Hatchet is a novel by American writer Gary Paulsen. It is about a boy named Brian who is in a plane crash.  He has to survive out in the wild. There are also four more books in the complete saga, which means series, and they continue with Brian's story. =
The series is called Brian's Saga. They are:

 Hatchet
 The River
 Brian's Winter
 Brian's Return
 Brian's Hunt

Plot
Hatchet begins with the crash. The man flying the plane is called a pilot, and he has a heart attack. Brian tries to fly the plane, but it crashes into a lake. Brian survives, but the pilot does not. He is very tired and weak, so he rests by a tree. Mosquitoes, biting bugs who suck blood and leave itchy bumps, bite him during dawn, when the sun rises, and dusk, when the sun falls. Brian wakes up and eats some berries that make him sick, so he is careful the next day. Then he finds some sweet raspberries and meets a bear. Brian escapes without getting hurt. He keeps living in the wild for fifty-four days.

References

American young adult novels
1986 books

Hatchet (novel)


The J. Paul Getty Trust has the most money of any art institution in the world. In April 2009, it owns $US 4.2 billion.  The Trust's office is in Los Angeles, California. It operates the J. Paul Getty Museum at two locations, the Getty Center in Los Angeles and the Getty Villa in Pacific Palisades district of Los Angeles, California. The Trust's other programs are the Getty Foundation, the Getty Research Institute, and the Getty Conservation Institute.

The trust operates one of the most visited museums in the United States and gets 1.3 million visitors per year. The trust also provides grants and training to other museums and cultural institutions. The trust has a library, publications program and visiting scholar program. The trust's conservation program works to improve conservation practice through the creation and delivery of knowledge. However, since 2008, the trust has scaled back the scope of its activities in response to financial challenges.

History

J. Paul Getty started the J. Paul Getty Museum Trust in 1953. Getty had already started the Getty Oil Company, and he was richest Americans in the 1950's. He had more than $2 billion when he died.  Getty died in 1976 He left most of his property, including nearly $660 million worth of stock in Getty Oil, to the J. Paul Getty Museum Trust. Legal conflicts over the will took years to resolve, but in 1982 the trust finally received all of the money that Getty. The trust began to add some new programs in 1982. In February 1983, it changed its name to the J. Paul Getty Trust.

In 1997, Barry Munitz became the president and CEO of the trust. He began work in January 1998, succeeding Harold M. Williams, the first president of the Getty Trust, who oversaw construction of the $1 billion Getty Center designed by architect Richard Meier.  With an endowment of $4.2 billion, the Getty Trust is the wealthiest art institution in the world.  Early in his tenure, Munitz reorganized the Getty Trust, closing two of the institution's six programs – the Getty Information Institute and the Getty Education Institute. To deal with long-run financial issues, he sought to cultivate relationships with donors and corporate partners. His leadership became increasingly controversial as the Getty Trust was embroiled in numerous controversies relating to the provenance of various antiquities in the Getty Museum's collections and Munitz' expense account. In the midst of an investigation by the California Attorney General,
Munitz resigned in 2006 and was forced to "forgo his severance package of more than $2 million, and reimburse the Getty Trust for $250,000 after alleged improprieties including lavish expense account spending."

On December 4, 2006, the trust hired of art historian James N. Wood, the former Director of the Art Institute of Chicago to be the trust's new president and CEO. Wood replaced Barry Munitz, who was forced to step down earlier in the year. In 2009, the trust's assets dropped in value, and Wood cut nearly 100 employees at the trust's various operations, most at the Getty Museum. Fees for parking at the museum and the Getty Villa were raised by 50% to $15. Wood died suddenly of natural causes on June 12, 2010.  In May 2011, the trust hired  James Cuno, director of the Art Institute of Chicago as president and chief executive of the Getty Trust, to take office in August.

Programs
The J. Paul Getty Museum is an art museum. It has two locations, one at the Getty Center in Los Angeles, California, and one at the Getty Villa in Pacific Palisades, Los Angeles, California. The museum at the Getty Center contains "Western art from the Middle Ages to the present;" its estimated 1.3 million visitors annually makes it one of the most visited museums in the United States. The museum at the Getty Villa contains art from "ancient Greece, Rome, and Etruria". The museum started as J. Paul Getty's personal art collection.

The Getty Foundation was originally called the "Getty Grant Program," which began in 1984 under the direction of Deborah Marrow. The J. Paul Getty Trust can spend up to 0.75% of its endowment on gifts and grants; by 1990 the Getty Grant Program (then based in Santa Monica) had made 530 grants totaling $20 million to "art historians, conservators and art museums in 18 countries". For example, a foundation grant funded the restoration of the Cosmati Pavement in the floor of Westminster Abbey. For many years, the foundation conducted the Getty Leadership Institute (GLI).  The major GLI program is the Museum Leadership Institute (MLI), formerly known as the Museum Management Institute, which "has served close to 1,000 museum professionals from the United States and 30 countries worldwide". However, effective on January 2, 2010, the GLI was transferred to the Claremont Graduate University in Claremont, California and was renamed "The Getty Leadership Institute at Claremont Graduate University".

The Getty Research Institute (GRI), located at the Getty Center in Los Angeles, California, is "dedicated to furthering knowledge and advancing understanding of the visual arts".  GRI maintains a research library, organizes exhibitions and other events, sponsors a residential scholars program, publishes books, and maintains electronic databases including a Semantic Web service. The GRI was originally called the "Getty Center for the History of Art and the Humanities", and was conceived as early as 1983. Among other holdings, GRI's research library contains about 900,000 volumes of books, periodicals, and auction catalogs; special collections; and two million photographs of art and architecture. The library also includes the trust's "Institutional Archives" which document the activities of the trust's various programs.

The Getty Conservation Institute (GCI) is headquartered at the Getty Center but also has facilities at the Getty Villa, and commenced operation in 1985. The GCI is a private international research institution dedicated to advancing conservation practice through the creation and delivery of knowledge. It "serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field" and "adheres to the principles that guide the work of the Getty Trust: service, philanthropy, teaching, and access". GCI has activities in both art conservation and architectural conservation. GCI scientists study the deterioration of objects and buildings, and how to prevent or stop such deterioration. GCI has also been involved with long-term education programs, such as establishing a Master's degree program in Archaeological and Ethnographic Conservation in collaboration with the University of California, Los Angeles.

From 1983 to June 1999, the Trust ran the Getty Information Institute (GII) which sought to collect electronic information to serve cultural heritage institution and researchers. Together with the American Council of Learned Societies GII sought to build a broad coalition of non-profits to establish a National Initiative for a Networked Cultural Heritage. Upon the dissolution of the GII, its data bases were transferred to the Getty Research Institute.

Governance
The Getty Trust Indenture dated December 2, 1953 made a California charitable trust for "the diffusion of artistic and general knowledge." The trust is governed by a 13-member board of trustees. Trustees are elected to serve four-year terms, with a maximum limit of three terms. The board is self-perpetuating with the board electing or re-electing the trustees. The board holds an annual meeting in May or June of each year. Although the board conducts most of its work through committees, a number of important decisions are reserved for the entire board including approval of any art acquisition costing more than $1 million.

On October 2, 2006, the California Attorney General issued a report following an investigation of the trust and its operations. At the close of the investigation an independent monitor was hired to assure proper governance and expenditures of the trust. On May 7, 2008, the Attorney General closed the monitoring process.

The trust was hurt by the economic downturn following 2007 and has reduced its annual budget by 14%. In 2007, the trust had $6.4 billion in endowment, but this amount dropped to $4.5 billion in 2009. In 2009, the trust had $300 million in expenses down from $349 million in 2008. For example, GRI co-produced the Avery Index to Architectural Periodicals with the Avery Architectural and Fine Arts Library, but transferred that activity to Columbia University on July 1, 2009.

References

Other websites

 Hoovers Online Article
 Records and archives administrative records, 1980–1990 The Getty Research Institute, Los Angeles, California. The records reflect the early development of the records management and archives policies and practices for the emerging J. Paul Getty Trust.
 Press relations records, 1954–2007 The Getty Research Institute, Los Angeles, California. The records comprise press releases and press clippings issued by and about the J. Paul Getty Trust and J. Paul Getty Museum, 1954–2007.

J. Paul Getty Trust


The wild water buffalo (Bubalus arnee), also called Asian buffalo, Asiatic buffalo and wild buffalo, is a large bovine native to the Indian subcontinent and Southeast Asia. It has been listed as Endangered in the IUCN Red List since 1986, as the remaining population totals less than 4,000. A population decline of at least 50% over the last three generations (24–30 years) is projected to continue. The global population has been estimated at 3,400 individuals, of which 3,100 (91%) live in India, mostly in Assam. The wild water buffalo is the most likely ancestor of the domestic water buffalo.

Taxonomy

Bos arnee was the scientific name proposed by Robert Kerr in 1792 who described a skull with horns of a buffalo zoological specimen from Bengal in northern India. The specific name arnee is derived from Hindi arnī, which referred to a female wild water buffalo; the term is related to Sanskrit áraṇya ("forest") and áraṇa ("strange, foreign.") Bubalus arnee was proposed by Charles Hamilton Smith in 1827 who introduced the generic name Bubalus for bovids with large heads, convex-shaped narrow foreheads, laterally bent flat horns, funnel-shaped ears, small dewlaps and slender tails.
Later authors subordinated the wild water buffalo under either Bos, Bubalus or Buffelus.

In 2003, the International Commission on Zoological Nomenclature placed Bubalus arnee on the Official List of Specific Names in Zoology, recognizing the validity of this name for a wild species. Most authors have adopted the binomen Bubalus arnee for the wild water buffalo as valid for the taxon.

Only a few DNA sequences are available from wild water buffalo populations. Wild populations are considered to be the progenitor of the modern domestic water buffalo, but the genetic variation within the species is unclear, and also how it is related to the domesticated river and Carabao swamp buffaloes.

Characteristics

The wild water buffalo has an ash-gray to black skin. The moderately long, coarse and sparse hair is directed forward from the haunches to the long and narrow head. There is a tuft on the forehead, and the ears are comparatively small. Its head-to-body-length is  with a  long tail and a shoulder height of . Both sexes carry horns that are heavy at the base and widely spreading up to  along the outer edges, exceeding in size the horns of any other living bovid. The tip of the tail is bushy; the hooves are large and splayed.
It is larger and heavier than the domestic water buffalo, and weighs from . The average weight of three captive wild water buffaloes was .
It is among the heaviest living wild bovid species, and is slightly smaller than gaur.

Distribution and habitat

The wild water buffalo occurs in India, Nepal, Bhutan, Thailand, and Cambodia, with an unconfirmed population in Myanmar. It has been extirpated in Bangladesh, Laos, Vietnam, and Sri Lanka. It is associated with wet grasslands, swamps, flood plains and densely vegetated river valleys.

In India, it is largely restricted to in and around Kaziranga, Manas and Dibru-Saikhowa National Parks, Laokhowa Wildlife Sanctuary and Bura Chapori Wildlife Sanctuary and in a few scattered pockets in Assam; and in and around D'Ering Memorial Wildlife Sanctuary in Arunachal Pradesh. A small population survives in Balphakram National Park in Meghalaya, and in Chhattisgarh in Indravati National Park and Udanti Wildlife Sanctuary. This population might extend into adjacent parts of Odisha and Gadchiroli District of Maharashtra. In the early 1990s, there may still have been about 3,300–3,500 wild water buffaloes in Assam and the adjacent states of northeast India. In 1997, the number was assessed at less than 1,500 mature individuals.

Many surviving populations are thought to have interbred with feral or domestic water buffaloes. In the late 1980s, fewer than 100 wild water buffaloes were left in Madhya Pradesh. By 1992, only 50 animals were estimated to have survived there.

Nepal's only population lives in Koshi Tappu Wildlife Reserve and has grown from 63 individuals in 1976 to 219 individuals in 2009. In 2016, 18 individuals were translocated from Koshi Tappu Wildlife Reserve to Chitwan National Park.

In and around Bhutan's Royal Manas National Park, a small number of wild water buffaloes occur. This is part of the sub-population that occurs in India's Manas National Park. In Myanmar, a few animals live in Hukaung Valley Wildlife Sanctuary.

In Thailand, wild water buffaloes have been reported to occur in small herds of less than 40 individuals. A population of 25–60 individuals inhabited lowland areas of the Huai Kha Khaeng Wildlife Sanctuary between December 1999 and April 2001. This population has not grown significantly in 15 years, and is maybe interbreeding with domestic water buffaloes.

The population in Cambodia is confined to a small area of easternmost Mondulkiri and possibly Ratanakiri Provinces. Only a few dozen individuals remain.

The wild water buffaloes in Sri Lanka are thought to be descendants of the introduced domestic water buffalo. It is unlikely that any true wild water buffaloes remain there today.

Wild-living populations found elsewhere in Asia, Australia, Argentina and Bolivia are feral domestic water buffaloes.

Ecology and behavior
Wild water buffaloes are both diurnal and nocturnal. Adult females and their young form stable clans of as many as 30 individuals which have home ranges of , including areas for resting, grazing, wallowing, and drinking. Clans are led by old cows, even when bulls accompany the group. Several clans form a herd of 30 to 500 animals that gather at resting areas. Adult males form bachelor groups of up to 10 individuals, with older males often being solitary, and spend the dry season apart from the female clans. They are seasonal breeders in most of their range, typically in October and November. However, some populations breed year round. Dominant males mate with the females of a clan who subsequently drive them off. Their gestation period is 10 to 11 months, with an inter-birth interval of one year. They typically give birth to a single offspring, although twins are possible. Age at sexual maturity is 18 months for males, and three years for females. The maximum known lifespan is 25 years in the wild. In the wild in Assam, the herd size varies from three to 30 individuals.

They are probably grazers by preference, feeding mainly on graminoids when available, such as Bermuda grass, and Cyperus sedges, but they also eat other herbs, fruits, and bark, as well as browsing on trees and shrubs. They also feed on crops, including rice, sugarcane, and jute, sometimes causing considerable damage.

Tigers and mugger crocodiles prey on adult wild water buffaloes, and Asian black bears have also been known to kill them.

Threats
A population reduction by at least 50% over the last three generations seems likely given the severity of the threats, especially hybridization; this population trend is projected to continue into the future. The most important threats are:
 interbreeding with feral and domestic water buffaloes in and around protected areas;
 hunting, especially in Thailand, Cambodia, and Myanmar;
 habitat loss of floodplain areas due to conversion to agriculture and hydropower development;
 degradation of wetlands due to invasive species such as stem twiners and lianas;
 diseases and parasites transmitted by domestic livestock;
 interspecific competition for food and water between wild water buffaloes and livestock.

Conservation
Bubalus arnee is included in CITES Appendix III, and is legally protected in Bhutan, India, Nepal, and Thailand.

In 2017, 15 wild water buffaloes were reintroduced into Chitwan National Park in Nepal to establish a second viable sub-population in the country.

References

External links

 IUCN Asian Wild Cattle Specialist Group: Water buffalo (Bubalus arnee)
 Wild Cattle Conservation Project
 Animal Info: Wild water buffalo
 Wildlife Trust of India February 2006: Wild buffalo faces extinction
 The Hindu February 2006: Project to conserve wild Asian buffalo

Water buffalo
Mammals of Bangladesh
Mammals of Bhutan
Mammals of Myanmar
Mammals of Cambodia
Mammals of India
Mammals of Nepal
Mammals of Thailand
Mammals described in 1792
Symbols of Chhattisgarh

br:Bubalus

Wild water buffalo


Citizen Law Enforcement Analysis and Reporting, also known as CLEAR, is a system of relational databases used by the Chicago Police Department (CPD) in Chicago, Illinois. These databases allow law enforcement officials to easily cross-reference available information in investigations and to analyze crime patterns using a geographic information system (GIS).  CLEAR includes a network of remotely operated cameras that exhibit a small amount of artificial intelligence, in that they can sense gunshots, loiterers, and suspicious activity, and alert the CPD.

Uses
The unified CLEAR system is used for a wide variety of tasks:
Checking driver's licenses
Checking names or addresses
Checking for outstanding arrest warrants
Communication between police officers
Entering evidence into an electronic tracking database
Retrieving information for a mission
Checking investigative reports

Origins
In the 1990s, the Chicago Police Department developed the Criminal History Records Information System (CHRIS).  This system was immediately unpopular with officers – so much so that a detective's newsletter warned that the IT employees who had developed the system had better "watch out" on the streets.  The Police Department soon teamed with Oracle Corporation to create CLEAR, a set of web-based applications to increase the functionality and usability of the CHRIS system.  CHRIS remains as a backbone, but CLEAR serves as the user interface.

Criticisms
A number of groups have expressed concerns about CLEAR, particularly regarding privacy and discrimination.  Critics have charged that the system uses racial profiling, and that constant electronic monitoring evokes images of a Big Brother–like world.

Some individuals have raised concerns about the cameras used in the CLEAR system.  Designed to be visible so as to deter criminal activities, the cameras sit in large checkered boxes with flashing blue lights.  Neighbors have complained that these boxes flash light into their bedrooms at night, scare away customers from local businesses, and stigmatize the local community.

References

External links
CLEAR Program Evaluation
IMEDGE System used for digitizing paper records and more here
GIS Description (WORD)

Government of Chicago


The Eastern Front during World War II or the Great Patriotic War was where the Axis countries and the Soviet Union fought. It began in 1941 with Operation Barbarossa and ended in 1945 by the Soviet soldiers capturing Berlin. Both the Axis countries and the Soviet Union had many millions of soldiers, and both sides lost millions.

Romania, Italy and other Axis members joined the war, and Finland fought the Continuation War against the Soviet Union in cooperation with the bigger Axis war.

The Eastern Front is called the "Great Patriotic War" in Russia, and it is sometimes called the "Soviet-German War" in the West.

About four fifths of the Axis soldiers killed in World War II died on the Eastern Front. Even more millions of Soviet soldiers died. Many war crimes were committed by German troops. The Eastern Front was the most important conflict in Europe during World War II.

The winter of 1941-1942 began unusually early. It was not noted as being particularly bad by the Soviets, but the Germans were accustomed to warmer temperatures and so were ill-prepared. The Germans' equipment broke down in the cold, and some men were still wearing summer uniforms, which they stuffed with newspapers in an attempt to stay warm. Many German soldiers froze to death in the extreme cold.

The partly successful Operation Barbarossa was followed in 1942 by the failed "Fall Blau" (Case Blue), which was intended to take the Caucasus region and its oilfields.

A few years later, the Soviets pushed the German soldiers and invaded the German-occupied territories in Eastern Europe. The Soviets then invaded Germany itself and fought the Battle of Berlin, the final battle before Germany's surrender. Although the Soviets eventually repelled the Germans, the tremendous cost was five times as many Soviet deaths as Germans.

Main events
22 June 1941 - German invasion.
22-29 June 1941 - Defense of Brest Fortress.
2 October 1941 - 7 January 1942 - Battle of Moscow;
5 December 1941 - counterattack starting.
 23 August 1942 – 2 February 1943 - Battle of Stalingrad.
 5 July - 23 August 1943 - Battle of Kursk.
16 April - 3 May 1945 - Battle of Berlin.

In culture

World War II

Eastern Front (World War II)


EJB QL or EJB-QL is a portable database query language for Enterprise Java Beans. It can run on any database. It is used in J2EE applications. It is more complex but less powerful than SQL.

History
The language has been inspired by the native Hibernate Query Language HQL.

Differences
EJB QL is a database query language similar like SQL. The used queries are somewhat different from relational SQL. It uses a so-called "abstract schema" of the enterprise beans, not the relational model. In other words, EJB QL queries do not use tables and their components. They use enterprise beans, their persistent state, and their relationships. The result of an SQL query is a set of rows with a fixed number of columns. The result of an EJB QL query is either a single object, a collection of entity objects of a given type, or a collection of values retrieved from CMP fields. One has to understand the data model of enterprise beans in order to write effective queries.

Related pages
HQL
SQL

References

Computer science
Query languages

EJB QL


Luis Ignacio Ayala Hernández (born January 12, 1978) is a Mexican former professional baseball pitcher. He played in Major League Baseball for the Montreal Expos/Washington Nationals, New York Mets, Minnesota Twins, Florida Marlins, New York Yankees, Baltimore Orioles, and Atlanta Braves. He is  and weighs . He bats and throws right-handed.

Career

Saraperos de Saltillo

In , as a 19-year-old, Ayala started playing in the Mexican Baseball League as a relief pitcher. He spent five years with the Saraperos de Saltillo, where he was 10–3 with a 2.92 earned run average (ERA). in 65 games. He was signed as an undrafted free agent by the Colorado Rockies in 1999 and spent time with their A ball team before the Rockies sold him back to Saltillo in 2001..

Montreal Expos / Washington Nationals

In 2002, he was purchased from Saltillo by the Montreal Expos. He played with the AAA Ottawa Lynx in 2002. At the end of the  season, he was signed by the Arizona Diamondbacks, but two months later returned to the Expos as a Rule 5 pick.

Ayala made his major league debut on March 31, 2003, for the Expos against the Atlanta Braves, working two innings of relief and allowing one run and four hits. His 10 relief wins that season were tied for 2nd most in MLB. Ayala pitched well for the Expos/Nationals from  through . Over the three years, he averaged 70 appearances per year, and compiled an ERA of 2.75, and led the National League with 62 holds. In  he ranked eighth in appearances with 81.

Ayala injured his elbow on the last pitch of a 2006 World Baseball Classic game. As a result, he underwent Tommy John surgery on March 30,  and was knocked out for the entire 2006 season. Ayala began the  season on the 60-day disabled list due to still recovering from the Tommy John surgery he previously had. After working eight rehab games in the minors, in which he allowed one run in 9-2/3 innings, on June 20, he was called up to the majors. He made his return with the Nationals on June 22, 2007, pitching 2/3 of an inning and giving up no runs and only one hit. For the season, he went 2–2 with 6 holds, one save, and a 3.19 ERA in 44 appearances.

In 2008, Ayala pitched in 62 games for the Nationals, going 1–8 with a 5.77 ERA.

New York Mets

On August 17, , Ayala was traded to the New York Mets for a player to be named later. Ayala had requested the trade weeks earlier because he wanted a change of scenery, due to personal problems. The Mets sent Anderson Hernández to the Nats to complete the deal.
On August 22, 2008, Ayala recorded his first save as a Met in a 3–0 victory over the Houston Astros.

In 19 games for the Mets, Ayala had a 5.50 ERA.

Minnesota Twins

On February 18, , Ayala signed a one-year deal with the Minnesota Twins. On June 22, Ayala was designated for assignment, and was released on July 2.  According to Twins manager Ron Gardenhire, Ayala was released because he was unhappy with his role on the team.  Gardenhire said of Ayala:  "When you walk into my office and tell me you don't like your role, and he talked about his contract for next year, you lose me right there. I don't deal with that. We're talking about winning now. That's why he's out the door and another guy's in there to pitch. And it's not because he's a bad guy. His theories are a little different."

Florida Marlins

On July 3, 2009, he signed a minor league deal with the Florida Marlins. He was added to the major league roster on July 12.  Ayala was designated for assignment on August 31.  In 10 appearances, Ayala went 0–3 with an 11.74 ERA.  After being DFA, Ayala said of the Marlins:  "It was terrible what they did.  I don't know why they called me up if they were going to do this. I think it's a lack of respect. I know it's a business, but for me, it's something they've handled poorly."

Los Angeles Dodgers

Ayala signed a minor league contract with the Los Angeles Dodgers on December 16, 2009. He was assigned to the Triple-A Albuquerque Isotopes to start the season. He pitched in 14 games for the Isotopes, mostly as a closer. He was 1–3 with a 4.50 ERA and four saves. He was released by the Dodgers on May 17 after he exercised an opt-out clause in his contract.

Arizona Diamondbacks

On May 20, 2010, Ayala signed a minor league contract with the Arizona Diamondbacks. On July 16, 2010, Ayala was released by the Diamondbacks organization.

Colorado Rockies

On August 27, 2010, Ayala signed a minor league contract with the Colorado Rockies. On November 22, 2010, Ayala became a minor league free agent.

New York Yankees

On February 9, 2011, Ayala signed a minor league contract with the New York Yankees.  On March 30 it was announced that Ayala had been added to the opening day roster.

Baltimore Orioles

On February 10, 2012, he signed a one-year major league deal with the Baltimore Orioles.

On October 29, the Orioles announced they intended to exercise their club option on Ayala worth $1 million. Ayala would've earned $1 million from the buyout had the Orioles not exercised the option.

Atlanta Braves

On April 10, 2013, Ayala was traded to the Atlanta Braves for minor league prospect Chris Jones.

Second Stint with Nationals

On February 7, 2014, Ayala signed a minor league deal with the Washington Nationals.

Second Stint with Orioles

The Nationals granted him his release on March 19, and he re-signed with the Orioles on March 20.

Toronto Blue Jays

He later exercised an opt out in his contract with the Orioles and signed a minor-league contract with the Toronto Blue Jays on June 6, 2014. He was activated by the Triple-A Buffalo Bisons on June 8, and released on July 4.

Olmecas de Tabasco

On July 19, 2014, Ayala signed with the Olmecas de Tabasco of the Mexican Baseball League.

Diablos Rojos del Mexico

On June 30, 2016, Ayala signed with the Diablos Rojos del Mexico of the Mexican Baseball League. He elected free agency on April 17, 2017.

Saraperos de Saltillo

On June 4, 2017, Ayala signed with the Saraperos de Saltillo of the Mexican Baseball League. He was released on January 18, 2018.

Bravos de León
On March 22, 2018, Ayala signed with the Bravos de León of the Mexican Baseball League. He was released on April 20, 2018.

References

External links

1978 births
2006 World Baseball Classic players
2009 World Baseball Classic players
Águilas de Mexicali players
Albuquerque Isotopes players
Atlanta Braves players
Baltimore Orioles players
Baseball players from Sinaloa
Bravos de León players
Buffalo Bisons (minor league) players
Colorado Springs Sky Sox players
Columbus Clippers players
Diablos Rojos del México players
Florida Marlins players
Gulf Coast Expos players
Gwinnett Braves players
Living people
Major League Baseball pitchers
Major League Baseball players from Mexico
Mexican expatriate baseball players in Canada
Mexican expatriate baseball players in the United States
Mexican League baseball pitchers
Minnesota Twins players
Mississippi Braves players
Montreal Expos players
New Orleans Zephyrs players
New York Mets players
New York Yankees players
Olmecas de Tabasco players
Ottawa Lynx players
Potomac Nationals players
Reno Aces players
Salem Avalanche players
Saraperos de Saltillo players
Scranton/Wilkes-Barre Yankees players
Sportspeople from Los Mochis
Tomateros de Culiacán players
Washington Nationals players
Yaquis de Obregón players

Luis Ayala (baseball)


Joseph Fisher (c. 1655–1705) was an English churchman, Archdeacon of Carlisle from 1702.

Life
Fisher was born at Whitbridge, Cumberland and matriculated at Queen's College, Oxford in Michaelmas term 1674; took his B.A. degree 8 May 1679, his M.A. 6 July 1682, was fellow of that college, and on the death of Christopher Harrison, 1695, was presented to the rectory of Brough or Burgh-under-Stanmore, Westmoreland. Before that time he had filled the office of lecturer or curate, living in a merchant's house in Broad Street, London, to be near his work. At this place he wrote, 1695, the dedicatory epistle to his former pupil Thomas Lambard, prefacing his printed sermon, preached 27 January 1694 at Sevenoaks, Kent, on 'The Honour of Marriage,' from Heb. xiii. 4.

On the promotion of William Nicolson to the see of Carlisle, the archdeaconry was accepted by Fisher 9 July 1702, and his installation took place 14 July. To the archdeaconry was attached the living of St. Cuthbert, Great Salkeld, which he held in conjunction with Brough till his death, which took place early in 1705. He was succeeded in office by George Fleming, later Sir George Fleming, bishop of Carlisle, 28 March 1705. He was buried at Brough.

References

1655 births
1705 deaths
People from Cumberland
Fellows of The Queen's College, Oxford
Archdeacons of Carlisle

17th-century Anglican theologians
18th-century Anglican theologians

Joseph Fisher (priest)


The Wicks Building is a historic commercial building on Courthouse Square in downtown Bloomington, Indiana, United States.  Built in the early twentieth century in a distinctive style of architecture, it has remained in consistent commercial use throughout its history, and it has been named a historic site because of the importance of its architecture.

History
A veteran of the Civil War, Colonel W.W. Wicks was a Bloomington businessman who owned one of the area's economically dominant limestone quarries.  Because of his prosperity, he decided to diversify his business; as a result, he chose to open a general store and to enter the retail market.  Unfortunately for Wicks, the destruction of his property by fire forced him to erect a new structure.  Purchasing property at 116 Sixth Street on Courthouse Square, he erected the present building in 1915.  One of Bloomington's first department stores, the Wicks Company operated out of the Sixth Street building until its closure in 1976.

Architecture

Three stories tall, the Wicks Building is a brick structure with a limestone facade.  Reflecting its commercial origin, the majority of the facade is glass: the middle and upper stories feature large windows from floor to ceiling, the entirety of the first floor (aside from the entrance) is composed of display windows, and the gap between the first and second stories is filled with a large leaded glass window.  Bracing the sides of the building are massive limestone piers; between them, the only non-glass surfaces in the facade are seven smaller limestone piers on the second and third stories, which separate the windows of those floors into eight bays.  Below the second story and above the third are prominent horizontal limestone piers: the lower carries large letters proclaiming "The Wicks Company," while the higher lacks written details but is far taller from top to bottom.

Large numbers of ornamental details grace the building's exterior.  Each of the sixteen large window bays of the second and third stories features five pieces of glass: a single large pane that occupies the vast majority of the bay's area, and four smaller panes (two above the large pane and two below) that divide the small remaining area.  Cast ironwork is also common on the facade: a small balustrade of iron has been placed at the bottom of each window, and the space between the second and third story windows is composed of large iron spandrels decorated with cartouches.  Similar details are reproduced in the stone of the building's summit; it is crowned by the tips of the piers, which rise slightly above the main roofline.

Aside from its facade, the Wicks Building is an undistinguished commercial structure, both in its other walls and in its ordinary rectangular shape.  Surrounded by brick buildings, the side walls are plain brick, and the rear is composed of a painted brick wall, a fire escape and ordinary windows, and a service entrance.  Covering the entire structure is a simple sloping roof.

Taken together, the overall design and the many details of the facade combine to form a distinctive example of the Chicago school of architecture.  Most buildings in this style are significantly taller than the three stories of the Wicks, but the placement and size of the windows, the roofline, and the general plan of the building are all similar to buildings considered typical of the Chicago school.

Historic designation
In 1983, the Wicks Building was listed on the National Register of Historic Places, due to its distinctive historic architecture.  Key to this designation is its unusual style: no other Bloomington building that survives to the present day was built according to the Chicago school.  Also of great significance is the building's rare degree of preservation: although the stonework deteriorated slightly over the building's first seventy years, the structure has remained structurally sound, and (unlike on surrounding buildings) virtually no changes to the exterior have been made since construction.  In the early 1980s, the building was restored and converted to offices. It is also a contributing property to the Courthouse Square Historic District, which is listed on the National Register.

References

Commercial buildings completed in 1915
Art museums and galleries in Indiana
Buildings and structures in Bloomington, Indiana
Chicago school architecture in Indiana
Defunct department stores based in Indiana
Department stores on the National Register of Historic Places
Individually listed contributing properties to historic districts on the National Register in Indiana
Commercial buildings on the National Register of Historic Places in Indiana
National Register of Historic Places in Monroe County, Indiana

Wicks Building


Manasses (died 15 December 1037), Count of Dammartin (Dammartin-en-Goële), son of Hilduin II, Count of Arcis-sur-Aube and Seigneur de Ramerupt.  He was a member of the House of Montdidier.

Manasses died in the battle of Ornel, near Etain, Bar-le-Duc, apparently part of an invasion of the Kingdom of Burgundy by Odo II, Count of Blois, after the death of Rudolph III, in an attempt by Odo to gain the crown of Burgundy.

Manasses married Constance, daughter of Robert II the Pious and his third wife Constance of Arles. There is some question that Constance was the child of Robert and Constance, the major proof of the issue by onomastics. They had three children:
 Odo, Count of Dammartin
 Hugh I, Count of Dammartin
 Eustachie de Dammartin

Upon his death, Manasses was succeeded as count of Dammartin by his son Odo.

Sources
Henri Moranvillé, Origine de la Maison de Ramerupt-Roucy, BEC, 1925
Europäische Stammtafeln

House of Montdidier
Manasses
1037 deaths
Year of birth unknown

Manasses, Count of Dammartin


Love's Boomerang (also known as Perpetua) is a 1922 British crime film directed by John S. Robertson. Alfred Hitchcock is credited as a title designer. The film is now lost.

Plot
As described in a film magazine, young Perpetua (Fosse), an orphan, is adopted by Brian McCree (Powell), an artist. The two go on a holiday tour through France where they meet Monsieur Lamballe (Byford), the owner of a circus. The circus elephant has been pawned by Lamballe, and the artist, seeking the discomfort in the eyes of Perpetua, buys the claim against the animal. The two wanders join the circus troupe. For several years the artist and girl travel with the circus, leading delightful vagabond lives. Later, Perpetua is sent to a convent and the discovery is made by the criminal Russell Felton (Miltern) that she is his abandoned daughter. The crook has been leading a youth, who is heir to some wealth, to physical destruction, and sees in Perpetua (Forrest) an opportunity to further assure himself of the fortune. The youth falls in love with the young woman who, urged by her father, marries him. Now Felton seeks to strengthen his scheme by forcing liquor on the youth, while Perpetua seeks to cure him of his cravings for drink. Hoping to hasten things, Felton poisons a drought which the young wife gives to her feverish husband. She is charged with murder and Felton's testimony results in a verdict of guilty. The dead youth had changed his will in Perpetua's favor, and Felton writes a confession and prepares to flee when a convict to whom Felton had promised money confronts him. In a gun duel both are killed. McCree, secretly working for Perpetua's freedom, meets her on her release, and they both realize their love for each other.

Cast
 Ann Forrest as Perpetua
 Bunty Fosse as Perpetua, as a child
 David Powell as Brian McCree
 John Miltern as Russell Felton
 Roy Byford as Monsieur Lamballe
 Florence Wood as Madame Lamballe
 Geoffrey Kerr as Saville Mender
 Lillian Walker as Stella Daintry
 Lionel d'Aragon as Christian
 Ollie Emery as Madame Tourterelle
 Amy Willard as Jane Egg
 Tom Volbecque as Auguste
 Frank Stanmore as Corn Chandler

See also
 Alfred Hitchcock filmography

References

External links

1922 films
1922 crime films
British crime films
British silent feature films
British black-and-white films
Films directed by John S. Robertson
Lost British films
1922 lost films
Lost crime films
1920s British films
1920s English-language films

Love's Boomerang


A constitutional referendum was held in Peru on 25 August 1919. The proposed reforms were approved by voters.

Background
On 7 April 1919 President-elect Augusto B. Leguía launched a presidential coup. On 10 July he issued two decrees, one calling Congressional elections for 24 August and one for a referendum on constitutional reform on the following day. The newly elected Congress would be able to discuss and supplement the constitution, but would be bound by the referendum result.

Amendments
The new constitution had 19 chapters. It provided for a presidential term of five years, with the President elected by Congress. Congress would be elected in whole every five years, whilst there would also be three Provincial Assemblies. It also provided for six years of free and compulsory primary education, limited the death penalty to cases of murder and treason, and ensured that martial law could not curtail personal freedoms.

Aftermath
After being approved by voters, the constitution was adopted by Congress on 27 December 1919 by a vote of 79 to 0.

References

Referendums in Peru
Peruvian constitutional
Constitutional referendum
Constitutional referendums

1919 Peruvian constitutional referendum


The Bideford witch trials began in 1682. Three women from Bideford were hanged - their crime was witchcraft. They were the last women in England to be executed for this crime. The women the were hanged to death were Temperance Lloyd, Susanna Edwards and Mary Trembles. At that time, Bideford was an important part of a growing transatlantic trade route with Newfoundland and Virginia. At the time of the deaths, the plague and smallpox epidemics, by 1680 the crowded town had a population of 2,600. Religion and folklore played key parts in the beliefs of those living in the 17th Century. To keep the people interested, there was also a reviving interest in and fear of witchcraft.

1682
1680s in Europe
17th century in England
Trials

Bideford witch trial


In Ancient Greece, the Gorgoneion () was originally a magic pendant showing the Gorgon's head. (The use of magic against evil, or bad luck is generally called Apotropaism).
The gorgoneion was linked with the gods Zeus and Athena; both are said to have worn it as a pendant. It was also popular as a royal symbol, worn on shields and capes. These can be seen on the Alexander Mosaic and the Gonzaga Cameo.

Evolution
Homer wrote about the Gorgon on four occasions, but only about the head, as if the creature had no body. Jane Ellen Harrison notes that "Medusa is a head and nothing more...a mask." The body was added many years later. Up to the 5th century BC, the head was shown as being very ugly, with her tongue sticking out, boar tusks, puffy cheeks, her eyeballs staring straight ahead and the snakes twisting all around her.

The direct frontal stare was highly unusual in ancient Greek art. In some cases a beard, (probably representing streaks of blood) was added to her chin, making her appear as a wild and sexual god, like Dionysus.

Gorgoneia painted on the shields of warriors on mid-5th century Greek vases are not as ugly, strange or frightening. By that time, the Gorgon had lost her tusks and the snakes were rather stylized. The Hellenistic marble known as the Medusa Rondanini shows how the Gorgon changed over time into a beautiful woman.

Usage

Gorgoneia are first seen in Greek art at the beginning of the 8th century BC. One of the earliest is on a coin found during an archaeological dig at Parium. Other early 8th-century examples were found at Tiryns. There is a similar image from the Knossos palace, dating from the 15th century BC. Marija Gimbutas even argues that "the Gorgon extends back to at least 6000 BC, as a ceramic mask from the Sesklo culture illustrates".

In the 6th century BC, gorgoneia of a basic type of "lion mask" were found all over Greek temples, especially in and around Corinth. Pedimental gorgoneia were common in Sicily; probably the earliest one is in the Temple of Apollo in Syracuse. Around 500 BC, they stopped being used to decorate monumental buildings, but were still shown on parts of the roof tiles (antefix) of smaller buildings throughout the next century.

As well as temples, the Gorgon image can be found on dress, dishes, weapons, and coins across the Mediterranean region from Etruria to the Black Sea coast. The Gorgon coins were made in 37 cities, making her image on coins second only to some of the main Greek gods. On mosaic floors, the gorgoneion was usually near the door, as if guarding it. On Attic kilns, a gorgoneion over the kiln door protected from accidents.

The Gorgon image remained popular even in Christian times, especially in the Byzantine Empire, including Kievan Rus (now the Ukraine). The image was used in Western Europe by the Italian Renaissance artists. In the 20th century, the gorgoneion was used by Gianni Versace as a logo for his fashion company.

Origin
Gimbutas says the gorgoneia are part of the Mother Goddess cult linked to "dynamic life energy". She said the gorgoneion is a typical European image. Jane Ellen Harrison, on the other hand, claims that many primitive cultures use similar ritual masks. These are meant to scare the owner from doing something wrong, or, as she terms it, to make an ugly face at him.

Gallery

Related pages
Gorgon
Medusa
Pendant

References

Anthropology
Superstitions
Ancient Greek art

Gorgoneion


David Alan Barclay is a British puppeteer who had worked on some projects of The Jim Henson Company. He has been at the cutting edge of animatronic puppetry since 1979. Barclay, who hails from London, is a Master Puppeteer, Animatronic Designer and Supervisor, a CG key frame Animator, and Director and Producer of animatronic and animation projects for film and television.

Biography
Barclay was born to a Scottish mother and an English father. At age four, he performed marionettes, glove and rod puppets with his parents, Ann and Michael who formed Pex Puppet Theatre focusing their acting talents on live puppetry. When he was seven, Barclay performed traditional Punch and Judy at the British Puppet Guild, for documentary cameras. Throughout his childhood, he designed built and performed dozens of his own puppets and continued performing Punch and Judy into his late teens. He worked for other live puppet companies, Jactito, directors James and Joan Barton, and Cap and Bells, director Violet Philpott. His first work in front of camera was a brief appearance as a large dog in the British classic comedy series The Morecambe and Wise Christmas Show. This was in 1978 for Thames TV. In July 1979 he was offered the position of make up assistant working for Stuart Freeborn on the second Star Wars film The Empire Strikes Back. The main challenge was a state-of-the-art hand puppet named Yoda, and Barclay assisted building duplicate parts, seaming the foam latex head skins, etc., but when assistant puppeteer Wendy Midener Froud became allergic to something on the set, he was drafted in as a puppeteer. Dave performed the cable controlled facial movements for Muppet master Frank Oz, the chief puppeteer. When Oz had to return to New York City to shoot Sesame Street, as the production had run over, Oz nominated Barclay to take over as chief puppeteer for Yoda. Barclay was then invited to become the first British puppet maker on a new adventurous project by Jim Henson and Frank Oz, The Dark Crystal. In November 1979, he joined a handful of Henson's American puppet makers, to develop puppets that would finally become the entire cast of the movie. And so started the long-term relationship and desire to push the envelope in animatronic performance art.

Filmography
 Alice in Wonderland - The Dormouse (puppeteer), Gryphon (puppeteer)
 Are We There Yet? - Satchel Paige Bobblehead
 Labyrinth - Didymus (puppeteer), Firey 1 (puppeteer)
 Snow Dogs - Demon (animatronic performer)
 Return of the Jedi - Jabba the Hutt (puppeteer)
 The Muppet Christmas Carol - Additional Muppet Performer
 The Muppets - Additional Muppet Performer
 The Odyssey - Polyphemus (face performer)

Television
 Studio DC: Almost Live - Additional Muppets
 Fraggle Rock - Sprocket (British and French versions), Travelling Matt (French and German versions)
 The Storyteller - Devil ("The Storyteller and Death," puppeteer)

Events
 The Muppets Take the Bowl - Additional Muppet Performer (Live show at the Hollywood Bowl, Sept. 8–10, 2017)
 The Muppets Take the O2 - Additional Muppet Performer (Live show at the O2 Arena, Jul. 13–14, 2018)

Crew work
 Cats & Dogs - Animatronics Effects Supervisor, Lead Performance Coordinator
 Cats & Dogs: The Revenge of Kitty Galore - Animatronics Effects Supervisor, Puppeteer
 Dreamchild - Puppet Maker
 Little Shop of Horrors - Principal Plant Performer
 Looney Tunes: Back in Action - Puppeteer, Technical Consultant
 Lost in Space - "Blawp" Animation Unit
 Scooby-Doo! The Mystery Begins - Digital Puppeteer
 The Empire Strikes Back - Assistant Puppeteer
 Stuart Little 2 - Animatronics Supervisor
 Team America: World Police - Puppeteer
 The Flintstones in Viva Rock Vegas - Chief Puppeteer
 The NeverEnding Story III''' - Key Puppeteer
 Where the Wild Things Are - Puppeteer
 Who Framed Roger Rabbit'' - Chief Puppeteer (UK version)

External links

 official website

British puppeteers
Living people
Year of birth missing (living people)
Place of birth missing (living people)

David Barclay (puppeteer)


Hassan Abbas (; born 24 January 1974 in Homs, Syria) is a retired professional Syrian football midfielder who last played for Al-Karamah in the Syrian Premier League the top division in Syria.

Abbas's career began in the youth system of Al-Karamah before starting his professional career with the senior team. He has won many trophies in his career including five Syrian Premier League titles, six Syrian Cups, one Super Cup and helped the club reach the final of the AFC Champions League for the first time. Al-Karamah were defeated 3–2 on aggregate in the final by Jeonbuk Hyundai Motors of the K-League. Three years later, he was a key factor in his side's first-ever accession to AFC Cup Final. Al-Karamah were defeated 2–1 in the final of the second most important association cup in Asia by Kuwait SC of the Kuwaiti Premier League.

Abbas began his rise in the international scene at youth level and represented Syria at the 1994 AFC U-19 Championship that Syria won, he also represented Syria at the 1995 FIFA U-20 World Cup. In addition, he competed with the senior team in the 1996 AFC Asian Cup and played again for Syria in the 1998 FIFA World Cup qualification.

References

External links

1974 births
Living people
Footballers from Homs
Syrian men's footballers
Men's association football midfielders
Syria men's international footballers
Al-Karamah SC players
1996 AFC Asian Cup players
Syrian Premier League players

Hassan Abbas


The House of Providence is a Roman Catholic charitable institution in the city of Toronto, Ontario, Canada that has been active since 1857. Commissioned by Armand-François-Marie de Charbonnel, the second Roman Catholic Bishop of Toronto, the institution provides help to "the needy, the immigrants, the old, the invalid, and destitute".

The House of Providence's original building on Power Street, just south of the St. Paul's Basilica, was for many years a landmark in the city of Toronto. Designed by architect William Hay, construction on the building began in 1855 and was completed in 1858. The organization began to use the building in 1857 after the majority of the construction was completed. In 1962 the building was demolished after an order from the city was given declaring the need for space for the Richmond Street ramp of the Don Valley Parkway to be built. At that time the ministry was relocated to its current location at Providence Villa and Hospital in Scarborough.

Sources
House of Providence at the Toronto Public Library

Demolished buildings and structures in Toronto
1857 establishments in Canada West
Buildings and structures demolished in 1962

House of Providence


Poul Dalby Andersen (April 19, 1922 – May 29, 2006) was a printer who served in the Danish resistance movement during World War II and later published one of the remaining two Danish-language newspapers in the United States.

Background
Andersen was born in Ringkøbing, a small town in Ringkøbing-Skjern municipality on the west coast of Denmark. His grandfather was a co-founder of the town's daily newspaper. Andersen's father was a typesetter, and Andersen learned the printing trade in the newspaper's offices.
Andersen came to the United States in 1949 and worked on an uncle's farm in Ohio. A friend encouraged him to move to Santa Monica, California. In 1950 Andersen was hired by the Los Angeles Times as a printer.

Career
Andersen was a conversationalist and a soccer fanatic, two traits that helped him as a member of the Danish resistance.

"My husband was a chatterbox, and he loved soccer, so he could bicycle down to a neighboring town to play soccer and the Germans would never think twice about it," Judy Andersen told the Los Angeles Times. "He would ask the guards, 'What are they doing in the field there?' and learn that [the Germans] were building gun emplacements."

In 1975 Andersen bought Bien, a San Francisco-based Danish-language newspaper. Andersen moved the newspaper to Burbank, California, to allow him to work on the paper after completing his shift at the Times. Bien'''s circulation reached a high of 5,300 during Andersen's tenure as publisher.

Andersen continued to use a Linotype machine to set the type for each edition of Bien long after other newspapers had switched to computerized typesetting. In 1997 the California Newspaper Publishers Association said Bien'' was probably the last newspaper in California being printed with Linotype.

Andersen was knighted in 1982 by Queen Margrethe II of Denmark for his efforts in uniting the Danish American community. Andersen died in Los Angeles from complications of Alzheimer's disease.

References

1922 births
2006 deaths
Deaths from Alzheimer's disease
Deaths from dementia in California
Danish resistance members
Danish emigrants to the United States
Knights of the Order of the Dannebrog
People from Ringkøbing-Skjern Municipality
20th-century American newspaper publishers (people)
21st-century Danish politicians

Poul Andersen (resistance member)


The Indian Spitz is a spitz dog breed belonging to the utility group. The Indian Spitz was one of the most popular dogs in India in the 1980s and 1990s when India's import rules made it difficult to import dogs of other breeds.

History

The Indian Spitz was first introduced by the occupying British during the 19th century and thought to have descended from the German Spitz. After years of breeding, they were able to create a breed that could cope with the heat of Indian summers and retained the intelligence and adaptability of the German breed. Resembling a Samoyed and Pomeranian, the Indian Spitz was well-suited to the Indian climate and quickly became popular.

The Indian Spitz became popular due to restrictive import rules imposed by the Indian Government in the 1980s and 1990s. Foreign imports were hard to access, and Indians turned to the indigenous and local breeds. The Indian Spitz is similar to the European Spitz, though it has adapted to a warmer climate.

Appearance

Indian Spitzes are small dogs - around 33 cm (13 in) at the withers - with a soft chest, fair tail, and a milky white double coat. Their eyes have visible irises that can be green or blue, giving them an unusually expressive face.

The original Spitz was bred for hunting in cold conditions, and their white coloring reflects this. Although the same conditions are not found in India, their coloring is attractive and has remained through the years. Some can be white and brown.

Pointy fox-like ears make this breed especially expressive. Thick fur covers the outside of the ears and much of the inside as well, requiring extra attention when it comes to care and grooming.

The tail of an Indian Spitz curls over their back and is quite fluffy. Their legs are only slightly longer than their bodies, which makes their heads look large. Indian Spitzes may be one of the easiest dogs to live with, making them one of the most popular family dog among Indian breeds. They are easily housebroken and trained. Grooming and exercise are relatively low maintenance, and they are highly adaptable dogs. They are equally comfortable in small apartments and in large, open houses. However, they do need moderate exercise.

Size variations
Generally Indian Spitzes are divided into two categories, the Smaller Indian Spitz or Lesser Indian Spitz (roughly 5-7 kg in weight and 22-25 cm at the withers), and the Bigger Indian Spitz or Greater Indian Spitz (roughly 12-20 kg in weight and 35-45 cm at the withers).

The Indian Spitz is generally milky white but can also be found in solid colours like brown and sometimes (very rarely) a mix of black and white similar to the Pomeranian.

Grooming
While this breed likes to keep themselves clean, they need regular brushing to keep their long coats in good condition. Their bath schedules can range from twice a month to once a month, since their fur can easily dry out if bathed too often.

Shedding is a problem with Indian Spitz, as their European heritage means they get rid of their thick winter coat in the warmer months, characteristic of many Spitz breeds such as the Japanese Spitz, the Pomeranian or the Samoyed. Their coats are double layered, so proper grooming requires a double-row brush to reach the undercoat.
Being a dog with a double-layered coat, it is advised not to shave a matted Indian Spitz, as it can result in patchy hair growth.

Differences between the Pomeranian and Indian Spitz

The Indian Spitz often gets mistaken for a Pomeranian, a related spitz from Pomerania. However, they are quite distinct: the Indian Spitz has a shorter coat and is bigger. They share a lot of physical characteristics because they are very closely related, being only a few hundred years apart in lineage. A Pomeranian has rounded ears, a flatter face, weighs less (should not exceed 3–4 kg), and has a thicker coat. The Indian Spitz is bigger and heavier compared to Pomeranian. In spite of these differences, in India most people refer to the Spitz as a Pomeranian.

Some of the basic differences are as follows:

 The Pomeranian is a Toy breed. It is lighter than even a Lesser Indian Spitz, both in height and weight, which typically weighs less than 10 pounds and is rarely over 12 inches in height.
 The Pomeranian has a much flatter face than an Indian Spitz, which has a more conical snout.
 The coat of a Pomeranian is generally denser and thicker. It is often difficult to see individual hairs. However, an Indian Spitz's coat is less dense and it is easier to see the individual hair follicles.
 The Pomeranian's ears are generally not as pointed or elongated as that of an Indian Spitz.

Health
The Indian Spitz has a high risk of developing corneal ulceration.

In Popular Culture

Famous Indian Spitz
Redo, the dog actor who played 'Tuffy' in the 1994 romantic comedy 'Hum Aapke Hain Koun', was an Indian Spitz. Redo died in 2000 at the age of 12.

See also
 Dogs portal
 List of dog breeds
 List of dog breeds from India

References

External links

Spitz breeds
Dog breeds originating in India

Indian Spitz


Chandramukhi 2 () is a 2023 Indian Tamil-language comedy horror film written and directed by P. Vasu, and produced by Subaskaran Allirajah under the banner of Lyca Productions. It is a sequel to Chandramukhi (2005). The film stars Raghava Lawrence in a dual role as doppelgangers alongside with Kangana Ranaut and Lakshmi Menon in the principal roles along with an ensemble supporting cast, that includes Vadivelu who reprises his role from the original, Raadhika Sarathkumar, Mahima Nambiar, Srushti Dange, Rao Ramesh, Subiksha Krishnan, Suresh Chandra Menon, Ravi Mariya, Vignesh, and Y.G.Mahendran in pivotal roles.

The film was officially announced in June 2022. Principal photography began in that July, and wrapped by mid-August 2023. The music is composed by M. M. Keeravani, while the cinematography and editing are handled by R. D. Rajasekhar and Anthony, respectively.

Chandramukhi 2 was released on 28 September 2023 to negative reviews from critics, and emerged a major commercial failure at box office.

Plot
Ranganayaki, the matriarch of a wealthy family, navigates through a series of misfortunes alongside her family members. Her household includes her elder brother Suresh Menon, his son Ravi Mariya with his family, her younger brother Vignesh and his family. She also has four daughters: Gayathri, Priya, and Divya. The family faces a major setback when her elder daughter elopes and is later tragically killed in a plane crash along with her spouse. Further calamities include a mysterious fire at the family's factory and Divya getting paralyzed in a car accident, which postpones her engagement.

Seeking solutions, Ranganayaki consults their family astrologer, Guruji, who advises a prayer at their ancestral temple in Vettaiyapuram. The prayer requires the presence of the entire family, including the deceased elder daughter's orphaned children, who are now under Pandiyan's care. Although hesitant, the family follows Guruji's advice and heads to Vettaiyapuram.

Upon arrival, they lease the Vettaiyapuram Palace for 48 days from its new caretakers, Murugesan and Senthil's uncle, and move in despite Murugesan's warning against venturing into the southern part of the palace. Curiosity leads Priya into the forbidden area, where she unwittingly releases the spirit of Chandramukhi from a rangoli. Meanwhile, the family discovers their temple in ruins.

Pandiyan takes on the task of cleaning the temple, but an unfortunate turn of events leads to a fire breaking out within the temple premises. This fire inadvertently unleashes the spirit of Vettaiyan, much to the dismay of Chandramukhi, causing a wave of chaos to sweep through the palace. Upon his return, Pandiyan shares the unnerving news with the family that Chandramukhi has possessed one of the women in the household. Murugesan reveals that a similar incident had occurred 17 years prior. When Guruji arrives, Murugesan elaborates on Ganga's previous psychological affliction, where she imagined herself as Chandramukhi. However, now, the real Chandramukhi has been unleashed, escalating the threat.

The family then proceeds to Vettaiyan's courtroom, a significant location where Ramachandra Achariyar, along with Saravanan, had previously exorcised Ganga. Upon inspection, Guruji discerns that someone had already entered the forbidden room, thereby unleashing Chandramukhi's spirit for real. Initial suspicions fall on Priya due to her earlier explorations, but it's soon revealed that Divya is the one possessed. A miraculous event follows as Divya regains her ability to walk, which elates her but leaves the family in distress. Guruji explains that Divya's possession was facilitated by a bead from Chandramukhi's anklet that she had worn, as she had a penchant for collecting antiques.

In a twist of fate, Pandiyan stumbles upon a secret room below Vettaiyan's room and becomes possessed. Divya, under the possession of Chandramukhi, attempts to harm Ranganayaki and her niece and nephew, but her attempts are thwarted.

Delving into the past, Guruji learns from a sage about the bitter enmity between Vettaiyan and Chandramukhi. Sengottaiyan, who was a commander in King Vettaiyan's army, had conquered the Vijayanagara Kingdom and was smitten by a dancer named Chandramukhi, whom he forcibly took to Vettaiyapuram. When King Vettaiyan too becomes enamored with Chandramukhi's beauty, it ignites a confrontation between him and Sengottaiyan, resulting in Vettaiyan's beheading. Subsequently, Sengottaiyan proclaims himself as king, adopting the name Vettaiyan. Despite her pleas about her love for Gunasekaran, Vettaiyan keeps Chandramukhi captive. In a tragic event, Gunasekhar is beheaded by Vettaiyan and Chandramukhi is burnt alive. However, she returns as a vengeful ghost, tormenting Vettaiyan to the point of despair. Unable to bear the torment, Vettaiyan retreats to his secret room, eventually meeting his end through a fatal snake bite. Through the sage, Pandiyan learns that he became possessed by Vettaiyan after sitting on his throne.

As the narrative reaches its climax, a fierce battle unfolds between Divya (possessed by Chandramukhi) and Pandiyan (possessed by Vettaiyan). In a sacrificial act, the sage intervenes to save Pandiyan and puts an end to Chandramukhi's reign of terror. Guruji later reveals to Pandiyan that the sage had collected Chandramukhi's ashes and sealed them in her portrait. The sage, who was cursed by Chandramukhi and Vettaiyan (Sengottaiyan) to be beheaded only by her, saw this as an opportunity to end his curse and willingly sacrificed himself to cease the torment.

With the spirits laid to rest, Ranganayaki's family finally performs the prayer at their deity temple. Upon completing the prayer, the family departs from the palace with Pandiyan. The ordeal concludes on a hopeful note as Pandiyan reunites with Lakshmi, marking an end to the family's harrowing yet enlightening journey.

Cast

Production

Development
P. Vasu had plans for a sequel to Chandramukhi as early as September 2012. In January 2020, Vasu stated that he had completed the script for the sequel and a producer has come forward to produce the film. It was reported that Raghava Lawrence would play main role in the film, which was confirmed in April by himself via Twitter, where also stated the film is produced by Sun Pictures. In June 2022, Lawrence announced that Lyca Productions is producing the film, Vadivelu joined the casting and editing, cinematography and art works would be handled by Anthony, R. D. Rajasekhar and Thota Tharani. Kangana Ranaut met Vasu to discuss another film. While inquiring Vasu about who he cast for the role of Chandramukhi, Vasu told Ranaut that no one had been cast yet and Ranaut asked Vasu if she could play the role.  She was subsequently announced as the lead female in November. Ranaut was reportedly paid , and Lawrence . Action Choreography,Cinematography and editing are handled by Kanal Kannan,R. D. Rajasekhar and Anthony, respectively. Kala was chosen as the dance choreographer, again as she choreographed for the first film.

Filming
Principal photography commenced in July 2022 in Mysore, and wrapped up the first schedule in August. In March 2023, Ranaut joined the team to shoot the climax song, which she was seen rehearsing in January, and wrapped up her portions the same month. Raadhika had wrapped her portions in May. In June, the team had announced that principal photography wrapped. A song sequence was later shot in August, marking the conclusion of filming.

Post-production
In June, the team announced that the film is releasing on Ganesh Chaturthi. Lawrence started dubbing his portions in July.

Music

The music and background scores are composed by M. M. Keeravani, in his first Tamil film after 20 years; as his last Tamil film was Student Number 1 (2003). The film also marks as his second collaboration with Vasu and first with Raghava. The audio rights for the film were purchased by Sony Music India. The first single "Swagathaanjali" was released on 11 August 2023, The second single "Moruniye" on 22 August 2023.

Keeravani later stated that there are remaining nine songs to be released apart from the first single that was launched earlier, bringing a total of 10 songs for the film. The audio launch was held at Jeppiaar Engineering College on 25 August 2023.

Release and reception

Release
Chandramukhi 2 was initially scheduled to release on 15 September 2023, coinciding with Ganesh Chaturthi, but it was postponed to 28 September due to 450-shots from the film disappearing during post-production works, which were found after four days.

Home media
The film was premiered on Netflix from 26 October 2023.

Box office
Made on a budget of – crore, Chandramukhi 2 needed to earn  crore at the domestic box office to break-even. However, in its theatrical run the film grossed just  crore globally, emerging as a commercial failure.

Critical response
The film received negative reviews from critics.

Priyanka Sundar of Firstpost gave the film 1 out of 5 stars and wrote, "Forget refreshing storyline, with such lazy writing, it truly would be better to tune into the previous film on OTT, instead of spending currency on the ever-rising ticket prices". Janani K from India Today gave the film 1.5 out of 5 stars and wrote, "Chandramukhi 2 is mediocrity at its best. We get to hear a romantic number that goes 'Podhum Podhum' () in the second half. We feel you! Podhum!". M. Suganth of The Times of India gave the film 1.5 out of 5 stars and wrote, "Those who just want a momentary diversion might find it passable while those looking for something more will feel underwhelmed". Kalyani Pandiyan S of Hindustan Times in his review praised Menon's performance in the film but criticised Lawrence's comic timing and noted that Ranaut could not perform to the level of Jyothika. Siby Jeyya of India Herald in his scathing review called the story of the film a "mess" and panned the performances of Lawrence and Ranaut. Sowmya Rajendran of The News Minute gave the film 1 out of 5 stars and wrote, "The film unfolds in TV serial fashion with close-ups, reaction shots, and melodramatic dialogues while riding heavily on M. M. Keeravani's nostalgia-inducing score".

In a negative review, the critic at Hindu Tamil Thisai warned the makers against using the name of a work that has been well received in all its forms like Manichitrathazhu, Apthamitra and Chandramukhi and making a film that has not even a single memorable feature. Sruthi Ganapathy Raman of Film Companion called it a "poorly-acted" sequel and wrote, "Apart from its title card and Keeravani's accompanying haunting note, nothing about the sequel reminds us of the collective horror we felt 15 years ago". Srinivasa Ramanujam of The Hindu called it a "mildly" entertaining film. Saki Yutukuri of Telangana Today wrote, "Chandramukhi 2 can be called either a remake or a copy film, but definitely not a sequel as it has every element similar, even at the ground level. Kirubhakar Purushothaman of The Indian Express gave the film 1 out of 5 stars and called it a "shoddy" horror film which is tainting the legacy of the original film. Baradwaj Rangan called it a "generic" sequel, criticising its similarities to its predecessor. Anusha Sundar of Cinema Express gave the film 1.5 out of 5 stars and wrote, "Chandramukhi 2 fails to bring anything fresh and ends up delivering a colour-remastered copy of its predecessor". B. V. S. Prakash of Deccan Chronicle gave the film 2 out of 5 stars and dismissed it as "tacky" sequel of an evergreen hit.

References

External links

2023 comedy horror films
2020s ghost films
2020s Tamil-language films
Films about spirit possession
Films directed by P. Vasu
Films scored by M. M. Keeravani
Films shot in Mysore
Indian comedy horror films
Indian ghost films
Indian sequel films

Chandramukhi 2


Wallachia (Walachia, Valachia, Valahia) is a historical and geographical region of Romania.

Wallachia may also refer to:

Places
Generally regions inhabited by the Wallachs or Vlachs:
 "Bogdano-Wallachia" (Bogdan's Wallachia), "Small Vallachia", "Valachia Minor", "Moldo-Wallachia", "Maurovlachia", "Black Wallachia", "Moldovlachia", "Rousso-Vlachia", "L'otra Wallachia" (the "other Wallachia"), alternate names for Moldavia, a region in eastern Romania
Morlachia, a region in modern Croatia
Cisalpine Wallachia/Walachia Citeriore (also called "Vulaska", "Vlaska", "Valachia", "Vlaskozemski", Parvan vallachiam, etc.), alternate names for Banat, a region in south western Romania
 Great Wallachia, a region in Thessaly, Greece
 Greater Wallachia (Muntenia), a region in Romania east of the Olt River
 Little Wallachia (disambiguation)
 Lesser Wallachia (Oltenia), a region in Romania west of the Olt River
 Imperial Wallachia, the name used for Oltenia under Habsburg occupation (1718–1739)
 Moravian Wallachia (Valašsko in Czech), a region in the Beskid Mountains of Czechia
 Old Wallachia (Stari Vlah), a region in eastern Bosnia and Herzegovina and southwestern part of Serbia
 Sirmium Wallachia, a region on the Sava River
 Upper Valachia of Moscopole and Metsovon, a region through south-western Macedonia, Albania and Epirus
 Valahia Transalpina, a name for regions of Făgăraș and Hațeg
 White Wallachia, a region in Moesia

Other regions with similar-sounding names include:
 Wallacea, a grouping Indonesian islands
 Wallacia, New South Wales
Kingdom of Wallachia, a micronation

People
 Ieremia Valahul (Italian: Geremia da Valacchia) (Jon Stoika, 1556–1625), Capuchin priest, born in Tzazo, Moldavia ("Vallachia Minor" or "Piccola Valacchia", i.e. Small Wallachia) Romania, beatified in 1983
 Saint Blaise (Croatian: Sveti Vlaho, Greek: Agios Vlasios, died 316), patron saint of Dubrovnik, an Armenian martyr
 Nicolaus Olahus (Latin for Nicholas, the Vlach; Hungarian: Oláh Miklós, Romanian: Nicolae Valahul, 1493–1568), Archbishop of Esztergom

See also
 Oláh (surname)
 Vlach, a blanket term covering several modern Latin peoples descending from the Latinised population in Central, Eastern and Southeastern Europe
 Volokh (disambiguation), an alternate spelling (East Slavic)
 Wallach (disambiguation)
 Wallack
 Wallich, an unrelated, but phonetically similar name
 Night of Walachia, the main antagonist of Melty Blood
Walchia, a fossil plant genus

Wallachia (disambiguation)


An organotroph is an organism that lives off organic compounds. It is a word used in microbiology to describe organisms based on how they get electrons for respiration (breathing). Some organotrophs are also heterotrophs. Organotrophs may or may not need oxygen in order to grow.

Biology
Ecology

Organotroph


Erich Unger (1887-1950) was a Jewish philosopher of standing who published many articles and a number of books, many of them in his native tongue, German.  His writings cover a wide range of topics: poetry, Nietzsche, political theory, general philosophy and Jewish philosophy.

Biography

Born in Berlin in 1887, Dr Erich Unger was interested, from an early age, in novel ideas and intellectual debate. He attended school in Berlin-Lichterfelde, a wealthy residential area that was heavily influenced by Prussian nobility and members of the Prussian armed forces. At school at "Friedrich-Gymnasium" he met Oskar Goldberg who ran a literary club at the age of seventeen. As a young man Unger became one of the founder members of the literary Expressionist movement in Germany. (cf. Richard Sheppard, Die Schriften des Neuen Klubs, 1908–14, Hildesheim, 1980, 83). Unger's contributions to journals of the day were frequently sought after. (cf. Manfred Voigts, Vom Expressionismus zum Mythos des Hebraertums, Wurzburg: Koenigshausen und Neumann, 1994).

The first World War saw Unger in Switzerland, where he made new friends, among them Walter Benjamin who admired his work and also sought his literary collaboration (cf. G.Scholem, Walter Benjamin. Briefe. Frankfurt-am-Main, 1966). In the 1920s, Unger provided an intellectual forum for a group of young and distinguished scholars who regularly discussed their ideas on science, politics and philosophy. The group rapidly became a centre for the Berlin intelligentsia of the day. (cf. Manfred Voigts, Oskar Goldberg, Berlin 1992).

The advent of Hitler ended a promising academic career and Unger took his young family into exile in 1933, first to Paris and later (1936) to London, where he lived to the end of his life in 1950.

Major ideas

The imagination of reason or systematic imagination in philosophy.  This, in Unger's thinking, is a basic tool in any philosophical enquiry into the world of being – into reality beyond experience. Speaking of the latter, Unger writes: "The matter of the world as a whole is not an empirical object, although it is unquestionable real" ('The Living and the Divine' Ch.1).  In this essay  Unger explains how, in order to apprehend that reality and other, like concepts, such as being or consciousness, we require the imagination of reason. Not unlike astronomers who research heavenly constellations of which they have only a partial direct experience and who then need to complement their experience by using a reasoning imagination to access the aspect that is beyond their direct experience.

Myth.   The imagination of reason is also in evidence in Unger's views on the function of myth in religion. His book, 'Wirklichkeit, Mythos, Erkenntnis' ('Reality, Myth and Cognition') is an early work, yet his preoccupation with myth is still seen in a later essay: 'The Natural Order of Miracles', the English version of which appeared in The Journal of Jewish Thought and Philosophy. Here Unger writes: "A genuine myth handles one unit: religion, science, politics, social every day life and extends [and is constrained by] the concepts of order and apprehension of natural experience.  This is the source of its rational aspect. As distinct from this, the poetic myth is either pure art or, at least, half religion, half art".

Unger's views on Judaism are wide ranging. He notes with regret the gradual shrinking of Jewish culture to the 'mere religion' that it is today and suggests that, in order to revitalise Judaism, it must once again inspire and underpin our society.  This does not mean that there is such a thing as 'Jewish' science or 'Jewish' technology.  But Judaism may have views in other areas, in philosophy, sociology or politics, on topics such as Immortality or a specific Jewish ethical stand in political matters (cf. 'A Restatement of Judaism' in the journal Shofar).

Works
Books:
 1921 Politik und Metaphysik, Berlin. Reprinted and edited by Manfred Voigts, 1989, Wurtzburg
 1922 Die Staatslose Bildung eines Judischen Volkes, Berlin
 1925 Gegen die Dichtung,  Leipzig
 1926 Das Problem der Mythischen Realitat, Berlin
 1930 Wirklichkeit  Mythos  Erkenntnis, Munich

Posthumously:
 1952 The Imagination of Reason, Routledge & Kegan Paul, London
 1966 Das Lebendige und das Gottliche, Jerusalem
 1992 Vom Expressionismus zum Mythos des Hebräertums: Schriften 1909 bis 1931, Edited by Manfred Voigts, Konigshausen & Neumann, Wurzburg

Essays translated into English:
 1947 Existentialism, The Nineteenth Century and After
 1948 Logical Positivism, The Nineteenth Century and After
 1949 Contemporary Anti-Platonism, The Cambridge Journal

Posthumously:
 1957 Modern Judaism's Need for Philosophy, Commentary, vol 23, no.5
 1995 Universalism in Hebraism, Journal of Jewish Thought and Philosophy, vol.4
 2002 The Natural Order of Miracles, Journal of Jewish Thought and Philosophy, vol.11, no.2
 2003 A Restatement of Judaism, Shofar vol 21, no.2.
 2007 The Living and the Divine Online
 2007 The Story of the Garden of Eden Online
 2007 Conversation on Immortality Online
 2008 A Jewish History of the Second World War  Online
 2008 Special Universals - a Jewish Perspective?  Online
 2009 'Introductory Thoughts on Hermann Cohen'  Online
 2009 'Martin Buber'  Online
 2010 'Do Philosophers Disagree'  Online

Further reading
  G.Scholem (1966) Walter Benjamin. Briefe. Frankfurt-am-Main
  Richard Sheppard (1980,83) Die Schriften des Neuen Klubs 1908-14, Hildesheim
  Manfred Voigts (1992) Oskar Goldberg, Berlin

External links
 'The Living and the Divine'
 'The Story of the Garden of Eden'
 'Conversation on Immortality'
 'A Jewish History of the Second World War'
 'Special Universals - a Jewish Perspective?'
 'Introductory Thoughts on Hermann Cohen'
 'Martin Buber'
 'Do Philosophers Disagree'
 'Mankind and the Planet, past, present and future'

1887 births
1950 deaths
Writers from Berlin
20th-century German philosophers
Jewish emigrants from Nazi Germany to the United Kingdom
Jewish philosophers
German male writers

Erich Unger


Susan Lynn Cutter (born 1950) is an American geographer and disaster researcher who is a Carolina Distinguished Professor of Geography and director of the Hazards and Vulnerability Research Institute at the University of South Carolina. She is the author or editor of many books on disasters and disaster recovery. Her areas of expertise include the factors that make people and places susceptible to disasters, how people recover from disasters, and how to map disasters and disaster hazards. She chaired a committee of the National Research Council that in 2012 recommended more open data in disaster-monitoring systems, more research into disaster-resistant building techniques, and a greater emphasis on the ability of communities to recover from future disasters.

Education and career
Cutter was born in Cincinnati, Ohio. She did her undergraduate studies at California State University, Hayward, graduating in 1973, and moved to the University of Chicago for graduate study in geography. She earned a master's degree from Chicago in 1974, and completed her doctorate there in 1976.

Before joining the South Carolina faculty in 1993, Cutter worked for the
University of Washington and Rutgers University. She also worked from 2009 to 2012 at the University Institute for Environment and Human Security, in Bonn, Germany, as Munich Re Foundation Chair on Social Vulnerability.

Awards and honors
Cutter became a Fellow of the American Association for the Advancement of Science in 1999. She served as president of the American Association of Geographers for 1999–2000. The association gave her their Decade of Behavior Award in 2006, their Lifetime Achievement Award in 2010, and their Presidential Achievement Award in 2018.

She became Carolina Distinguished Professor in 2001. In 2015 the Norwegian University of Science and Technology gave her an honorary doctorate and she was made a member of the Royal Norwegian Society of Sciences and Letters.

Books
Cutter's books include:
Rating Places: A Geographer's View on Quality of Life (Association of American Geographers, 1985)
Exploitation, Conservation, Preservation: A Geographic Perspective on Natural Resource Use (with William H. Renwick, Wiley, 1991; 4th ed., 2003)
Environmental Risks and Hazards (Prentice-Hall, 1994)
Living with Risk: The Geography of Technological Hazards (Wiley, 1995)
South Carolina Atlas of Environmental Risks and Hazards (with Deborah S. K. Thomas, Micah E. Cutler, Jerry T. Mitchell, and Michael S. Scott, University of South Carolina Press, 1999)
American Hazardscapes: The Regionalization of Hazards and Disasters (edited, National Academies Press / Joseph Henry Press, 2001)
The Geographical Dimensions of Terrorism (edited with Douglas B. Richardson and Thomas J. Wilbanks, Routledge, 2003)
Geography and Technology (edited with Stanley D. Brunn and J. W Harrington Jr., Kluwer, 2004)
Hazards, Vulnerability and Environmental Justice (edited, Routledge, 2006)
Hurricane Katrina and the Forgotten Coast of Mississippi (with Christopher T. Emrich, Jerry T. Mitchell, Walter W. Piegorsch, Mark M. Smith, and Lynn Weber, Cambridge University Press, 2014)

References

External links

Living people
American geographers
Women geographers
University of Washington faculty
California State University, East Bay alumni
University of Chicago alumni
Rutgers University faculty
University of South Carolina faculty
Presidents of the American Association of Geographers
Fellows of the American Association for the Advancement of Science
Royal Norwegian Society of Sciences and Letters
1950 births

Susan Cutter


Michael Glenn Chugg  (born 15 June 1947) is an Australian entrepreneur, businessman and concert tour promoter. As a promoter and manager he was a founder of Frontier Touring Company (1979–99) and Michael Chugg Entertainment (2000–present). On 8 June 1998, he was appointed a Member of the Order of Australia with the citation "for service to music and the performing arts, particularly in relation to the promotion of Australian artists and to fundraising for youth and children's charities". In 2010, he co-authored his autobiography, Hey, You in the Black T-Shirt: The Real Story of Touring the World's Biggest Acts, with journalist, Iain Shedden. In March 2014 on the 50th anniversary of his start as a promoter, Denis Handlin (ex CEO of Sony Music Australia) opined "Chuggy is noisy, wild, cantankerous, the oldest teenager I know and very often a nightmare to deal with. But somehow we all love him because he lives and sweats the business with 100 per cent persistence and passion". At the ARIA Music Awards of 2019 Chugg received the ARIA Industry Icon Award.

Biography

1947–1964: Early years
Michael Glenn Chugg was born on 15 June 1947 in Launceston to Victor and Lorna (née Hancock) Chugg, the eldest of four children. His grandmother, Ella Chugg, was his "best friend".

He credits his great-grandfather with his idiosyncratic use of profanity "the first thing he did was taught me to swear. And it's always been a major part of my delivery of things. There might have been one or two instance over the 40 years where I was probably out of order but in the main it's usually been because it needed to be done". He attended Glen Dhu Primary School and then Queechy High School.

1964–1979: Launceston to Melbourne
Chugg's career as a promoter began on 16 March 1964, when at 16 he organised a dance at the Trades Hall in Launceston for the local cycling club. About 300 people turned up for a profit of £80. He was an amateur cyclist, he volunteered to be a track announcer and then became a sports broadcaster for horse races, trotting, greyhounds and football.

His career as a Tasmanian radio announcer ended after he called a live Melbourne greyhound race: the lead dog was ahead by five lengths as he commentated, "Well, I'll be fucked, it's fallen over". Chugg started "running dances all over Tasmania ... I was just a working class kid". He became the band manager of local artists, The Chevrons, and arranged performances of visiting mainland acts, including Bobby and Laurie and The Easybeats.

Chugg moved to Melbourne in 1967 where he worked for the Australian Musicians Booking Organisation (AMBO), run by Gary Spry, Jeff Joseph and Darryl Sambell. At AMBO he met a 16-yr old, Michael Gudinski, whom Chugg described as "this young guy there with red hair and a big nose who was booking all these new bands", they became friends, business associates and sometime rivals. In the late 1960s Gudinski, together with Michael Browning, set up the Consolidated Rock Agency, Chugg started working for them.

In 1970, Chugg married Liselotte 'Lilo' Reisner, later that year Consolidated Rock opened a Sydney office and Chugg moved there to run it with Phil Walker. In June 1971 Consolidated Rock organised a concert at the Sydney Town Hall featuring Billy Thorpe & the Aztecs and Daddy Cool. Whilst well attended the organisers were criticised by attendees and, in particular, a music newspaper, Go-Set. As a result, Consolidated Rock launched a rival magazine, The Daily Planet, however its high running costs resulted in the closure of the magazine and Consolidated Rock.

Chugg and fellow agent Roger Davies then opened a new agency, Sunrise, in Sydney in late 1971. Their clients included Sherbet. It became a national company when it joined with Phillip Jacobsen's Melbourne-based, Let It Be agency, which handled Daddy Cool and Spectrum. When Davies left in 1975, to continue his career in the United States, Chugg was invited to join Gudinski's Premier Artists agency. At the same time, Chugg was managing acts and working as a freelance tour coordinator with Paul Dainty Corporation. He also spent time overseas, including the United Kingdom, managing Richard Clapton, and Kevin Borich.

1979–1999: Frontier Touring Company
Frontier Touring Company was founded in 1979 by nine people: Chugg, Gudinski, Jacobsen, Ray Evans, Sam Righi, Frank Stivala, Glenn Wheatley, Steve White and Robbie Williams. Wheatley and White left the company shortly after to concentrate on promoting their clients, Little River Band, in the US, with the remaining partners buying out their shares. In October 1980 Chugg and Gudinski were involved in an attempt to revive a national Battle of the Sounds competition, which had last run in 1972. The 1980 winner, Little Heroes, was one of three bands representing Victoria with three others from New South Wales, and three more from Queensland – other states were not represented.

Whilst arranging and promoting national tours for Squeeze, The Police, The Cure and Gary Numan, Chugg also took on the management of Jimmy and the Boys, The Church and The Sunnyboys. In January 1983 Chugg, with other concert promoters, staged the first Narara Music Festival, which was attended by over 30,000 people and grossed over $1.5 million.

In 1999, Chugg left Frontier Touring Company after 20 years with the organisation, and founded Michael Chugg Entertainment (MCE) the following year. He later recalled:

2000–present: Chugg Entertainment and Chugg Music
In 2000, Chugg was co-producer of the Opening and Closing ceremonies of the Paralympic Games in Sydney and he was awarded 'International Promoter of the Year' by Pollstar. Initially MCE had backing from the Packer family's Consolidated Press Entertainment (CPE), but according to Stuart Coupe this was terminated because of CPE's unwillingness to back tours which Chugg was promoting, notably CPE's refusal to back Bob Dylan's 2001 tour, although Chugg and Dainty, then-CPE chairman, give differing accounts of their disagreements.

Long Way to the Top was an Australian Broadcasting Corporation (ABC) six-part TV documentary on the history of Australian rock and roll from 1956 to the modern era. "Episode 3: Billy Killed the Fish", was broadcast on 29 August 2001, and featured interviews with Chugg, Thorpe and Lobby Loyde. They described their Sunbury festival experiences and the development of pub rock in Australia. According to Chugg, an Aztec performance at Sydney's Bondi Lifesaver club in 1974 was so continuously loud as to kill a full tank of tropical fish in an upstairs area – hence the episode title.

During August 2002, promoters Chugg and Kevin Jacobsen, with Thorpe as co-producer, organised a related concert tour, Long Way to the Top, which featured many of the artists from the TV series. Performances at two Sydney concerts in September were recorded, broadcast on ABC-TV and subsequently released on DVD in December.

From late 2002 to early 2003, MCE promoted Australia and New Zealand tours by Santana and Red Hot Chili Peppers, both of which made substantial financial losses for the company.

In December 2004, Chugg together with Daryl Herbert and Glenn Wheatley purchased a 50% share of the company running the East Coast Blues & Roots Music Festival, an annual music festival held over the Easter long weekend at Byron Bay, New South Wales.

In 2006, Chugg Entertainment, in conjunction with Backrow Productions, expanded into musical theatre producing the musical, Priscilla, Queen of the Desert, which debuted at the Lyric Theatre, Sydney in October that year. That year also saw Chugg Entertainment partner with the organisers of the Laneway Festival expanding the event to Sydney. The Laneway Festival has subsequently expanded to include events in Brisbane (2007), Adelaide (2008), Perth (2009), Auckland (2010), Singapore (2011) and Detroit (2013).

In September 2012, Chugg Entertainment entered into a partnership with the promoters of the Homebake musical festival, held at the Domain every December. The 2013 event however was cancelled following poor ticket sales after the festival was forced to relocate to the steps of the Sydney Opera House.

In 2012, he launched Chugg Music, his own record label, signing Australian bands, The Griswolds, Deep Sea Arcade, Sheppard, Major Leagues, Casey Barnes, Lime Cordiale and New Zealand outfit Avalanche City. On 25 February 2014 Chugg expanded the label into the US.

Personal life
In 1970, Chugg married Liselotte "Lilo" Reisner, from a German immigrant family. Chugg's first child was born in 1977. Chugg and Liselotte divorced in 1983.

In 1987, he married Lisa Slattery and in 1988 his daughter was born. His second son was born in 1991. In 1993 Michael divorced Lisa. In 2002 while visiting the US, Chugg had a heart attack.

As of March 2008, his partner was Chutimon Yensai, whom he met in Thailand. Chugg was a chain-smoker and was noted for uttering profanities in on-stage rants, including yelling at incoming patrons with "hey, you in the black t-shirt, stop fucking running!" In 2010 he co-authored his autobiography, Hey, You in the Black T-Shirt: The Real Story of Touring the World's Biggest Acts, with journalist, Iain Shedden.

In March 2014, on the 50th anniversary of his start as a promoter, Denis Handlin (CEO of Sony Music Australia) opined "Chuggy is noisy, wild, cantankerous, the oldest teenager I know and very often a nightmare to deal with. But somehow we all love him because he lives and sweats the business with 100 per cent persistence and passion".

Charities and causes
As of 2002, Michael Chugg had raised more than $20 million (AUS) for various charities.

Chugg was a co-organiser of WaveAid, held on 29 January 2005, to support victims of the 2004 Boxing Day tsunami. John Watson of Eleven Music recalled "Mark Pope, convinced us that we needed [Chugg's] help ... we were all very hesitant because Michael was really from a different generation and, let's face it, he had a reputation. Within hours [he] had sorted the SCG as the venue by means that do not bear repeating here and we all realised we'd completely underestimated him. It would never have happened without [him]. He'd be the first to admit he's no saint but the amount he's done for charity over the years is truly staggering".

In November 2005, Chugg was the patron of Amplified, a presentation for industry leaders and fans of Tasmanian musicians.

Live Earth's Sydney concert on 7 July 2007 was promoted by MCE, with Chugg also a presenter – it was billed as a "climate change awareness" concert.

In 2009, Chugg and Gudinski, were the co-organizers of Sound Relief, a multi-venue rock music concert held simultaneously in Melbourne and Sydney to raise funds for those affected by the February 2009 Victorian bushfires. The event raised over $8 million (AUS) for Red Cross Victorian Bushfire Appeal and The Premier's Disaster Relief Fund Appeal in Queensland.

Awards and honours
In 1993, Michael Chugg was named Australia's 'Father of the Year'. He received the award on the same day that he filed for divorce from his second wife.

He was voted International Promoter of the Year by Performance Magazine readers (1997), and by Pollstar (2000, 2009, and 2010).

On 8 June 1998, he was appointed a Member of the Order of Australia with a citation "for service to music and the performing arts, particularly in relation to the promotion of Australian artists and to fundraising for youth and children's charities". In 2005 he received the 'Ted Albert Award for Outstanding Services to Australian Music' at the APRA Awards.

At the 2007, Country Music Association Awards Chugg was announced as was the winner of the 'Jo Walker Meador International Award' – recognising outstanding achievement by an individual in advocating and supporting Country Music's marketing development in territories outside the US.

In 2008, he received an Arthur Award for 'Outstanding Contribution to Live Music' at the 20th International Live Music Conference.

In 2011, he received 'The Immortal' award (a lifetime achievement award for outstanding contributions to popular culture) at The 2nd Annual Rolling Stone Awards in Sydney, Australia. In 2013 he was nominated for the Ernst & Young Entrepreneur of the Year 2013.

Bibliography

References

External links

1947 births
APRA Award winners
ARIA Award winners
Australian chief executives
Australian company founders
People from Launceston, Tasmania
Living people
Talent managers
Members of the Order of Australia
Impresarios

Michael Chugg