco, apple trees, cotton, sugar cane, rice, cereal, and grains. It is effective against a variety of species, including cotton bollworms, corn borers, cut worms and grass hoppers. In addition, endrin has been employed as a rodenticide and avicide. In Malaysia, fish farms used a solution of endrin as a piscicide to rid mine pools and fish ponds of all fish prior to restocking.

A study conducted from 1981 to 1983 in the US aimed to determine endrin's effects on non-target organisms when applied as a rodenticide in orchards. Most wildlife in and around the orchard was found to have endrin exposure, with endrin toxicity accounting for more than 24% of bird deaths recorded. Endrin was eventually banned in the US on October 10, 1984.

Health effects

Exposure and metabolism
Exposure to endrin can occur by inhalation, ingestion of substances containing the compound, or by skin contact. In addition to inhalation and skin contact, infants can be exposed by ingesting the breast milk of an exposed woman. In utero, fetuses are exposed by way of the placenta if the mother has been exposed.

Upon entering the body, endrin metabolizes into anti-12-hydroxyendrin and other metabolites, which can be expelled in the urine and feces. Both anti-12-hydroxyendrin and its metabolite, 12-ketoendrin, are likely responsible for the toxicity of endrin. The rapid metabolism of endrin into these metabolites makes detection of endrin itself difficult unless exposure is very high.

Neurological effects
Symptoms of endrin poisoning include headache, dizziness, nervousness, confusion, nausea, vomiting, and convulsions.  Acute endrin poisoning in humans affects primarily the central nervous system. There, it can act as a neurotoxin that blocks the activity of inhibitory neurotransmitters. In cases of acute exposure, this may result in seizures, or even death. Because endrin can be stored in body fats, acute endrin poisoning can lead to recurrent seizures when stressors induce the release of endrin back into the body, even months after the initial exposure is terminated.

People occupationally exposed to endrin may experience abnormal EEG readings even if they exhibit none of the clinical symptoms, possibly due to injury to the brain stem. These readings show bilateral synchronous theta waves with synchronous spike-and-wave complexes. EEG readings can take up to one month to return to normal.

Developmental effects
Though endrin exposure has not been found to adversely affect fertility in mammals, an increase in fetal mortality has been observed in mice, rats, and mallard ducks. In those animals that have survived gestation, developmental abnormalities have been observed, particularly in rodents whose mothers were exposed to endrin early in pregnancy. In hamsters, the number of cases of fused ribs, cleft palate, open eyes, webbed feet, and meningoencephaloceles have increased. Along with open eyes and cleft palate, mice have developed with fused ribs and exencephaly. Skeletal abnormalities in rodents have also been reported.

Other effects
Higher doses of endrin have been found to cause the following in rodents: renal tubular necrosis; inflammation of the liver, fatty liver, and liver necrosis; possible kidney degradation; and a decrease in body weight and body weight gain.

Endrin is very toxic to aquatic organisms, namely fish, aquatic invertebrates, and phytoplankton. It was found to remain in the tissues of infected fish for up to one month.

1984 poisoning outbreak in Pakistan
From July 14 to September 26, 1984, an outbreak of endrin poisoning occurred in 21 villages in and around Talagang, a subdistrict of the Punjab province of Pakistan. Eighty percent of the 194 known cases were children under the age of 15. Poisoned individuals had seizures along with vomiting, pulmonary congestion, and hypoxia, leaving 19 people dead. Some individuals had low grade fevers (37.8 °C/100 °F, axillary) following seizures. The more seriously affected had less vomiting, but higher temperatures than people who were less affected. Most patients could be controlled in under two hours using diazepam, phenobarbital, and atropine, though the more seriously affected patients required general anesthesia. Recovery took up to two days. Following treatment, patients reported not remembering their seizures. The outbreak affected both men and women equally.

Based on the demographics of the affected individuals and their area of residence, the outbreak was likely caused by endrin contamination of food. As members of these villages rarely had contact with one another, investigators determined that contaminated sugar shipped to the villages was the most probable cause, though no credible evidence was found to support this. Around this time, endrin was being used by cotton and sugar cane farmers in the Punjab region. A number of truck drivers stated that they had used the same trucks to deliver endrin to farmers and to pick up crops for Talagang, possibly leading to contamination.

Environmental behavior
Insecticides like dieldrin and endrin have been shown to persist for decades in the environment. A definitive detection of the residues was not possible until 1971 when mass spectrometer started being used as a detector in gas chromatography. Detection of these chemicals in the environment has been reported across the world up to 2005, even though the frequency of reported cases are low due to its relatively small-scale use and very low concentrations.

Endrin regularly enters the environment when applied to crops or when rain washes it off. It has been found in water, sediments, atmospheric air and biotic environment, even after uses have been stopped. Organochlorine pesticides strongly resist degradation, are poorly soluble in water but highly soluble in lipids, which is called lipophilic. This leads to bioaccumulation in fatty tissues of organisms, mainly those dwelling in water. A high bioconcentration factor of 1335–10,000 has been reported in fish. Endrin binds very strongly to organic matter in soil and aquatic sediments due to their high adsorption coefficient, making it less likely to leach into groundwater, even though contaminated groundwater samples have been found. In 2009, EPA released data indicating that the endrin in soil could last up to 14 years or more. The extent of endrin's persistence depends highly on local conditions. For example, high temperature (230 °C) or intense sunlight leads to more rapid breakdown of endrin into endrin ketone and endrin aldehyde, however, this breakdown is less than 5%.

Removal from the environment
In the United States, endrin was mainly disposed in land until U.S. federal regulations were applied in 1987 on land disposal of wastes containing endrin. Primary methods of endrin disappearance from soil are volatilization and photodecomposition. Under ultraviolet light, endrin forms δ-ketoendrin and International Programme on Chemical Safety (IPCS) claims that in intense summer sun, about 50% of endrin is isomerized to δ-ketoendrin in 7 days. In anaerobic conditions microbial degradation by fungi and bacteria takes place to form the same major end product.

Mammalian metabolic studies with endrin are difficult because of the high toxicity of the compound. Baldwin M K identified two hydroxylated metabolites in the faeces of rats fed a diet containing 4 parts per million of endrin. At least one was the result of hydroxylation of the methylene bridge. The other might be the opposite isomer, or it could conceivably be the result of hydroxylation at another site. Endrin rarely occurs as a resdue in tissues. What is found is the ketone, probably produced by metabolism of the alcohol derived from the methylene group.

Hazardous Substances Data Bank (HSDB) lists reductive dechlorination and incineration for field disposal of small quantities of endrin. In reductive dechlorination, endrin's chlorine atoms were completely replaced with hydrogen atoms, which is suspected to be more environmentally acceptable. Even though endrin binds very strongly to soil,  phytoremediation has been proposed by group of Japanese scientists using crops in the family Cucurbitaceae. , exact mechanisms behind the plant uptake of endrin have not been understood. Research in uptake mechanisms and factors that influence the uptake is needed for practical application.

Regulation

United States
In the United States, endrin has been regulated by the EPA. It set a freshwater acute criterion of 0.086 µg/L and a chronic criterion of 0.036 µg/L. In saltwater, the numbers are acute 0.037 and chronic 0.0023 µg/L.
The human health contaminate criterion for water plus organism is 0.059 µg/L.
The drinking water limit (maximum contaminant level) is set to 2 ppb.
Use of endrin in fisheries has been advised against due to the zero tolerance of endrin levels in food products.
For occupational exposures to endrin, OSHA and NIOSH have set exposure limits at 0.1 mg/m3.

International organizations
The WHO lists Endrin as an obsolete pesticide in its 'Classification of Pesticides by Hazard' and did not assign any hazard class per the Globally Harmonized System of Classification and Labelling of Chemicals.

Taiwan
Taiwan is not a party to the Stockholm Convention as of 2015, but has drafted its own "National Implementation Plan of the Stockholm Convention on Persistent Organic Pollutants" which was approved by the Executive Yuan in April 2008. The Central Competent Authorities of Taiwan sets the limit of 20 mg/kg for soil pollution control. For marine environment quality, standards of 0.002 mg/L has been set. For occupational exposures to endrin, warning has been given that the contact with skin, eyes, and mucous membranes can contribute to the overall exposure.

See also
 Aldrin
 Dieldrin
 Endocrine disruptors
 Pesticide formulation

References

External links
Endrin ChemSub Online, retrieved 9 April 2015

Obsolete pesticides
Organochloride insecticides
Cycloalkenes
Epoxides
Persistent organic pollutants under the Stockholm Convention
Persistent organic pollutants under the Convention on Long-Range Transboundary Air Pollution

Endrin


Equality is a utopian novel by Edward Bellamy, and the sequel to Looking Backward: 2000–1887. It was first published in 1897. The book contains a minimal amount of plot; Bellamy primarily used Equality to expand on the theories he first explored in Looking Backward.

The text is now in the public domain and available for free.

Synopsis
The story takes up immediately after the events of Looking Backward with the main characters from the first novel, Julian West, Doctor Leete, and his daughter Edith.

West tells his nightmare of return to the 19th century to Edith, who is sympathetic.  West's citizenship in the new America is recognized, and he goes to the bank to obtain his own account, or "credit card," from which he can draw his equal share of the national product.  He learns that Edith and her mother do not normally wear the long skirts he has seen them in (they had been wearing them so as not to offend his 19th century sensibilities): when Julian tells Edith that he would not be shocked to see them dressed in the modern fashion, Edith immediately runs into the house and comes out dressed in a pants suit.  Clothing has revolutionised and is now made of strengthened paper, recycled when dirty, and replaced at very little cost (shoes and dishes are made of variations on the same substance).

Julian learns that women are free to compete in many of the same trades as men; the manager of the paper factory he visits with Edith is a woman.  Edith herself is in the second year of the three year general labor period required of everyone before choosing a trade, but has taken leave to spend time with Julian.  The two tour a tenement house, in which no one now lives, kept as a reminder of the evils of private capitalism.

Julian opens his safe (a device unknown in 2000 outside museums).  Dr. Leete sees his mortgages and securities not as long-obsolete claims to ownership interest in things, but rather in people and their labor.  The papers are worthless except as antiques, as most papers of the sort were burned at the conclusion of the economic transition, in a great blaze on the former site of the New York Stock Exchange.  The gold coins in the safe are admired for their prettiness, but are also worthless.

Julian learns more about the world of the year 2000.  Handwriting has been virtually replaced by phonograph records, and jewelry is no longer used, since jewels are now worthless.  Julian is amazed by a television-like device, called the electroscope.  World communication is simplified, since everyone now speaks a universal language in addition to their native tongue.  Not only are there motor cars, but also private air cars.  Everyone is now vegetarian, and the thought of eating meat is looked upon with revulsion.

The book concludes with an almost uninterrupted series of lectures from Dr. Leete and other characters, mostly concerning how the idyllic state in which West has arrived was achieved.

Reaction
As might be expected given the success of Looking Backward, Equality was highly anticipated.  A large first edition was ordered by the publishers.  In spite of this, the first edition entirely sold out within 36 hours of publication.

Ripley Hitchcock, who was affiliated with Bellamy's publishers, explained the thematic distinction between Looking Backward and Equality as the latter "explain[s] not only [the institutions of Bellamy's future's] righteousness and reason, but likewise the course of historical evolution by which they were born out of the very different order of things existing to-day".

Reaction to Equality was generally not good. Nicholas P. Gilman provides a common criticism for the work in his review for the Quarterly Journal of Economics. Written in 1897, Gilman explains, "Mr. Bellamy has apparently abandoned fiction, and has at length broken the silence of several years with a volume which is neither novel nor a treatise on socialism in scientific form, but a prolonged reduplication of the monologues of Dr. Leete, the part of Looking Backward which has the least interest for most of its readers".

On the other hand, John Dewey (who called Bellamy "a great American prophet") preferred Equality, considering it to be "more populist and democratic" than the "more popular and authoritarian" Looking Backward. Peter Kropotkin also received the book more favorably, arguing that it was superior to Looking Backward because Bellamy had removed the authoritarian aspects. Kropotkin claimed that these elements did not fit the character of the former work in any case, and stated that he believed that if someone suitable could have conversed with Bellamy, they could have convinced him to declare for anarchism.

Footnotes

External links

Equality — Google Books edition.
 Equality, available at Wikisource
 Equality - PDF at the Internet Archive

1897 American novels
1897 science fiction novels
Novels set in Boston
Utopian novels
Bellamyism
American alternate history novels
D. Appleton & Company books

Equality (novel)


Valentine Hugo (1887–1968) was a French artist and writer. She was born Valentine Marie Augustine Gross, only daughter to Auguste Gross and Zélie Démelin, in Boulogne-sur-Mer. She is best known for her work with the Russian ballet and with the French Surrealists. Hugo died in Paris.

Early life and education
A lover of the theater and music, Hugo's father raised her to share his interests until his death in 1903, which was undetermined as suicide or an accident. After her husband's death, Zélie raised her daughter alone.

Valentine Hugo received schooling in Boulogne-sur-Mer, where she received multiple awards for accomplishments in drawing, until 1907, at which time she entered the L'École des Beaux-Arts in Paris. There she worked in the studio at the Académie Humbert and exhibited in the Salon of French artists in 1909, and again in 1911. In 1908, Valentine Hugo met the artist Edmond Aman-Jean, who painted her portrait in 1909 and encouraged Hugo's artistic pursuits.

Work with the Ballets Russes
Hugo's work with the Ballets Russes established her connection with Jean Cocteau, who would introduce her to several important figures in her life, including her future husband French artist Jean Hugo (1894–1984), great-grandson of Victor Hugo. She would collaborate with him on ballet designs including Les mariés de la tour Eiffel (1921), and in 1926 she executed 24 wood engravings after maquettes by Jean Hugo for Jean Cocteau's production of Roméo et Juliette. Her involvement with the ballets provided Hugo many opportunities to progress her artwork. She often drew sketches of the ballets' choreography, and had a particular fascination with dancer and choreographer Vaslav Nijinsky. In 1913 she exhibited her paintings at the Théâtre des Champs-Elysées during the premiere of The Rite of Spring.

Hugo and Cocteau collaborated to create the ballet Parade, which premiered on 18 May 1917. Hugo worked on several other of Satie's ballets, including Le Piège de Méduse, Socrate, and Mercure.

Hugo hosted salons with many artists, writers, and musicians in Paris, including avant-garde leaders such as Pablo Picasso, André Breton, and Paul Éluard. She would often sketch her visitors, foreshadowing her portraiture work of the Surrealist leaders later on.

Valentine and the Surrealists
Hugo met Breton in 1917, before the start of Surrealism, at one of Cocteau's readings. Her friendships with Breton and Eluard would keep her connected to the Surrealists as the movement developed, and help her to form connections with other members, such as Salvador Dalí and Max Ernst. The three often traveled together, along with other members of the movement, in 1931 and 1932. As the only member of the group who owned a vehicle, Hugo would drive her companions to their destinations.

Valentine and Jean began living apart in 1926, and eventually divorced in 1932. Her separation from her husband allowed Hugo greater freedom to be involved with the Surrealist group. She moved into the same building as Eluard and Breton in May 1932.

Hugo joined the Bureau of Surrealist Research and created the Objet à fonctionnement symbolique (1931), which was shown during the Exposition surréalistic in 1933. She took part in other exhibitions throughout her time with the group, including an exhibit at the Museum of Modern Art in 1936.

Valentine and the Exquisite Corpse
Hugo participated in the exquisite corpse game practiced by the Surrealists, collaborating on drawings with Breton, Eluard, and many others. These drawings have an illusionist quality credited to Hugo's participation. She introduced new mediums to the practice, as the drawings she participated in used gouache on black paper.

Relationship with Breton
Hugo's relationship with Breton turned physical for a brief period between approximately July 1931 and May 1932. It was a tumultuous affair, and ended negatively for Hugo. On 8 May 1932, following a fight with Breton, Hugo attempted suicide. Regretting her actions, she called Eluard with enough time for him to arrive and save her life. Following this event, Breton and Hugo's friendship remained strained until 9 September of that year, when Hugo punched Breton. Their association permanently ended at this point, except for interactions during group meetings of the Surrealists. Breton never mentioned Hugo in his book Le Surréalisme et la Peinture.

Later years
In 1943, Hugo's work was included in Peggy Guggenheim's show Exhibition by 31 Women at the Art of This Century gallery in New York. After the war, she went back to stage design for choreography, while continuing to create her paintings "in secret," saving "the haunting element of surprise and chance for the end." In 1948, she completed the portrait of Picasso she had started in 1934.

Hugo died on 16 March 1968, the date of her 81st birthday.

Illustrations
Hugo was primarily known for her drawings, where a fine line against a dark background created and abundance of decorative volutes and superimposed elements. Her portraits of the leading surrealists and her illustrations for texts by Rene Char and Paul Eluard and for the edition of Achim von Arnim's Strange Tales prefaced by Breton in 1933 are particularly interesting. The foremost illustrator of Paul Éluard's work, she first exhibited with the surrealists in the Salon des Surindépendants of 1933.

Several of her illustrations are:
 Comte de Lautréamont's Les Chants de Maldoror (1933)
 Achim von Arnim's Contes bizarres (1933)
 Arthur Rimbaud's Les Poètes de sept ans (1938)
 Paul Éluard's Les Animaux et leurs hommes (1937)
 Roger Peyrefitte's Les amitiés particulières (1946)

Exhibitions
A retrospective exhibition of her work was held at the Centre Culturel Thibaud de Champagne, Troyes, in 1977.

Other exhibitions of her work have been at: Tenerife (1935), Copenhagen (1935), New York (1937), Tokyo (1937).

References

External links
 Valentine Hugo Papers at the Harry Ransom Center
 Short biography

1887 births
1968 deaths
20th-century engravers
French illustrators
French engravers
French surrealist artists
Hugo family
Women surrealist artists
20th-century French women artists
20th-century French printmakers
Women engravers
French women printmakers

Valentine Hugo