Lakewood is a town in Oconto County, Wisconsin, United States. As of the 2000 census, the town population was 875. The census-designated place of Lakewood is located in the town.

History
In March, 1952, three children disappeared during a late spring snow storm. A two-day search for them involved 1,000 people. Mary Ann Church, age 4, was the only one of the children who survived. The other children were found frozen to death in a nearby outbuilding in the Gillet Lake area.

Geography
According to the United States Census Bureau, the town has a total area of 72.4 square miles (187.5 km2), of which, 70.8 square miles (183.4 km2) of it is land and 1.6 square miles (4.1 km2) of it (2.20%) is water.

Demographics
As of the census of 2000, there were 875 people, 399 households, and 282 families residing in the town. The population density was 12.4 people per square mile (4.8/km2). There were 1,183 housing units at an average density of 16.7 per square mile (6.4/km2). The racial makeup of the town was 96.57% White, 1.71% Native American, 0.34% from other races, and 1.37% from two or more races. Hispanic or Latino of any race were 0.34% of the population.

There were 399 households, out of which 22.6% had children under the age of 18 living with them, 63.7% were married couples living together, 3.3% had a female householder with no husband present, and 29.3% were non-families. 26.3% of all households were made up of individuals, and 13.0% had someone living alone who was 65 years of age or older. The average household size was 2.19 and the average family size was 2.60.

In the town, the population was spread out, with 18.7% under the age of 18, 3.0% from 18 to 24, 19.8% from 25 to 44, 30.5% from 45 to 64, and 28.0% who were 65 years of age or older. The median age was 51 years. For every 100 females, there were 107.3 males. For every 100 females age 18 and over, there were 102.6 males.

The median income for a household in the town was $33,869, and the median income for a family was $37,500. Males had a median income of $31,719 versus $17,404 for females. The per capita income for the town was $18,281. Below the poverty line were 7.2% of people, 6.9% of families, 1.4% of those under 18 and 14.8% of those over 64.

Economy
For many years the primary industry of Lakewood was timber, but in recent decades this has changed to the service industry. Most of the local revenue is generated by the tourist trade. The Chequamegon-Nicolet National Forest, which surrounds the area, is a working forest that has been clear-cut in the past and cut-over many times. As recently as the 1950s the Lakewood area was known for its virgin timber and pristine nature, but aggressive logging and clear-cutting significantly changed the face of the area. The Holt and Balcolm logging company set aside one tract of land in which they did not cut the original growth. This area, called the "Cathedral of Pines", was preserved as a result of the efforts of Lucy Rumsey Holt who influenced her husband, logger W. A. Holt, to leave it as virgin timber. Mrs. Holt used this area to teach Bible studies to her children and did not want the area disturbed. This 200- to 400-year-old white pine and balsam old growth stand is also home to a great blue heron rookery.

McCaslin Brook (also spelled McCauslin) was used as a means of transporting large quantities of logs to saw-mills or for transportation to major cities where the timber was sold. The oldest logging camp in the United States can be found on what is now the McCaslin Brook Golf Course.

Today the Lakewood area serves as a get-away for visitors from the Green Bay, Appleton, and many other areas. Water skiing, tubing, canoeing, and fishing are area activities.

YMCA Camp
The YMCA camp Nan A Bo Sho, an overnight camp in Lakewood owned by the YMCA Fox Cities of Appleton, has been in operation since 1964. Here campers learn sailing, arts and crafts, an engage in other outdoor activities. It is a popular summer getaway located on Waubee lake.

References

External links
Lakewood, Wisconsin

Towns in Oconto County, Wisconsin
Green Bay metropolitan area
Towns in Wisconsin

Lakewood, Wisconsin


The Tuol Sleng Genocide Museum () is a museum in Phnom Penh, the capital of Cambodia. It talks about the Cambodian genocide. The site is a former secondary school which was used as Security Prison 21 (S-21) by the Khmer Rouge regime from its rise to power in 1975 to its fall in 1979.

From 1976 to 1979, about 20,000 people were imprisoned at Tuol Sleng (the real number is unknown). Tuol Sleng ( ) means "Hill of the Poisonous Trees" or "Strychnine Hill".

Tuol Sleng was just one of at least 150 torture and execution centers created by the Khmer Rouge.

On July 26, 2010, the Extraordinary Chambers in the Courts of Cambodia convicted the chief of Tuol Sleng Prison, Kang Kek Iew (alias Duch), for crimes against humanity and grave breaches of the 1949 Geneva Conventions and sentenced him to life imprisonment.

References

Organisations based in Cambodia
Museums in Asia
Genocide

Tuol Sleng Genocide Museum


Club Deportivo Chivas USA is an American football (soccer) team that played in Major League Soccer (MLS) in Carson, California. They began play in 2005, and played at the home of the Los Angeles Galaxy.

When the team was formed, it was planned to be a "little brother" to the very popular Mexican team C.D. Guadalajara. "Chivas", the Spanish word for "goats", is the nickname of C.D. Guadalajara. The team was originally owned by two Mexican businessmen, one of whom also owned C.D. Guadalajara. Due to falling attendance and ownership failures, MLS bought the team back in February 2014, with plans to sell it to new owners who would give the team a new name. In September 2014, the team was sold to a new group. As part of the sale, Chivas USA was dissolved at the end of the 2014 season. A new team, Los Angeles FC, started play in 2017 replacing the old Chivas USA. The assets of the team were purchased by Wrexham A.F.C. in 2023 as co-owner Ryan Reynolds announced plans to re-start the team as an American "feeder club" for Wrexham. Due to the relatively recent time in which this news was announced, there are not many more details known about the takeover.

2004 establishments in California
2014 disestablishments in the United States
2010s disestablishments in California
2020s establishments in the United States

Chivas USA


Bernard Perlin was an American painter. He is primarily known for creating pro-war art during World War II and magic realism paintings of urban American life.

Early life and education

Perlin was born in Richmond, Virginia in 1918 to Davis and Anna Schireff Perlin. His parents were Jewish immigrants from Russia, and his father died when Perlin was 10 years old. Perlin grew up with two older sisters, Mildred and Jeanette. At the encouragement of a high school teacher, he was enrolled in the New York School of Design. He studied there from 1934 to 1936, the National Academy of Design with Leon Kroll in 1937, and then the Arts Student League with Isabel Bishop, William Palmer, and Harry Sternberg until 1940. In 1938, he was awarded the Kosciusko Foundation Award to study in Poland.

Career

Perlin was rejected from service in the United States military because he was openly gay. He entered the graphics department of the Office of War Information in 1942, creating pro-war propaganda popular in the United States. The department was shut down in 1943 due to budgetary issues.

He continued his focus on war as an artist-correspondent for Life Magazine from 1943–1944 and then again for Fortune Magazine in 1945. As an artist-correspondent for Life, he brought back to the U.S. the first news and sketches obtained in Greece since the German occupation began in 1941.

His two most notable wartime pieces, both created in 1943, are arguably his "Let Em Have It" war bonds ad, which depicts a soldier throwing a grenade, and "Americans Will Always Fight for Liberty," a painting of World War II soldiers marching in front of Continental Army soldiers.

In 1939, he painted a country scene on a post office wall for the US Treasury. After the war, his work began to focus on magic realism, aiming to capture special moments in everyday life. He produced his most famous work, Orthodox Boys, in 1948. The painting depicts two Jewish boys standing in front of a subway graffiti backdrop. In 1950, it was the first postwar work by an American artist to be acquired by Tate.

Perlin moved to Italy for six years, and his work became more brightly colored. After moving back to New York City, Perlin grew distasteful towards the competitive culture of the city's art scene. He moved to Ridgefield, Connecticut, and continued to paint until the 1970s.  After several years of retirement, a friend encouraged Mr. Perlin back to the canvas in 2012, and after completing two new pieces the Chair and the Maiden Gallery (New York City) hosted a retrospective of Mr. Perlin's work in 2013.

In 1968, Bernard Perlin commemorated Mayor Richard J. Daley and the 1968 Democratic National Convention, which was held in Chicago, in a work entitled Mayor Daley. This example of Perlin's work has been used by educators to teach about the Vietnam War. The painting is currently at the Columbus Museum of Art.

Personal life
In 2009, Perlin married Edward Newell, his partner of 54 years. When he stopped painting, Perlin took up growing flowers.

Perlin died at the age of 95 in 2014 in his home in Ridgefield.

Awards and honors

He received Guggenheim Fellowships in 1954 and 1959.

Legacy
Examples of his work are in a number of museums and libraries, including the Smithsonian Institution, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, and the Pritzker Military Museum & Library.

References

External links
 Image of Bernard Perlin.
Bernard Perlin
Poster Art of World War II
Paintings
Avenge December 7
Bernard Perlin, a New York Painter of Varied Styles, Dies at 95
Bernard Perlin 1918–2014
War Posters of the 20th Century
Bernard Perlin Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

1918 births
2014 deaths
American war artists
American gay artists
World War II artists
Life (magazine) people
American people of Russian-Jewish descent
Jewish American artists
20th-century American painters
American male painters
People of the United States Office of War Information
20th-century American male artists
Artists from Richmond, Virginia
Painters from Virginia
LGBT people from Virginia
21st-century American Jews
21st-century American LGBT people

Bernard Perlin


Robert Robinson (November 17, 1826 – September 5, 1885) was an Irish-born merchant, ship owner and political figure in New Brunswick. He represented York in the Legislative Assembly of New Brunswick from 1870 to 1878.

He was the son of George Robinson and came to York County, New Brunswick with his family. Robinson married Emma Pemberton. A resident of Canterbury, he served as warden for York County. Robinson was also a director for the Consolidated European and North American Railway, Western Extension. He was a supporter of the Common Schools Act of 1871. Robinson voted against the legislative union of the Maritime provinces proposed in 1875. He later settled in St. Andrews, Charlotte County.

References

1826 births
1885 deaths
Members of the Legislative Assembly of New Brunswick
People from Saint Andrews, New Brunswick
Irish emigrants to pre-Confederation New Brunswick
People from York County, New Brunswick

Robert Robinson (Canadian politician)


WFUN-LD (channel 48) is a low-power Spanish-language independent television station in Miami, Florida, United States. It is owned by América CV Station Group, Inc., alongside fellow independent station WJAN-CD (channel 41). The two stations share studios in Hialeah Gardens; WFUN-LD's transmitter is located on West Hallandale Beach Boulevard in the Carver Ranches section of West Park.

History
The station's license application was first submitted to the Federal Communications Commission (FCC) in 1980, but a construction permit was not issued until 1988, with a license issued the following year as W27AQ. Owned by Skinner Broadcasting, channel 27 was intended to be a low-power independent TV station branded as "WFUN-TV" and aimed at Broward County. The station, approved to place its transmitter atop the Pompano Beach Club, would have aired sports, financial and other programming.

When W27AQ signed on April 27, however, it did not air its own programming. Instead, it was leased to new CBS affiliate WCIX to serve areas of Broward County that its Homestead-based analog signal could not. In the immediate wake of Hurricane Andrew, which collapsed the Homestead tower, W27AQ remained on the air as WCIX's only broadcast signal. WCIX's translator network remained with the channel 6 facility after the 1995 swap between it and WTVJ.

In June 1998, the station ceased rebroadcasting WTVJ. It moved to UHF channel 48 and its call letters were changed to W48CI. In early 1999, its calls were changed to WFUN-LP; the station license was later upgraded to Class A status and its calls were altered to WFUN-CA in 2002, before reverting to LPTV status in 2004. In 2009, WFUN flash-cut its digital signal into operation on UHF channel 48.

The station has been through several ownership changes, though some of these transfers in the early 2000s appear to be within the Rodriguez family. On August 13, 2012, WFUN-LD acquired the América TeVé programming and format from WJAN-CD (channel 41) after the latter station became a charter affiliate of MundoFox; most of the América CV-owned stations that joined MundoFox on that date added the América TeVé format on their second digital subchannels, with the exception of Puerto Ricobased WKPV and WIRS, which broadcast TeVé on their main channels. However, MundoFox's affiliation with WJAN/WFUN would end on December 28, 2012, as the network moved its Miami affiliation to Key Westbased WGEN-TV (channel 8).

Due to the loss of the MundoFox affiliation, on January 28, 2013, WJAN-CD and WFUN-LD launched a new programming format called Teveo, which is stylized as a 24-hour news channel that airs each weekday from 5:00 p.m. to 12:00 a.m. and weekends from 7:00 to 11:00 p.m. "Teveo" carries all of the station's live newscasts, along with rebroadcasts of its 6:00 and 11:00 p.m. newscasts and its public affairs programs including A Mano Limpia and Sevcec a Fondo. It also added live weekday hour-long 7:00 and 9:00 p.m. newscasts on that date, making it the only station in South Florida with newscasts in those timeslots (the 9:00 p.m. newscast was canceled on April 12, 2013, to make way for a news/talk program that debuted the following Monday). On weekends, "Teveo" carries a "week-in-review" selection of its news programs. Paid programming is shown at other times of the day. The channel is simulcast on WFUN-DT2, and is carried on Comcast channel 82, Atlantic Broadband channel 3 and AT&T U-verse channel 41. Nationally, WFUN-LD1 is available via streaming on channel 1106 on The Roku Channel's live TV service.

News operation
WFUN-LD presently broadcasts 17½ hours of locally produced news and talk programming each week (with 3½ hours each weekday); WFUN-LD's news department, whose newscasts are titled América Noticias, only produces local newscasts on weeknights, with no live news broadcasts on weekends. In addition, the station produces the newsmagazine Arrebatados (which airs weekdays at 4:00 p.m.) and two news/talk programs, Sevcec a Fondo (which airs weeknights at 8:00 p.m.) and A Mano Limpia (which airs weeknights at 9:00 p.m.).

WFUN-LD is the last station in the Miami–Fort Lauderdale market to produce its local newscasts in 4:3 standard definition—even though, as of April 2013, select programs are broadcast in high definition, the station maintains HD camera equipment, and on-air graphics and station promos are presented in the format. All of the station's live newscasts are also shown on Teveo, the station's 24-hour news format, each weekday from 5:00 p.m. to 12:00 a.m. and weekends from 7:00 to 11:00 p.m.

Technical information

Subchannels

References

FUN-LD
Television channels and stations established in 1998
FUN
FUN-LD
1998 establishments in Florida
Hispanic and Latino American culture in Miami

WFUN-LD


The quadrate bone is a skull bone in most tetrapods, including amphibians, sauropsids (reptiles, birds), and early synapsids.

In most tetrapods, the quadrate bone connects to the quadratojugal and squamosal bones in the skull, and forms upper part of the jaw joint. The lower jaw articulates at the articular bone, located at the rear end of the lower jaw. The quadrate bone forms the lower jaw articulation in all classes except mammals.

Evolutionarily, it is derived from  the hindmost part of the primitive cartilaginous upper jaw.

Function in reptiles
In certain extinct reptiles, the variation and stability of the morphology of the quadrate bone has helped paleontologists in the species-level taxonomy and identification of mosasaur squamates  and spinosaurine dinosaurs.

In some lizards and dinosaurs, the quadrate is articulated at both ends and movable. In snakes, the quadrate bone has become elongated and very mobile, and contributes greatly to their ability to swallow very large prey items.

Function in mammals
In mammals, the articular and quadrate bones have migrated to the middle ear and are known as the malleus and incus.  Along with the stapes, which is homologous to some reptilian and amphibian columellae, these are known as the ossicles and are a defining characteristic of mammals.

Development
In pig embryos, the mandible ossifies on the side of Meckel's cartilage, while the posterior part of that cartilage is ossified into the incus. In later development, this portion detaches from the rest of the cartilage and migrates into the middle ear.

References

External links

Skull

Quadrate bone


Lucky Young Lady (Swedish: Ung dam med tur) is a 1941 Swedish comedy film directed by Ragnar Arvedson and starring Sonja Wigert, Karl-Arne Holmsten and Dagmar Ebbesen. It was shot at the Sundbyberg Studios in Stockholm and on location in Visby. The film's sets were designed by the art director Max Linder.

Synopsis
Eva, an office worker, discovers that she has unexpectedly inherited a large amount of money in the United States.

Cast
 Sonja Wigert as 	Eva Bergfelt
 Karl-Arne Holmsten as Hasse Nordgren
 Dagmar Ebbesen as 	Aunt Gullan
 Åke Ohberg as Fredrik Hall
 Elly Christiansson as 	Gunvor Hall
 Stina Hedberg as 	Mrs. Märta Bergfelt
 Hjördis Petterson as Miss Solaeng
 John Botvid as 	Theobald
 Åke Johansson as 	Willy
 Torsten Winge as 	Uncle John
 Anna-Lisa Baude as 	Nurse
 Hugo Björne as Kernell
 Gösta Bodin as 	Insurance salesman
 Julia Cæsar as 	Old lady
 Elsa Ebbesen as 	Hostess
 Georg Fernqvist as Older Man
 Sigge Fürst as Police constable
 Hilding Gavle as 	Prof. of Mathematics
 Greta Liming a s	Telephone Operator
 Börje Mellvig as 	Salesman
 Gunnar Olsson as 	Salesman
 Ruth Weijden as Aunt Ottilia
 Ragnar Widestedt as 	Doctor
 Carl-Gunnar Wingård as Fingal Syren

References

Bibliography
 Wallengren, Ann-Kristin.  Welcome Home Mr Swanson: Swedish Emigrants and Swedishness on Film. Nordic Academic Press, 2014.

External links

1941 films
Swedish comedy films
1941 comedy films
1940s Swedish-language films
Films directed by Ragnar Arvedson
1940s Swedish films

Lucky Young Lady


The River Seph (or River Sep) is a tributary of the River Rye (itself a tributary of the River Derwent) in North Yorkshire, England. The river flows for  down Bilsdale and meets the Rye near the village of Hawnby. When the surrounding land was owned by Roger de Mowbray, the river was referred to as the Sep.

Name
Common club-rush (Schoenoplectus lacustris) prefers to grow in shallow water such as that found in ponds, streams and river margins. During the medieval period sedges and rushes were known as " seaves ",

hence the origin of the name Seave Green near Chop Gate at the head of Bilsdale.

The name Seph derives from Old Norse sef – " sedge, rush ".

The meaning for River Seph might be:
 Slow Stream or Calm.
 River where seaves grow.
 River overgrown with seaves.

Examples of rivers that might share a similar etymology:
 River Severn (Welsh: Afon Hafren) (Sephern – 1479).
 River Seven, Rosedale, North York Moors.

Course
The river starts in Bilsdale at the village of Chop Gate where the waters of the Bilsdale and Raisdale Becks meet, though some of the sources start on Urra Moor. The river from source to where it meets the River Rye at Seph Mouth, is  long. Historically, parts of the river were the delineating boundaries between ancient parishes.

Bilsdale is narrow and densely wooded at the head of the valley, but further down becomes wider and the water meanders before it joins the Rye.

Natural History
The river has suffered with invasive species such as Himalayan balsam and Japanese Knotweed which have been the subject of various programmes to eradicate them. The river has also benefitted from a government grant to help fish navigation and a reduction in pollution.

It was known to be a good trout stream in the late 19th/early 20th centuries, and various agencies came together in 2015 to improve fish passages on the watercourse to allow the migration of trout from the River Rye.

The river flows across the south western edge of the North York Moors and as such has limestone, gritstone, mudstone and siltstone as its bedrock. During dry summers, the waters disappear into the bedrock and the river becomes totally subterranean. The sides of Bilsdale where the Seph meanders, are lined with ancient Oak trees and the North York Moors National Park Authority were granted Heritage Lottery Funding in 2017 to protect the land and study the wildlife along the upper reaches of the River Rye. This will include the Seph and will look at some of the native species which make use of the watercourse such as the alcathoe bat and the white-clawed crayfish.

Settlements
Bilsdale is a remote valley populated mainly with hamlets as opposed to villages and towns. From the source of the Seph downstream, these are;
Seave Green
Chop Gate
Cross Holme
Fangdale Beck

References

Notes

Citations

Sources

External links

Seph
Ouse catchment

River Seph


Sergio Ciani (7 September 1935 – 5 September 2015), best known as Alan Steel, was an Italian bodybuilder and actor.

Born in Rome, Ciani started his career as a stuntman; then he became the body double for Steve Reeves in Hercules Unchained and in The Giant of Marathon, in which he also played a minor role. In the early 1960s he adopted the stage name Alan Steel and starred the leading roles in a number of peplum films with good commercial success. He had the distinction as being one of the very few native Italians to play the heroes of the peplum features. In addition to playing roles named either Hercules, Ursus, or Samson, he played Robin Hood in the 1976 adventure film Storia di arcieri, pugni e occhi neri. With the decline of the genre Steel thinned out his appearances, until his retirement at the end of the 1970s.

Ciani died in his sleep at his house in Ostia, Rome, at age 79, just two days short of what would have been his 80th birthday.

Partial filmography

 Herod the Great (1958) as Palace Guard (uncredited)
 Hercules Unchained (1959) as Megreo
 The Giant of Marathon (1959) as Euros
 Samson (1961) as Macigno aka Hercules
 The Fury of Hercules (1962) as Kaldos
 The Rebel Gladiators (1962) as Commodus
 The Old Testament (1962)
 Samson and the Slave Queen (1963) as Samson (in U.S. version) / Maciste
 Hercules and the Masked Rider (1963) as Golia / Paco / Hercules
 Hercules and the Black Pirates (1964) as Samson
 Hercules Against Rome (1964) as Ercole
 Hercules Against the Moon Men (1964) as Maciste / Hercules
 Hercules and the Treasure of the Incas (1964) as William Smith / Samson
 Samson and His Mighty Challenge (1964) as Hercules
 3 Avengers (1964) as Ursus
 A... For Assassin (1966) as Giacomo
 Un colpo da re (1967) as The Swede
 Addio mamma (1967) as Franco Rinaldi, Patrizia's husband
 Sapevano solo uccidere (1968) as Pedro
 La furia dei Khyber (1970) as Capitano Miller
 Fasthand (1973) as Cpt. Jeff Madison
 The Little Cowboy (1973) as Monty Donovan
 Dagli archivi della polizia criminale (1973) as Larry Brenton
 Storia di arcieri, pugni e occhi neri (1976) as Robin Hood
 Korkusuz cengaver (1976) as Korsan (uncredited)
 Io tigro, tu tigri, egli tigra (1978)
 Baby Love (1979) (final film role)

References

External links

1931 births
2015 deaths
20th-century Italian male actors
Italian bodybuilders
Italian male film actors
Male actors from Rome
People associated with physical culture

Alan Steel


A Roman villa is a country house or mansion that was built and inhabited during the Roman Republic or the Roman Empire. In general the house has a courtyard, and all rooms are accessible from the courtyard. The entrance also leads into the courtyard. An example of such a villa, called villa rustica is shown in the picture. Villas were owned by rich people. Some of them even had mosaics, glass windows, central heating system (called hypocaust), and their own baths. The Roman villa was a precursor to the modern mansion. The Romans didn't wash their baths, so they were always dirty and sometimes people would urinate or shart in them.

Related pages
 Roman house

Roman buildings and structures

Roman villa


AL 288-1, commonly known as Lucy or  (ድንቅ ነሽ, which means "you are marvellous" in Amharic), is a collection of several hundred pieces of fossilized bone representing 40 percent of a female of the hominin species Australopithecus afarensis. It was discovered in 1974 in Ethiopia, at Hadar, a site in the Awash Valley of the Afar Triangle, by paleoanthropologist Donald Johanson of the Cleveland Museum of Natural History.

The Lucy specimen is an early australopithecine and is dated to about 3.2 million years ago. The skeleton presents a small skull akin to that of non-hominin apes, plus evidence of a walking-gait that was bipedal and upright, akin to that of humans (and other hominins); this combination supports the view of human evolution that bipedalism preceded increase in brain size. A 2016 study proposes that Australopithecus afarensis was also to a large extent tree-dwelling, though the extent of this is debated.

"Lucy" was named by Pamela Alderman after the 1967 song "Lucy in the Sky with Diamonds" by the Beatles, which was played loudly and repeatedly in the expedition camp all evening after the excavation team's first day of work on the recovery site. After public announcement of the discovery, Lucy captured much international interest, becoming a household name at the time.

Lucy became famous worldwide, and the story of her discovery and reconstruction was published in a book by Johanson and Edey. Beginning in 2007, the fossil assembly and associated artefacts were exhibited publicly in an extended six-year tour of the United States; the exhibition was called Lucy's Legacy: The Hidden Treasures of Ethiopia. There was discussion of the risks of damage to the unique fossils, and other museums preferred to display casts of the fossil assembly. The original fossils were returned to Ethiopia in 2013, and subsequent exhibitions have used casts.

Discovery

Organizing the expedition
French geologist and paleoanthropologist Maurice Taieb discovered the Hadar Formation for paleoanthropology in 1970 in the Afar Triangle of Ethiopia, then in Hararghe province; he recognized its potential as a likely repository of the fossils and artifacts of human origins. Taieb formed the International Afar Research Expedition (IARE) and invited three prominent international scientists to conduct research expeditions into the region. These were: Donald Johanson, an American paleoanthropologist and curator at the Cleveland Museum of Natural History, who later founded the Institute of Human Origins, now part of Arizona State University; Mary Leakey, the noted British paleoanthropologist; and Yves Coppens (1934–2022), a French paleoanthropologist appointed in 1983 a professor at the Collège de France, which is considered to be France's most prestigious research establishment. An expedition was soon mounted with four American and seven French participants; in the autumn of 1973 the team began surveying sites around Hadar for signs related to the origin of humans.

First find
In November 1971, near the end of the first field season, Johanson noticed a fossil of the upper end of a shinbone, which had been sliced slightly at the front. The lower end of a femur was found near it, and when he fitted them together, the angle of the knee joint clearly showed that this fossil, reference AL 129-1, was an upright walking hominin. This fossil was later dated at more than three million years old—much older than other hominin fossils known at the time. The site lay about  from the site where "Lucy" subsequently was found, in a rock stratum  deeper than that in which the Lucy fragments were found.

Subsequent findings
The team returned for the second field season the following year and found hominin jaws. Then, on the morning of November 24, 1974, near the Awash River, Johanson abandoned a plan to update his field notes and joined graduate student Tom Gray to search Locality 162 for bone fossils.

By Johanson's later (published) accounts, both he and Tom Gray spent two hours on the increasingly hot and arid plain, surveying the dusty terrain. On a hunch, Johanson decided to look at the bottom of a small gully that had been checked at least twice before by other workers. At first view nothing was immediately visible, but as they turned to leave a fossil caught Johanson's eye; an arm bone fragment was lying on the slope. Near it lay a fragment from the back of a small skull. They noticed part of a femur (thigh bone) a few feet (about one meter) away. As they explored further, they found more and more bones on the slope, including vertebrae, part of a pelvis, ribs, and pieces of jaw. They marked the spot and returned to camp, excited at finding so many pieces apparently from one individual hominin.

In the afternoon, all members of the expedition returned to the gully to section off the site and prepare it for careful excavation and collection, which eventually took three weeks. That first evening they celebrated at the camp; at some stage during the evening they named fossil AL 288-1 "Lucy", after the Beatles' song "Lucy in the Sky with Diamonds" (1967), which was being played loudly and repeatedly on a tape recorder in the camp.

Over the next three weeks the team found several hundred pieces or fragments of bone with no duplication, confirming their original speculation that the pieces were from a single individual; ultimately, it was determined that an amazing 40 percent of a hominin skeleton was recovered at the site. Johanson assessed it as female based on the one complete pelvic bone and sacrum, which indicated the width of the pelvic opening.

Assembling the pieces
Lucy was  tall, weighed , and (after reconstruction) looked somewhat like a chimpanzee. The creature had a small brain like a chimpanzee, but the pelvis and leg bones were almost identical in function to those of modern humans, showing with certainty that Lucy's species were hominins that had stood upright and had walked erect.

Reconstruction in Cleveland
With the permission of the government of Ethiopia, Johanson brought all the skeletal fragments to the Cleveland Museum of Natural History in Ohio, where they were stabilized and reconstructed by anthropologist Owen Lovejoy. Lucy the pre-human hominid and fossil hominin, captured much public notice; she became almost a household name at the time. Some nine years later, and now assembled altogether, she was returned to Ethiopia.

Later discoveries
Additional finds of A. afarensis were made during the 1970s and forward, gaining for anthropologists a better understanding of the ranges of morphic variability and sexual dimorphism within the species. A more complete skeleton of a related hominid, Ardipithecus, was found in the same Awash Valley in 1992. "Ardi", like "Lucy", was a hominid-becoming-hominin species, but, dated at , it had evolved much earlier than the afarensis species. Excavation, preservation, and analysis of the specimen Ardi was very difficult and time-consuming; work was begun in 1992, with the results not fully published until October 2009.

Age estimates of the fossil
Initial attempts were made in 1974 by Maurice Taieb and James Aronson in Aronson's laboratory at Case Western Reserve University to estimate the age of the fossils using the potassium-argon radiometric dating method. These efforts were hindered by several factors: the rocks in the recovery area were chemically altered or reworked by volcanic activity; datable crystals were very scarce in the sample material; and there was a complete absence of pumice clasts at Hadar. (The Lucy skeleton occurs in the part of the Hadar sequence that accumulated with the fastest rate of deposition, which partly accounts for her excellent preservation.)

Fieldwork at Hadar was suspended in the winter of 1976–77. When it was resumed thirteen years later in 1990, the more precise argon-argon technology had been updated by Derek York at the University of Toronto. By 1992 Aronson and Robert Walter had found  two suitable samples of volcanic ash—the older layer of ash was about 18 m below the fossil and the younger layer was only one meter below, closely marking the age of deposition of the specimen. These samples were argon-argon dated by Walter in the geochronology laboratory of the Institute of Human Origins at 3.22 and 3.18 million years.

Notable characteristics

Ambulation
One of the most striking characteristics of the Lucy skeleton is a valgus knee, which indicates that she normally moved by walking upright. Her femur presents a mix of ancestral and derived traits. The femoral head is small and the femoral neck is short; both are primitive traits. The greater trochanter, however, is clearly a derived trait, being short and human-like—even though, unlike in humans, it is situated higher than the femoral head. The length ratio of her humerus (arm) to femur (thigh) is 84.6%, which compares to 71.8% for modern humans, and 97.8% for common chimpanzees, indicating that either the arms of A. afarensis were beginning to shorten, the legs were beginning to lengthen, or both were occurring simultaneously. Lucy also had a lordose curve, or lumbar curve, another indicator of habitual bipedalism. She apparently had physiological flat feet, not to be confused with pes planus or any pathology, even though other afarensis individuals appear to have had arched feet.

Pelvic girdle
Johanson recovered Lucy's left innominate bone and sacrum. Though the sacrum was remarkably well preserved, the innominate was distorted, leading to two different reconstructions. The first reconstruction had little iliac flare and virtually no anterior wrap, creating an ilium that greatly resembled that of an ape. However, this reconstruction proved to be faulty, as the superior pubic rami would not have been able to connect were the right ilium identical to the left.

A later reconstruction by Tim White showed a broad iliac flare and a definite anterior wrap, indicating that Lucy had an unusually broad inner acetabular distance and unusually long superior pubic rami. Her pubic arch was over 90 degrees and derived; that is, similar to modern human females. Her acetabulum, however, was small and primitive.

Sacrum and spine
While examining Lucy's fossilized remains, it was believed that Lucy's sacrum had five fused elements. The sacrum was found to be in good condition with little damage done. Although the sacrum had five fused elements, the transverse processes of the most caudal element were not seen to connect to the segments craniad to it. This would result in researchers concluding that the sacrum suffered fossil damage which led to the fifth segment not connecting.

Although this was the case, recent studies are now coming out with new theories as to why Lucy's fifth sacral segment is in that shape. Some researchers conclude that Lucy has only four sacral segments. Published in the American Journal of Physical Anthropology, researchers suggest that fossil damage did not shorten the transverse process and that Lucy's sacrum was in this state from the beginning. This specific study points to Lucy's sacrum having four sacral segments which researchers say conforms with the "long-back" model of hominoid vertebral evolution. There are some disagreements in the community about the fifth sacral segment and if fossil damage was enough to change the fifth segment or if it was originally in that state. Discussed in the Journal, researchers conclude that Lucy having only four sacral segments is consistent with other findings related to early Miocene hominoids.

Lucy's back is associated with approximately 9 vertebrae. Although Lucy was found with a relatively intact and well preserved sacrum, she was missing pieces in her spinal column. Lucy's discoverers and later workers had given the vertebrae provisional level assignments (Positions in the vertebral column) to locations within the vertebral column. Interestingly, some vertebrae were in worse conditions than others. Lucy had a worn out upper thoracic neutral arch. Researchers have yet to find a cause as to why this particular vertebrae was in worse condition than the other pieces. While accessing and restructuring Lucy's spinal column, it was noted to have been missing pieces that leave it incomplete. Not including an oddly worn out upper thoracic neutral arch, and the lumbar vertebrae, the other remaining thoracic vertebrae were compiled to form an incomplete formation. The formation was arranged from the sixth thoracic vertebrae (T6) to its caudal end (T12), with the seventh thoracic vertebrae (T7) missing. Currently the continuity differs in the thoracic series between researchers and it being reevaluated. Although there are new studies and reassessments being done, it does not refute previous work or conclusions about Lucy's spine.

Cranial specimens
The cranial evidence recovered from Lucy is far less derived than her postcranium. Her neurocranium is small and primitive, while she possesses more spatulate canines than other apes. The cranial capacity was about 375 to 500 cubic centimeters.

Rib cage and plant-based diet
Australopithecus afarensis seems to have had the same conical rib-cage found in today's non-human great apes (like the chimpanzee and gorilla), which allows room for a large stomach and the longer intestine needed for digesting voluminous plant matter. Fully 60% of the blood supply of non-human apes is used in the digestion process, greatly impeding the development of brain function (which is limited thereby to using about 10% of the circulation). The heavier musculature of the jaws—those muscles operating the intensive masticatory process for chewing plant material—similarly would also limit development of the braincase. During evolution of the human lineage these muscles seem to have weakened with the loss of the myosin gene MYH16, a two base-pair deletion that occurred about 2.4 million years ago.

Other findings
A study of the mandible across a number of specimens of A. afarensis indicated that Lucy's jaw was rather unlike other hominins, having a more gorilla-like appearance. Rak et al. concluded that this morphology arose "independently in gorillas and hominins", and that A. afarensis is "too derived to occupy a position as a common ancestor of both the Homo and robust australopith clades".

Work at the American Museum of Natural History uncovered a possible Theropithecus vertebral fragment that was found mixed in with Lucy's vertebrae, but confirmed the remainder belonged to her.

Death

Lucy's cause of death has not been determined. The specimen does not show the signs of post-mortem bone damage characteristic of animals killed by predators and then scavenged. The only visible damage is a single carnivore tooth mark on the top of her left pubic bone, believed to have occurred at or around the time of death, but which is not necessarily related to her death. Her third molars were erupted and slightly worn and, therefore, it was concluded that she was fully matured with completed skeletal development. There are indications of degenerative disease to her vertebrae that do not necessarily indicate old age. It is believed that she was a mature but young adult when she died.

In 2016 researchers at the University of Texas at Austin suggested that Lucy died after falling from a tall tree. Donald Johanson and Tim White disagreed with the suggestions.

Exhibitions

The Lucy skeleton is preserved at the National Museum of Ethiopia in Addis Ababa. A plaster replica is publicly displayed there instead of the original skeleton. A cast of the original skeleton in its reconstructed form is displayed at the Cleveland Museum of Natural History. At the American Museum of Natural History in New York City a diorama presents Australopithecus afarensis and other human predecessors, showing each species and its habitat and explaining the behaviors and capabilities assigned to each. A cast of the skeleton as well as a corpus reconstruction of Lucy is displayed at The Field Museum in Chicago.

US tour
A six-year exhibition tour of the United States was undertaken during 2007–13; it was titled Lucy's Legacy: The Hidden Treasures of Ethiopia and it featured the actual Lucy fossil reconstruction and over 100 artifacts from prehistoric times to the present. The tour was organized by the Houston Museum of Natural Science and was approved by the Ethiopian government and the U.S. State Department. A portion of the proceeds from the tour was designated to modernizing Ethiopia's museums.

There was controversy in advance of the tour over concerns about the fragility of the specimens, with various experts including paleoanthropologist Owen Lovejoy and anthropologist and conservationist Richard Leakey publicly stating their opposition, while discoverer Don Johanson, despite concerns for the possibility of damage, felt the tour would raise awareness of human origins studies. The Smithsonian Institution, Cleveland Museum of Natural History and other museums declined to host the exhibits.

The Houston Museum made arrangements for exhibiting at ten other museums, including the Pacific Science Center in Seattle. In September 2008, between the exhibits in Houston and Seattle, the skeletal assembly was taken to the University of Texas at Austin for 10 days to perform high-resolution CT scans of the fossils.

Lucy was exhibited at the Discovery Times Square Exposition in New York City from June until October 2009. In New York, the exhibition included Ida (Plate B), the other half of the recently announced Darwinius masilae fossil. She was also exhibited in Mexico at the Mexico Museum of Anthropology until its return to Ethiopia in May 2013.

Ethiopia celebrated the return of Lucy in May 2013.

See also

 Ardi – more complete skeleton of earlier hominin species
 Dawn of Humanity – 2015 PBS documentary
 List of human evolution fossils
 Prehistoric Autopsy – 2012 BBC documentary
 Selam (Australopithecus) – young female A. afarensis fossil from Ethiopia
 Lucy (spacecraft) – the NASA mission launched in 2021 to study Trojan asteroids described as fossils of the early solar system.

References

Works cited

External links

 Meet Lucy: The Famous Early Human
 Cleveland Museum of Natural History

 "Becoming Human: Paleoanthropology, Evolution, and Human Origins", a documentary hosted by Donald Johanson
 "New Link In Human Evolution Discovered", facial reconstruction of Lucy, an Agence France-Presse photo published by the Taipei Times, May 8, 2006. Accessed September 11, 2007.

 University of Texas's eLucy.org website Enables visitors to view bones and bone casts, and learn more about human origins and evolution. Activities and lessons are provided to encourage additional study.
 National Public Radio "Science Friday" interview with Dr. Donald Johanson titled "Lucy's Legacy" originally aired on March 6, 2009
 Australopithecus afarensis – Science Journal Article
 Israeli researchers: 'Lucy' is not direct ancestor of humans
 Human Timeline (Interactive) – Smithsonian, National Museum of Natural History (August 2016).

1974 archaeological discoveries
1974 in Ethiopia
1974 in paleontology
November 1974 events in Africa
Afar Region
Archaeological discoveries in Ethiopia
Archaeology of Eastern Africa
Australopithecus fossils
Neogene fossil record
Prehistoric Ethiopia
Transitional fossils

Lucy (Australopithecus)


The Beast Is Back is the seventh album by a newly reformed Blue Cheer, 13 years after their previous album, Oh! Pleasant Hope (1971). It contains re-recorded versions of some of the band's most popular songs from their late-1960s heyday as well as new material. The album features founding members Dickie Peterson and Paul Whaley. Original guitarist Leigh Stephens did not participate in the reunion.

The Beast Is Back has been released with three different album covers.

Track listing
Side one
"Nightmares" (Dickie Peterson) – 5:03
"Summertime Blues" (Jerry Capehart, Eddie Cochran) – 3:57
"Ride with Me" (Tony Rainier) – 5:25
"Girl Next Door" (Rainier) – 3:39

Side two
"Babylon" (Peterson) – 4:12
"Heart of the City" (Dr. Richard Peddicord) – 4:19
"Out of Focus" (Peterson) – 3:43
"Parchment Farm" (Mose Allison) – 6:55

Personnel
Band members
Dickie Peterson – bass, lead vocals
Tony Rainier – lead guitars, backing vocals
Paul Whaley – drums

Production
Carl Canedy, Paul Curcio - producers
Chris Bubacz - engineer
Jack Skinner - Mastering
Jon Zazula - executive producer

References

1984 albums
Blue Cheer albums
Megaforce Records albums

The Beast Is Back


Ed, Edd n Eddy: Jawbreakers! is a 2D side-scrolling video game developed by Climax Group and published by BAM! Entertainment. It was released exclusively for the Game Boy Advance on September 15, 2002. Based on Cartoon Network's animated television series Ed, Edd n Eddy, the game mirrors Ed, Edd, and Eddy's television quest to make money to buy jawbreakers.

Cartoon Network later released Ed, Edd n Eddy: The Mis-Edventures in 2005 and Ed, Edd n Eddy: Scam of the Century in 2007.

Gameplay
Players control the Eds, the series' titular characters, to collect raffle tickets for competition in a contest to win a lifetime supply of jawbreakers. Ed, Double D, and Eddy use resourceful means to earn money, solve physical puzzles, interact with neighborhood children, and find hidden goodies. Ed can head-butt; Double D can use a slingshot or a wrench and activate context-sensitive switches; and Eddy can use the hypnotizing wheel or the jetpack. Players control one Ed at a time, each with his own unique strength and weakness, and may dynamically cycle through the three main characters. The game's 29 levels each offer a short animated cut-scene at the beginning and end.

Reception
The game received negative reviews among critics, with IGN's Craig Harris criticizing the game's lack of a tutorial. Others complained of lack of indication as to time necessary to complete levels coupled with each level's time limit. Harris also criticized the game's timing, as its blueprints are based on The Lost Vikings, which was shipped as a Game Boy Advance conversion only a week before Jawbreakers!'s release.

Reference

 http://www.prnewswire.com/news-releases/bam-entertainment-brings-the-hit-tv-show-ed-edd-n-eddytm-to-the-video-game-market-70806637.html
 ^ https://www.metacritic.com/game/game-boy-advance/ed-edd-n-eddy-jawbreakers!
 ^ Harris, Craig (April 9, 2003). "Ed, Edd n Eddy: Jawbreakers". IGN. News Corporation. Archived from the original on November 3, 2012. Retrieved 2012-11-30.

Game Boy Advance games
Game Boy Advance-only games
2002 video games
Platform games

Ed, Edd n Eddy: Jawbreakers!


Johann Matthias Schröckh (July 26, 1733 – August 1, 1808) was an Austrian-German historian and literary scholar born in Vienna. He was a grandson to Pietist preacher Matthias Bel (1684-1749).

In 1751 he began his studies at the University of Göttingen, where he had as instructors, church historian Johann Lorenz von Mosheim (1693-1755) and Orientalist Johann David Michaelis (1717-1791). He continued his education at the University of Leipzig, earning his master's degree in 1755. During the following year he received his habilitation, and in 1762 became an associate professor of philosophy. Later he relocated to the University of Wittenberg, where in 1775 he was appointed professor of history.

Known for his prodigious literary output, Schröckh was the author of acclaimed works involving universal history, church history, history books for children, biographical studies, et al. His main work involved the 35-volume Christliche Kirchengeschichte (Christian Church History, 1768-1803) and its sequel Christliche Kirchengeschichte seit der Reformation (Christian Church History since the Reformation 1804-1812, 10 volumes), with the last two volumes being prepared by Heinrich Gottlieb Tzschirner (1778-1828).

Selected publications
 Abbildungen und Lebensbeschreibungen berühmter Gelehrten (Images and biographies of famous scholars), 1764
 Lehrbuch der allgemeinen Weltgeschichte zum Gebrauche bei dem ersten Unterrichte der Jugend (Textbook of general world history for use as first lessons for young people), 1774
 Historia religionis et ecclesiae christianae, 1777
 Allgemeine Weltgeschichte für Kinder (General world history for children), 1779-1784
 Einleitung zur Universalhistorie: Umarbeitung von Hilmar Curas (Introduction of universal history: revision of Hilmar Curas), 1757
 Christliche Kirchengeschichte (Christian church history); 35 volumes, 1768–1803
 Christliche Kirchengeschichte seit der Reformation (Christian church history since the Reformation); with HG Tzschirner, 1804–1812.

References
  English translation
 Parts of this article are based on a translation of an article from the German Wikipedia.

1733 births
1808 deaths
Writers from Vienna
German historians of religion
Austrian historians
Historians of Christianity
Academic staff of the University of Wittenberg
Academic staff of Leipzig University
German male non-fiction writers

Johann Matthias Schröckh


In Public () is a short documentary film directed by Jia Zhangke, a Chinese cinema "Sixth Generation" movement filmmaker. In Public was shot on digital video for the 2001 Jeonju International Film Festival.

In many ways, the film was a test-run for the feature length fiction film Unknown Pleasures. Both films are shot digitally (a medium Jia would return to in Still Life (2006) and 24 City (2008)), both are set in the city of Datong, and both share the same shooting locations. As usual, Jia's regular collaborator Yu Lik-wai served as the film's director of photography.

The film also screened at the 2002 Marseille Festival of Documentary Film, where it won the Grand Prix.

Background
In Public was made and submitted by Jia as part of a program at the 2001 Jeonju International Film Festival, where three directors were asked to produce a short film in digital video. The other two directors who produced entries that year were Taiwanese filmmaker Tsai Ming-liang and British director John Akomfrah. Setting up his camera in a train station in Datong, Jia made a film consisting of thirty shots over forty five days.

Lacking in any formal plot, the film instead captures seemingly mundane moments, customers asking for the train schedule, shots inside public buses, etc. The result, according to Chinese film scholar Berenice Reynaud, is a film that captures the "ennui, backwardness, and dreary atmosphere of a small town, and the impatience, hidden desires and private concerns of its inhabitants." For Jia, the film was a chance to focus on the public spaces in a modern provincial city of China: the train stations, discos, and karaokes of Datong.

Relationship to Unknown Pleasures
While filming In Public, Jia became interested in not only the desolate-looking buildings that had originally attracted him to the city, but to the people who inhabited them. Moreover, Jia came to realize that filming digitally allowed him unprecedented flexibility and movement, inspiring him to begin production of Unknown Pleasures. Jia has said, "At first it was the bleak and lonely buildings that attracted me. When I saw the streets filled with lonely, directionless people, I became interested in them."

One critic, however, sees the film as more of a positive depiction of humanity than seen in Unknown Pleasures, noting that the film's final scene of people dancing in a dilapidated community center (the same center that opens the later film) elicits a sense of "people persevering despite the impoverishment of their existence." Unknown Pleasures, in contrast, is "incendiary bleakness and outrage."

Stylistically, In Public fits with the Jia oeuvre, situated between Platform and Unknown Pleasures, with the long takes of the former and the same desolate locations of the latter.

References

External links

 In Public at the Chinese Movie Database

Chinese short films
Chinese documentary films
2001 short documentary films
2001 films
2000s Mandarin-language films
Films directed by Jia Zhangke
Films set in Shanxi
2000s Chinese films

In Public (film)


Women of Twilight is a 1951 play by Sylvia Rayman that became a 1952 film directed by Gordon Parry. The latter stars Freda Jackson, Rene Ray and Lois Maxwell, with a screenplay by Anatole de Grunwald. It was the first British film to receive the recently introduced X certificate.

Plot
"The scene throughout is a semi-basement living room in a house near London, a grim and sordid place inhabited for sleeping and eating by a motley group of unmarried young women with babies - already born or about to be hustled into an unfriendly world. The 'proprietress' - a sadistic, unscrupulous woman called Helen Allistair - though a qualified nurse, exploits these unfortunate outcasts from society until one of them - the despairing girl Vivianne, whose gangster lover is hanged and who has nothing to lose - discovers this ghoulish creature's baby-farming activities. Vivianne, whose baby is shortly to be born, faces Mrs Allistair with her accusation, is brutally assaulted and almost loses her life. In the end justice is done, and Mrs Allistair gets her just desserts."

Play
Women of Twilight was the first play written by Sylvia Rayman (1923–86).

According to the play's Broadway programme, "Sylvia Rayman's address, before she arrived in London, was Chorlton-cum-Hardy, Manchester. After she finished her schooling she worked in a factory and library and then went to London to become a writer. She supported herself as an usher, a nurse girl and a clerk in a ticket agency." By 1951, when Women of Twilight was picked up for production, she was working as a part-time waitress at a cafeteria on north London's Finchley Road.

Presented by Jean Shepeard and Evelyn Dysart at the Regent Theatre, Hayes on 30 July, Rayman's debut was advertised as 'an all-women play' and directed by Rona Laurie. Among material ordered cut by the Lord Chamberlain's office was dialogue relating to one character having been raped, plus the use of the Girl Guide motto "Be prepared" with an obvious sexual innuendo. The published text contains an introduction by Laurie ("This is a strong, forceful play calling for great sincerity both in production and acting"), plus the following note: "Sylvia Rayman gratefully acknowledges Miss Jean Shepeard's work in adapting the script for stage presentation, for finding its present title, and for first presenting it." The cast on this occasion included future playwright Ann Jellicoe.

A different production, directed by Anthony Hawtrey, was mounted at the Embassy Theatre in Swiss Cottage on 15 October. According to Oscar Lewenstein (later co-founder of the English Stage Company), "Jean [Shepeard] was reluctant to let us have the rights, but eventually I was able to make a deal with her. Tony was enthusiastic and got a strong cast, all women, most of whom had worked at the Embassy before." Having been taken up by impresario Jack Hylton, Hawtrey's production transferred to the Vaudeville Theatre in the West End on 7 November. Billed as 'London's most daring play', it was variously described by reviewers as "a disturbing but undeniably strong all-women drama", "a painful, compelling, horrific and dramatically gripping piece" and "a strong, lurid melodrama not for the squeamish". The production closed on 19 April 1952 after 186 performances.

After a two-month break (during which the show went on tour and the film version was made), Hawtrey's production was revived at the Victoria Palace on 18 June, playing twice-nightly until 1 November and achieving another 235 performances. For this run, Freda Jackson, star of the yet to be released film, was added to the cast. Noted The Stage newspaper, "Jack Hylton feels this play has a vast potential audience who will welcome the cheaper seats obtainable at the Victoria Palace. There is no question of the play, which deals with the social problem of the unmarried mother, being sensationalised by its transference to a twice-nightly theatre."

By this time, Hylton and Hawtrey had already taken the play on an ill-fated excursion to New York, where it opened at the Plymouth Theatre on 3 March, was deemed "repulsive" by local critics and closed on 8 March after only eight performances. This production marked the only Broadway appearance for such British actresses as Betty Ann Davies, Miriam Karlin, Gwen Watford and June Whitfield.

In the UK, the play began a long life on tour even while the Vaudeville production was still running. It was also popular at regional repertory theatres. Freda Jackson, for example, spent much of 1954 guest-starring in the play at various reps, notably Windsor, Richmond and Northampton. Then in 1955, director Rona Laurie and producer Jean Shepeard reclaimed the property for a tour of provincial music halls; Shepeard also acted in this version.

Sylvia Rayman, meanwhile, had two further plays produced, both of them thrillers - Time to Speak and Justice in Heaven, first staged in April 1957 and March 1958 respectively. Neither repeated the success of Women of Twilight.

The first notable revival of Women of Twilight was directed by Jonathan Rigby and opened at London's White Bear Theatre on 3 October 2013 as part of its Lost Classics Project. The production was itself revived, at the same venue, on 6 January 2014 and again, this time at Pleasance Islington, from 14 April.

Theatre reviews
The Stage, October 1951: "It is seldom that a play comes along that can grip like this one does. Perhaps it is just as well. The plight of dramatic critics whose emotions were weekly wrung with this sort of thing would be sad indeed. For here is a direct and sincere composition that, without possessing much artistic merit or beauty of line, tells, nevertheless, a story that grips the imagination from the outset and will not let it go. It does not demand much prescience to predict that it will duly gain a larger audience than it will see at Swiss Cottage ... Miss Rayman has etched a clear-cut and disturbing play in which the characters are extraordinarily well defined and endowed with a credibility that carries them unscathed through situations that verge at times perilously close to the melodramatic."

The Observer, October 1951: "No one would put this among the Plays Pleasant, but it does seize the mind."

The Spectator, October 1951: "Miss Rayman has written her first play around a revolting character who makes a comfortable income by taking unmarried mothers and their infants into her Hampstead home ... Virtue triumphs on the Embassy stage but it does not always triumph outside the theatre, and one is left wondering just what does happen to such girls who have neither friends nor relatives to turn to and who escape the welfare of the State for some reason. The piece is very well acted by Barbara Couper, Vida Hope, Rene Ray and the rest of a company entirely of women."

Daily Telegraph, October 1951: "Unrelieved femininity is popularly supposed to breed neurosis, and certainly this is the most hysterical play I have met for many years."

The Stage, November 1951: "The play well deserves its quick transfer to the West End ... Sylvia Rayman, whose first play this is and whose previous career has run on non-theatrical lines, piles on the agony more than somewhat. This is indeed a remarkable drama to come from an inexperienced pen; it would be praised if offered by an established dramatist ... Barbara Couper, as the baby-farmer and operator of the home, could not send a bigger thrill down our spines if she were appearing in the most horrible of avowed Grand Guignol sketches; and Rene Ray really moves us as poor Vivianne. But the whole company is first-class."

Theatre World, January 1952: "This was a first play of highly melodramatic and even Grand Guignol proportions. But the characterisation was entirely convincing, so that, thanks to an exceedingly clever all-woman cast, one quickly lost one's sense that the story was over-coloured ... Improbable though it may seem, there is a considerable amount of humour in the play, thanks to the author's undoubted gift for character drawing, and Anthony Hawtrey's production made the most of every opportunity for light and shade. Mary Purvis's setting was painfully squalid in every detail."

The Stage, June 1952: "Twice-nightly performance at a theatre so long associated with the antics of the Crazy Gang is hardly the ideal environment for a bold play about unmarried mothers ... One fears not so much for the play, which, leaving aside the worth of its subject, is no more than a tolerably good one; but rather for the subject itself, which is liable to be taken in the wrong spirit by the prude and prurient ... Anthony Hawtrey's production has made the transfer from the Vaudeville without any obvious hitches ... As the landlady, Freda Jackson conveys an admirably restrained sense of power in the earlier episodes, which she later develops into an impressive climax of malignant passion."

Film

Completing production in the second week of June 1952, the film version was made at the Gate Studios, Borehamwood and retained Rene Ray, Vida Hope and Betty Henderson from the original West End production. Freda Jackson and Joan Dowling were cast in key roles reminiscent of the parts they had played in the 1945 play No Room at the Inn and its 1948 film version.

John and James Woolf of Romulus Films had first enquired about the property even before its presentation at the Embassy Theatre; the leading players they had in mind at this early stage were Flora Robson and Ida Lupino. Among the changes made to Rayman's play was the introduction of Vivianne's condemned lover Jerry Nolan (called Johnny Stanton in the play), a role assigned to the Woolf contract player Laurence Harvey. In addition, the enigmatic character of Laura became a continental boarder called Lilli. The British Board of Film Censors objected to some of the script's dialogue; to ensure an X certificate, "your rotten little bastards" had to be changed to "your rotten little brats", "you sanctimonious little bitch" to "you sanctimonious little fool" and "I was raped" to "I was taken advantage of." Caution was also advised regarding the climactic scene in which Helen throws the pregnant Vivianne down a flight of stairs.

Trade shown on 4 November 1952, the film opened at the Plaza, Piccadilly Circus on 15 January 1953, with general release following from 23 February. Press responses ranged from "Though grossly overacted by all in sight, the film will draw pity from those who know how harsh the world can be" to "Before virtue triumphs we are treated to a great deal of horror and degradation ... It is not only rapacious boarding-house keepers and baby-farmers who exploit the misfortunes of unmarried mothers. Where would popular playwrights and film producers be without them?"

According to producer Daniel Angel, his original plan had been to couple the film with another 'social problem' picture (again based on a controversial play), Cosh Boy directed by Lewis Gilbert. "Jimmy Woolf had these two stories," he said, "and we made the films with the idea of showing them in cinemas together on the one programme. They turned out better than we'd expected and we showed them separately."

On 23 February 2010, the films (under their US titles of Twilight Women and The Slasher) were finally united on a double-feature DVD release from VCI Entertainment. The cover design for this release featured Freda Jackson, not in Women of Twilight, but in her other 'vicious landlady' role, Mrs Voray in No Room at the Inn.

Another screen version of Rayman's play, Mulheres do crepúsculo, was broadcast as part of the Brazilian TV series Grande Teatro Tupi on 13 January 1963.

Film criticism
Monthly Film Bulletin, December 1952: "This sordid story has been dealt with in an unimaginative, self-conscious manner, with the emphasis on the sensational ... The film, which infers that it has performed a social duty in bringing these unpleasant facts before the public, could have done better by dropping the pointless initial Soho nightclub scenes, and introducing a sequence showing what social services there are available for the unmarried mother. But Women of Twilight, the first British film to receive an 'X' certificate from the censor, is perhaps scarcely remarkable for truth to life."

Sunday Dispatch, January 1953: "A study of low life and bad morals in the Russian manner. A houseful of unhappy unmarried mothers will arouse the sympathy of all but the most censorious. Many of the original stage cast repeat their lifelike performances on the screen. If the aim of tragedy is to purge the soul with pity, this is indeed a great tragic film."

Daily Telegraph, January 1953: "I missed Women of Twilight as a play because I chose to; I saw the film because I must. This study of the conditions in which unmarried mothers live and have their children, and not uncommonly watch them die, is powerful, sordid, disturbing and perhaps not so overdrawn as some good easy people think. If it helps to awaken the public conscience and sharpen official vigilance it will be justified."

The Star, January 1953: "First thing to be said about Women of Twilight (Plaza) is that it is designed as a shocker - and it shocks ... But if you enjoy watching women snarling, scratching or pulling each other's hair out, in sordid surroundings, this is your picture."

Daily Sketch, January 1953: "Here is an adult, honest drama which focuses attention on a real-life problem to which none of us should close our eyes. But I warn you; the young actresses - a male face seldom appears in this film - throw themselves wholeheartedly into their sad parts."

The Spectator, January 1953: "Miss Jackson is an old hand at the silky sinister, the velvet vile, and as usual is admirably alarming. Her wickedness seeps through her mask of virtue like dampness through a newly painted wall; her every sweetness is threaded with a shiver ... This film has all the ingredients of a Grand Guignol, but being underplayed in the true English fashion, and quietly directed by Mr Gordon Parry, it has turned out to be a seemingly plausible record of man's inhumanity to woman and a woman's attempt to cash in on it."

Cast - Hayes premiere 1951
Helen Allistair - Beatrix Mackey
Christine - Delphine Muir
Jess - Ana Glyn
Rosie - Ann Purkiss
Laura - Ann Jellicoe
Vivianne - Shelley Lynn
Veronica - Maureen Hurley
Olga - Olga Lowe
Sal - Lynda King
Molly - Mary Newlands
nurse - Evelyn Dysart

Cast - Embassy and Vaudeville Theatres 1951/52
Helen Allistair - Barbara Couper
Christine - Joslin Parlane
Jess - Vida Hope [later: Phyllis Montefiore]
Rosie - Maria Charles
Laura - Gwynne Whitby [later: Mavis Walker]
Vivianne - Rene Ray
Veronica - Maureen Hurley [Embassy], Maureen Glynne [Vaudeville]
Olga - Miriam Karlin [later: Diana King]
Sal - Lynda King [later: Pamela Cameron]
Molly - Jacqueline Seager
nurse - Betty Henderson

Cast - Broadway: Plymouth Theatre 1952
Helen Allistair - Mary Merrall
Christine - Gwen Watford
Jess - Lorraine Clewes
Rosie - June Whitfield
Laura - Gwynne Whitby
Vivianne - Betty Ann Davies
Veronica - Mary Matthews
Olga - Miriam Karlin
Sal - Lynda Lee [aka Lynda King]
Molly - Joan Forrest
nurse - Marjory Hawtrey

Cast - Victoria Palace Theatre 1952
Helen Allistair - Freda Jackson
Christine - Joslin Parlane
Jess - Lorraine Clewes
Rosie - Maria Charles
Laura - Gwynne Whitby
Vivianne - Rene Ray [later: Christine Adrian]
Veronica - Maureen Glynne
Olga - Miriam Karlin
Sal - Lynda King
Molly - Patricia Lett
nurse - Betty Henderson

Cast - film version 1952
 Helen Allistair - Freda Jackson
 Vivianne Bruce - Rene Ray
 Christine Ralston - Lois Maxwell
 Jerry Nolan - Laurence Harvey
 Jess Smithson - Vida Hope
 Rosie Gordon - Joan Dowling
 Olga Lambert - Dora Bryan
 Sally - Dorothy Gordon
 Lilli - Ingeborg Wells
 Veronica - Mary Germaine
 Molly - Clare James
 nurse - Betty Henderson
 uncredited - Arthur Mullard
 uncredited - Dandy Nichols

Cast - White Bear and Pleasance Theatres 2013/14
Helen Allistair - Sally Mortemore
Christine - Elizabeth Donnelly
Jess - Vanessa Russell
Rosie - Ailsa Ilott
Laura - Emma Spearing
Vivianne - Claire Louise Amias
Veronica - Amy Comper
Olga - Francesca Anderson
Sal - Emma Reade-Davies
Molly - Christie Banks
nurse - Maggie Robson [White Bear], Virge Gilchrist [Pleasance]

References

1952 films
British drama films
1950s crime films
Films directed by Gordon Parry
Films shot at Station Road Studios, Elstree
1950s English-language films
1950s British films

Women of Twilight


Liquid capital or fluid capital is the part of a firm's assets that it holds as money. It includes cash balances, bank deposits, and money market investments. Since these assets provide little or no income to the firm, it will ordinarily seek to invest them in activities that offer a higher return on investment, apply them to outstanding debts, or distribute them to the firm's owners.

See also
 Circulating capital
 Fixed asset
 Liquidity

References

Capital management
Corporate development

Liquid capital


Robert Parker Jameson (April 20, 1945 – May 12, 2015) was an American singer-songwriter who was briefly promoted as a major star in the early 1960s and later attracted a cult following with his 1965 album Songs of Protest and Anti-Protest, issued under the name Chris Lucey. The album's dark lyrics and sophisticated arrangements led its advocates to note similarities with Love's 1967 album Forever Changes. For decades, little was known about Jameson or his origins, and he was more famous for engaging in public disturbances and suicide attempts than his music.

Starting his career in 1963, Jameson was hyped as the next major pop event in an elaborate promotional campaign that ran in the magazines Billboard and Cashbox. For the next five years, he released 11 singles across eight different American and British record labels. At one point, he was the opening live act for the Beach Boys, Jan and Dean, and Chubby Checker, and also declined an offer to join the Monkees. From the mid 1960s to early 1970s, Jameson was active in Los Angeles underground music circles, working with musicians such as Frank Zappa and members of Crazy Horse. During this period, he participated in the Sunset Strip riots, appeared as a subject in the 1967 documentary Mondo Hollywood, and garnered a reputation as someone who had ruined his chances at success. After Songs of Protest and Anti-Protest, he released only two more albums: Color Him In (1967), a collaboration with Curt Boettcher, and Working (1969), an album of cover songs.

Jameson's life was affected by personal misfortune, followed by alcoholism and criminal activity. He grew increasingly frustrated and disillusioned with the music industry, alleging that his managers and employers failed to ensure him financial compensation and royalties, and that some companies had illegally claimed the intellectual property rights to his songs. For much of the 1970s he was institutionalized or homeless, but eventually achieved sobriety. After 1985, he left the music business completely, and was rumored to be dead for many years. In 2002, Songs of Protest and Anti-Protest was reissued without Jameson's knowledge, and in response, he resurfaced in 2007 with a series of autobiographical blog posts and YouTube videos, which he maintained until his death in 2015.

Childhood
Bobby Jameson was born in Geneva, Illinois, but by the age of 10 was living with his mother, stepfather and brother in Tucson, Arizona.  He and his brother began to learn guitar and entered talent contests, before his parents divorced.  The brothers and their mother then lived in various small towns in Arizona, before moving to Glendale, California in 1962.

Music career

Early singles and promotion
Credited as Bobby James, he made his first record, "Let's Surf", with Elliot Ingber on guitar, on the Jolum label in 1963.

In 1964, while sharing a house in Hollywood with Danny Whitten, Billy Talbot, and Ralph Molina (later of Crazy Horse), Jameson met Tony Alamo, who became his manager and promised to make him a star.  Alamo mounted a major promotional campaign in the music press, describing the 19-year-old Jameson as "The Star Of The Century" and "The World's Next Phenomenon".  Jameson later wrote:

For some reason, that is still a mystery to me to this day, Tony just started promoting me in Billboard and Cashbox magazine without ever telling me he was going to do it. He just showed up one day in a coffee shop in Hollywood with a copy of both publications and I was in them. We had no contract, no agreement of any kind and no record. But there I was, world wide in both mags. I don't know what I can say to describe how weird it was to be nobody and then have that happen....The ads continued to run for 9 weeks doubling in size with each new edition. Half page, three quarter page, full page and so on. By the 8th week the ad ran in Billboard only and was a 4 page, full color fold out...

Jameson recorded a single for Alamo's label, Talamo, "I'm So Lonely" / "I Wanna Love You", both self-penned songs.  The record became a regional hit in the Midwest and Canada, and as a result he opened shows for The Beach Boys and Chubby Checker, and appeared on American Bandstand.  However, the follow-up, "Okey Fanokey Baby", was less successful, and Jameson wanted to get away from Alamo's increasingly manipulative behavior.

As a friend of P.J. Proby, who had already achieved success in Britain, Jameson traveled to London, where Andrew Loog Oldham had expressed an interest in recording him.  There, he recorded "All I Want Is My Baby", co-written by Oldham and Keith Richards and probably featuring session guitarist Jimmy Page, with a Jagger/Richards B-side, "Each and Every Day of the Year".  After appearing on the TV show Ready Steady Go!, featuring his gimmick of wearing a glove on only one hand, he stayed in London and in 1965 recorded "Rum Pum" / "I Wanna Know", produced by Harry Robinson, for the Brit Records label set up by Chris Peers and Chris Blackwell.  Again, however, it was unsuccessful and Jameson returned to Los Angeles.

Songs of Protest and Anti-Protest
After his return to California, Jameson was approached by Mira Records, a company established by Randy Wood, previously of Vee-Jay Records.  They had recorded an album, Songs of Protest and Anti-Protest, with another singer-songwriter, Chris Ducey, for release on their mid-price subsidiary Surrey label. The album sleeves had already been printed, with Ducey's name and the track titles, but with a photo showing Brian Jones.  However, in the meantime Ducey had entered into another contract with a different company, which meant that Mira were unable to release Ducey's record.  The label asked Jameson — who at the time was "broke, homeless, and sleeping on people's couches" — to write and record new songs to match Ducey's song titles, and arranged to have the record sleeves overprinted so that the name "Ducey" would appear as "Lucey".  Within two weeks, Jameson wrote the songs, and recorded them with producer Marshall Leib (previously a member of The Teddy Bears with his friend Phil Spector).  The record was released without fanfare, with Jameson credited as songwriter, but without any agreement over his legal rights to the recordings. It was later issued on the  Joy label in the UK under Jameson's own name, and the title Too Many Mornings.

Although Songs of Protest and Anti-Protest was not promoted commercially, and was ignored when first released in late 1965, over the years it acquired a strong reputation.  According to Dean McFarlane at Allmusic:

This sought after psychedelic pop gem... [is] often compared to Love's Forever Changes, in that it is an intricate exploration of sophisticated arrangements and bleak and twisted lyricism... [It] may have been a little too courageous for its time, tackling blues, exotic - almost lounge arrangements and pure pop psychedelia. Its beauty is in its absolute fracture and collage of a million and one ideas.

Richie Unterberger wrote:

There aren't many albums of the time that bear an unmistakable Love similarity, but Songs of Protest and Anti-Protest is one of them. Both the vocals and songwriting bear strong recollections of early Arthur Lee, with the melodic but wistful folk-rock chord changes, occasional Latin jazz tempos, occasional gruff folk-blues downbeat atmosphere, probing yet vague lyrics, and oddball production.

Part of its appeal to record collectors was its obscurity and that little was known about its creator. Jameson himself commented: "[The album] was a throw away album when it was created. Like it or not, that is a fact. It has, in recent years, taken on a life of its own and for that I am grateful, but it needs to be viewed in real context, to see how it has risen on its own merit to a position it never held when it was created."

"Vietnam" and Mondo Hollywood

Early in 1966, Jameson recorded (under his own name) a single for the Mira label, "Vietnam" / "Metropolitan Man", on which he was backed by members of The Leaves, who had recorded Jameson's song "Girl from the East" on their own album, Hey Joe.  In 2010, writer Jon Savage described "Vietnam" as "an all-time garage-punk classic – a vehement statement against a war that, by early 1966, was already spiralling out of control."  However, at the time the record was barely promoted and did not receive airplay because, according to Jameson, its sentiments were seen as too contentious, and Jameson himself had a reputation as someone who had blown his chances of success. In addition to The Leaves, playing drums on the recording session for "Vietnam" was the elusive musician Don Conka from the group Love.

Jameson was featured, along with many others, in the experimental 1967 documentary movie Mondo Hollywood, directed by Robert Carl Cohen, in which he talked about his beliefs and career, and was filmed with his then-girlfriend Gail Sloatman (later the wife of Frank Zappa) and recording "Metropolitan Man". He also made a brief uncredited cameo in the 1967 CBS documentary Inside Pop: The Rock Revolution.

Zappa, Color Him In, and Working!

Later in 1966, Jameson recorded two singles for the Penthouse label, a Mira subsidiary, owned by Ken Handler and Norm Ratner.  Both the singles, "Reconsider Baby" and "Gotta Find My Roogalator", were arranged and produced by an uncredited Frank Zappa, who also played guitar, with other musicians including Carol Kaye and Larry Knechtel.  Jameson also recorded a single, "All Alone", for Current Records.  However, none of the records were commercially successful. According to Jameson, Handler dropped him from the label after Jameson turned down a sexual advance. At about the same time, he was considered for one of the roles in The Monkees, but decided not to pursue the opportunity, and for a time became actively involved in anti-Vietnam War protests in Los Angeles.  One report at the time stated that "his outspokenness and active participation in the recent Sunset Strip riots has acquired him the honorary title 'Mayor of the Sunset Strip'".

He began working with arranger and producer Curt Boettcher on an album, Color Him In.  The album, credited simply to Jameson, was released in early 1967 by Verve Records as a result of Jameson's connections with Zappa.  Two singles on the Verve label, "New Age" and "Right By My Side", followed that year.  However, Verve were unwilling to release Jameson's later recordings, and he left the label in 1968.  By this time, Jameson was making increasing use of LSD, other drugs and alcohol, and was arrested 27 times, being charged at one point with assaulting a police officer.  In 1968, he recorded his last album, Working!, for the small GRT label, with musicians including James Burton, Jerry Scheff and Red Rhodes.

Personal struggles

Increasingly, Jameson became frustrated and disillusioned with the fact that he had never received any financial rewards from his music.  He was hospitalized several times after drug overdoses and other suicide attempts, detailed in his later blog. He also intermittently made unreleased recordings, with Jesse Ed Davis, Ben Benay and others, and in 1972 featured in an article about his life and personal troubles in Rolling Stone magazine. For much of the 1970s he was either institutionalized, or living on or close to the streets, and making several attempts to give up alcohol and drugs.  He recorded several tracks for RCA in the late 1970s, but they were unreleased, aside from one single issued as Robert Parker Jameson.  In 1985, he left the music business completely.

Final years and death
For the next twenty years, he lived quietly with his mother in San Luis Obispo County, California, overcoming his alcoholism. In 2003, he discovered that Songs of Protest and Anti-Protest had been released on CD without his knowledge. Before then, he was rumored to be dead by many who knew him. He was brought back to the public eye by music historian Steve Stanley, who conducted a private investigation into Jameson's whereabouts. In 2007, Jameson started a blog, detailing his life and his continuing attempts to seek some financial recompense for his earlier recordings.

On May 12, 2015, Jameson died in San Luis Obispo, aged 70, of an aneurysm in his descending aorta.

Discography

Albums
 Songs of Protest and Anti-Protest (as Chris Lucey, Surrey, 1965; issued in UK on Joy label as Too Many Mornings by Bobby Jameson)
 Color Him In (as Jameson, Verve, 1967)
 Working! (GRT, 1969)

Singles
 "Let's Surf" / "Please Little Girl Take This Lollipop"  (as Bobby James, Jolum, 1963)
 "I Wanna Love You" / "I'm So Lonely" (Talamo, 1964; issued in UK on London label)
 "Okey Fanokey Baby" / "Meadow Green" (Talamo, 1964)
 "All I Want Is My Baby" / "Each And Every Day of the Year" (Decca (UK), 1964)
 "Rum Pum" / "I Wanna Know" (Brit (UK), 1965)
 "Vietnam" / "Metropolitan Man" (Mira, 1966)
 "All Alone" / "Your Sweet Lovin'" (Current, 1966)
 "Reconsider Baby" / "Lowdown Funky Blues" (Penthouse, 1966)
 "Gotta Find My Roogalator" / "Lowdown Funky Blues" (Penthouse, 1966)
 "New Age" / "Places Times and the People" (as Jameson, Verve, 1967)
 "Right By My Side" / "Jamie" (as Jameson, Verve, 1967)
 "Palo Alto" / "Singing The Blues" (GRT, 1969)
 "Stay With Me" / "Long Hard Road" (as Robert Parker Jameson, RCA, 1978)

See also
Dedicated to Bobby Jameson
Take This Lollipop

References
Notes

Citations

External links
  – Jameson's original blog, active from 2007 to 2015

1945 births
2015 deaths
American male singer-songwriters
20th-century American singer-songwriters
Guitarists from Arizona
Guitarists from Illinois
Musicians from Tucson, Arizona
Singer-songwriters from Illinois
Outsider musicians
People with hypoxic and ischemic brain injuries
Deaths from aortic aneurysm
20th-century American guitarists
American male guitarists
20th-century American male singers
Singer-songwriters from Arizona

Bobby Jameson


Van Dine was a writer who wrote detective novels. 'S.S. Van Dine' is actually a pseudonym. He was born Willard Huntington Wright. He created the fictional detective Philo Vance, a sleuth and aesthete who first appeared in books in the 1920s, then in films and on the radio.

Born to Archibald Davenport Wright and Annie Van Vranken Wright on October 15 1888, Van Dine grew up in his brother's shadow. His brother, Stanton, was a respected painter; one of the first American abstract artists. Willard was however was more humble in his strength. He was a self-taught writer, attended St. Vincent College, Pomona College, and Harvard University, but did not graduate.

At age 21, Wright began his professional writing career as literary editor of the Los Angeles Times, where – describing himself as "'Esthetic expert and psychological shark". He wrote book reviews for the newspaper. For romance and detective fiction in particular, he was especially brutal.

Van Dine died on April 11 1939, aged 50.

20th-century American novelists
1888 births
1939 deaths
Crime writers

S. S. Van Dine


Friedrich Heinrich Himmel (November 20, 1765 – June 8, 1814) was a German composer.

Biography
Himmel was born at Treuenbrietzen in Brandenburg, Prussia, and originally studied theology at Halle before turning to music.

During a temporary stay at Potsdam he had an opportunity of showing his self-acquired skill as a pianist before King Frederick William II, who thereupon provided him with a yearly allowance to enable him to complete his musical studies. This he did under Johann Gottlieb Naumann, a German composer of the Italian school, and the style of that school Himmel himself adopted in his operas.

The first of these, a pastoral opera, Il primo navigatore, was produced at Venice in 1794 with great success. In 1792, he went to Berlin, where his oratorio Isaaco was produced, in consequence of which he was made court Kapellmeister to the king of Prussia. In that capacity he wrote a great deal of official music, including cantatas and a coronation Te Deum.

His Italian operas, successively composed for Stockholm, St Petersburg and Berlin, were all received with great favour in their day. Of greater importance than these is a Singspiel to words by Kotzebue, called Fanchon. Himmel's gift of writing genuine simple melodies is also observable in his Lieder, including An Alexis send ich dich (To Alexis). He died in Berlin.

Works

Operas
 Il primo navigatore, pastorale Venice (1794)
 La morte di Semiramide, opera seria Naples (1795)
 Fanchon oder das Leyermädel, Singspiel Berlin (1804)
 Die Sylphen Zauberoper, Berlin (1806)
 Der Kobold, komische Oper, Vienna (1813)
 Alessandro (1799)
 Vasco di Gama (1801)
 Frohsinn und Schwarmerei (1801)

Lieder
 An Alexis send ich dich
 Vater unser
 Gebet während der Schlacht: "Vater ich rufe dich!"
 Die Blumen und der Schmetterling, Lieder cycle

Church music and cantatas
 Two masses
 Te Deum, for four voices and orchestra
 Salve Regina, for four voices and instruments
 Beatus vir, for four voices and instruments
 In exitu Israel
 Dixit Dominus
 Das Vertrauen auf Gott, cantata
 Das Lob Gottes ("Singet dem Herrn")
 Lobe den Herren, for choir and orchestra
 Psalmen Davids, for two voices and orchestra
 Three cantatas for choir and orchestra:
 Was betrubst du dich
 Heilig ist mein Beherrscher
 Wann Gott auch aufs Tiefste
 Trauer-Cantate zur Begräbnissfeyer Friedrich Wilhelm II von Preussen, for four voices and orchestra
 The 146th Psalm
 Vater unser, von Mahlmann
 other pieces of church music in manuscript

Bibliography
 Gerhard Allrogen: "Himmel, Friedrich Heinrich", in The New Grove Dictionary of Opera, ed. Stanley Sadie (London, 1992),

References

External links

 Musical Manuscripts Collection at the Harry Ransom Center

1765 births
1814 deaths
18th-century classical composers
19th-century classical composers
German male classical composers
German opera composers
Male opera composers
People from the Margraviate of Brandenburg
People from Treuenbrietzen
19th-century German male musicians

Friedrich Heinrich Himmel


Caineach inion Urchadh Princess of  the Uí Briúin Seóla and Queen of Connacht, fl. early 10th century.

Caineach was one of three daughters of King Urchadh mac Murchadh of Maigh Seóla (died 943). She became the wife of a prince of the Síol Muiredaig.

She was an aunt of three notable Irish rulers:

 King Máel Ruanaid Mór mac Tadg of Moylurg (fl. 956))
 King Conchobar mac Tadg of Connacht (reigned 967-973)
 High King of Ireland, Brian Boru (reigned 1002–1014)

See also

 Cainnech (Irish name)

External links
 Annals of Ulster at CELT: Corpus of Electronic Texts at University College Cork

References

 West or H-Iar Connaught Ruaidhrí Ó Flaithbheartaigh, 1684 (published 1846, ed. James Hardiman).
 Origin of the Surname O'Flaherty, Anthony Matthews, Dublin, 1968, p. 40.
 Early Irish Kingship and Succession, Bart Jaski, Four Courts Press, 2000.
 Irish Kings and High-Kings, Francis John Byrne (2001), Dublin: Four Courts Press,
 The Great Book of Irish Genealogies, Dubhaltach MacFhirbhisigh: Edited by Nollaig Ó Muraíle, five volumes, Dublin, DeBurca Books, 2003-2004. .

Nobility from County Galway
10th-century Irish people
Irish princesses
10th-century Irish women

Caineach inion Urchadh


Villa Vomano is a small village in the province of Teramo, in the Abruzzo region of central Italy. It is a frazione of the town of Teramo.

Geography
The village lies about 10 miles from Teramo, the provincial capital. It sits on the left bank of the Vomano River along State Road 81.   Villa Vomano is midway between the Adriatic Sea and Monti della Laga hills which eventually lead to the Gran Sasso.

History
A stone bridge connects Villa Vomano to the adjacent village of Val Vomano sitting on the opposite bank of the Vomano river. This bridge was the scene of an event deemed by many to be miraculous in nature. A bus filled with tourists making a pilgrimage to the sanctuary of Saint Gabriel of Our Lady of Sorrows had a tragic accident and slid nearly completely off the bridge. For some time it remained precariously balanced 35 feet above the Vomano River below and a rescue mission ended in success. Amazingly, no one was seriously injured and in appreciation a statue dedicated to the saint was erected along one of the banks of the river.

Given its close proximity to the highway running from Teramo to Rome, Villa Vomano in recent years has increased greatly in population and witnessed a good deal of building construction.

Frazioni of the Province of Teramo
Teramo

Villa Vomano