The Church of Christ was the original name of the Latter Day Saint church founded by Joseph Smith. Organized informally in 1829 in Upstate New York and then formally on April 6, 1830, it was the first organization to implement the principles found in Smith's newly published Book of Mormon, and thus its establishment represents the formal beginning of the Latter Day Saint movement. Later names for this organization included the Church of the Latter Day Saints (by 1834 resolution), the Church of Jesus Christ, the Church of God, the Church of Christ of Latter Day Saints, and the Church of Jesus Christ of Latter Day Saints (by an 1838 revelation).

Smith and his associates asserted that the Church of Christ was a restoration of the 1st-century early Christian church, which Smith claimed had fallen from God's favor and authority because of what he called a "Great Apostasy". After Smith's death in 1844, there was a crisis of authority, with the majority of the members following Brigham Young to the Salt Lake Valley, but with several smaller denominations remaining in Illinois or settling in Missouri and in other states. Each of the churches that resulted from this schism considers itself to be the rightful continuation of Smith's original "Church of Christ", regardless of the name they may currently bear (The Church of Jesus Christ of Latter-day Saints (LDS Church), Community of Christ, The Church of Jesus Christ (Bickertonite), Church of Christ (Temple Lot), etc.).

This church is unrelated to other bodies bearing the same name, including the United Church of Christ, a Reformed church body, and the Churches of Christ, an offshoot of the Campbellite movement. Today, there are several Latter Day Saint denominations called "Church of Christ", largely within the Hedrickite branch of the movement.

Doctrinal development prior to 1830

The first Latter Day Saint references to the "church of Christ" are found in passages of the Book of Mormon that Smith dictated from April to June 1829. During the course of this dictation, the outlines for a community of believers or church structure gradually became apparent. Such a structure would have authority from God, ordinances such as baptism, and ordained clergy. Some time in April 1829, Smith dictated a story of Alma the Elder, the former priest of a wicked king, who baptized his followers by immersion, "having authority from the Almighty God", and called his community of believers the "church of God, or the church of Christ". The book described the clergy in Alma's church as consisting of priests, who were unpaid and were to "preach nothing save it were repentance and faith in the Lord". Alma later established many churches (or congregations), which were considered "one church" because "there was nothing preached in all the churches except it were repentance and faith in God." In addition to priests, the book mentions that the clergy of these churches also included teachers.

Nevertheless, in May 1829, a revelation by Smith described the "church" in informal terms: "Behold, this is my doctrine: whosoever repenteth and cometh unto me, the same is my church: whosoever declareth more or less than this, the same is not of me, but is against me: therefore, he is not of my church." Smith's further dictation of the Book of Mormon also stated that there were "two churches only; the one is the church of the Lamb of God, and the other is the church of the devil".

As a result of the book's references to baptism and the organization of churches, Smith prayed for clarification and direction. Soon thereafter, in May 1829, Smith and Oliver Cowdery said they were visited by John the Baptist in angelic form, who conferred the Aaronic priesthood on them, which included the authority to baptize in Jesus Christ's name. Smith and Cowdery then baptized each other by immersion. They also baptized dozens of people, as early as June 1829. These converts, however, did not belong to a formal church organization. Nevertheless, this community of believers referred to themselves as "the Church of Christ", and included converts in three New York towns: Fayette, Manchester, and Colesville.

In June 1829, Smith dictated a revelation stating that "in [the Book of Mormon] are all things written, concerning my church, my gospel, and my rock. Wherefore if you shall build up my church, and my gospel, and my rock, the gates of hell shall not prevail against you." Some time between June and December 1829, Cowdery said he received a revelation about "how he should build up his church & the manner thereof". This revelation was called the "Articles of the Church of Christ", and it indicated that the church should ordain priests and teachers "according to the gifts & callings of God unto men". The church was to meet regularly to partake of bread and wine. Cowdery was described as "an Apostle of Jesus Christ". According to David Whitmer, by April 1830, this informal "Church of Christ" had about six elders and 70 members.

Organization of the church

On April 6, 1830, Joseph Smith, Oliver Cowdery, and a group of approximately 30 believers met with the intention of formally organizing the Church of Christ into a legal institution. It is uncertain whether this occurred in the home of Peter Whitmer Sr. in Fayette, New York, or whether it occurred in the log home of Joseph Smith Sr. near their property in Manchester, New York. Soon after this formal organization, small branches were formally established in Manchester, Fayette, and Colesville. Although the purpose was to effect a legal organization, it may have had no legal effect since no records of incorporation have been found in either the Manchester–Palmyra area, the Fayette area, or in several other counties around this time period, as required by state law at the time: the church evidently did not follow the required legal formalities.

Location of the organization
Prior to 1834, all church publications and documents stated that the church was organized in the Smith log home in Manchester, New York. The first Smith log home was located on the Samuel Jennings property in Palmyra, just north of the town's southern border and subsequent the Smith Manchester property. The Smiths may have constructed a second log home on their own property. Beginning in 1834, several church publications began to give the location of the organizational meeting as Fayette, at the home of Peter Whitmer Sr. The Whitmer home had been the site of many other meetings near the same time period. After 1834, several official church accounts said the meeting was in Manchester and several eyewitnesses said the event took place in Manchester.

Independent researcher H. Michael Marquardt argues that the evidence suggests the organization occurred in Manchester, and that the confusion was likely due to the effect of memory tending to conflate memories of several meetings in Manchester and Fayette years earlier. Critics suggest that the location of the organization was intentionally changed in 1834 around the same time the church's name was changed to the "Church of the Latter Day Saints", in order to make it seem like the new church organization was different from the "Church of Christ", as a tactic to frustrate the church's creditors and avoid payment of debts.

There is also evidence pointing to Fayette as the place of organization. For example, a headnote to the earliest known version of chapter XXII of the Book of Commandments says that the revelation was dictated in Fayette on April 6, 1830, after the church was organized. This was changed to "Manchester" when the book was published in 1833. Officially, the major denominations of the Latter Day Saint movement claim Fayette as the birthplace of the religion, and Smith's official history, begun in 1838, listed Fayette as the founding place. In 1887, one other eye-witness, David Whitmer, recollected that the event occurred in his father's home in Fayette; however, years earlier, in 1875, Whitmer had already told a reporter that the event occurred in Manchester. Marquardt argues that the event described by Whitmer in 1887 bears more resemblance to Fayette meetings such as the founding of the church's Fayette branch five days later on April 11, 1830.

The largest successor organization to the Church of Christ, the LDS Church, accepts Fayette as the official location of the organizing meeting.

Events at the organization

By later accounts, the April 6 organizational meeting was a charismatic event, in which members of the congregation had visions, prophesied, spoke in tongues, ecstatically shouted praises to the Lord, and fainted. At this meeting, the church formally ordained a lay ministry, with the priesthood offices of deacon, teacher, priest, and elder. Smith and Cowdery, according to their 1831 account, were each ordained as "an apostle of Jesus Christ, an elder of the church". This account was edited in 1835 to state that Smith was ordained the "First Elder", and Oliver Cowdery was ordained the "Second Elder".

First members of the church

According to the LDS Church, the first six members of the Church of Christ were:

 Oliver Cowdery
 Joseph Smith
 Hyrum Smith
 Peter Whitmer Jr.
 Samuel H. Smith
 David Whitmer

Early membership also included the Three Witnesses and the Eight Witnesses to the Book of Mormon and members of the extended Whitmer and Smith families. Other early members included friends and acquaintances of the Smith and Whitmer families, such as Porter Rockwell.

The name of the church

Historical background

Smith's revelations authorized and commanded the organization of the "Church of Christ" in 1830, and in several of the revelations Smith said he received, God referred to the church by that name. Smith taught that this church was a restoration of the primitive Christian church established by Jesus in the 1st century AD. Smith also taught that this restoration occurred in the "Latter Days" of the world, that is, the time immediately prior to the Second Coming of Jesus.

Early changes
The fact that a number of the churches of the Restoration Movement were also named the "Church of Christ" caused a considerable degree of confusion in the first years of the Latter Day Saint movement. Because of the distinct belief in the Book of Mormon among Smith's followers, people outside the church began to refer them as "Mormonites" or "Mormons." Smith and other church elders considered the name "Mormon" derogatory. In May 1834, the church adopted a resolution that the church would be known thereafter as "The Church of the Latter Day Saints". At various times the church was also referred to as "The Church of Jesus Christ", "The Church of God", and "The Church of Christ of Latter Day Saints".

In the late 1830s, Smith and those loyal to him founded a new headquarters in Far West, Missouri. At Far West in 1838, Smith announced a revelation renaming the organization the "Church of Jesus Christ of Latter Day Saints".

Later variations
Up to the time of Smith's death, the church was known alternatively as the "Church of Jesus Christ of Latter Day Saints" or the "Church of Jesus Christ of Latter-Day Saints", that is, with or without a hyphen. After Smith's death, competing Latter Day Saint denominations organized under the leadership of a number of successors. The largest of these, led by Brigham Young and now based in Salt Lake City, Utah, continued using "Church of Jesus Christ of Latter Day Saints" until incorporating in 1851, when the church standardized the spelling of its name as "The Church of Jesus Christ of Latter-day Saints" (LDS Church). Followers of James J. Strang use the spelling of the public domain name, "Church of Jesus Christ of Latter Day Saints", as the name of their church.

The name "Church of Jesus Christ of Latter Day Saints" was also used by members who recognized Smith's son, Joseph Smith III, as his father's successor. The younger Smith became prophet-president of this group on April 6, 1860. However, the church incorporated in 1872 as the "Reorganized Church of Jesus Christ of Latter Day Saints" (RLDS Church), to distinguish it from the larger Utah church, at the time in the midst of federal issues related to polygamy. In 2001, the RLDS Church changed its name again to "Community of Christ"—consciously echoing the original "Church of Christ" name.

The Sidney Rigdon group dwindled until one of its elders, William Bickerton, reorganized in 1862 under the name "The Church of Jesus Christ". Other Latter Day Saint denominations returned to the original name or a variation of the name, including the Church of Christ (Temple Lot), the Church of Jesus Christ (Cutlerite), and the now-extinct Church of Christ (Whitmerite).

Succession claims

Virtually every Latter Day Saint denomination claims to be the rightful successor to the original Church of Christ and claims Joseph Smith as its founding prophet or first president. For example, the LDS Church, Community of Christ, Church of Jesus Christ of Latter Day Saints (Strangite), Church of Christ (Temple Lot), and Church of Christ with the Elijah Message all claim to have been organized by Smith on April 6, 1830, the date on which the Church of Christ was organized. Other denominations, such as The Church of Jesus Christ (Bickertonite), acknowledge that their organizations were created after this date, but nevertheless claim to be a re-establishment of the original church.

In an 1880 lawsuit, an Ohio court held that the RLDS Church was the lawful successor to Smith's original Church of Christ. The court also explicitly held that the LDS Church was not the lawful successor because it "has materially and largely departed from the faith, doctrines, law, ordinances and usages of the said original Church". These holdings were preliminary findings of fact based on the RLDS Church's unopposed legal submissions; the court issued no final judgment on the matter because the case was dismissed.

In 1894, a federal United States court in Missouri held again that the RLDS Church was the lawful successor to the original church. However, on appeal the entire case was dismissed by the United States Court of Appeals for the Eighth Circuit without any discussion by the court of the issue of legal succession.

See also
History of the Latter Day Saint movement
List of denominations in the Latter Day Saint movement

Notes

References

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1830 establishments in New York (state)
History of the Latter Day Saint movement
Kirtland, Ohio
Nauvoo, Illinois

Religious organizations established in 1830
Seneca County, New York
Ontario County, New York
Joseph Smith

Church of Christ (Latter Day Saints)


Clifford Rainey (born 1948, Whitehead, County Antrim, Northern Ireland) is a Northern Irish glass sculptor. he began his career as a linen damask designer and worked in William Ewarts linen manufacturers from 1965 to 1968. He later studied at Hornsey College of Art, the North East London Polytechnic School of Sculpture, where he specialised in glass sculpture, and the Royal College of Art from where he received an MA. Between 1973 and 1975 he ran his own glass studio in London. In 1975 he won a commission for a small sculpture to commemorate the Silver Jubilee of Elizabeth II and in 1976 was commissioned by Sun Life Assurance to make a large glass sculpture in Bristol. He was a lecturer at the Royal College of Art from 1977 until 1984. Rainey is the Chair of the Glass Program at the California College of the Arts in Oakland, California, where he has taught since 1991.

Public art
He has realized a number of large-scale public art commissions, including at Liverpool Lime Street railway station, England, The Jeddah Monument, Saudi Arabia, and The 911 Communication Center, San Francisco.

Exhibitions
His work has exhibited extensively, with exhibitions in New York, Dublin, London, Dallas, Vienna, Tokyo and Germany. His work is featured in numerous public collections, including the Victoria and Albert Museum in London, the Corning Museum of Glass in Corning, New York, the M. H. de Young Memorial Museum in San Francisco, and the Los Angeles County Museum of Art, as well as in the permanent collections of the Museum of Arts & Design, New York, Museum of Fine Arts, Boston, the Irish Museum of Modern Art, Dublin, and the Montreal Museum of Fine Arts.

Awards
Rainey is a recipient of the 2000 Virginia A. Groot Foundation Award and the 2009 Urban Glass Outstanding Achievement Award, New York.

Works
Head (1986), Pencil and pastel on paper, Arts Council of Northern Ireland collection
Palm Springs, Copper, brass and glass box on marble plinth, Arts Council of Northern Ireland collection
Shy Boy (2005), Museum of Fine Arts, Boston

References

1948 births
Living people
People from Whitehead, County Antrim
Artists from Northern Ireland
Sculptors from Northern Ireland
Male sculptors from Northern Ireland
British glass artists

Clifford Rainey


Out of Order is an  American dramedy television miniseries created and written by Donna Powers and Wayne Powers (Deep Blue Sea, The Italian Job), who also directed the first and final episodes. The show lasted one season (six episodes) which aired on Showtime from June 1, 2003 to June 30, 2003.

Premise

An unsatisfying marriage leads a man to consider a relationship with someone else.

Cast
 Eric Stoltz as Mark Colm
 Felicity Huffman as Lorna Colm
 Kim Dickens as Danni
 Dyllan Christopher as Walter
 Justine Bateman as Annie
 William H. Macy as Steven
 Peter Bogdanovich as Zach
 Lane Smith as Frank
 Celia Weston as Carrie
 Adam Harrington as Brock

Episodes
 "Pilot (Part One)"
 "Pilot (Part Two)"
 "The Art of Loss"
 "Losing My Religion"
 "Follow the Rat"
 "Put Me In Order"

Production
Asked about the X-rated underwater sequence with Eric Stoltz, Kim Dickens said, "The irony is that once Eric and I were down there without masks on, looking at each other underwater, we can't really see much. We just took the leap of faith, and we did it, and we felt good about it because it felt kind of real."

Reception
The New York Times called it one of the "Ten Best Shows on Television" in 2003. The Associated Press said, "It warrants comparison with the best of television, HBO's Six Feet Under and The Sopranos."

Awards and nominations
The series was nominated for a Golden Satellite Award for Best Miniseries and also nominated for an Artios, Best Casting for TV Miniseries. Justine Bateman won a Golden Satellite Award for Best Performance by an Actress in a Supporting Role in a Miniseries or a Motion Picture Made for Television. Felicity Huffman was nominated for Best Performance by an Actress in a Miniseries, or a Motion Picture Made for Television.

DVD release
The pilot episode is available on DVD. The series was also edited together and released on DVD as a standalone feature film by Showtime Entertainment.

References

External links

2003 American television series debuts
2003 American television series endings
2000s American comedy-drama television series
Showtime (TV network) original programming
Television series by CBS Studios
English-language television shows

Out of Order (miniseries)


El Grito de Sunset Park ()  is a non-profit, volunteer-run community organization, in Sunset Park of Brooklyn, New York. Its focus is community relations with the police and aid for Puerto Rico.

History
El Grito de Sunset Park started in 2001 that had gathered after the Puerto Rican Parade in Manhattan, New York as an organized "cop watch" program. It took action to document the chaotic relations between police and community members. El Grito de Sunset Park officially became an organization in 2005 after acquiring a large backing by the community for its need of it. The founders are Dennis Flores, Jason del Aguila, and Noelle Flores Théard.

Members
El Grito de Sunset Park is a small organization that consists of five members including the three founders. They are helped by volunteers that come in for special projects and for the Puerto Rican Parade every year. Members and volunteers use their phones and cameras to record police brutality and document the incidents that occur in Sunset Park to raise awareness of the oppression the community is receiving. The recording are shared on platforms and their websites to support and serve as evidence of how police officers act on duty.

Objective
El Grito de Sunset Park is an organization that fights against oppression from the socially and economically disenfranchised system. The organization is completely volunteer run and is a non-profit organization. The group coordinates campaigns, public forums, emergency relief, speak outs, and educational programs for the community. El Grito is also in collaboration with groups with the objective to end "zero tolerance policing" in New York City.

Police Relations
El Grito de Sunset Park collaborated with WITNESS to build a database where they can focus on the 72nd precinct in Brooklyn in the Sunset Park community. With the database in its infancy the project initially launched a website where videos and any facts on officers was gathered and publicly displayed. The database that was built was a tool open for the public to show the police abuse occurring in Sunset Park. Profiles were made on incidents attached to the responding officers involved and is kept up to date to this very day. The information accessible to the public was also created to help create a broader picture for the overall sentiment of the officers mainly involved in the 72nd Precinct. Another scope inside this database is that a correlation of abuse and those officers' salaries correlations were created. On such correlations the organization El Grito Sunset Park wanted to show in certain instances abusive officers were in fact getting steady inclines to their salaries and is a provocative talking point in their fightback against such tyranny.

Support For Puerto Rico
El Grito de Sunset Park is involved in towns throughout the island. They work in are Aguadilla, Yabucoa, Vieques, and San Juan.They reached out to help Puerto Rico when they were hit by Hurricane Irma and Hurricane Maria. The organization sent aid at the time of Hurricane Irma and then flew out to Puerto Rico a week after Hurricane Maria hit to provide support and assistance to the communities of Puerto Rico. El Grito de Sunset Park is involved in Caserios Públicos (Spanish: Public Housing). They work directly with Luis Lloréns Torres which is the largest public housing project in San Juan. El Grito de Sunset Park members and the community organizers of Luis Lloréns Torres worked together to provide aid and relief in mountain top communities where no aid was distributed at the time of the hurricanes.

Current and Future work
El Grito de Sunset Park received a donation of thirteen acres of land in a mountaintop community located in Yabucoa. They are working directly with farmers of the community to grow vegetables and fruits. They are trying to build a self sustaining model to fund the work they are doing on the island and to grow coffee. Members of El Grito de Sunset Park hope to create a space to bring young people of the diaspora back to the island to learn about the Puerto Rican culture and agriculture.

References

Non-profit organizations of New York (state)

El Grito de Sunset Park


The Standard Vanguard is a caur which wis produced bi the Standard Motor Company in Coventry frae 1947 tae 1963.

The caur wis annoonced in Julie 1947 an wis completely new wi nae resemblance tae the previous models an wis Standard's first post Warld War II caur. It wis an aa the first model tae carry the new Standard badge which wis a heavily-stylised representation o the wings o a Griffin.

In the wake o the Seicont Warld War mony potential customers baith in the UK an in Inglis-speakin export markets haed recently experienced several years o military or naval service, so a caur name relatit tae the Breetish Navy carried a greater resonance than it woud for later generations.  The name o the Standard Vanguard recawed HMS Vanguard, the last o the Breetish Navy's battleships, launched in 1944 amid muckle media attention: permission tae uise the name involved Standard in extensive negotiations wi senior Royal Navy personnel.

The stylin o the caur resembled the pre-war Plymouth wi a slopin "beetle-back". Roushie media claimed that stylin o this caur haed been in part influenced bi Roushie GAZ-M20 Pobeda, which haed been in development frae 1943 an went intae production in 1946. In 1952 The Motor magazine statit that the Soviet Pobeda "shows a certain exterior resemblance tae the Standard Vanguard", disregarding the fact that the Pobeda haed been launched a year afore the Vanguard.

The same wet liner ingine wis uised throughout the range till the advent o the Six model in 1960 an wis an owerheid valve
unit o 85 mm (3.3 in) bore an 92 mm (3.6 in) stroke wi single Solex downdraught carburettor. The compression ratio wis 6.7:1 on early ingines increasin tae 7.0:1 on the Phase III an 8.0:1 on the Sportsman. Wet cylinder liners wur fittit. The ingine wis very similar tae the anes made bi Standard for the Ferguson tractor that they wur makin in lairge numbers.

The transmission at first wis bi a three speed gearbox wi synchromesh on aw forrit ratios.

In Scandinavie Standard marketit the Standard Ten saloon as the Vanguard Junior.

Vanguard
Caurs o Australie

Standard Vanguard


The Falling Man is the title of an article about a photograph taken by Richard Drew at 9:41:15 a.m., on September 11, 2001. The story was written by Tom Junod and appeared in the September 2003 issue of Esquire magazine. It is about the World Trade Center during the September 11, 2001 attacks in New York City. The man in the photo, Jonathan Briley, is known as The Falling Man. He himself had worked in the twin towers and he as many other coworkers had jumped out of the twin towers.

September 11 attacks

The Falling Man


Asociația Clubul Sportiv Suporter Club Oțelul Galați (), commonly known as Oțelul Galați or simply as Oțelul, is a Romanian football club based in the city of Galați, Galați County, which competes in the Liga I.

Founded in 1964 as the team of the Galați steel works, Oțelul spent the first two decades of its existence in the lower leagues. It reached the Liga I for the first time in 1986, and has since amassed 27 seasons in the competition. Oțelul won the league title in the 2010–11 campaign, becoming the first and only Romanian champion from the region of Moldavia to date; this triumph was followed by winning the 2011 Supercupa României. In the Cupa României, Oțelul's best result is reaching the final in 2004.

Internationally, the team's best performances are qualifying for the group stages of the 2011–12 UEFA Champions League and being one of the eleven co-winners of the 2007 UEFA Intertoto Cup. Oțelul's team colours are red, white and blue, and they play at the namesake Stadionul Oțelul.

History

Early years of football in Galați (1910–1964)

Football spread to Romania shortly before 1900, first appearing in the cities of Arad and Bucharest. It arrived in Galați about 10 years later, through foreign trade companies and offices in the city, as well as the efforts of one Officer Vladovici, a career soldier who studied in France and brought football game regulations and equipment to Galați. The first games took place , when Vladovici's team from the 3rd Artillery Regiment played groups of English sailors stationed in the harbour. A year later, the Cavalry Regiment of Galați established a second team in the city. This led to the organisation of several football matches, and the press highlighted the fact that matches were also possible with the sailors from British naval ships present in the Port of Galați. The students of Vasile Alecsandri High School (LVA) formed a team in 1919. A year later, emigrants from Turkey, Greece and Armenia set up the teams of Olimpia and Niki, consisting largely of players coming from Italy, Greece and Turkey, where football was much more developed as a sport. A exhibition match took place on 7 May 1921, in which Triumf București defeated Internaționala Galați 2–1. In the same year, the team of HMS Ladybird defeated Internaționala Galați 6–2. Though there were too few teams for organised competitions, inter-city matches intensified with Brăila, Tulcea, and Reni. There were also regular matches with local teams Internaționala, Niki, Olimpia, Şoimii Dacia, Atlas and LVA, as well as military teams.

In 1922, Dacia Soimii and LVA merged to found Dacia Vasile Alecsandri Galați (DVA). DVA gained great popularity and for two decades was one of the best football clubs in southern Moldavia and eastern Muntenia. Other new teams established in this era include Maccabi, Aviaţia, Şcoala Comercială, Sportul, and Baza Navală.

The new teams and increasing popularity allowed different competitions to emerge, and championships took place at the town and district level. Club structures grew with teams of seniors, reserves, youths and children. The Greek bourgeoisie teams of Ermis, Acropolis, and Foresta were created.

In 1926, the first district championship took place. There were ten teams from Galați (including the neighbourhood teams Şoimii and Gloria), two from Reni (Maccabi and Dunărea) and one team representing Tulcea. The competition was a commercial success with DVA the first champions. In the next round DVA defeated Concordia Iași 6–1 and advanced to a final tournament for the national trophy. Ten teams took part, among them Chinezul Timișoara, Unirea Tricolor București, Colțea Brașov and AMEFA Arad. Lacking experience at this level of competition, DVA lost to Brasov 1–7.

Because at that time military teams were in fashion, Captain Slătineanu transferred from Braşov the team of Fulgerul. However, due to financial difficulties, Fulgerul had a short life. 1920s regulations did not allow the team to participate in the district championships. Instead, it took part in a series of international matches and competitions. This allowed the new Galați team to gain experience playing the powerful teams MTK Budapest, Vasas, Újpest, OFK Beograd, ŽAK Subotica and Rapid Wien. These matches were played with the ticket office closed.

In the late 1920s, economic hardships led to the dissolution of most of the 20 clubs in Galați. At one time only three clubs took part in the district championship: DVA, Gloria, and Șoimii. In 1927, these latter two clubs, which had been founded as neighbourhood teams in Galați, merged as Gloria Şoimii. In 1932, at the initiative of the railroad workers, Gloria Şoimii and CFR Galați (the Galați railway football club) merged as Gloria CFR Galați.

Gloria CFR immediately joined the Lower Danube District Championship, alongside teams already experienced in official competitions such as: DVA, Ermis, Marina Danubiană and Unirea Tulcea. In the 1934–35 season, Gloria CFR were crowned champions of the Lower Danube District, and immediately promoted to Divizia C. A year later Gloria CFR were promoted to Divizia B. This promotion was possible after three promotion play-offs against Telefon Club București, but also due to the Romanian Football Federation, which recognised the value of the team. In the 1937–38 season, Gloria CFR, "the Railroad Workers", had a spectacular performance of 16 wins, a draw and a single defeat, and were promoted to Divizia A. In 1937, the club Metalosport Galați was formed in the city and had important results in the second and third leagues.

The championship schedule was interrupted by World War II and did not restart until 1946. Galați was then represented by Gloria CFR in Divizia B, while Metalosport, Şantierul Naval and FC Arsenal were in the Divizia C. In the early 1950s, DVA was dissolved due to financial problems, and Gloria CFR was relegated to Divizia C. The club Dinamo Galați (later renamed Siderurgistul Galați) was formed in 1955 and came very close to promotion to the country's top league in 1961 and 1962. Constructorul Galați was founded in 1950, and reached the Cupa României final in 1973. Siderurgistul was promoted in 1963 and was the best team in Galați until the mid-1960s.

Oțelul, founding and ascension (1964–1985)
In 1964, following the reorganisation of football in Galați, the club Oțelul was formed to represent the newly established Galați steel works.
After three seasons in the County Championship, Oțelul was promoted to Divizia C at the end of the 1966–67. The next year, they were promoted to Divizia B. The 1968 promotion was a close contest with Gloria Bârlad; both teams ended the season with 35 points, but Oțelul had a +23 goal differential to Gloria's +21. Oțelul's 1968 promotion squad included: Şerbănoiu, Berechet, Rusu, Florea–Boeru, Coman, Secăşeanu, Luban, Halmagy, Moşneagu, Cernega, Bruştiuc, Niculescu, Morohai, Leca, Ion Ionică, Ailoaiei, Obreja, Câmpeanu, Drăghiescu and Ogescu; with coaches Gh. Drăghiescu and Pompiliu Ionescu.

The rise of Oțelul led to the decline of Siderurgistul, which had been the city's primary team and had played the 1963 Cupa României final. In 1967, Siderurgistul gave up its place in the second league to Politehnica Galați and disappeared from Romanian football. After two seasons in the second league, in which Oțelul finished in 9th place in 1969 and 1970, there was another reorganisation of local football. Oţelul changed its name to FC Galați and later to FCM Galați, essentially forming a new club, known later mainly as Dunărea Galați. Between 1974 and 1980, this team played three seasons in Divizia A. Meanwhile, some of the players of the former Oțelul transferred to Divizia C club Dacia Galați, which in 1972 revived the name Oțelul.

Oțelul had not completely lost its identity after this manoeuvre, and in the 1973–74 season returned to the second league, finishing 7th. The team finished the 1974–75 season in 17th place with only 24 points, and was relegated to Divizia C, then disbanded. In 1976, the management of the steel industry decided to re-establish Oțelul, joining Divizia D, and climbing to Divizia C and B. From 1976 to 1977 to 1980–81, their rankings were: 1st (Divizia D); 11th, 10th, 9th, and 1st (Divizia C). The 1980–81 squad of Oțelul included: Șerbănoiu, Călugăru, Cucu, Borș, Căstăian, Morohai, Ceacu, Ciurea, Pătrașcu, Pavel, Gheorghiu, Adamache, Ion Ionică, Basalîc, Ticu, Potorac, and Podeț; with coach Petru Moțoc.

The progress and growth of Oțelul was more difficult than that of traditional Romanian football clubs, due to the 1970 dissolution of the club in favour of Dunărea Galați, the 1972 reformation of Dacia Galați, and the 1975 refounding. In 1980, immediately after the promotion of the team to the second league, a political decision of Galați County gave Oțelul's place in Divizia B to Victoria Tecuci; some of the Oțelul players switched to the team from Tecuci, and others signed with Divizia C side Metalosport Galați, owned by the Cristea Nicolae factory. However, in the summer of 1982, there was a turnabout when Metalosport was sacrificed for Oțelul, allowing Oțelul to reach for prominence after years of being held back.

Oțelul took advantage of this political decision, finishing third in the 1982–83 season, eighth in 1983–84, and third in 1984–85 behind Petrolul Ploiești and local rival Dunărea Galați. Oțelul finished the 1984-85 season with a 24–4–6 record, 86 goals scored against 29 conceded, and were promoted to Divizia A. The squad that obtained that performance included: Călugăru, Ionel Dinu, Gh. Stamate, Oprea, Ciobanu, Popescu, Stoica, Radu, Ciurea, Burcea, Smadu, Marius Stan, A. Stamate, Petrescu, Basalic, Rusu, Claudiu Vaișcovici, Antohi, Bejenaru, Dumitru, Rotaru, Lala, Anghelinei, C. Stan, and Ralea; with coaches Constantin Rădulescu and Ioan Sdrobiş.

Divizia A and UEFA Cup first seasons (1986–1999)

In its first year in the top stage of Romanian football in 1986-87, Oţelul finished in 11th place. The next year, they finished in 4th place and qualified for the 1988–89 UEFA Cup season. In their first European Cup match, in front of 30,000 supporters, Oțelul upset Italian side Juventus 1–0, the goal scored by Ion Profir from the
penalty spot. The squad that played against Juventus in the first European match of the club included: Călugăru – G. Popescu, Anghelinei, Agiu, Borali (Adrian Oprea) – Nae Burcea, Marius Stan, I. Profir, Oct. Popescu – Ralea (Drăgoi), Puiu Antohi. For Juventus: Stefano Tacconi, Nicolò Napoli, Alessandro Altobelli, Rui Barros and Michael Laudrup, with coaches Dino Zoff and Cornel Dinu. The team lost the second leg match to Juventus in Turin, 5–0, and were eliminated from the European Cup.

At the end of the 1988-1989 regular season, Oţelul was relegated. The club finished third in Divizia B in 1989–90, and lost out on promotion to rival Progresul Brăila. In the 1990–91 season, under the management of Marius Stan and Mihai Stoica, the club was promoted to Divizia A; Oțelul finished six points ahead of second-place Gloria Buzău. "The Steelworkers" remained in the top division until 2015.

Following Oțelul's 1991 promotion, the club finished in the middle of the league: 8th in 1991–92 and 10th in 1992–93. The club participated in the 1991–92 Balkans Cup and lost in the final against Turkish side Sarıyer, 0–1 on aggregate. Oțelul barely escaped relegation in the 1993–94 season, finishing one point above the relegation line. The coach was replaced with Vasile Simionaș, former star of Politehnica Iași, and after two seasons finished at 13th place. At the end of the 1995–96 season, the club lost star players Radu Cașuba and Valentin Ştefan, but maintained a foundation moving forward with players such as: Iulian Arhire, Stelian Bordieanu, Gheorghe Bosânceanu, Gheorghe Cornea, Daniel Florea, Sorin Haraga, Gigi Ion, Viorel Ion, Costin Maleș, Dănuț Oprea, Tudorel Pelin, Emil Spirea, Adrian State, Viorel Tănase and Cătălin Tofan.

The 1996–97 season brought total football to Oțelul Stadium. Led by squad captain Valentin Ştefan and Viorel Ion, Oțelul finished the season in 4th place. During the season, Oțelul beat league-leader Dinamo București 3–1. They also defeated Rapid București in a 4–3 win at Giulești Stadium, which was an historic victory for the club. Then came an unexpected 5–1 victory against FC U Craiova, which pushed Oțelul to 2nd place in the table. With a 3–1 victory at FC Național (Romania's runners-up at the end of the season), Oțelul were only 3 points behind the leader. Winning the final match 3–0 against Sportul Studențesc, Oțelul finished 4th in the league, matching their previous best finish. Vasile Simionaș was named Romanian coach of the year, and  Viorel Ion and Valentin Ştefan were named to the Romanian national team.

Simionaș remained as coach in Galați for two more seasons, with the team finishing 4th place in 1997–98 and 6th in 1998–99. Highlights of this period include 14 goals scored by Valentin Ștefan as a defensive midfielder in 1997–98; a 7–0 win against Jiul Petroșani in which Maleș scored Oțelul's 400th goal in the first league; and dramatic victories against Rapid București (1–0) and Progresul București (3–2).

After finishing in 4th place in 1997, Oțelul competed in the UEFA Cup for the second time. They played in the first qualifying round against Slovenian side HIT Gorica. Oțelul lost the first leg in Slovenia, 0–2. In the second match, Oțelul led 4–0 in Galați, but Gorica scored twice at 88 and 90 minutes, with goals from Nenad Protega and Enes Demirović. The clubs were tied 4–4 on aggregate, but Gorica advanced by virtue of away goals. Oțelul qualified again for the 1998–99 UEFA Cup, and beat Macedonian side Sloga Jugomagnat 4–1 on aggregate, advancing to the second round. Oțelul lost to Vejle Boldklub of Denmark in the second round, 0–6 on aggregate.

In this period, the club earned the nicknames Cimitirul Granzilor () and Campioana Provinciei ("The Provincial Champion"). The squad was also called Generația de Aur ("The Golden Generation"), although they were later overshadowed by the 2010–11 team. This generation could be considered one of the Oțelul's three best teams, along with the 1988 and 2011 squads. Simionaș was fired in 1999 after a conflict with sporting manager Mihai Stoica.

Golden Age of Oțelul (1999–2012)
After Simionaș was fired, Dumitru Dumitriu became the new coach. Oțelul fell to 8th place at the end of the 1999–2000 season. They dropped to 12th place in 2000-2001, but then rose to 5th place in 2001-2002, with Victor Roșca and then Marius Lăcătuș as coach.

This oscillation continued in 2002–03, as Oțelul finished in 13th place and faced a relegation play-off against FC Oradea. In the first leg at Galați, the Steelworkers won 2–1, with goals scored by Gheorghe Cornea and Mihai Guriță. In the second leg at Oradea, Oțelul lost 1–3. Bogdan Vrăjitoarea scored a hat-trick for the hosts, while Viorel Tănase scored for Oțelul. Oțelul lost 3–4 on aggregate and were facing relegation. However, top division clubs Astra Ploiești and Petrolul Ploiești merged after the season, leaving a vacant place in the league table for Oțelul.

The club was then bought by Nicolai Boghici, a businessman from Galați. Oțelul had a strong 2003–04 Divizia A season under coach Sorin Cârțu, finishing in 5th place. That year, they also made the club's first appearance in the Cupa României Final, where they lost 0–2 to Dinamo București. Immediately after this final, it was discovered that the association holding the club had debts of over 15 billion Romanian leu (ROL).

Oțelul earned a spot in the 2004–05 UEFA Cup qualifying rounds. Oțelul beat Dinamo Tirana in the first round, 8–1 on aggregate, but lost in the second round, 0–1 on aggregate against Partizan.

In the 2004–05 Divizia A season Oțelul finished 8th. Marius Stan was appointed as the club's president starting in the 2005–06 season. The team struggled early in the season and was rebuilt, with coach Aurel Şunda replaced by Petre Grigoraş and 18 new players brought to the team. The changes turned the team's season around, beginning with a 3–0 victory against Dinamo, and Oțelul finished in 9th place. In the Romanian Cup, Oţelul was eliminated in the quarterfinals in penalty shoot-outs against FC Național.

In the 2006–07 season Oțelul finished 5th in the standings. At the end of this season, prominent player Viorel Tănase retired, scoring a goal in his last match. Thanks to good positioning in the league table, the team qualified for the UEFA Intertoto Cup. In the Romanian Cup, Oțelul was once again eliminated in penalties, this time by Steaua București.

The first match of the 2007–08 season was in the UEFA Intertoto Cup, where Oțelul met Slavija Sarajevo (3rd place in the Premier League of Bosnia and Herzegovina). The first leg at Koševo Stadium ended 0–0. The second leg was played in Galați, and was an unexpected 3–0 win for Oțelul, with goals by Emil Jula (at 31 and 42 minutes) and Gabriel Paraschiv (70 min). In the next round, Oțelul faced well-known Turkish side Trabzonspor (4th place in the Süper Lig). Oţelul won the first match in Galați 2–1 in front of 5,000 spectators. Daniel Stan opened the scoring for Oţelul (28 min), and Ersen Martin tied it for Trabzonspor (83 min). The winner was scored by Oţelul's Gabriel Paraschiv (87 min). The second match was played at Hüseyin Avni Aker Stadium before more than 20,000 spectators. The Turkish side opened the scoring with a goal from 15 metres by Ceyhun Eriş (8 min). János Székely tied the matched for Oţelul five minutes later. Tadas Labukas connected with Emil Jula for a second Oţelul goal (77 min). Jula added a third goal for the Romanian side from the penalty spot in the 88th minute, and Oţelul qualified for the preliminary round of the UEFA Cup. In the UEFA Cup, Oțelul faced Lokomotiv Sofia (3rd place in the Bulgarian First League). The first leg was played at Balgarska Armia Stadium in Sofia, and Oţelul lost 1–3. The second leg finished 0–0, eliminating Oţelul from the competition.

In Liga I, Oţelul finished at 8th place. Emil Jula had the second-most goals in the league with 17. For these feats head coach Petre Grigoraș was called cel mai tare din oraș ("the best of the city").

Problems arose in the 2008–09 season. Oțelul finished 12th, and the club was close to bankruptcy. Petre Grigoraş left the following season  and was replaced by Dorinel Munteanu. In the 2009–10 season, Oțelul finished in 8th place.

Oțelul achieved its best performance in the 2010–11 season, winning the first league, defeating main rival FC Timişoara in a match that decided the title. Two months later, the club won the Supercupa României in a 1–0 victory over Steaua București. The squad which won included: goalkeepers Branko Grahovac, Cristian Brăneţ, and Gabriel Abraham; defenders Cornel Râpă, Samoel Cojoc, Cristian Sîrghi, Milan Perendija, Sergiu Costin, Enes Šipović, Constantin Mișelăricu, Adrian Salageanu, and Silviu Ilie; midfielders Ionuț Neagu, Gabriel Giurgiu, Ioan Filip, Ciprian Milea, Liviu Antal, Laurenţiu Iorga, Laurenţiu Petean, John Ibeh, Gabriel Viglianti, Răzvan Ochiroşii, Laurenţiu Buş, and Gabriel Paraschiv; and forwards Marius Pena, Bratislav Punoševac and Róbert Elek; with coach Dorinel Munteanu.

In the 2011–12 season Oțelul finished in 6th place, and also played in the UEFA Champions League group stage for the first time. Their Champions League group featured Manchester United, Benfica and FC Basel. It was a huge moment for the club to play against top European teams, but Oțelul lost all six matches: 2–3 and 0–1 against Basel; 1–2 and 0–1 against Benfica; and 0–2 in both matches against Manchester United.

Decline and bankruptcy (2012–2016)

After two fantastic seasons, Oțelul faced difficulty as the club's shareholders wanted the money the club had received for Champions League participation.

In the 2012–13 season, Marius Stan left to become mayor of Galați, and Dan Adamescu became the new owner of the club. Oțelul lost Dorinel Munteanu as coach. Viorel Tănase, a star player who had retired in 2007, was named as his replacement. Tănase managed to finish the first part of the season outside the relegation zone, but during the winter break was replaced with Petre Grigoraş. Oțelul finished 11th with 43 points. In the Romanian Cup, they reached the semi-finals, where they were eliminated by Petrolul, the winner of the competition.

On 10 July 2013, despite the 22 million earned from its participation in the Champions League the previous season, Oțelul went into insolvency.

Grigoraş left the club at the end of the 2013–14 season, and Ionuţ Badea was hired for the new season. Poor results led to Badea's resignation and the arrival of Ewald Lienen, a German coach trained in the Bundesliga. He managed to finish the season with Oțelul in 10th place. After this season, Lienen and almost all of the players left due to financial mismanagement. The 2014–15 season brought huge changes at Oțelul. Team owner Dan Adamescu was arrested in a case of bribery, and a lack of financing made transfers difficult. Among the coaches brought in and subsequently fired were: Michael Weiß, Tibor Selymes and Florin Marin. Additionally, Liga I reorganised so the bottom six teams in the table were relegated instead of just four. Oțelul finished 17th and was relegated to Liga II after 23 consecutive seasons in the top flight of the Romanian football. Oțelul played 27 seasons in Liga I, holding 16th place in the Liga I All-time table. Oțelul is the second-best Moldovan team in this ranking, surpassed only by FCM Bacău, but it is the only Moldovan side to win a national title.

The next season in Liga II was painful one for many of Oțelul's fans. The team had to play many games with their youth squad, and finished last in the second league. Relegation was followed by the club's bankruptcy, declared on 1 April 2016 by the Bucharest Tribunal. Less than 5 years after winning the first champion title, the club had suddenly disappeared.

The fall of Oțelul gave rise to many concerns in the Romanian media. In 2016, Marius Stan accused Adamescu for the devaluation of the club:
In 2017, Adamescu's son, Alexander Adamescu, accused Stan of defective management and that the club was his piggybank:

Refounding and recent history (2016–present)
After the dissolution of the club, Oțelul supporters immediately founded a new association, called Asociația Supporter Club Oțelul Galați, and registered it to compete in Liga IV. On 19 July 2016, ASC Oțelul Galați was officially born with the objective of continuing the tradition of Oțelul football in Galați.

ASC Oțelul Galați was considered the spiritual successor of the old club because it wore the same colours, it played in the same stadium and was supported by the same fans. However, it didn't own the brand and league record of the old club, which had been bought at auction for 10,000. However, the winner of the auction did not pay the bid which became void. With the aid of a law firm, ASC Oțelul gained possession of the record and brand and became the official successor of the club on 12 September 2017.

At the end of its first season, Oțelul won Liga IV – Galați County and defeated the champions of Iași County, Unirea Mircești, in a play-off to win promotion to the Liga III. Under coach Stelian Bordeianu, a former player of the club, Oțelul won 30 of its 32 matches in all competitions, setting a record for Romanian football.

Former coach Dorinel Munteanu returned at the beginning of the 2021–2022 season and helped secure promotion after five years in Liga III. Oțelul dominated both the regular season and the playoffs, finishing first in Liga III Seria 2, nine points clear of second-place CSM Focsani. In the playoff semifinal, Oțelul got past Foresta Suceava with a 1–0 victory in Suceava, and a 2–0 win in Galaṭi. The first leg of the final, played in Botoșani against CS Dante Botoșani, ended in a 1–1 tie. The decisive match was played in Galați, in front of a crowd of 13,000 spectators on Stadionul Oțelul. George Carjan, Alin Nica and Denis Cires scored in a 3–0 win for Oțelul that propelled the Steelworkers into Liga II.

Youth program
The youth academy of Oțelul Galați developed young players including: Iulian Arhire, Florin Cernat, Romulus Chihaia, Daniel Florea, Silviu Ilie, Laurențiu Iorga, George Miron, Ionuț Neagu, Dănuț Oprea, Cornel Râpă, Viorel Tănase, Cătălin Tofan, or Alexandru Tudorie.
Their local rival is the Dunărea Galați football academy, from which many important footballers developed.

Grounds

The club plays its home matches at Stadionul Oțelul in Galați. Oțelul has also used other local venues, such as Stadionul Nicolae Rainea, Stadionul Siderurgistul, and Baza Sportivă Zoltan David, but only for short periods of time.

Support

Oțelul has many supporters in Galați and Galați County, but also in the region of southern Moldavia. Oțelul Galați has groups of ultras, including Steel Boys, Ultra Sud, Sidexplozia, SCOG and New Order. Regular fans that are not affiliated with any ultras groups can join the Liga Suporterilor Gălăţeni 1993 (The Galați Supporters League 1993) organisation. After the 2016 dissolution of the club, Oțelul fans from the aforementioned groups founded Supporter Club Oțelul Galați and enrolled the team in the Liga IV; this action kept the club from disappearing, and their actions proved the attachment of the fans to the red, white and blue side.

Rivalries
The main rivals of Oțelul Galați are Dacia Unirea Brăila, who they face in a competition known as Derby-ul Dunării de Jos ("The Lower Danube Derby"). Any Galați–Brăila match is considered a derby, taking this term from a regional derby in the early years of football. Another important local rivalry is against Dunărea Galați, a club born from the break-up of Oțelul in the 1960s. Oţelul fans also share a rivalry with Poli Iaşi supporters, following a series of clashes between the two sets of fans. A much newer rivalry is one against FC Vaslui. During periods of success, Oțelul has had contextual rivalries with Steaua București, Dinamo București and Rapid București, especially in the 1990s, as well as with Politehnica Timișoara between 2010 and 2011.

Honours

Domestic

Leagues
 Liga I
 Winners (1): 2010–11
 Liga II
 Winners (2): 1985–86, 1990–91
 Liga III
 Winners (4): 1967–68, 1980–81, 2020–21, 2021–22
 Runners-up (1): 1972–73
 Liga IV – Galați County
 Winners (2): 1976–77, 2016–17

Cups
 Cupa României
 Runners-up (1): 2003–04
 Supercupa României
 Winners (1): 2011

European

 UEFA Intertoto Cup
 Co-winners (1): 2007

Players

First team squad

Out on loan

Club officials

Board of directors

 Last updated: 10 October 2023
 Source:

Current technical staff

 Last updated: 10 October 2023
 Source:

League history

Notable former players
The footballers enlisted below have had international cap(s) for their respective countries at junior and/or senior level and/or more than 100 caps for ASC Oțelul Galați.

Romania
  Mario Agiu
  Liviu Antal
  Iulian Apostol
  Eugen Baștină
  Gabriel Boștină
  Alexandru Bourceanu
  Vasile Brătianu
  Florin Cernat
  Romulus Chihaia
  Horațiu Cioloboc
  Samuel Cojoc
  Sergiu Costin
  Gheorghe Dumitrașcu
  Ioan Filip
  Daniel Florea
  Ramses Gado
  Sorin Ghionea
  Gabriel Giurgiu
  Mihai Guriță
  Victoraș Iacob
  Silviu Ilie
  Gigi Ion
  Viorel Ion
  Laurențiu Iorga
  Silviu Iorgulescu
  Emil Jula
  Costin Maleș
  Cosmin Mărginean
  Andrei Miron
  Ștefan Nanu
  Răzvan Ochiroșii
  George Ogăraru
  Dănuț Oprea
  Gabriel Paraschiv
  Tudorel Pelin
  Marius Pena
  Cornel Râpă
  Adrian Sălăgeanu
  Cristian Sîrghi
  Marius Stan
  János Székely
  Valentin Ștefan
  Viorel Tănase
  Cătălin Tofan
  Adrian Toma
  Alexandru Tudorie
  Claudiu Vaișcovici

Algeria
  Jugurtha Hamroun

Argentina
  Gabriel Viglianti

Armenia
   Marian Zeciu

Bosnia and Herzegovina
  Branko Grahovac
  Enes Šipović

Bulgaria
  Stoyan Kolev
  Zhivko Zhelev

Burkina Faso
  Salif Nogo

Brazil
  Didi
  Marquinhos

Cape Verde
  Hélder Tavares

Lithuania
  Tadas Labukas

Nigeria
  John Ibeh

Panama
  Armando Cooper

Serbia
  Zoran Ljubinković
  Milan Perendija
  Bratislav Punoševac

Slovenia
  Jaka Štromajer

Uruguay
  Mauro Goicoechea

Notable former managers

  Sorin Cârțu
  Gheorghe Constantin
  Cornel Dinu
  Dumitru Dumitriu
  Petre Grigoraș
  Traian Ivănescu
  Marius Lăcătuș
  Ewald Lienen
  Ion Moldovan
  Angelo Niculescu
  Costel Orac
  Constantin Rădulescu
  Vasile Simionaș
  Aurel Țicleanu

References

External links

 Official website

1964 establishments in Romania
Association football clubs established in 1964
Fan-owned football clubs
Football clubs in Galați County
Liga I clubs
Sport in Galați

ASC Oțelul Galați


Stogovka () is a rural locality (a selo) in Kuzovatovsky District of Ulyanovsk Oblast, Russia.

It has an approximate population of 200 people but in the summer it increases to about 750 as people come to live at their dachas. There are three shops and a community center which is mainly used as a nightclub at night and as a pool area for kids to play during the day.

References

Notes

Sources

Rural localities in Ulyanovsk Oblast

Stogovka


The Royal Brewery is a historic former brewery in Honolulu, Hawaii. It features a distinctive decorative facade and is the oldest remaining structure associated with brewing in the state of Hawaii.

History
The building was designed in 1899 by Hermann Steinmann, a New York architect experienced in brewery design for the Honolulu Malting and Brewing Company, in the then-contemporary Romanesque style. the brewery was the most successful brewery in Hawaii since Don Francisco de Paula Marín first recorded brewing a barrel of beer in 1812.

The first beer to enter production was  Primo in 1901, and the company received a license in 1903 for "malt liquor".

Prohibition began in 1918 in Oahu, and upon its repeal, the brewery became home to the American Brewing Company. Their first product was Ambrew, later followed by Royal, which remained in near constant production until 1962. A strike in late 1939 and brief war time suspension were the only breaks. In 1960, with declining sales of Royal, American Brewing Company invested $250,000 in a modernization plan. Their efforts were not successful, and the company was out of business by 1963.

After sitting empty, the building was renovated in 1996.

The building is currently home to the Hawaii Community Development Authority.

References

 http://hartdocs.honolulu.gov/docushare/dsweb/Get/Document-14464/AR00153219.pdf

External links

National Register of Historic Places in Honolulu
1900 establishments in Hawaii

Royal Brewery


Alain Resnais (; 3 June 19221 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1956), an influential documentary about the Nazi concentration camps.

Resnais began making feature films in the late 1950s and consolidated his early reputation with   (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (la nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as Jean Cayrol, Marguerite Duras, Alain Robbe-Grillet, Jorge Semprún and Jacques Sternberg.

In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song.

His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies.

Early life
Resnais was born in 1922 at Vannes in Brittany, where his father was a pharmacist. An only child, he was often ill with asthma in childhood, which led to his being withdrawn from school and educated at home. He was an eager reader, in a range that extended from classics to comic books, but from the age of 10 he became fascinated by films.  For his twelfth birthday his parents gave him a Kodak 8mm camera with which he began to make his own short films, including a three-minute version of Fantômas. Around the age of 14, he discovered surrealism and through that an interest in the works of André Breton.

Visits to the theatre in Paris gave Resnais the desire to be an actor, and in 1939 he moved to Paris to become an assistant in Georges Pitoëff's company at the Théâtre des Mathurins. From 1940 to 1942 he studied acting in the Cours René-Simon (and one of his small jobs at this time was as an extra in the film Les Visiteurs du soir), but he then decided in 1943 to apply to the newly formed film school IDHEC to study film editing. The filmmaker Jean Grémillon was one of the teachers who had the most influence on him at that period.

Resnais left in 1945 to do his military service which took him to Germany and Austria with the occupying French forces, as well as making him a temporary member of a travelling theatre company, Les Arlequins. He returned to Paris in 1946 to start his career as a film editor, but also began making short films of his own. Finding himself to be a neighbour of the actor Gérard Philipe, he persuaded him to appear in a 16mm surrealist short, Schéma d'une identification (now lost). A more ambitious feature-length work, Ouvert pour cause d'inventaire, has also vanished without trace.

Career

1946–1958: short films
After beginning with a series of short documentary films showing artists at work in their studios, as well as a few commercial commissions, Resnais was invited in 1948 to make a film about the paintings of Van Gogh, to coincide with an exhibition that was being mounted in Paris. He filmed it at first in 16mm, but when the producer Pierre Braunberger saw the results, Resnais was asked to remake it in 35mm.  Van Gogh received a prize at the Venice Biennale in 1948, and also won an Oscar for Best 2-reel Short in 1949. (Braunberger went on to act as producer for several of Resnais's films in the following decade.) Resnais continued to address artistic subjects in Gauguin (1950) and Guernica (1950), which examined the Picasso painting based on the 1937 bombing of the town, and presented it to the accompaniment of a text written by Paul Éluard. A political perspective on art also underpinned his next project (co-directed with Chris Marker), Les statues meurent aussi (Statues Also Die, 1953), a polemic about the destruction of African art by French cultural colonialism.

Nuit et Brouillard (Night and Fog, 1956) was one of the first documentaries about the Nazi concentration camps, but it deals more with the memory of the camps than with their actual past existence. Realising that standard documentary techniques would be incapable of confronting the enormity of the horror (and even risked humanising it), Resnais chose to use a distancing technique by alternating historical black-and-white images of the camps with contemporary colour footage of the sites in long tracking shots. The accompanying narration (written by Jean Cayrol, himself a survivor of the camps) was intentionally understated to add to the distancing effect. Although the film encountered censorship problems with the French government, its impact was immense and it remains one of the director's most admired works.

A different kind of collective memory was considered in Toute la mémoire du monde (1956), in which the seemingly endless spaces and bibliographic riches of the Bibliothèque nationale were explored in another compendium of long travelling shots.  In 1958 Resnais undertook a commission from the Pechiney company to make short film, in colour and wide-screen, extolling the merits of plastics, Le Chant du styrène. Poetry was brought to the project, literally, by Raymond Queneau who wrote the narration for the film in rhyming couplets.

In his decade of making documentary short films, Resnais established his interest in and talent for collaboration with leading figures in other branches of the arts: with the painters who were the subjects of his early works; with writers (Eluard in Guernica, Cayrol in Nuit et Brouillard, Queneau in Le Chant du styrène); with musicians (Darius Milhaud in Gauguin, Hanns Eisler in Nuit et Brouillard, Pierre Barbaud in Le Chant du styrène); and with other filmmakers (Resnais was the editor of Agnès Varda's first film, La Pointe courte, and co-directed with Chris Marker Les statues meurent aussi). Similar collaborations underpinned his future work in feature films.

1959–1968
Resnais's first feature film was  (1959). It originated as a commission from the producers of Nuit et Brouillard (Anatole Dauman and Argos Films) to make a documentary about the atomic bomb, but Resnais initially declined, thinking that it would be too similar to the earlier film about the concentration camps and that it presented the same problem of how to film incomprehensible suffering. However, in discussion with the novelist Marguerite Duras a fusion of fiction and documentary was developed which acknowledged the impossibility of speaking about Hiroshima; one could only speak about the impossibility of speaking about Hiroshima. In the film, the themes of memory and forgetting are explored via new narrative techniques which balance images with narrated text and ignore conventional notions of plot and story development. The film was shown at the 1959 Cannes Film Festival, alongside Truffaut's Les Quatre Cents Coups (The 400 Blows), and its success became associated with the emerging movement of the French New Wave.

Resnais's next film was L'Année dernière à Marienbad (Last Year at Marienbad, 1961), which he made in collaboration with the novelist Alain Robbe-Grillet. The fragmented and shifting narrative presents three principal characters, a woman and two men, in the opulent setting of a grand European hotel or château where the possibility of a previous encounter a year ago is repeatedly asserted and questioned and contradicted. After winning the Golden Lion at the Venice Film Festival, the film attracted great attention and provoked many divergent interpretations of how it should be understood, encouraged by interviews in which Robbe-Grillet and Resnais themselves appeared to give conflicting explanations of the film. There was little doubt however that it represented a significant challenge to the traditional concept of narrative construction in cinema.

At the beginning of the 1960s France remained deeply divided by the Algerian War, and in 1960 the Manifesto of the 121, which protested against French military policy in Algeria, was signed by a group of leading intellectuals and artists who included Resnais. The war, and the difficulty of coming to terms with its horrors, was a central theme of his next film Muriel (1963), which used a fractured narrative to explore the mental states of its characters. It was among the first French films to comment, even indirectly, on the Algerian experience.

A contemporary political issue also formed the background for La guerre est finie (The War Is Over, 1966), this time the clandestine activities of left-wing opponents of the Franco government in Spain. Resnais's scriptwriter on this film was the Spanish author Jorge Semprún, himself an ex-member of the Spanish Communist Party now in voluntary exile in France. Both men denied that the film was about Spain, but when it was entered for the official competition at the Cannes Film Festival in 1966, an objection from the Spanish government caused it to be withdrawn and it was shown out of competition. In 1967 Resnais participated with six other directors, including Chris Marker and Jean-Luc Godard, in a collective work about the Vietnam war, Loin du Vietnam (Far from Vietnam).

From 1968 onwards, Resnais's films no longer addressed, at least directly, big political issues in the way that a number of his previous ones had done, and his next project seemed to mark a change of direction.  Je t'aime, je t'aime (1968) drew upon the traditions of science-fiction for a story of a man sent back into his past, a theme which enabled Resnais again to present a narrative of fragmented time. Alain Resnais's scriptwriter on this film was the author Jacques Sternberg. The film was unlucky in its release (its planned screening at Cannes was cancelled amid the political events of May 1968), and it was almost five years before Resnais was able to direct another film.

Throughout the 1960s, Resnais was attached to direct an international production called Les Aventures de Harry Dickson, based on the stories by Jean Ray, with Anatole Dauman as producer. The project was intended to star either Dirk Bogarde or Laurence Olivier as the titular detective, with André Delvaux attached as the production designer, and the composer Karlheinz Stockhausen attached for the score. Resnais and Dauman worked towards the project for a decade before finally giving up. The screenplay for the film by Frédéric de Towarnicki was published in 2007.

1969–1980
Resnais spent some time in America working on various unfulfilled projects, including one about the Marquis de Sade. He also published Repérages, a volume of his photographs, taken between 1948 and 1971, of locations in London, Scotland, Paris, Nevers, Lyon, New York and Hiroshima; Jorge Semprun wrote the introductory text. Some of the photographs relate to his unfulfilled Harry Dickson film.

After contributing an episode to L'An 01 (The Year 01) (1973), a collective film organised by Jacques Doillon, Resnais made a second collaboration with Jorge Semprun for Stavisky (1974), based on the life of the notorious financier and embezzler whose death in 1934 provoked a political scandal. With glamorous costumes and sets, a musical score by Stephen Sondheim, and Jean-Paul Belmondo in the title role, it was seen as Resnais's most commercial film to date, but its complex narrative structure showed clear links with the formal preoccupations of his earlier films.

With Providence (1977), Resnais made his first film in English, with a screenplay written by David Mercer, and a cast that included John Gielgud and Dirk Bogarde. The story shows an ageing, maybe dying, novelist grappling with alternative versions of his own past as he adapts them for his fiction. Resnais was eager that the dark subject should remain humorous, and he described it as "a macabre divertissement". Formal innovation characterised Mon oncle d'Amérique (My American Uncle, 1980) in which the theories of the neurobiologist Henri Laborit about animal behaviour are juxtaposed with three interwoven fictional stories; and a further counterpoint to the fictional characters is provided by the inclusion of film extracts of the classic French film actors with whom they identify. The film won several international awards including the Grand Prix at the Cannes Film Festival, and it also proved to be one of Resnais's most successful with the public.

1981–2014
From the 1980s onwards Resnais showed a particular interest in integrating material from other forms of popular culture into his films, drawing especially on music and the theatre. In almost all of his remaining films he chose to work repeatedly with a core group of actors comprising Sabine Azéma, Pierre Arditi, and André Dussollier, sometimes accompanied by Fanny Ardant or Lambert Wilson.  The first four of these were among the large cast of La vie est un roman (Life Is a Bed of Roses, 1983), a comic fantasy about utopian dreams in which three stories, from different eras and told in different styles, are interwoven within a shared setting. The action is punctuated by episodes of song which develop towards the end into scenes that are almost operatic; Resnais said that his starting point had been the desire to make a film in which dialogue and song would alternate.

Music, very differently used, was a major component of L'Amour à mort (Love unto Death, 1984). For this intense chamber work with four principal actors (Azéma, Arditi, Ardant and Dussollier), Resnais asked Hans Werner Henze to compose musical episodes which would act as a "fifth character", not an accompaniment but a fully integrated element of the drama with which the speech of the actors would interact. In subsequent years, Resnais gave his attention to music of more popular styles. He made Gershwin (1992), an innovative TV documentary in which the American composer's life and works were reviewed through the testimonies of performers and filmmakers, juxtaposed with commissioned paintings by Guy Peellaert. In On connaît la chanson (Same Old Song, 1997), his tribute to television works of Dennis Potter, the characters express their key emotions or private thoughts by bursting into snatches of well-known (recorded) popular songs without interrupting the dramatic situation. A long-neglected operetta from the 1920s was the unexpected basis for Resnais's next film Pas sur la bouche (Not on the Lips, 2003), in which he sought to reinvigorate an unfashionable form of entertainment by recreating its theatricality for the camera and entrusting most of its musical numbers to actors rather than to trained singers.

There are many references to the theatre throughout Resnais's filmmaking (Marienbad, Muriel, Stavisky, Mon oncle d'Amérique), but he first undertook the challenge of taking a complete stage work and giving it new cinematic life in Mélo (1986), an adaptation of Henri Bernstein's 1929 play of the same name. Resnais remained entirely faithful to the play (apart from shortening it) and he emphasised its theatricality by filming in long takes on large sets of evidently artificial design, as well as by marking off the acts of the play with the fall of a curtain. After an excursion into the world of comic books and cartoons in I Want to Go Home (1989), an ambitious theatrical adaptation followed with the diptych of Smoking/No Smoking (1993). Resnais, having admired the plays of Alan Ayckbourn for many years, chose to adapt what appeared the most intractable of them, Intimate Exchanges, a series of eight interlinked plays which follow the consequences of a casual choice to sixteen possible endings. Resnais slightly reduced the number of permuted endings and compressed the plays into two films, each having a common starting point, and to be seen in any order. Sabine Azéma and Pierre Arditi played all the parts, and the theatricality of the undertaking was again emphasised by the studio set designs for a fictional English village. Resnais returned to Ayckbourn in the following decade for his adaptation of Private Fears in Public Places to which he gave the film title of Cœurs (2006). Among the stage/film effects which contribute to its mood of "cheerful desolation" is the artificial snow which is continually seen through set windows until eventually it falls on the studio interior as well.

Speaking in 1986, Resnais said that he did not make a separation between cinema and theatre and refused to make enemies of them. He preferred working with "people of the theatre", and he said that he would never want to film a novel. It was therefore something of a departure when he chose L'Incident, a novel by Christian Gailly, as the basis for Les Herbes folles (Wild Grass, 2009).  He explained however that what initially attracted him to the book was the quality of its dialogue, which he retained largely unchanged for the film.  When Les Herbes folles was shown at the Cannes Film Festival, it was the occasion for a special jury award to Resnais "for his work and exceptional contribution to the history of cinema".

In his final two films, Resnais again drew his source material from the theatre. Vous n'avez encore rien vu (You Ain't Seen Nothin' Yet!, 2012) was adapted from two plays by Jean Anouilh, and it assembled thirteen actors (many of them regular performers in Resnais's earlier films) who have been summoned by the dying wish of an author to witness a new performance their roles in one of his plays. The film was shown in competition for the Palme d'Or at the 2012 Cannes Film Festival.  Aimer, boire et chanter (2014) was the third film which Resnais adapted from a play by Alan Ayckbourn, in this case Life of Riley, in which three couples are thrown into confusion by the news that a shared friend has a terminal illness. Three weeks before Resnais's death, the film received its premiere in the competition section of the 64th Berlin International Film Festival in February 2014, where it won a Silver Bear award "for a feature film that opens new perspectives". At the time of his death, Resnais was preparing a further Ayckbourn project, based on the 2013 play Arrivals & Departures.

Reputation
Resnais was often linked with the group of French filmmakers who made their breakthrough as the New Wave or nouvelle vague in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films. He defined his own relationship by saying: "Although I was not fully part of the New Wave because of my age, there was some mutual sympathy and respect between myself and Rivette, Bazin, Demy, Truffaut ... So I felt friendly with that team." He nevertheless acknowledged his debt to the New Wave because it created the conditions of production, and particularly the financial conditions, which allowed him to make a film like , his first feature film.

Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included Agnès Varda, Chris Marker, Jean Cayrol, Marguerite Duras and Alain Robbe-Grillet (with all of whom he collaborated in the earlier part of his career). They were distinguished by their interests in documentary, left-wing politics, and the literary experiments of the nouveau roman. At the same time, Resnais was also a devotee of popular culture. He owned the largest private collection of comic books in France and in 1962 became the vice president and co-founder of an International Society for Comic Books, Le Club des bandes dessinées, renamed two years later as Centre d'Études des Littératures d'Expression Graphique (CELEG). CELEG members also included Resnais's artistic collaborators Marker and Robbe-Grillet.

The importance of creative collaboration in Resnais's films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared "authorship" of the film he fully acknowledged. He was also known to treat the completed screenplay with great fidelity, to the extent that some of his screenwriters remarked on how closely the finished film realised their intentions. (On the few occasions when he did participate in writing the script, particularly for his last three films, his contribution is acknowledged under the pseudonym Alex Reval, since he did not want his name to appear more than once in the credits.)

Time and memory have regularly been identified as two of the principal themes of Resnais's work, at least in his earlier films. He however consistently tried to modify this view of his concerns: "I prefer to speak of the imaginary, or of consciousness. What interests me in the mind is that faculty we have to imagine what is going to happen in our heads, or to remember what has happened". He also described his films as an attempt, however imperfect, to approach the complexity of thought and its mechanism.

Another view of the evolution of Resnais's career saw him moving progressively away from a realistic treatment of 'big' subjects and overtly political themes towards films that are increasingly personal and playful. Resnais himself offered an explanation of this shift in terms of challenging what was the norm in filmmaking at the time: having made his early films when escapist cinema was predominant, he progressively felt the need to move away from exploration of social and political issues as that itself became almost the norm in contemporary cinema. Experimentation with narrative forms and genre conventions instead became a central focus of his films.

A frequent criticism of Resnais's films among English-language commentators has been that they are emotionally cold; that they are all about technique without grasp of character or subject, that his understanding of beauty is compromised by a lack of sensuousness, and that his seriousness of intent fails to communicate itself to audiences. Elsewhere however it is suggested that such views are partly based on a misreading of the films, especially his earlier ones, which has impeded an appreciation of the humour and irony which pervade his work; and other viewers have been able to make the connection between the film's form and its human dimension.

There is general agreement about Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape. For him this was also the basis for the communication of feeling: "There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator."

Another term which appears in commentaries on Resnais throughout his career is "surrealism", from his documentary portrait of a library in Toute la mémoire du monde, through the dreamlike innovations of Marienbad, to the latterday playfulness of Les Herbes folles. Resnais himself traced a link to his teenage discovery of surrealism in the works of André Breton: "I hope that I always remain faithful to André Breton who refused to suppose that imaginary life was not a part of real life".

Personal life
In 1969 Resnais married Florence Malraux (daughter of the French statesman and writer André Malraux). She was a regular member of his production team, working as assistant director on most of his films from 1961 to 1986. His second wife was Sabine Azéma, who acted in the majority of his films from 1983 onwards; they were married in the English town of Scarborough in 1998.

On his religious views, he called himself a "mystical atheist".

Resnais died in Paris on 1 March 2014; he was buried in Montparnasse cemetery.

Awards
 Academy Award: 1950 (22nd Oscar ceremony) for "Van Gogh" (1948): Best Short Subject (two-reel), awarded to producers Gaston Diehl and Robert Haessens.
 Prix Jean Vigo: 1954, for Les statues meurent aussi; and 1956, for Nuit et Brouillard
 César Award: 1977 Best Director 1977, for Providence; and 1993 Best Director, for Smoking/No Smoking
 Prix Louis-Delluc: 1966, for La guerre est finie; 1993, for Smoking/No Smoking; and 1997, for On connaît la chanson
 Lumières Award for Best Director: 2004, for Pas sur la bouche
 Venice Film Festival: 1960 Golden Lion, for L'Année dernière à Marienbad; and 2006 Silver Lion, for Cœurs
 Berlin Film Festival: 1994 Silver Bear for Smoking/No Smoking; 1998 Silver Bear, for On connaît la chanson; 2014 Silver Bear Alfred Bauer Prize for Aimer, boire et chanter.
 Cannes Film Festival: 1980 Grand Prix, for Mon oncle d'Amérique; and 2009, Lifetime achievement award.

Filmography, as director

Feature films

Short films etc.

References
Notes

Further reading
 Armes, Roy. The Cinema of Alain Resnais. London: Zwemmer, 1968.
 Benayoun, Robert. Alain Resnais: arpenteur de l'imaginaire. Paris: Ramsay, 2008. [In French]. .
 Callev, Haim. The Stream of Consciousness in the Films of Alain Resnais. New York: McGruer Publishing, 1997.
 Douin, Jean-Luc. Alain Resnais. Paris: Éditions de La Martinière, 2013.  [In French].
 Goudet, Stéphane. Alain Resnais: anthologie Paris: Gallimard, 2002. [Articles originally published in Positif, revue de cinéma. In French]
 Higgins, Lynne A. Alain Resnais: Interviews; with translations by T. Jefferson Kline. Jackson: University Press of Mississippi, 2021.
 Liandrat-Guigues, Suzanne, & Jean-Louis Leutrat. Alain Resnais : liaisons secrètes, accords vagabonds. Paris: Cahiers du Cinéma, 2006. [In French].
 Monaco, James. Alain Resnais: the Rôle of Imagination. London: Secker & Warburg, 1978.
 Thomas, François. L'Atelier d'Alain Resnais. Paris: Flammarion, 1989. [In French]. .
 Thomas, François. Alain Resnais: les coulisses de la création. Malakoff: Armand Colin, 2016.  [In French]. .
 Thomas, François. Trente ans avec Alain Resnais: entretiens. [Brussels]: Les Impressions Nouvelles, 2022. [In French]. .
 Wilson, Emma. Alain Resnais. Manchester: Manchester University Press, 2006. .

External links

 Resnais biography in the New Wave Film Encyclopedia.
 Analysis of several Resnais films, at Strictly Film School.
 NYTimes obituary
 "Alain Resnais sur la côte belge" at Sonuma: les archives audiovisuelles  [in French].

1922 births
2014 deaths
Best Director César Award winners
Best Director Lumières Award winners
César Honorary Award recipients
Directors of Golden Lion winners
European Film Awards winners (people)
French atheists
French cinematographers
French experimental filmmakers
French film directors
French film editors
French male non-fiction writers
French male screenwriters
French screenwriters
People from Vannes
Venice Best Director Silver Lion winners
Golden Lion for Lifetime Achievement recipients

Alain Resnais


In set theory, a code for a hereditarily countable set

is a set

such that there is an isomorphism between (ω,E) and (X,) where X is the transitive closure of {x}.  If X is finite (with cardinality n), then use n×n instead of ω×ω and (n,E) instead of (ω,E).

According to the axiom of extensionality, the identity of a set is determined by its elements. And since those elements are also sets, their identities are determined by their elements, etc.. So if one knows the element relation restricted to X, then one knows what x is. (We use the transitive closure of {x} rather than of x itself to avoid confusing the elements of x with elements of its elements or whatever.) A code includes that information identifying x and also information about the particular injection from X into ω which was used to create E. The extra information about the injection is non-essential, so there are many codes for the same set which are equally useful.

So codes are a way of mapping  into the powerset of ω×ω. Using a pairing function on ω (such as (n,k) goes to (n2+2·n·k+k2+n+3·k)/2), we can map the powerset of ω×ω into the powerset of ω. And we can map the powerset of ω into the Cantor set, a subset of the real numbers. So statements about  can be converted into statements about the reals. Therefore,

Codes are useful in constructing mice.

See also
L(R)

References
William J. Mitchell,"The Complexity of the Core Model","Journal of Symbolic Logic",Vol.63,No.4,December 1998,page 1393.

Set theory
Inner model theory

Code (set theory)


Iwao Takamoto (29 April 1925 - 8 January 2007) was a Japanese-American animator, television producer, and film director. He was a production designer for Hanna-Barbera Productions and the artist/character designer of Scooby-Doo.

Biography
Iwao Takamoto's father moved from Hiroshima to the United States for his health. He only went back to Japan once, and that was to marry his wife. Iwao Takamoto was born on April 19 1925 in Los Angeles, California. After the bombing of Pearl Harbor, Iwao Takamoto's family, like many Japanese-Americans, had to move to an internment camp. They spent the rest of World War II in the Manzanar internment camp. While he was there, Iwao Takamoto received basic illustration training from other people in the camp.

Iwao Takamoto first started doing cartoons professionally after the end of the war. He was hired as an assistant animator by Walt Disney Studios in 1947. Iwao Takamoto eventually became an assistant animator for the legendary Milt Kahl. He worked as an animator on such titles as Cinderella, Sleeping Beauty, One Hundred and One Dalmatians, and Lady and the Tramp.

Takamoto left Disney in 1961 and joined Hanna-Barbera shortly afterwards. He did many jobs there, but is probably best known as a character designer. He was responsible for the original character designs of such characters as Scooby-Doo, The Jetsons' dog Astro, and Penelope Pitstop. He worked as a producer at Hanna-Barbera, supervising shows such as The Addams Family, Hong Kong Phooey, and Jabberjaw. He directed several feature-length animated films, including Charlotte's Web (1973) and Jetsons: The Movie (1990). The inspiration for Scooby-Doo's creation as a Great Dane came from an employee of the Hanna-Barbera company who bred this dog.

Takamoto was Vice-President of Creative Design at Hanna-Barbera, and was responsible for overseeing Hanna-Barbera's product-related merchandising. In 2005, he received the Golden Award from the Animation Guild, to honor his more than 50 years of service in the animation field.

He died on January 8, 2007 at Cedars-Sinai Medical Center in Los Angeles from heart failure at age 81.

References

Other websites

1925 births
2007 deaths
American animators
Deaths from heart failure
People from Los Angeles

Iwao Takamoto


Lake Drummond is a freshwater lake at the center of the Great Dismal Swamp, a marshy region on the Coastal Plain of southeastern Virginia and northeastern North Carolina between Norfolk, Virginia, and Elizabeth City, North Carolina, in the United States. Its surface area is approximately  and its maximum depth is . It is managed by the United States Fish and Wildlife Service.

Geologists believe the Great Dismal Swamp was formed when the continental shelf experienced sudden settling. The entire swamp is underlain by a layer of peat. Several theories exist about the lake's origin. Some postulate that it was created by a large underground peat fire 3,500–6,000 years ago. Native American legends speak of "the fire bird" creating Lake Drummond. Other theories include a meteorite impact and a tectonic shift.

Lake Drummond is one of only two natural freshwater lakes in Virginia. The other, Mountain Lake in Giles County, is also of unknown origin. Curiously, both are lakes essentially on top of hills. Drummond is the highest point in the Dismal Swamp, with nine small ditches flowing out of it.

The precise time of the Great Dismal Swamp's discovery and settlement is not known, but archaeological evidence indicates human occupation began nearly 13,000 years ago. By 1650, few Native Americans remained in the area, and European settlers showed little interest in the swamp. In 1665, William Drummond, a future governor of North Carolina, found the lake which now bears his name. Several centuries of exploitation and logging reduced the swamp to about 50% of its original size. It was common practice for merchant ships of the time to fill up water casks with the dark-stained water from Lake Drummond. With its high tannin content, the water stayed fresher longer on trans-Atlantic voyages than water from other sources.

Lake Drummond and much of the Great Dismal Swamp are within the bounds of the Great Dismal Swamp National Wildlife Refuge, officially established through the Dismal Swamp Act of 1974. The refuge includes almost  of forest wetlands. North Carolina established a state park to protect another portion of the swamp. Dismal Swamp State Park protects  of forested wetland.

Due to relatively low pH levels caused by the leaching of acidic materials from surrounding peat soils, the lake has a relatively low level of nutrients. A few species of fish are present, including crappie, bowfin, and longnose gar.

Folklore

The folklore story "Phantom Lovers of Dismal Swamp" is based entirely around this area. "Wicked John and the Devil", a story in Grandfather Tales, a collection of folktales edited by Richard Chase, tells of a man whom even the devil feared, who when he died was given a red-hot coal by the devil, and told to go to the Great Dismal Swamp to make his own hell. According to the tale, he can be seen wandering the swamp at night with his red-hot coal.

References

 VDGIF. Lake Drummond: Credits. REVISED Jun. 21, 2007.
 Great Dismal Swamp National Wildlife Refuge. Lake Drummond: Credits . Retrieved Jun. 21, 2007.
 Phantom Lovers of Dismal Swamp: From Ghost Stories at Americanfolklore.net

External links

 Satellite Picture by Google Maps
 Dismal Swamp Canal Welcome Center
 Lake Drummond, Chesapeake

Drummond
Bodies of water of Suffolk, Virginia
Bodies of water of Chesapeake, Virginia
Protected areas of Chesapeake, Virginia
Great Dismal Swamp
Reportedly haunted locations in Virginia

Lake Drummond