Catherine "Cathy" Davey (born 1979) is an Irish singer-songwriter. She has released one extended play, "Come Over" (2004), and four albums, Something Ilk (2004), Tales of Silversleeve (2007), The Nameless (2010) and New Forest (2016). Her second album garnered her a 2007 Choice Music Prize nomination and the 2008 Meteor Award for Best Irish Female and spawned a number of successful singles, including "Reuben", "Moving", and "Sing for Your Supper". The Nameless was the top selling album in Ireland upon the week of its release. It was also nominated for the Choice Music Prize.

Davey has performed at several international events, including representing Ireland at the Eurosonic Festival in Groningen, the Netherlands, and performing at the South by Southwest festival in Austin, Texas. She has also performed at other large exhibitions and festivals in Ireland, including Electric Picnic, Indie-pendence and The Music Show. Davey has worked with Autamata, Elbow and The Duckworth Lewis Method as well as providing support for Graham Coxon, R.E.M. and Supergrass. She appears prominently on the 2016 album Foreverland by The Divine Comedy.

The Irish Times placed Davey third in a list of "The 50 Best Irish Acts Right Now" published in April 2009, saying "There's no better female songwriter in Irish music right now". Tales of Silversleeve was named sixth best Irish album of 2007 by John Meagher of the Irish Independent and ninth best album of the decade by Jim Carroll, Tony Clayton-Lea and Lauren Murphy of The Irish Times.

Background
Davey was born in Dublin, daughter of composer Shaun Davey and sculptor Agnes Conway.  At the age of ten she moved with her mother to Wiltshire, where they lived for several years.  On their return to Dublin they settled in Monkstown. where Davey spent the rest of her teenage years.   The first live performance Davey attended was An Emotional Fish with The Stunning on St Stephen's Green. She initially intended to be an artist and to develop her interest in music in her leisure time but the offer of a record deal changed that.

Style
Davey has been referred to as "Ireland's Björk". The comparison caused the Irish Independents Ed Power to comment in one 2009 review: "Alas, such comparisons are probably inevitable when your favourite mode of communication is an ethereal yelp and your songs are populated with a raggle-taggle of yearners, outsiders and freaks". His colleague John Meagher opined, "you won't see Björk heft a guitar half so diligently". Hot Press compared the music on Something Ilk to the works of PJ Harvey and Nina Hynes. The magazine's reviewer also compared her to Joni Mitchell after one 2007 show in Cork. Davey's second album, Tales of Silversleeve, based its sound on the rhythm of the drums. Notable fans of Davey's music include broadcaster Síle Ní Bhraonain. Her records have achieved platinum sales.

Davey was initially uncomfortable with being described as a singer-songwriter but is now more accepting of the term. She describes her songwriting style: I write in short quick spurts of manic creativity, which are followed by spells of borderline writer's block where the writing comes really painfully and laboriously. I'm sure it's a universal experience for anyone who writes, but it's difficult to get out of, you can't just wish it away—it just disappears when it's had enough. It's completely independent of whether I'm happy or blue, up or down. It tends to lift as soon as I stop fixating on it—I remember thinking my house was the problem, and I'd need to go to France in order to write, and I would have been scared without Rex [her dog]. I got through it. You can't chase the muse, or you'll scare it away.

Career
Cathy Davey first came to be known as a backing vocalist alongside Carol Keogh for Ken McHugh's project Autamata. McHugh and Davey subsequently collaborated on what Hot Press described as "a mixture of otherworldly indie and soft space age melodica". Davey signed to EMI/Parlophone in 2003 in a deal which Hot Press later described as having "eclipsed even the high-profile signing of The Thrills". Her rise had been low-profile; she did not perform live until she had signed her record deal. Her four-track debut EP, "Come Over", released in 2004, and in which she "swoops and yelps her way through proceedings with her distinctive voice", was described by the magazine as "inviting comparisons with others before deciding that she'd rather be completely unique if it's all the same with you".

Davey's debut album, Something Ilk, was recorded at a studio in Wales, produced by Ben Hillier whose previous credits included Blur and Elbow, and released in 2004. RTÉ reviewer Harry Guerin said it was "high on presence and very low on filler" and gave it three out of five stars. Hot Press remarked, "Not only is her voice elfin, immediate and distinct the songs are also hugely compelling. They are digestible without being lightweight, austere in places without seeming detached". The Irish Independents Paul Byrne described it as "one of the best Irish albums of 2004". Davey performed a nationwide tour in September 2004. She also supported Graham Coxon and Supergrass during tours they undertook that year. The singer later dismissed Something Ilk, saying "I think the record company [EMI's Regal Recordings] thought I was an indie rock chick when they signed me and that album is very much other people's idea of what I should sound like. [...] I didn't have the confidence to say no to some of the things [Ben Hillier] suggested". Davey claimed not to "know my arse from my elbow when I signed for them" and did not like performing those songs in a live arena. Despite this, the Irish Independent described her as "very talented—far more so than [Gemma] Hayes" but regretted that she had "failed to find an audience for her fine debut Something Ilk".

Davey performed a nationwide tour in late May 2007, debuting songs from her follow-up album which she initially referred to as Silversleeve. All but two of the songs were recorded in her home. The album, released under the title Tales of Silversleeve and produced by Liam Howe of Sneaker Pimps, was preceded by "Reuben", its first single, on 21 September 2007. Davey explained the title choice, "I had a runny nose when I was a child and let's just say I didn't wipe it with a tissue". This proved to be a successful move as it led to a Choice Music Prize nomination for 2007 Irish Album of the Year. RTÉ reviewer Harry Guerin said it was "even more imaginative" than her debut and gave it four out of five stars. entertainment.ie reviewer Lauren Murphy described the record as "Without doubt, one of the best albums of the year", noting "there's a magic about Tales of Silversleeve that makes it an album you're almost afraid to listen to twice, in case it's not as good as you remember the first time". The Irish Independent's reviewer gave the album five stars, describing it as "a record that she can be proud of". Jim Carroll, The Irish Times rock critic, called it "The most charming pop album you'll hear in Zero Seven".

After a series of residencies, Davey embarked on a pre-Christmas tour of Ireland in 2007. She appeared on the seventh series of Other Voices in early 2008. The singer represented Ireland at the Eurosonic Festival in Groningen, the Netherlands, in January 2008. She performed at Childline Rocks in February 2008, followed by a performance at the South by Southwest festival in Austin, Texas in that March. Davey was dropped by her record company in mid-2008 alongside most of their client list. She headlined the Main Stage at Cork X Southwest in Skibbereen in July 2008. In August 2009, she headlined the Eurocultured Festival in Dublin's Smithfield Plaza and also performed at that year's Indie-pendence. Davey appeared at Electric Picnic 2008. She featured at The Music Show in the RDS in October 2008. The singer performed in Dublin's Iveagh Gardens during events to celebrate Africa Day on 25 May.

Davey's song "Moving" has been used in a prominent Vodafone commercial in her native Ireland. Another song, "Sing for Your Supper", was described by the Irish Independents Ed Power as "her biggest smash to date". The same reviewer described Davey's song "Reuben", a number one single, as "a skewed romantic tirade glazed in sugar-candy vocals".

Davey's third album, The Nameless, was released on 7 May 2010 (Ireland), with contributions from Conor J. O'Brien and Neil Hannon. Lead single "Little Red" was released on 21 April 2010 and followed by an Irish tour in May. Davey performed on The Late Late Show on 23 April 2010. She performed at Oxegen 2010 in July. On 16 July 2010, to promote the second single from The Nameless album, Davey released a download only EP for "Army of Tears". The EP features three tracks: the original track "Army of Tears", a previously unreleased track "The Wandering" and a demo version of "Army of Tears".

Davey's fourth studio album New Forest was released on 9 September 2016. The first track revealed from the new album was 'The Pattern'.

Davey performed 'Chrysocoma' on RTÉ One's The Late Late Show on 23 September 2016.

Other appearances
Davey has appeared on the Autamata track "Cloud Seekers", taken from the album My Sanctuary. She has worked with Elbow. She dueted with Gavin Glass on the track "Rag Doll". She sang a song called "Cannonballs" on a 2005 CD titled Faction One, released by record label Faction. She appears on the David Turpin track "Red Elk". She lent her vocals to the 2008 charity album Even Better Than the Disco Thing, on which she performed a cover of Donna Summer's "I Feel Love". Tony Clayton-Lea recommended the song be downloaded alongside Lisa Hannigan's cover version of "Upside Down". She performed guest vocals on the track "The Sweet Spot" from The Duckworth Lewis Method's eponymous album and three tracks on Bang Goes the Knighthood, Neil Hannon's 2010 album as The Divine Comedy. She also supported R.E.M. during their Live Rehearsal shows at the Olympia Theatre, Dublin in summer 2007. Davey hosted Songs That Scare Children at the Spiegeltent during the Dublin Fringe Festival in September 2008. Her music is available to download from the PlayStation SingStore. She was involved in efforts to raise funds in the aftermath of the 2010 Haiti earthquake. Davey's song 'Rescue' has been used in the ABC TV series The Gates.  Her song 'Holy Moly' is played at the end of The Disappearance of Alice Creed.

2016 - 2020
In summer 2016, Davey confirmed a new album was due for release in autumn 2016, this was preceded by the first new single 'The Pattern' released on 15 July 2016. 'New Forest' reached No. 5 in the Irish Album Chart in September 2016.

She went on to launch a charity called My Lovely Horse Rescue, which has saved the lives of hundreds of horses since its inception. The rescue has now branched off into saving pigs too with My Lovely Pig Rescue. Working on her busy farm has meant music has taken a backseat, but she continues to write, and play live in Ireland in the meantime.

Personal life
Since 2009, Davey has been in a relationship with Neil Hannon of the Divine Comedy. The couple live on a farm in Kildare. Davey is an animal lover: She and Hannon have several dogs and are patrons of the Irish animal charity My Lovely Horse Rescue. They are also patrons of My Lovely Pig Rescue, a branch of the original rescue.

Discography

Albums
 Something Ilk (2004)
 Tales of Silversleeve (2007)
 The Nameless (2010)
 New Forest (2016)

Awards
The Irish Times placed Davey third in a list of "The 50 Best Irish Acts Right Now" published in April 2009, saying "There's no better female songwriter in Irish music right now". Her closest female rivals on the list were Lisa Hannigan and Róisín Murphy at numbers five and seven respectively. Tales of Silversleeve was named sixth best Irish album of 2007 by John Meagher of the Irish Independent and ninth best album of the decade by Jim Carroll, Tony Clayton-Lea and Lauren Murphy of The Irish Times.

Davey won Best Pop Act at the 2011 Digital Socket Awards in Dublin.

Choice Music Prize
Davey's second album Tales of Silversleeve was nominated for the Choice Music Prize in January 2008. Surprise was expressed within the Irish media when she was beaten by Super Extra Bonus Party.

The Nameless was nominated for the Choice Music Prize in 2011.

|-
| 2008 || Tales of Silversleeve || Irish Album of the Year 2007 ||
|-
| 2011 || The Nameless || Irish Album of the Year 2010 ||

Meteor Music Awards
Davey won Best Irish Female at the 2008 Meteor Awards. Tales of Silversleeve was also nominated for Best Irish Album at the same event but lost to Paddy Casey. Casey later admitted he would have preferred if Davey had won the award. Upon being embraced by and photographed alongside Sinéad O'Connor at the launch, Davey remarked on how odd it was "to put your arms around someone you don't know".

|-
| 2008 || Cathy Davey || Best Irish Female ||
|-
| 2008 || Tales of Silversleeve || Best Irish Album ||
|-

References

External links
 Official site
 Cathy Davey profile at Irish Music Central
 Cathy Davey on Other Voices
 Performance of "Reuben" on Tubridy Tonight (20 October 2007)
 "Choice Cuts"—Interview with the Irish Independent after Choice Prize nomination

1978 births
Living people
Irish women guitarists
Irish women singer-songwriters
21st-century Irish singer-songwriters
Musicians from Dublin (city)
Alternative rock singers
21st-century Irish women singers
21st-century Irish guitarists
21st-century women guitarists

Cathy Davey


Rowland Thomas Baring, 2nd Earl of Cromer,  (29 November 1877 – 13 May 1953), styled Viscount Errington between 1901 and 1917, was a British diplomat and courtier.

Career

Baring was a member of the Baring family and the son of Evelyn Baring, 1st Earl of Cromer.

He was appointed to the Diplomatic Service as a Third Secretary in July 1902.

During the First World War he served as a subaltern in the Grenadier Guards.
From 1922 to 1938 he was Lord Chamberlain of the Household.

Family
Lord Cromer married Lady Ruby Elliot-Murray-Kynynmound, daughter of Gilbert Elliot-Murray-Kynynmound, 4th Earl of Minto, on 4 April 1908. They had three children:

Lady Rosemary Ethel Baring (1908–2004), married Lt.-Col. J.D. Hills and had issue.
Lady Violet Mary Baring (b. 17 December 1911), married Major Mervyn Vernon.
George Rowland Stanley Baring, 3rd Earl of Cromer (1918–1991)

Media depictions
In the 2005 film Mrs Henderson Presents, Cromer is portrayed by actor Christopher Guest.  In the Downton Abbey 2013 Christmas Special, he is portrayed by the series' historical consultant, Alastair Bruce.

References

External links

1877 births
1953 deaths
Earls in the Peerage of the United Kingdom
Knights Grand Commander of the Order of the Indian Empire
Knights Grand Cross of the Order of the Bath
Knights Grand Cross of the Royal Victorian Order
Bailiffs Grand Cross of the Order of St John
Members of the Privy Council of the United Kingdom
Permanent Lords-in-Waiting
Grenadier Guards officers
British Army personnel of World War I
Assistant Private Secretaries to the Sovereign
Rowland
Presidents of the Marylebone Cricket Club

Rowland Baring, 2nd Earl of Cromer


The high-affinity choline transporter (ChT) also known as solute carrier family  5 member 7 is a protein in humans that is encoded by the SLC5A7 gene. It is a cell membrane transporter and carries choline into acetylcholine-synthesizing neurons.

Hemicholinium-3 is an inhibitor of the ChT and can be used to deplete acetylcholine stores, while coluracetam is an enhancer of the ChT and can increase cholinergic neurotransmission by enhancing acetylcholine synthesis.

Function
Choline is a direct precursor of acetylcholine (ACh), a neurotransmitter of the central and peripheral nervous system that regulates a variety of autonomic, cognitive, and motor functions. SLC5A7 is a Na(+)- and Cl(-)- dependent high-affinity transporter that mediates the uptake of choline for acetylcholine synthesis in cholinergic neurons.

Mutations in the SLC5A7 gene have been associated with Distal spinal muscular atrophy with vocal cord paralysis (distal hereditary motor neuropathy type 7A).

The ChT seems to be a site of action of some β-neurotoxins found in snake venoms, which disrupt peripheral cholinergic transmission by interfering with presynaptic acetylcholine synthesis. It is hypothesized that these toxins irreversibly block the ChT.

Model organisms

Model organisms have been used in the study of SLC5A7 function. A conditional knockout mouse line called Slc5a7tm1a(KOMP)Wtsi was generated at the Wellcome Trust Sanger Institute. Male and female animals underwent a standardized phenotypic screen to determine the effects of deletion. Additional screens performed:  - In-depth immunological phenotyping

Choline transporter in the human brain microvascular endothelial cells
Choline is a necessary reagent for the synthesis of acetylcholine in the central nervous system. Neurons get their choline by specific protein transporters known as choline transporters. In the human brain microvascular endothelial cells, two systems initiate the choline absorption. The first system is known as the Choline transporter-like protein 1, or CTL1. The second system is the Choline transporter-like protein 2, or CTL2. Those two systems are found on the plasma membrane of the brain microvascular endothelial cells. They are also found on the mitochondrial membrane. CTL2 was found to be highly expressed on the mitochondria. Meanwhile, CTL1 was mostly found on the plasma membrane of those microvascular cells.

CTL2 is the main protein involved in the absorption of choline into the mitochondria for its oxidation, and CTL1 is the main protein for the choline uptake from the extracellular medium. CTL1 is a pH dependent protein. The absorption of choline through CTL1 proteins changes with the pH of the extracellular medium. When the pH of the medium is changed from 7.5 to 7.0-5.5, the rate of absorption of choline by CTL1 proteins decreases greatly. The choline uptake does not change upon the alkalinization of the extracellular medium. Moreover, it was found that the choline uptake is also influenced by the electronegativity of the plasma membrane. When the concentration of potassium ions is increased, the membrane becomes depolarized. The choline absorption decreases majorly as a result of the membrane depolarization by the potassium ions. The choline uptake was found to be only affected by the potassium ions. The sodium ions do not affect the affinity of CTL1 and CTL2 to choline.

See also
 Vesicular acetylcholine transporter (VAChT)

References

Human proteins
Solute carrier family

Choline transporter


The anti-nuclear movement in Russia is a social movement against nuclear technologies, largely stemming from the results of the Chernobyl incident in 1986. During the most active phase of the anti-nuclear movement, from 1988 to 1992, construction of over 100 nuclear projects were prevented on the territory of the Soviet Union. Also, the economic troubles of the 1990s led to a reduction in the number of construction projects. This deprived the anti-nuclear movement of its raison d'être. At the same time, it too was affected by financial difficulties, in particular the lack of donations, which continues to be an issue today. Since the 2000s the Russian Government embarked on highly pro-nuclear policy, with plans to invest billions of dollars in developing the nuclear industry, which leaves the movement with big challenges.

The first nuclear power plant in Russia was built in 1954, a 5 MWe reactor in Obninsk. In the several years prior to 1954, Russia began building more nuclear power plants, and by the mid-1980s, had built a total of twenty-five reactors. By the early 2000s, Russia has about ten nuclear power plants and thirty-one operating reactors. With these new nuclear power plants and reactors, eight out of the ten nuclear power plants can be found in the European part of Russia. In the Eastern part of Urals, two other nuclear power plants can be found.

Russia has a long history of nuclear power plants. It was beneficial to the country when it first began but the view quickly changed in the post-Chernobyl period. On April 26, 1986 when the Chernobyl Nuclear Plant malfunctioned, it gave birth to the anti-nuclear movement in Russia and many anti-nuclear organizations emerged in the USSR. Many of these anti-nuclear protest or activities took place in the 1980s, which motivated people to pursue the anti-nuclear law that was later to be found to be short lived, due to the collapse of the Soviet Union. In the earlier years of the anti-nuclear movement, there were several activists that followed help assist in the movement to pursue the goal of becoming an denuclearized country.

Nuclear Non-Proliferation Treaty
The Nuclear Non-Proliferation Treaty has helped the anti-nuclear movement in Russia. It has requirements that help to reduce or completely remove all types of nuclear weapons. The Strategic Arms Reduction Talks Treaty (START), are talks that assist in getting rid of the part and significance of nuclear weapons not only in the military, but also in security policies.

History

Beginnings

During the most active phase of the anti-nuclear movement in the Soviet Union and Russia—from 1988 to 1992 over 100 nuclear projects were prevented on the territory of the Soviet Union. These were not just reactors, but also infrastructure projects linked to the planned power stations and other nuclear enterprises. This social activism succeeded in stopping nearly all of the nuclear plants under construction in Russia, either temporarily or permanently. After active protests, the planned construction of nuclear plants in Tatarstan and Bashkortostan, as well as of nuclear heating plants (Atomnye Stantsii Teplosnabzheniya—AST) in Gorky and Voronezh were stopped.

2000s
The nuclear industry, struggling with liquidity problems, proposed that a new law be passed permitting the commercial import of spent nuclear fuel—the most dangerous kind of highly-toxic waste. It was claimed that this business could generate US$20 billion within ten years. The first reading of this draft law was held at the State Duma at the end of 2000, with more than 90 percent of lawmakers voting in favor. After hundreds of public groups had engaged in just a few months of campaigning against this legislative proposal, more than 40 percent of Duma delegates changed their stance. The law was accepted, but the opponents were only three votes short of the quorum needed to reject it. The environmentalists managed to secure a significant tightening of the procedure for importing nuclear waste compared to the first draft of the law. This was one of the reasons why the entire proposal for importing nuclear waste to Russia ultimately failed.

In August 2008, activists from all over Europe and Russia (about 50 persons) gathered in a 'tent city' near Nizhny Novgorod to participate in a 2-week anti-nuclear camp, which consisted of demonstrations and protests, music shows, workshops, movie shows & etc., to make the citizens of Nizhny Novgorod aware of a new NPP that's planned by Rosatom to be built in Nizhny Novgorod area.

In autumn 2010, "EcoDefense!" played an important role in preventing a nuclear waste
transport from the Rossendorf research reactor to Russia. Another example was the campaign against construction of the nuclear power plant in the area of Nizhny Novgorod. According to opinion surveys, about 70 per cent of the population were opposed to the nuclear plant (the survey was conducted before the disaster in Japan).

In the city of Murom, 20 km from the site of the planned power plant, a local movement has been in existence for several years that has managed to delay construction of the plant. This movement was also responsible for organizing a demonstration of 5,000 people in autumn 2009- one of the largest protests against nuclear energy in Russia in the 21st century. The event was largely ignored by the Russian national media, although it was a unique event for the country.

Protest

Rostov Nuclear Power Plant
Rostov Nuclear Power Plant Around the 1970s, Russia began to construct the Rostov Nuclear Power Plant, which was in the pre-Chernobyl era. After locals from the nearby town of Volgodonsk learned that the nuclear reactor being built was on an active earthquake fault line, they began to protest. The power plant's radioactive wastewater would create potentially dangerous water which would go into the town's drinking water. Due to the townspeople's protest, the construction of the nuclear power plant was cancelled .

Several years later in 1996, the Nuclear Power Ministry of Russia announced that they were going to continue with their plans to start construction of the nuclear power plant in Rostov, and have it opened for action by 1998. However, the protest against building the power plant began again on July 27 that same year. Around seventy protesters from Russia and several other countries nearby protested on a nearby road of where the plant was going to be built. The protesters barricaded the road by handcuffing themselves to barrels of concrete. These protesters called themselves the "Rainbow Keepers". About two days later, around five-hundred Rostov workers were sent out to stop the protesters. The workers attacked the peaceful protesters by setting their tents on fire and burning them to the ground. Many men and women were severely beaten. Five of the seventy Rainbow Keepers were hospitalized due to brain injuries.

Voronezh Nuclear Heating Plant
During a protest in March 1999 against the construction of the planned Voronezh Nuclear Heating Plant, there were three people that were arrested for protesting against the construction of the heating plant. That same day, the Eurasian anti-nuclear networking conference was being held in the city of Voronezh. The protest was supported by local residents, and among those were several that voted against the 1990 referendum. The referendum of 1990 was what stopped the nuclear heating plant from being built, though now there has been some conflict with the decision on the power plant to be reserved.

Leningrad Nuclear Power Plant
In Russia, the first reactor was known as the Leningrad Nuclear Power Plant, being built in Sosnovy Bor. The Leningrad Nuclear Power Plant had many incidents that caused people to die due to radiation. This caused people to feel upset about what was being done after the deaths of many civilians. It soon became a protest which was known as the "Nuclear Monsters' protest of the Leningrad".

Reactors Prevented from being Built
Several nuclear reactors were prevented from being built due to the efforts of anti-nuclear activist from 1988 to 1992. The planned construction of the following reactors were cancelled:

 Reactor number 1 of the Kostroma NPP
 Reactors number 3 and 4 of the Kaliningrad NPP
 Reactor number 4 of the Beloyarsk NPP
 Reactors number 1 and 2 of the Rostov NPP
 Reactor number 5 of the Kursk NPP.

Notable Anti-Nuclear Activists

Vladimir Slivyak
Right after a bombing in Moscow on September 6, 1999, several anti-nuclear activists were detained under suspicion. Vladimir Slivyak was one of the three arrested under suspicion. He was an activist in the anti-nuclear movement and a Voronezh action camp organizer. After the bombing Slivyak was pushed into a car by several men who claimed to be Moscow police. The police interrogated and threatened Slivyak for around ninety minutes before letting him go. The Moscow police thought environmentalists from the anti-nuclear movement were associated with the bombing since an earlier bombing occurred on August 31 at Manezh Palace in Moscow . After the incident, on August 31, several more bombings occurred which agitated many people, leading to the racially profiled arrest of dark-skinned Muscovites and visitors to the Russian capital.

Professor Yablokov
Russian scientists were reported by an anti-nuclear activist named Yablokov in 2010 for the twenty-five percent of radiation that was released instantly from the explosion. In Russia, one of Professor Yablokov's colleagues, Professor Busby petitioned to the European Union Parliament.His petition was to reconsider the official standards of basic safety of radiation. Many of Prof. Yablokov's colleagues and himself were confident enough that the standards of radiation requirements were not providing accurate data. According to Prof. Yablokov and his colleagues, one of the main consequences of the nuclear accident of Chernobyl was thyroid cancer. There was a great increase in not only thyroid cancer but in many more diseases relating back to radiation. Prof. Yablokov and his colleagues were asked to report the impacts of radiation on the lives of civilians before and after the accident. There were two major differences between the numbers of pre-Chernobyl and post-Chernobyl. Between these two differences, it showed the number of reports being made due to cancer, leukemia and psychological disorders. In addition to the reports being made, it was already difficult enough to prove that radiation was the only cause of the increase of these diseases.

References

External links
www.anti-atom.ru

Nuclear energy in Russia
Russia
Politics of Russia
Protests in Russia
Anti-nuclear movement in the Soviet Union

Anti-nuclear movement in Russia


Non-ionizing radiation (or, esp. in British English, non-ionising radiation) means any type of electromagnetic radiation that does not carry enough energy to ionize atoms or molecules - that is, completely remove an electron from an atom or molecule.

The composition of this radiation can vary depending on what may be ionized. Visible light, near ultraviolet, infrared, microwave and radio waves are all examples of non-ionizing radiation, though visible and near ultraviolet can also ionize some molecules.  The light from the Sun that reaches the earth is largely composed of non-ionizing radiation, with the notable exception of some ultraviolet rays.  However, most ionizing radiation is filtered out by the atmosphere.

Related pages
 Radio wave
 Ionizing radiation

Electromagnetism

Non-ionizing radiation


Uta Kühnen (born 9 August 1975 in Freiburg im Breisgau, Baden-Württemberg) is a German judoka who competed in the women's half-heavyweight category. She held three German senior titles in her own division, picked up a total of twenty-nine medals in her career, including a bronze from the 2000 European Judo Championships in Wrocław, Poland, and represented Germany in two editions of the Olympic Games (2000 and 2004). Kuhnen also trained as a full-fledged member of the judo squad for the Berlin Sports Club under her personal coach and sensei Norbert Littkoff, who also headed the German national team.

Kuhnen made her official debut at the 2000 Summer Olympics in Sydney, where she competed for the German team in the women's half-heavyweight class (78 kg). She thwarted Gabon's Mélanie Engoang in a sudden-death prelim match, before falling short in her next bout to South Korea's Lee So-yeon, who threw her off the tatami with a double yuko score within four seconds.

At the 2004 Summer Olympics in Athens, Kuhnen qualified for her second German squad again in the women's half-heavyweight class (78 kg), by placing seventh from the World Championships in Osaka, Japan. Unlike her previous Olympics, Kuhnen received a bye in the first round, but slipped her medal chances with a shido penalty, a yuko score, and a kuchiki taoshi hold (single leg takedown) from Cuban judoka and eventual bronze medalist Yurisel Laborde during their second-round match.

References

External links

1975 births
Living people
German female judoka
Olympic judoka for Germany
Judoka at the 2000 Summer Olympics
Judoka at the 2004 Summer Olympics
Sportspeople from Freiburg im Breisgau

Uta Kühnen


George Washington Howard (born c. 1848) was an American railway worker and trade union functionary. Howard is best remembered as the head of the Brotherhood of Railway Conductors (BRC), a rival to the Order of Railway Conductors (ORC) which was established in 1885 and absorbed into the older organization in 1891. Howard was also the Vice President of the American Railway Union from 1893 to 1894 and was an important figure in the failed Pullman Strike of 1894.

Biography

Early years

George Washington Howard was born about 1848. He began his working career as a newsboy, working on the Evansville and Crawfordsville Railroad.

During the American Civil War, Howard fought for the Union Army for two years, serving in Company F of the 58th Indiana Infantry Regiment.

As a young man Howard worked on railroads in a variety of capacities, running the gamut from the dangerous job of brakeman to general superintendent. Among others, Howard worked on the Louisville, New Albany, and Chicago Railroad, the Ohio and Mississippi Railway, the Atchison, Topeka and Santa Fe Railway, and the Louisville and Nashville Railroad.

Brotherhood of Railway Conductors

In 1885, Howard was the leading figure behind the establishment of a new trade union, the Brotherhood of Railway Conductors (BRC), conceived as a rival to the long established Order of Railway Conductors (ORC), gaining election to the leading position of Grand Chief Conductor.

After half a decade of disunity, the two railway conductors organizations combined in 1891, with the ORC swallowing its fledgling rival.

California streetcar lines

Howard was instrumental in the construction of the lines of the Coronado Beach Company, a transportation company that helped launch the city of Coronado, California, and was involved in the construction of the city streetcar system in neighboring San Diego.

In 1890, Howard returned to the Midwestern United States to assume the role of master of transportation for the Mackey system of railroads in the state of Indiana.

American Railway Union

Howard was elected vice president, under Eugene V. Debs who was elected president, of the American Railway Union (ARU) at the time of its formation in 1893. He spent much of 1894 on the road speaking on behalf of the organization. One contemporary observer, upon hearing Howard speak at an ARU organizing meeting in Brazil, Indiana, remarked:

"Mr. Howard is a rapid speaker and has foiled the brightest stenographers who have attempted to catch the elegant language as it flowed from his lips. Mr. Howard is a short, heavy-set fellow, and is alert and active as a cat, and talks with lightning rapidity.... He claimed that the existing orders could not reconcile themselves to perfect federation, and consequently it was necessary to have an order large and broad enough to encompass all classes of railroad employees, thus bringing them closer together and eliminating the prejudices existing in the orders of today."

In August 1894 Howard was called to give testimony on behalf of striking American Railway Union workers before the United States Strike Commission appointed by President Grover Cleveland.  Howard was against the strike and had believed that the strike would not have occurred "had the A.R.U. been strong enough." But the union's involvement in the strike led to a jail term for Debs at Woodstock and a term for Howard at Joliet; Howard became the first US prisoner to be confined at Joliet.

Later years

In April 1895, Howard was the principal organizer of a new industrial union, the American Industrial Union (AIU). He was elected General Secretary of that organization at its founding convention, held in the city of Chicago. The AIU platform included the standardization of the eight-hour work day nationwide, settlement of disputes between labor and management through arbitration, women's suffrage (but not women's political participation beyond voting), temperance, and equal pay for women doing the same jobs as men.

By the summer of 1899 Howard had retired from the field of labor organization to become a farmer in Arkansas. Howard's farm was located on the Ouachita River at Witherspoon, about five miles north of Arkadelphia.

Howard did not confine himself to agrarian pursuits in his later years, taking time to lecture on "The Application of Cooperation to Trade Unionism" in Little Rock as late in November 1902.

Notes

References

1848 births
American trade union leaders
People of Indiana in the American Civil War
Year of death missing
American Railway Union people
Trade unionists from Indiana

George W. Howard


Carl William Stalling (November 10, 1891 – November 29, 1972) was an American composer, voice actor and arranger for music in animated films. He is most closely associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros., where he averaged one complete score each week, for 22 years.

Biography
Stalling was born to Ernest and Sophia C. Stalling. His parents were from Germany; his father arrived in the United States in 1883. The family settled in Lexington, Missouri where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the theatre organist at the St. Louis Theatre, which eventually became Powell Symphony Hall.

By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in Kansas City. His actual job at the time was to play "organ accompaniment" for silent films. During that time, he met and befriended a young Walt Disney, who was producing animated comedy shorts in Kansas City. According to music critic Neil Strauss, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation. Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was reportedly impressed with his style. He approached Stalling to introduce himself, and their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, and Disney ensured that Stalling would play the accompaniment for his films.

Disney eventually left Kansas City and moved to California to open a new studio. Stalling and Disney kept in touch through correspondence, and considered each other friends. In 1928, Disney was on a journey from California to New York City to record the sound and make the preview of Steamboat Willie, Disney's first released sound short. During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Stalling composed several early cartoon scores for Walt Disney, including Plane Crazy and The Gallopin' Gaucho in 1928 (but not Steamboat Willie). Plane Crazy and The Gallopin' Gaucho were originally silent films and were the first two Mickey Mouse animated short films in production.

When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was apparently pleased with the results, and offered to hire Stalling as his studio's first music director. In order to get the job, Stalling had to move to California, where the studio was located. According to Martha Sigall, Stalling accepted because the job offer was a great opportunity for him. He probably realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was also at its end. Sound films were the new trend.
Stalling soon followed Disney in moving to Hollywood, in order to work for his friend. Animation historian Allan Neuwirth credits Stalling for basically inventing the process of creating a film score for cartoons. According to Strauss, the "wildly talented" Stalling was suitable as a film score composer for animated films. Stalling even voiced Mickey Mouse in The Karnival Kid in 1929.

Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music. This was still unusual at the time, since film music was played or composed to match the action of a film. Stalling's discussions with Disney on whether the animation or the musical score should come first led to Disney creating the Silly Symphonies series of animated short films. Stalling is credited with both the composition and the musical arrangement of The Skeleton Dance (1929), the first of the Silly Symphonies. These cartoons allowed Stalling to create a score that Disney handed to his animators.
The Silly Symphonies was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music. Stalling helped Disney streamline and update the sound process used in creating early animated sound films, following the long and laborious synchronization process used in Steamboat Willie. The close synchronization of music and on-screen movement pioneered by the Disney short films became known as Mickey Mousing.

While working at the Disney studio, Stalling further refined a forerunner to the click track, they called the "Tick-system". Initially, Wilfred Jackson utilised a Metronome to set a definitive tempo of the cartoon sections, that then got further developed over the years (being transcribed onto a "bar-sheet" or a "dope-sheet"). The system helped synchronise music and sound effects to the visuals. An early example of a click track was used in the production of The Skeleton Dance (1929). The method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Strauss, this version of the click track is credited to sound effects artist Jimmy MacDonald.

Stalling left Disney after two years, at the same time as animator Ub Iwerks. He had reportedly completed the scoring of about 20 animated films for Disney. Finding few outlets in New York, Stalling rejoined Iwerks at the Iwerks Studio in California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936. In 1936, when Leon Schlesinger—under contract to produce animated shorts for Warner Bros.—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. According to Sigall, Stalling was hired by the Leon Schlesinger studio in July, 1936. She recalled the month because she was hired by the studio as an apprentice painter that same month. Stalling already had a reputation as a very talented musician and composer. He had gained this reputation and considerable experience as the music director at the studios of both Walt Disney and Ub Iwerks. Schlesinger was aware of these facts when offering to hire him. Stalling had been recommended to Schlesinger by storyman Ben Hardaway. Hardaway had met Stalling while they both worked at the Iwerks studio and, when Schlesinger started searching for a new music director for his studio, Hardaway suggested hiring his old colleague who was available. According to Sigall, the hiring of Stalling turned out to be a smart move for Schlesinger. The new music director (Stalling) became an integral member of the team producing two very successful animated series.

The two animated series which Schlesinger produced for Warner Bros. were the Looney Tunes and Merrie Melodies, both introduced in the early 1930s. Prior to 1936, most of the animated films of these two series included film scores by either Frank Marsales, Bernard B. Brown, or Norman Spencer. From 1936 onwards, Stalling was the film score composer for almost every theatrical animated short released by Warner Bros. Cartoons until his retirement. Stalling served as the music director for this studio for 22 years and is credited for the film score of over 600 animated films.

Like his predecessors as music director for the studio, Stalling had full access to the expansive Warner Bros. catalog and musicians. He could also use the fifty-piece orchestra of the company, headed at the time by Leo F. Forbstein. The executives at Warner Bros. in fact insisted that Stalling should use as much music and songs from their feature films as possible. Their dual goal was to help promote the animated shorts by associating them with already popular music, and to help promote the songs themselves by giving them additional publicity. They hoped that such cross promotion would increase the sales of the songs.

Stalling remained with Warner Bros. until he retired in 1958. His last cartoon was To Itch His Own, directed by Chuck Jones. After Stalling retired in 1958, he was succeeded by Milt Franklyn, who had assisted Stalling as an arranger since the mid 1930s and was promoted to musical director in the early 1950s. Stalling and Franklyn had shared credits for musical direction during the last years of Stalling's tenure.

Composing style

Although Stalling's composing technique followed the conventions of music accompaniment from the silent film era that were based on improvisation and compilation of musical cues from  catalogs and cue-sheets, he was also an innovator. Stalling is among the first music directors to extensively use the metronome to time film scores. He was one of three composers, along with Max Steiner and Scott Bradley, credited with the invention of the click track.

His stock-in-trade was the "musical pun", where he used references to popular songs, or even classical pieces, to add a dimension of humor to the action on the screen. Working with directors Tex Avery, Bob Clampett, Friz Freleng, Robert McKimson and Chuck Jones, he developed the Looney Tunes style of very rapid and tightly coordinated musical cues, punctuated with both instrumental and recorded sound effects, and occasionally reaching into full blown musical fantasies such as The Rabbit of Seville and A Corny Concerto.

Stalling's working process involved meeting each animated short film's director or directors before the animation process began. Together they set the time signatures to which the short was to be drawn. The animators of the film were measuring animation frames per beat. After the animation process was completed, Stalling would receive the animators' exposure sheets or bar sheets. The sheets broke the animation, dialogue, and sound effects into musical bars, which Stalling would then use to create his score for the film.

When working on a film score, Stalling would incorporate his musical puns. He chose popular songs whose titles fit the on-screen gags. His music quotations were often brief, sometimes not lasting more than four seconds. John Zorn has described Stalling's sense for quotation as "Ivesian", in reference to composer Charles Ives and his innovative musical quotation techniques. His musical cues, the unedited periods between the commencement and end of a single musical take, had varying lengths. At the short end of the spectrum, they would last no more than two seconds. At the long end, they would last two minutes. Stalling would often use music quotations from the themes of the live-action films of the Warner Bros.' studio.

Most of his film scores involved 500 measures in ten sections. His compositions were performed by Warner Brothers' fifty-piece orchestra. Neil Strauss notes that this orchestra was often employed for relatively undemanding film scores for live-action feature films. When working for Stalling, the orchestra would find itself burdened with more challenging and taxing work. Stalling recorded many variations of the opening themes of the Looney Tunes and Merrie Melodies series. The theme of the Looney Tunes series was "The Merry-Go-Round Broke Down" (1937), a minor hit from the team of Dave Franklin and Cliff Friend. Franklin and Friend were members of the Tin Pan Alley. The theme of the Merrie Melodies series was "Merrily We Roll Along" (1935). An electric guitar provided the song's initial sound effect.

Stalling was a master at quickly changing musical styles based on the action in the cartoon. His arrangements were complicated and technically demanding. The music itself served both as a background for the cartoon, and provided musical sound effects. The titles of the music often described the action, sometimes forming jokes for those familiar with the tunes.

Stalling made extensive use of the many works of Raymond Scott, whose music was licensed by Warner Bros. in the early 1940s. According to Strauss, Stalling relied heavily on the music Scott composed during the 1930s. For example, the reportedly "fast and wacky" "Powerhouse" (1937) by Scott was frequently used to accompany animated scenes involving conveyor-belts or chases. Scott's works had a cartoon sensibility and brought visual images to mind, elements which Stalling needed for his compositions. Due to Stalling's frequent use of his works, Raymond Scott was eventually considered a "cartoon composer" in his own right. But Scott did not actually compose his works with the intention of using them as film scores.

Stalling's cues are always tied to the story on the screen. For example, he often used "The Lady in Red" and "Oh, You Beautiful Doll" in scenes with attractive women or characters in female drag, and "California, Here I Come" for scenes where characters make hasty departures. Scenes involving automobiles were often accompanied by "In My Merry Oldsmobile", and scenes involving airplanes were often accompanied by the theme song to Captains of the Clouds. Raymond Scott's "In an 18th Century Drawing Room" is usually associated with Granny in the Sylvester and Tweety shorts, and his "Powerhouse" pops up in scenes of machines, factories or mechanical devices. Stalling composed music for the Rossini-derived short The Rabbit of Seville, and linked Smetana's "The Dance of the Comedians" to Wile E. Coyote and the Road Runner. Stalling is remembered today for the scores of cartoons that remain popular, and are often remembered for their music. His melodies are heard through most of the classic Warner Brothers cartoons, and imitated in new Looney Tunes compilations and features such as Looney Tunes: Back in Action.

Film critic Leonard Maltin pointed out that listening to the soundtracks of the Warner cartoons was an important part of his musical education; the use of the full Warner Bros. Orchestra resulted in a richness of sound that is often lacking in more modern cartoons.

Allan Neuwirth considers Stalling's work style in the Warner Bros. films to be highly recognizable. It consisted of "lush orchestrations", sampling of popular songs, and "hair-trigger shifts in pacing". The pacing of the film score could quickly change from manic and furious to slow and gentle, and back again. Stalling's music would match the mood required for any given scene. Neuwirth argues that the music managed to enhance the mood set by these scenes. This was what made Stalling's work so effective.

Comments by Chuck Jones

Chuck Jones and the other Looney Tunes directors sometimes complained about Stalling's proclivity for musical quotation and punning. In an interview, Jones complained:

Musicologist and animation historian Daniel Goldmark has noted that Jones repeated this anecdote about Stalling in a number of interviews. Jones also claimed in a 1975 interview that "My Funny Little Bumble Bee" song was too obscure for the audience to notice the musical reference. He exaggerated that one had to be 108-years-old to even remember the existence of the song. Goldmark believes that the anecdote itself was inaccurate in several ways. The "Bumble Bee song" of the anecdote was actually "Be My Little Baby Bumble Bee" (1912), which was not obscure to begin with. It was a hit song from the musical A Winsome Widow, produced by Florenz Ziegfeld Jr. It had also been recorded to great acclaim by the popular duo of Ada Jones and Billy Murray. And Stalling actually used this song only once during his entire tenure at Warner Bros. Cartoons. The song served as the title music of The Bee-Deviled Bruin (1949), an animated short directed by Chuck Jones. Goldmark has also noted that Jones' claim about the repeated use of "Fingal's Cave" in cave scenes was inaccurate. Stalling did use the melody composed by Felix Mendelssohn in several animated shorts, but never in combination with an actual cave scene.

Stalling died in the Los Angeles area on November 29, 1972, nineteen days after his 81st birthday.

Recordings
 The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958. Warner Bros., 1990
 The Carl Stalling Project Volume 2: More Music From Warner Bros. Cartoons, 1939–1957. Warner Bros., 1995
 Bugs Bunny on Broadway. (Broadway Cast Album conducted by George Daugherty) Warner Bros., 1990
 Bugs Bunny at the Symphony. (Live Concert Recording from the Sydney Opera House with the Sydney Symphony conducted by George Daugherty.) Warner Bros., 2010

 Papers
Original music scores and other documents relating to Carl W. Stalling (1900-1978) can be found at the University of Wyoming - American Heritage Center.

References

Sources

 Adamson, Joe (1980) "Chuck Jones Interviewed." in The American Animated Cartoon, edited by Gerald and Danny Peary,. New York: E. P. Dutton. pp. 128–41
 Goldmark, Daniel (2005) "Carl Stalling and Popular Music in the Warner Bros. Cartoons." Chapter 1, and "Carl Stalling Documents," Appendix 1 of Tunes for 'Toons: Music and the Hollywood Cartoon, University of California Press, Berkeley,

 Stalling, Carl W. The Carl W. Stalling Papers, American Heritage Center, University of Wyoming

 Tebbel, John R. (Sept/Oct 1992) "The Looney Tunester" Film Comment, 28.5, pp. 64–66
 Zorn, John (1990) "Carl Stalling: An Appreciation," Liner Notes for The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958,'' Warner Bros. Records 26027

External links
Carl W. Stalling papers at the University of Wyoming – American Heritage Center

Article on Carl Stalling at Animation World Magazine
Article on Carl Stalling at The Partial Observer
Article on Carl Stalling at Slate Magazine
Interview with Carl Stalling (1971) at MichaelBarrier.com
Carl Stalling: Music Animator - AHC blog

1891 births
1972 deaths
20th-century American composers
20th-century American pianists
People from Lexington, Missouri
American film score composers
American music arrangers
American male film score composers
Musicians from Missouri
Theatre organists
American people of German descent
Articles containing video clips
Walt Disney Animation Studios people
Warner Bros. Cartoons music composers
Burials at Hollywood Forever Cemetery
20th-century organists
American male pianists
20th-century American male musicians

Carl W. Stalling


The Château d'Aguilar (Languedocien: Castèl d'Aguilar) is a 12th-century castle, one of the so-called Cathar castles, located in the commune of Tuchan in the Aude département of France.

Architecture
The design of the castle is an example of the practical military thinking guiding the 12th century architecture. The castle consists of an inner keep built in the 12th century, surrounded by an outer pentagonal fortification from the 13th century. This fortification is oriented such that its point guards the side most favourable to attackers. The keep and the inner hexagonal fortification is flanked at each corner with semi-circular guard towers, each equipped with archery outlooks. The strategic location of the castle on a hill overhanging the plain of Tuchan allows control and protection of the Corbières Massif. Despite this, the castle is easily accessible from the plains because of its relatively low elevation of 321 metres.

There is a small underground chapel of Saint-Anne below the keep.

History
The earliest building at this location belonged to the count of Fonnollède since 1021. In the 13th century, the keep that had replaced earlier buildings was bequeathed by the viscounts of Carcassonne to their vassal, the Ternes.

In 1210, it was invaded and occupied by Simon de Montfort, whose soldiers took and held the owner Raymond de Termes in a dark dungeon in the Carcassonne. Militarily, the castle lay dormant for the next 30 years, until Raymond's son Oliver de Termes took back the castle in the brief revolt  against the crusaders. Aguilar became the refuge of many faydits, Cathar knights and lords without strongholds. In 1246, a royal garrison was installed to supervise the Aragon frontier.

Olivier, however, eventually made an alliance with king Louis IX, who purchased the castle from him in 1260. Despite the heavy fortifications, the castle would be continually under siege by opposers to the French or Spanish rulers until the 16th century.

When the border was pushed back to the south of Roussillon by the treaty of the Pyrenées, the castle gradually lost its strategic importance, and was eventually abandoned in 1659. Today it is in decrepit condition. Since 1949, it has been listed as a monument historique by the French Ministry of Culture.

Pictures

See also
 List of castles in France

References

External links

The "Commune de Tuchon" and Aguilar

 The Château de Aguilar on the Cathar Castles page

Buildings and structures completed in the 12th century
Castles in Aude
Ruined castles in Occitania (administrative region)
Monuments historiques of Aude
Catharism

Château d'Aguilar


The wedding dress worn by Catherine Middleton at her wedding to Prince William on 29 April 2011 was designed by English designer Sarah Burton, creative director of the luxury fashion house Alexander McQueen.

The dress and its maker were not formally announced until the bride stepped from her car to enter Westminster Abbey just prior to the service. Noted for its design, symbolism, and expected influence on Western bridal gown trends, the dress was widely anticipated and generated much comment in the media. Replicas of the dress were produced and sold, and the original dress was on display at Buckingham Palace from 23 July 2011 until 3 October 2011 during the annual summer exhibition.

Pre-wedding speculation
Before the day, there was much speculation as to Middleton's choice of dress. On 6 March, The Sunday Times reported on speculation that Middleton had chosen McQueen designer Sarah Burton. Their report stated: "A fashion source said that the dress will be a combination of Middleton's own design ideas and Burton's deep knowledge and understanding of high fashion." The label and Burton both denied any involvement. Burton's work came to the notice of Middleton in 2005 when she attended the wedding of Tom Parker Bowles, the son of Camilla, Duchess of Cornwall. Burton had designed the bridal gown for his bride, fashion journalist Sara Buys. Also suggested were Phillipa Lepley, Victoria Beckham, Sophie Cranston's Libelula, Jasper Conran, Elizabeth Emanuel, Daniella Issa Helayel, Marchesa by Keren Craig and Georgina Chapman, Stella McCartney, Bruce Oldfield, and Catherine Walker.

Burton emerged as the odds-on favourite to create the dress amongst bookmakers, to the extent that English bookmaker William Hill stopped taking wagers weeks before the event. David Emanuel, co-designer of the wedding dress of Lady Diana Spencer, commented to the Canadian fashion journalist Jeanne Beker that "McQueen is owned by Gucci, an Italian company. If Kate's gone that route, it would be the first time a British-owned house wasn't chosen. And the Italians would have a field day with that."

According to Joanna Marschner, Senior Curator of the Historic Royal Palaces, "the dresses have had to grow as the media expectation has grown. Television cameras in Westminster Abbey have meant that those dresses are going to have to live up to those venues and indeed be of a design excellence to bear infinite scrutiny."

Design
Official statements noted that Middleton wished to combine tradition and modernity, "with the artistic vision that characterises Alexander McQueen's work." She and Burton worked closely together in formulating the dress design.

The British tabloid News of the World reported that the dress cost £250,000, although a Clarence House spokesperson dismissed that claim. It was also reported that Middleton's parents paid for the bridal gown.

The ivory satin bodice was padded slightly at the hips and narrowed at the waist, and was inspired by the Victorian tradition of corsetry that is a particular Alexander McQueen hallmark. The bodice incorporated floral motifs cut from machine-made lace, which were then appliquéd on to silk net (tulle) by workers from the Royal School of Needlework, based at Hampton Court Palace. On the back were 58 buttons of gazar and organza, which fasten by means of rouleau loops. The skirt, underskirt trim and bridal train (which measured 270 cm—110in) also incorporated lace appliquéd in a similar manner. The main body of the dress was made in ivory and white satin gazar, using UK fabrics which had been specially sourced by Sarah Burton, with a long, full skirt designed to echo an opening flower, with soft pleats which unfolded to the floor, forming a Victorian-style semi-bustle at the back, and finishing in a short train measuring just under three metres in length. To partially fulfill the 'something blue' portion of the British wedding tradition, a blue ribbon was sewn inside the dress. The design for the bodice of the dress featuring lace in the style of the 19th century was the 'something old'.

The British press showed considerable interest in the lace used in the wedding dress, but their published reports are at variance with available documentation, and suggest that they were briefed with common incorrect or misleading information. The facts about the lace are as follows. The effect achieved by the design of the bodice is similar to that of the decorated nets that were popular in the late 19th century, typified by the Limerick and Carrickmacross laces of Ireland. For the latter, machine-made net is used as a basis on which floral and other designs are created by various hand-needlework techniques.

The press release from the Royal School of Needlework states that the technique used in Catherine's wedding dress "was influenced by" traditional Carrickmacross lace technique. However, the technique itself was a completely different and modern device: floral motifs were cut out of lengths of lace produced on large 19th-century machines and stitched to machine net. Three companies are known to have produced lace for the dress: Sophie Hallette and Solstiss in France, and the Cluny Lace Company in Ilkeston, Derbyshire. The majority of the dress is made using the Solstiss lace, specifically the skirt and train. The styles of machine lace go by the names "English Cluny" and "Chantilly", but should not be confused with the older hand-made bobbin laces of the same names. The lace was not specially commissioned for the dress, but chosen from stock patterns (what was formerly known only as Sophie Hallette's "950264" is now known as "Kate's lace", however, this lace was only used for the bodice of the dress, the skirt and train are made of the Solstiss lace. Grace Kelly's wedding dress was also made from lace by Solstiss, a French company. All the companies involved are known to produce the highest quality of couture lace.) and hence the floral motifs available were those present in the patterns. The lace designs include roses, thistles, daffodils and shamrocks, representing the national flowers of England, Scotland, Wales and Northern Ireland, respectively.

Reception and influence
The dress generated much comment in the media from fashion experts and was very well received. It was noted that the design was largely traditional and inspired by dresses from the 1950s. Karl Lagerfeld wrote "the dress is classic and goes very well in the Westminster decor. It almost reminds me of Elizabeth's wedding, the royal weddings in the [19]50s. The proportion of the train is good. The lace is very pretty. I like the veil a lot." Antonio Marras, of Kenzo, stated, "the choice of the label and the style of the dress was a very clever mix between edgy fashion and tradition — all in a very British way. You could see references to Grace Kelly or Queen Elizabeth's dresses, but in a simpler, more modern way." It was noted that the lace bodice of Middleton's dress echoed that worn by Grace Kelly for her marriage to Rainier III, Prince of Monaco, in 1956. Comparisons were also drawn with Princess Margaret's wedding dress. Mark Badgley of Badgley Mischka wrote that "it's the kind of gown that will stand the test of time. Not all gowns do. Any bride across the world will want to wear it. It's got a touch of vintage, a classic 1950s ball gown, so timeless that her daughter would look gorgeous in this gown 30 years from now." Meanwhile, Oscar de la Renta stated that it was "a very traditional dress for a very traditional wedding...not ostentatious. There was not 50 meters of train, and it was not overembroidered. It was just a very traditional dress for a ravishing girl who doesn't need a lot."

Comparisons were also made to the dress worn by Prince William's mother, Lady Diana Spencer. Vera Wang said "Diana's dress had a sense of innocence, whimsy, almost storybook romance. In contrast Catherine's gown was about way more than simply the dress. Sarah Burton channelled a new take on classicism for a modern-day bride who will one day be queen." Diana's wedding dress maker, Elizabeth Emanuel, has suggested: "Exactly as it happened in 1981, there are going to be people watching as she walks down the aisle with their sketch pads, with the machinists and pattern cutters all ready and waiting. By the next morning you'll see copies in High Street." Emanuel says the dress would fit many body shapes.

There were many suggestions that the style of the dress would influence wedding fashion for the next few years. Alison McGill, the editor-in-chief of Weddingbells Magazine: "I think her choice to wear long sleeves signals a big goodbye to strapless wedding gowns." Meanwhile, Veronica Di Santo-Abramowicz, of the Toronto-based Ines Di Santo label opined "Kate's dress will influence so much of the bridal style that we will see over the next few years. It always happens that when a person of royalty or high stature gets married, this sets trends for several years. For example, Diana's gown and Carolyn Bessette's gown are two noteworthy brides that come to mind."

One British firm's replica, commissioned by The Times as a contest prize, was completed less than five hours after Middleton began her car ride to the Abbey. The firm received numerous inquiries within a day, but expressed that it would have to consult lawyers before replicas could be sold. New Zealand couturist Jane Yeh worked through the night after the wedding to create another copy of the dress. Chinese dressmakers told news reporters they expected to have knock-offs of the dress available one week from the event; one expressed frustration that it was not leaked in advance so that they could have stock prepared earlier. Another suggested a £70 to £90 retail price.

The choice of a dress from the fashion house of Alexander McQueen, who had died by suicide in 2010, led Hubert de Givenchy to state "It's a lovely thought, a nice tribute."

The dress, along with other items pertaining to the Royal Wedding, were exhibited at Buckingham Palace from 23 July 2011 until 3 October 2011. The method of displaying the dress and tiara (on a headless mannequin lit by white lighting) was reported to have been described as "horrid" by the Queen during a private tour of the exhibition with the Duchess of Cambridge in July 2011. A microphone overheard the Queen remarking to the Duchess "It's made to look very creepy" while Catherine responded that it had a "3D effect". The dress helped attract a record number of visitors to Buckingham Palace in the summer months of 2011. It was also reported to have helped raise around ten million pounds towards Middleton's own charity fund as well as the Royal Collection.

See also

 Engagement announcement dress of Catherine Middleton
 List of individual dresses

References

External links

 Photos: Kate Middleton's Wedding Dress Up Close

2010s fashion
2011 in London
British royal attire
Catherine, Princess of Wales
English fashion
Marriage, unions and partnerships in England
Middleton Kate
2011 in fashion
2011 clothing
Wedding of Prince William and Catherine Middleton

Wedding dress of Catherine Middleton


Andrew Eldritch (born Andrew William Harvey Taylor, 15 May 1959) is an English singer, songwriter and musician. He is the lead vocalist and only remaining original member of the Sisters of Mercy, a band that emerged from the British post-punk scene, transformed into a gothic rock band, and, in later years, flirted with hard rock.

Formerly a drummer, Eldritch also programs the tracks for the Sisters of Mercy's drum machine (known as "Doktor Avalanche") and plays guitars and keyboards in its studio recordings but uses live shows to focus solely on his vocal performance. Eldritch is well known for his deep and melancholic bass-baritone singing voice as well as his poetic (and sometimes politically charged) lyrics.

The Sisters of Mercy is regarded as a major influence on gothic rock, and Eldritch, with his (former) shock of black hair, bass-baritone vocal style and pale and thin look (with prominent cheekbones), was described in the media as a poster boy for the genre, earning him the label "the Godfather of Goth", which he frequently rejects.

He also established the record label Merciful Release. In addition to the Sisters of Mercy, in 1986 Andrew Eldritch established a side-project, the Sisterhood, which was quickly abandoned in favour of continuing working under the Sisters of Mercy.

Early life and education
Andrew Eldritch was born on 15 May 1959 in the small cathedral city Ely. He later wrote a piano song named "1959", referring to the year of his birth and starting with the line "Living as an angel in the place that I was born".

Eldritch studied French and German literature at the University of Oxford before moving to Leeds around 1978 to study Mandarin Chinese at the University of Leeds: he left both courses before graduating. He speaks fluent French and German and has some knowledge of Dutch, Italian, Russian, Serbian, Croatian, and Latin, but stated he had forgotten the Chinese he learned. During this period, Eldritch was a freelance drummer in the local Leeds punk scene.

Musical career

The Sisters of Mercy

In 1980, Eldritch and Gary Marx formed the Sisters of Mercy. On the first single, "Damage Done/Watch/Home of the Hit-men", Eldritch played the drums, a task he was later relieved of by a series of drum machines referred to as Doktor Avalanche, allowing him instead to focus on his vocal performance. Over the years, nine members have left the group, several of them citing conflicts with the frontman as a reason for their departure. These former members include Patricia Morrison, who claimed she had been paid an average of £300 per month; and Wayne Hussey, with whom Eldritch had a personal feud which contributed to heavy criticism of both by the music press during the 1980s. Hussey formed a breakaway band called the Mission as a result of this conflict.

Following the release of the band's last studio album to date, Vision Thing (1990), Eldritch initiated a 1991 US tour of the Sisters of Mercy in a triple bill with Gang of Four and American hip hop group Public Enemy. The tour was cancelled midway and the band relocated to Europe.

In 1995 Eldritch interviewed David Bowie and Leonard Cohen for the German edition of Rolling Stone magazine. He also contributed articles on computers to German magazines. That year, he briefly rejuvenated his working relationship with erstwhile Sisters of Mercy guitarist Gary Marx. Marx wrote an album's worth of backing tracks, to which Eldritch could contribute lyrics for release as a new studio album. Eldritch eventually backed out of the project and Marx released the tracks over a decade later as a solo album.

Prevented by contractual obligations from appearing under his own name, he is also rumoured to have produced a couple of techno albums under various pseudonyms during the 1990s, a rumour he would not deny when asked about it in an interview by Alexa Williamson in May 1997. Two musical projects Eldritch set up with his label, Merciful Release, have later been confirmed as Paris Riots (a collaboration with James Ray) and Leeds Underground. Both projects were abandoned before any tracks were released to the public.

In 1997 Eldritch produced the SSV studio album Go Figure, featuring his vocals over drumless electronic music. The album finally freed him from his contractual obligations, as East West Records agreed to waive their claims for two more Sisters of Mercy albums in exchange for the recordings. The SSV tracks were, however, never officially released. The full name of the band is SSV-NSMABAAOTWMODAACOTIATW, said to be an acronym for "Screw Shareholder Value – Not So Much a Band as Another Opportunity to Waste Money on Drugs and Ammunition Courtesy of the Idiots at Time Warner".

The Sisters of Mercy tour every year, but no new recorded material has been released for sale since 1993.

In 2009 Eldritch gave his first interview in 12 years to Classic Rock writer Joel McIver, in which he rejected the need for any new recorded material from the Sisters and talked at length about the band's career.

Speculation about a new Sisters of Mercy studio album release was renewed in November 2016 when Eldritch was quoted by TeamRock website: "I can tell you one thing: If Donald Trump actually does become President, that will be reason enough for me to release another album. I don't think I could keep quiet if that happened." As of August 2023, no new album has been released.

Songwriting and philosophy
The devices in Eldritch's lyrics include literary allusions (notably to the works of T. S. Eliot, Leonard Cohen and Shakespeare), erotic imagery, and drug culture metaphors. He has made pointed criticism of the Republican Party of the United States, a group with which Eldritch claims to have a "hate-hate" relationship,. Politically, he has claimed to be "traditionally a Labour supporter" despite his "anarcho-syndicalist tendencies".

Gothic associations
Though Andrew Eldritch has been called the "Godfather of Goth", for inspiring and defining the gothic scene musically and aesthetically, the Sisters of Mercy, despite being formed in 1980, were originally not very popular in the early-1980s post-punk subgenre of bands and music fans which the British press had labelled goth. The Sisters of Mercy were, however, accused by the press of plagiarising Joy Division, who were marketed by their management as "gothic" in the late 1970s.

Since the early 1990s, Eldritch has publicly rejected associations with the goth subculture. He describes the Sisters of Mercy as humanist, modernist, and implies he wants nothing to do with goth, stating: "it's disappointing that so many people have in all seriousness adopted just one of our many one-week-of-stupid-clothes benders." He also notes: "I'm constantly confronted by representatives of popular culture who are far more goth than we, yet I have only to wear black socks to be stigmatised as the demon overlord."

Guest appearances
 Gary Moore – After the War (1989) – Backing vocals on "After the War", "Speak for Yourself" and "Blood of Emeralds"
 Kastrierte Philosophen – Toilet Queen (1989) – Remix of "Toilet Queen"
 Die Krupps – III - Odyssey of the Mind (1995) – Remix of "Odyssey of the Mind"
 Die Krupps – Rings of Steel (1995) – Remix of "Fatherland" (with Rodney Orpheus from the Cassandra Complex)
 Sarah Brightman – Fly (1995) – German interlude on "How Can Heaven Love Me" and backing vocals on "A Question of Honour"
 SSV – Go Figure (1997) – Sampled vocals on all songs

Cultural references
Eldritch is the subject of the song "Prince of Darkness" by fellow-Leeds band the Mekons and is also mentioned in the song "Charlie Cake Park", both of which appeared on their 1987 studio album Honky Tonkin'; he is also the subject of "Andrew Eldritch is Moving Back to Leeds" on the studio album Goths by the Mountain Goats, released 19 May 2017.

References

External links

1959 births
English bass-baritones
English male singers
English male singer-songwriters
English singer-songwriters
English male songwriters
British post-punk musicians
Gothic rock musicians
Living people
People from Ely, Cambridgeshire
English rock singers
The Sisters of Mercy members
Musicians from Cambridgeshire

Andrew Eldritch


In transport engineering nomenclature, a counterflow lane or contraflow lane is a lane in which traffic flows in the opposite direction of the surrounding lanes.

Contraflow lanes are often used for bicycles or bus rapid transit on what are otherwise one-way streets. In a sample configuration for buses, a street might have four lanes: the outermost lanes are reserved for buses in both directions, while the center two lanes are available for general traffic in only one direction. Thus, the street functions as two-way for buses, but one-way for all other vehicles.

In certain situations, reversible lanes will be contraflow for a portion of the day. The Lincoln Tunnel XBL to the Lincoln Tunnel is a contraflow exclusive bus lane for buses during the morning peak period. The XBL lane is fed by the New Jersey Turnpike at Exits 16E and 17, and New Jersey Route 3. The helix, tunnel, and terminal are owned and operated by the Port Authority of New York and New Jersey, the bi-state agency that also operates the   contraflow lane along the left lane of three westbound lanes. The XBL serves over 1,800 buses, which transport more than 65,000 persons, each morning and is a major component of the morning "inbound" commutation crossing the Hudson River.

When lanes on motorways are closed for repair and maintenance, a contraflow lane may be set up on the other side of the central reservation.

Disambiguation
There are similar setups with slightly different usages, although the terms may be commonly used interchangeably.

Contraflow Lane: Typically used to refer to a bus lane running against a one-way street through the opposite direction

Contraflow Lane Reversal: Typically used to refer to a temporary setup of a lane running opposite to normal during special times, such as emergency evacuations, sports tournaments, or road construction/repairs.

Reversible Lane: Typically used to refer to a lane specifically designed to facilitate different directional usage regularly, with changes sometimes as frequent as twice a day.

Mass transit

Contraflow bus lanes, areas in which a dedicated lane of an otherwise one way street is reversed for buses and other mass transit, exist in locations such as:
Downtown Los Angeles, CA
Pittsburgh, PA
Belfast, Northern Ireland
Through the Lincoln Tunnel between New Jersey and New York City
Downtown Minneapolis, MN
Leeds, England
London, England
Edmonton, AB
Calgary, AB
Montreal, QC (Champlain Bridge)
San Juan, PR
Mexico City, Mexico
São Paulo, Brazil
 Houston, TX
Downtown Austin, TX
 Hong Kong Island, Hong Kong (similar lanes are also reserved for trams)
 Liège, Wallonia

From June 1990 to June 2002, a similar line existed in Montreal, along Pie-IX Boulevard; this was indefinitely suspended after two fatalities.
Government buses use a bus-only contraflow lane on Macquarie St in Hobart, Tasmania, Australia.

Authorised buses, emergency vehicles and taxis use a contraflow lane on Petrie Tce, Brisbane, Queensland, Australia.

Tram lanes are an extension to this system found in cities with curbside streetcar networks. For example, tram lanes in Zagreb can be used only by trams, buses, and taxicabs.

Cycling

Contraflow is a common part of decent cycling infrastructure and is often seen on one-way streets. A standard example is that car and other vehicular traffic might have only one lane while on both sides there are bike lanes; one going in the same direction as the vehicular traffic, the other (the contraflow bike lane) allows cyclists to safely go in the opposite direction to the cars. This is allowed as the road may not be wide enough for two lanes of car traffic but there is enough room to allow for the additional bicycle lane; and without it cyclists may be forced to take a long, and perhaps unsafe, detour.

Another example is the same as the above but there is only one bike lane, the contraflow lane, and bicycles travelling in the same direction as the cars share the cars' lane. This solution would be more suited to very narrow roads or ones with light traffic.

In Belgium since about 2005, and in France since 2010, the default position in towns has been for one-way streets to be available for cycling in either direction, known in French as sens unique limité (SUL) in Belgium and double sens cyclable (DSC) in France. In this case, a contraflow cycle lane is often marked in paint, with dotted white lines and ideograms of a bicycle, either all the way along the street if busy, or more commonly just at junctions.

In the Netherlands, most one-way streets are two way for cyclists, although this is not always marked by a counterflow lane. This is presented as a 'one-way street, except for cyclists'. One-way streets that do not include contraflow for bicycles are rare and are usually only found as pairs of a single street (with very large median) that are too far apart to be presented as a single street. It is not uncommon for cyclists to fail to notice a one-way street that does include contraflow for bicycles, because they are too accustomed to all one-way streets including bicycles.

In the United Kingdom, it is standard since 2020 to encourage highway authorities to allow cycles to take a shorter and perhaps safer routes on narrow one-way residential streets. On streets with less than 1000 vehicles a day and a speed limit of 20mph, contraflow lanes do not require lane markings where, although appear on upright signage. As part of new or improved one-way road layouts, contraflow cycle lanes should be considered.

In the United States, the town of Provincetown, Massachusetts on Cape Cod has long allowed cycling in both directions on its three-mile long main street, Commercial Street. There is no marked cycle lane. This unusual condition required special state legislation in 1977 to give the local government permission to set its own rules for the street.

Contraflow cycling is often assumed to be associated with higher accidents risks, but where it has been properly evaluated, contraflow cycling actually seems to reduce the accidents risk.

See also
 Contraflow lane reversal
 Reversible lane
 Single track road

References

Road infrastructure
Road traffic management
Cycling infrastructure

Contraflow lane


Folk Den is a folk music website founded in 1995 by Roger McGuinn, former front man of The Byrds. Hosted at the University of North Carolina at Chapel Hill's ibiblio, the site is intended to preserve and promote folk music and offers a new folk song on a monthly basis. Each posting provides an MP3 of a traditional folk song along with a descriptive paragraph, lyrics, guitar chords and related images. The site has received positive reviews from The New York Times, the Discovery Channel, and CNET.

CD releases
A selection of songs from Folk Den, with guest vocalists, was released on CD as Treasures from the Folk Den, which was nominated  for a Grammy Award in 2002 for  Best Traditional Folk Album. In November 2005, McGuinn released a four-CD box set containing one hundred of his favorite songs from the Folk Den.

References

Further reading

Interviews and reviews

External links

Folk music publications
Free music download websites
American music websites
Internet properties established in 1995

Folk Den


Harvest now, decrypt later, also known as store now, decrypt later or retrospective decryption, is a surveillance strategy that relies on the acquisition and long-term storage of currently unreadable encrypted data awaiting possible breakthroughs in decryption technology that would render it readable in the future.

The most common concern is the prospect of developments in quantum cryptography which would allow current strong encryption algorithms to be broken at some time in the future, making it possible to decrypt any stored material that had been encrypted using those algorithms. However, the improvement in decryption technology need not be due to a quantum-cryptographic advance; any other form of attack capable of enabling decryption would be sufficient.

The existence of this strategy has led to concerns about the need to urgently deploy post-quantum cryptography, even though no practical quantum attacks yet exist, as some data stored now may still remain sensitive even decades into the future. , the U.S. federal government has proposed a roadmap for organizations to start migrating toward quantum-cryptography-resistant algorithms to mitigate these threats.

References

See also
 Communications interception (disambiguation)
 Indiscriminate monitoring
 Mass surveillance
 Perfect forward secrecy

Cryptography
Espionage techniques
Mass surveillance
Computer data storage
Privacy

Harvest now, decrypt later


Leonard Howard (1699?-1767) was an English clergyman and writer.

Life
Born about 1699, He was originally a clerk in the post office.  He took orders, was M.A. probably of some Scottish university, and D.D. by 1745. In 1742 he was curate of the parishes of St John, Southwark, and St Botolph, Aldersgate, and chaplain to Frederick, Prince of Wales. Three years later he had become vicar of either Bishop's Tawton or South Tawton, Devon, and lecturer of St Magnus, London Bridge, and of St James, Garlick Hythe.

On 18 July 1749 he was presented by the crown to the rectory of St George the Martyr, Southwark, which he held with the lectureships of St Magnus and of St Margaret, Fish Street. He subsequently was appointed chaplain to Augusta of Saxe-Gotha, the Princess Dowager of Wales. He died on 21 December 1767, aged 68, and was buried underneath the communion-table in St. George's Church. Howard was a popular preacher, but money troubles frequently led to his imprisonment in the King's Bench Prison, where he was dubbed "poet laureate", and he sometimes obtained money as subscriptions to books which he pretended to be writing.

Works
In 1728 he published some 'Verses on the Recovery of the Lord Townshend, humbly inscribed to … Sir Robert Walpole,' with a poem on William III (Craftsman, 15 June 1728). Howard's best known work is A Collection of Letters from the original Manuscripts of many Princes, great Personages and Statesmen. Together with some curious and scarce Tracts and Pieces of Antiquity, London, 1753. A second volume, which was announced to be in preparation, did not appear. Another edition was in two volumes, with Memoirs of the unfortunate Prince Anthony the First of Portugal, and the Oeconomy of High-Life, London, 1756.

Besides sermons, Howard also published:

 'The Newest Manual of Private Devotions. In three parts,' London, 1745 (1753, 1760).
 'The Royal Bible; or a complete Body of Christian Divinity: containing the Holy Scriptures at large, and a full … explanation of all the difficult texts … together with critical notes and observations on the whole,' London, 1761.
 'The Book of Common Prayer … illustrated and explained by a full … paraphrase,' London, 1761.
 'Miscellaneous Pieces in prose and verse … to which are added The Letters, &c. of … Henry Hatsell, Esq., deceased; and several Tracts, Poems, &c. of some eminent personages of wit and humour,' London, 1765.

He also revised a Layman's 'New Companion for the Festivals and Fasts of the Church of England,' London, 1761. Howard's literary thefts exposed him tocriticism, to which he refers in the prefaces to his 'Newest Manual' and 'Collection of Letters.'

References

Attribution

1699 births
1767 deaths
18th-century English Anglican priests
18th-century English writers
17th-century Anglican theologians
18th-century Anglican theologians
Early modern Christian devotional writers

Leonard Howard


Leonid M. Sabsovich (Russian: Леонид Моисеевич Сабсович) was an urban planner and economist, most famous for his 'Urbanist' proposals during the 1920s and 1930s in the Soviet Union (USSR), leading him to be considered the leading figure of Urbanist city planning movement in the Soviet Union. Sabsovich's Urbanist movement was directly opposed that of the 'Disurbanists' who were led by Mikhail Okhitovich also within the Soviet Union.

Sabsovich outlined an urbanist vision for the Soviet Union calling for all cities and villages to be replaced by towns containing approximately 25 to 50 residential units over a time period of ten years.  These Urban housing units were intended to communally house 1400 to 2000 people each, while providing well developed communal facilities to facilitate the development of communist ideology.  The only private living space was to be the rather small 'sleeping cabins'. The Urbanists envisioned cities as a 'social condenser' that was well equipped to instill people with communitarian attitudes and values that the new communist world required.

Sabsovich wrote in the Constructivists' Sovremennaya Arkhitektura (SA) Journal the following quote:

"Not for nothing, that when I presented in all its sharpness the questions of the organisation of new life to the most active women-workers of the town Novosibirsk, they unanimously gave their view, that the dimensions of the public space in no case can be reduced. They pointed out, that in new dwellings they first of all needed public spaces. A room for collective use is, they say as 'necessary as the breath of one's nostrils and as the food'."

See also
Mikhail Okhitovich
Urban Planning
Vladimir Tatlin
Liubov Popova
Kasimir Malevich
Lyubov Popova
El Lissitzky
Georgy Krutikov
Yakov Chernikhov
Suprematism
Constructivism

References

Urban theorists
Soviet urban planners
Year of birth missing
Year of death missing

Leonid Sabsovich


, also known as the "Temple of the Buddha's Light", was originally named Kōshō-ji, a Jōdo Shinshū temple in the Yamashina ward of Kyoto, which later moved to the heart of Kyoto.  The temple was founded and officially opened by a disciple named Ryōgen in 1324, but by the 15th century, Bukkō-ji was the largest and most successful temple, and its network of branch temples extending throughout the provinces of western Japan. As a rival to the Hongan-ji, it received much criticism for its evangelical practices from Kakunyo the head of the Hongan-ji.  Around 1481, however, Bukkō-ji became a subordinate temple to the Hongan-ji.  Many of the Bukkō-ji's congregation thus became members of the Hongan-ji, thus greatly reducing the stature.

While Bukkō-ji is technically an independent Jōdo Shinshū branch it has had close links to the Hongan-ji lineage since the time of Rennyo.

History
The founder of the Bukkō-ji temple, Ryōgen (了源 1295–1336), was a disciple of Jōdo Shinshū Buddhism in the Kantō region, but moved to Kyoto in 1320 in order to set up a small chapel in the Yamashina area of Yamashiro Province (now part of modern-day Kyoto). The head of the Hongan-ji at the time, Kakunyo, initially was receptive of the idea and gave it the name Kōshō-ji (興正寺).  Further, Kakunyo instructed his son Zonkaku to administer to Ryōgen religious training and Hongan-ji textual documents. Zonkaku and Ryōgen developed a strong rapport with one another during this period, but by 1324 the tension between Zonkaku and his father, Kakunyo, had worsened to the point that Kakunyo disinherited his son and disassociated himself with Ryōgen due to differences in understanding Hōnen and Shinran's teachings. Thus, when Kosho-ji was established in 1324, it was not done so under the blessing of Hongan-ji. Zonkaku was a priest along with Ryōgen in the formative years of the temple, and assisted with presiding over certain yearly festivals and writing manuals and texts to use.

In 1329 the following at Kōshō-ji outgrew the building's capacity, and the building was relocated to Kyoto very close to Hongan-ji. Zonkaku renamed the temple Bukkō-ji, so as to disassociate it further from Kukanyo.

In the coming decade Bukkō-ji became more successful than Hongan-ji, and Ryōgen was traveling into new provinces teaching Hōnen and Shinran's message and  using a style of proselytizing similar to the Ji-shū school, including:
 Use of nembutsu inscriptions for followers.
 "Salvation registers" (myōchō 名帳), a register of followers who declare their faith in Amitabha Buddha, and thus establish a karmic link with that Buddha.
 Portrait lineages (ekeizu 絵系図), which provided a visual representation of one's lineage, starting with their immediate teacher, and extending back to past Pure Land Buddhist masters.

The Bukkō-ji lineage thus had a more hierarchical and evangelical structure than the competing Hongan-ji lineage.  Use of registers, lineages and such placed greater importance on the local priest, who in turn relied on the parent temple, whereas in the Hongan-ji lineage priests and followers were technically equal.  Like all Shinshu sects, priests were allowed to marry and raise families, and regularly drew followers from lower-class peasant and artisan communities.

In 1336, while touring the provinces, Ryōgen was murdered by a group of bandits. Genran (1318–1347), Ryōgen's son, took over the temple but died shortly after. In spite of this setback, the temple continued to flourish, and was singled out by Kakunyo in his  for criticism of its practices.

From the time of the temple's founding until Rennyo unified many of these disparate branches, Bukkō-ji spread its teachings to the provinces of Tōtōmi, Iga, Ise, Owari and Mikawa. But when Rennyo took control of Hongan-ji, the Bukkō-ji lost many members to him. Kyōgō (died 1490), who was next in-line to become the head of Bukkō-ji left to train under Rennyo at Hongan-ji. Kyōgō's motives are unclear.

Kyōgō went on to found his own temple, in affiliation with Hongan-ji, he called Kōshō-ji, the original name intended for Bukkō-ji. This move attracted yet more Bukkō-ji adherents away.  Historically, Bukkō-ji has continued to be an influential temple in the Hongan-ji network and always follows the Hongan-ji if the latter relocates.

See also

 For an explanation of terms concerning Japanese Buddhism, Japanese Buddhist art, and Japanese Buddhist temple architecture, see the Glossary of Japanese Buddhism.

References
 Dobbins, James C. (1989). Jodo Shinshu: Shin Buddhism in Medieval Japan. Bloomington, Illinois: Indiana University Press. 	;  OCLC 470742039
 Ducor, Jerome : La vie de Zonkaku, religieux bouddhiste japonais du XIVe siècle. Avec une traduction de ses mémoires (Ichigoki) et une introduction à son oeuvre. Collège de France, Bibliothèque de l'Institut des Hautes Études Japonaises. Paris, Maisonneuve & Larose, 1993;

Pure Land Buddhism
Pure Land temples
Jōdo Shin temples
Buddhist temples in Kyoto
Monzeki

Bukkō-ji


Charles Berkeley, 1st Earl of Falmouth (11 January 1630 – 3 June 1665) was an English nobleman and naval officer who was the son of Charles Berkeley (1599–1668) and his wife Penelope née Godolphin (died 1669), of the Bruton branch of the Berkeley family.

He served the exiled Stuart court. His uncle, John Berkeley, 1st Baron Berkeley of Stratton, secured Charles's employment with James, Duke of York until the Restoration. He was a cavalry officer and fought in the French and Spanish armies. Charles was subsequently created Baron Berkeley of Rathdowne, co. Wicklow, Ireland, and Viscount Fitzhardinge of Berehaven, Co. Kerry, Ireland, on 1 July 1663. He was created Earl of Falmouth, in the Peerage of England, on 17 March 1664, and Baron Botetourt of Langport, Somerset on the same day. He was promoted Lieutenant-Governor of Portsmouth and was elected MP for New Romney.

In 1664 he married Elizabeth Bagot, who as the widowed Countess of Falmouth became a mistress to King Charles II of England.

During the Second Anglo-Dutch War he volunteered for service in the Royal fleet. Charles was killed by a cannonball on 3 June 1665 on board the  in one of the first exchanges of the Battle of Lowestoft.

His boisterous character made him not very well-loved by many, but his loyalty to the Royal family favoured his relationship with the King. Clarendon was amazed at the flood of tears the King shed, when he received the news that Berkeley had been killed.

The poet John Denham was less charitable about the demise of the Earl:
 His shattered Head the fearless Duke disdains  And gave the last first proof that he had brains

References

1630 births
1665 deaths
British Life Guards officers
Earls in the Peerage of England
Fitzhardinge, Charles Berkeley, 1st Viscount
English military personnel killed in action
Charles
Royal Navy personnel of the Second Anglo-Dutch War
Peers of England created by Charles II
Peers of Ireland created by Charles II

Charles Berkeley, 1st Earl of Falmouth