Eusebius Mandyczewski (, ; 18 August 1857, in Molodiia – 13 August 1929, in Vienna) was a Romanian musicologist, composer, conductor, and teacher. He was an author of numerous musical works and is highly regarded within Austrian, Romanian and Ukrainian music circles.

Personal life

Eusebius Mandyczewski was born in the village of Bahrynivka (Ukrainian: Багринівка; Romanian: Bahrinești)
(then Austria-Hungary; now Ukraine, Hlyboka Raion) on 18 August 1857. His father was a priest and his mother, Veronica, born Popovici, was the sister of Eusebiu Popovici, erudite professor of History at the University of Cernauti and the father of the Bucovinian poet Gheorghe Popovici (known under the pen name of T. Robeanu). His origin according to the father has Slavic affiliations; according to his mother the origin is Romanian. Eusebius had two brothers (Georgiy and Prof. Kostiantyn) and one sister (Kateryna). Kostiantyn was a secondary school teacher, member of the regional School Council and later Head of the Chernivtsi Library. Kateryna Mandychevs'ka was a school teacher. Georgiy was also a composer of choral music.

He finished his secondary studies at the upper school of Chernivtsi and simultaneously studied music under Sydir Vorobkevych. He began studies at the Chernivtsi University, then moved to the Vienna Conservatory in 1875 and studied music history under Eduard Hanslick, music theory under Gustav Nottebohm and Robert Fuchs. Beginning in 1879, he became a close and lifelong friend of Johannes Brahms and a prominent member of the 'Brahms circle' (who aided Brahms in teaching Gustav Jenner). Johannes Brahms supported the young composer and appointed him as curator of his estate.

In 1901, he married Albine von Vest, a Lieder singer and singing teacher.

Career
From 1879 to 1881, Mandyczewski was the conductor of the Vienna Singakademie. From 1887 to 1929, he was the archivist and librarian of the Gesellschaft der Musikfreunde. In 1892 he became director of the Gesellschaft der Musikfreunde orchestra.

The decade from 1887 to 1897 saw the appearance of Mandyczewski's work on the Schubert Gesamtausgabe. His name is particularly associated with the ten volumes of songs, which he edited meticulously, sometimes printing as many as three or four variants of individual songs; in recognition of his editorship he was awarded an honorary doctorate from the University of Leipzig in 1897. A gifted philologist as well as musician, he was widely respected both for his scholarship and for his generosity to inquiring scholars; Grove was indebted to him for his help in the writing of his book on Beethoven's symphonies. Mandyczewski also brought out a second volume of Nottebohm's Beethoveniana, a series of pioneering essays in Beethoven scholarship that had been partly published in series in the Musikalisches Wochenblatt and partly left in manuscript.

In 1897 he received an Honorary Doctorate from the University of Leipzig. Later in 1897, he began teaching at the Vienna Conservatory as Professor of Music History and Musical Instruments. In 1916 he was made a Privy Councillor.

Mandyczewski edited the complete edition of Franz Schubert's works, began a complete edition of Joseph Haydn's and, together with his pupil Hans Gál, edited Brahms's complete works.

For many years in the early part of the 20th century he was the Viennese correspondent to the Musical Times. He was joint editor of the Brahms Gesamtausgabe with Hans Gál, and organized the Schubert exhibition of 1922 and the International Schubert Congress (1928); this last function greatly overtaxed his strength, and he died before the proceedings of the congress were published.

Mandyczewski composed music to the words of poets such as Taras Shevchenko, Yuriy Fedkovych, Vasile Alecsandri, Mihai Eminescu, and Heinrich Heine. He arranged compositions based on many Ukrainian, Romanian, German, and Hungarian folk songs.

A Romanian citizen after 1918, he chose to remain in Vienna. Nonetheless, he continued to engage in the Romanian cultural and musical life, working with local artists and often visiting the country. Mandyczewski died in Sulz near Vienna, Austria on 13 August 1929.

Writings
 Nottebohm MG, ed, 'Zweite Beethoveniana' (Leipzig, 1887, 2/1925)
 'Namen- und Sachregister zu Nottebohms Beethoveniana und Zweite Beethoveniana' (Leipzig, 1888/R)
 'Beethoven's Rondo in B für Pianoforte und Orchester', SIMG, i (1899–1900), 250–306
 'Carl Czerny: Versuch einer richtigen Würdigung', Deutsche Kunst- und Musikzeitung, xviii/23–4 (1891)
 'Goethes Gedichte in Franz Schuberts Werken', Chronik des Wiener Goethe-Vereins, xi/112 (10 March 1897), 2–3
 'Franz Schubert: zur Erinnerung an seinen 100. Geburtstag', Mitteilung Breitkopf & Härtel, xlviii (1907), 1609–10
 'Jägers Abendlied', Die Musik, vi/7 (1907), 45–6
 'Schubert-Pflege in der Gesellschaft der Musikfreunde', Geschichte der k.k. Gesellschaft der Musikfreunde (Vienna, 1912)
 'Drei Meister Autographe' (Vienna, 1923) [facs. of autographs of Beethoven, Schubert and Brahms]
 'Brahms', 'Bruckner', 'Pohl', 'Strauss, Johann, Vater', 'Strauss, Johann, Sohn', ADB

Editions
 'Ludwig van Beethovens Werke: vollständige kritisch durchgesehene überall berechtigte Ausgabe', 25th ser., nos.264–309 (Leipzig, 1887/R)
 'Franz Schuberts Werke: kritisch durchgesehene Gesamtausgabe', 20th ser., i–x (Leipzig, 1895–7/R) and Revisionsbericht (Leipzig, 1897/R)
 Antonio Caldara: 'Kirchenwerke', DTÖ, xxvi, Jg.xii/2 (1906/R)
 'Joseph Haydns Werke: erste kritische durchgesehene Gesamtausgabe', 16th ser., v–vii [Die Schöpfung and Die Jahreszeiten] (Leipzig, 1922)
 'Johannes Brahms sämtliche Werke', xi–xxvi (Leipzig, 1926–7/R)
 'A. Caldara: Kammermusik für Gesang', DTÖ, lxxv, Jg.xxxix (1932/R)

Notes

References
 E. Mandyczewski: Autobiographical notes (MS, A-Wgm)
 K. Geiringer: 'Brahms im Briefwechsel mit Eusebius Mandyczewski', ZMw, xv (1933), 337–70
 M. J. E. Brown: 'Four Schubertians', Essays on Schubert (London, 1966/R), 169–93
 V. Cosma: 'Muzicieni români: lexicon' (Bucharest, 1970) [with list of compositions and bibliography]
 M. Bejinariu: 'Die Erinnerungen der Baronin Maria von Kulmer an Eusebius Mandyczewski', SMw, xxxiv (1983), 85–109

External links

1857 births
1929 deaths
People from Chernivtsi Oblast
People from the Duchy of Bukovina
Ukrainian Austro-Hungarians
Romanian Austro-Hungarians
Austrian Romantic composers
Austrian musicologists
Ukrainian classical composers
Ukrainian musicologists
Schubert scholars
Chernivtsi University alumni
Romanian classical composers
Romanian conductors (music)
Members of the Romanian Orthodox Church
Romanian musicologists
Romanian people of Ukrainian descent
19th-century musicologists
Composers from Austria-Hungary
Musicologists from Austria-Hungary

Eusebius Mandyczewski


Ekaterina Sergeyevna Maximova (; 1 February 1939 – 28 April 2009) was a Soviet and Russian ballerina of the second part of the 20th century who was internationally recognised. She was a prima ballerina of the Bolshoi Theatre for 30 years, a ballet pedagogue, winner of international ballet competitions, Laureate of many prestigious International and Russian awards, a professor in GITIS, Honorary professor at the Moscow State University, Academician of the Russian Academy of Arts, and an Executive Committee member of the Russian Center of Counseil International De La Danse, UNESCO.

Early life
Maximova was born in Moscow on 1 February 1939 to a highly educated family. Her maternal grandfather was Gustav Shpet, a Russian philosopher, historian of philosophy, psychologist, art theoretician, and interpreter (he knew 17 languages) of German-Polish descent. Her mother Tatiana Maximova (née Shpet) was a journalist and publishing house editor and her father Sergey Maximov was an engineer.

She was admitted to Moscow Ballet School (now Moscow Ballet Academy) and the age of 10 and the same year as her future partner and husband Vladimir Vasiliev. Their ballet partnership started at school.

Former ballerina of Mariinsky Ballet Elizaveta Gerdt was Maximova's instructor at the ballet school. Maximova graduated from Moscow ballet school in 1958 and joined Bolshoi Ballet the same year. She won first prize at the National Ballet competition in 1957 while still a ballet student.

Career
In the Bolshoi Theater

Maximova's first ballet as a Bolshoi ballet dancer was The Stone Flower (in the leading role of Katerina). Her performance was so impressive that she was chosen to go on the first Bolshoi tour in the US in 1959. The American press called her "a little elf" and complemented her technique, grace and artistic style even though legendary Galina Ulanova was the real sensation of that tour. Later Ulanova became Maximova's ballet coach in the Bolshoi for many years.

In 1961, as a young ballerina Maximova starred along with Vladimir Vasiliev in the film for European and American viewers The USSR with an Open Heart, where they played ballet dancers. The premiere took place in Paris, France where Maximova and Vasiliev arrived as newlyweds.

According to ballet professionals, Maximova possessed ideal ballet body lines, effortless jumps and spins and flawless technical clarity. She started as a lyrical ballerina dancing title roles in classical ballets Giselle, Nutcracker (Marie), Fountain of Bakhchisarai (Maria), Cinderella and Sleeping Beauty (Aurora), but extended her breathtaking artistic talent and technical virtuosity through her hard work and devotion to her art. This enabled her to widen her artistic range with playful Kitri (Don Quixote), comic Eliza Doolittle (Galatea) and dramatic roles of Juliet, Phrigia (Spartacus), Anyuta (Chekov's story "Anna on the neck") Tatiana (Onegin) that tested her dramatic skills as an actress most completely.

Maximova seriously injured her spine during a rehearsal in 1975 and some doctors did not believe that she would walk again, but she returned on the stage in 1976.

She was known to decline roles she felt unable to perform, which earned her the sobriquet "Madame No". She did this because she did not believe in herself and her skills. She always questioned herself if she was good enough to dance even better than before. She had a very few interviews in her entire life and always stressed that she was a hardworking ballerina permanently trying to improve her skills. She could keep a very high level of performance and youthful dancing style through her 40-year career In 2003 she wrote her autobiography and named it "Madame No".

Maximova danced many duets with Vladimir Vasiliev, who is regarded by some as one of the greatest male dancers of all time. They took part in numerous Bolshoi ballet tours in USA, Canada, Austria, Belgium, Denmark, France, Great Britain, Italy, Netherlands, Australia, Argentine, Japan, and dozens of other countries in the world as well as in a Kirov Ballet (now Mariinsky Ballet) tour in Paris, France. She was one of the Bolshoi stars who danced in the last program presented at the old Metropolitan Opera House on Thirty-ninth Street and Broadway on 8 May 1966. Maximova and Vasiliev started dancing abroad as guest stars in 1978. Fortunately, many of their performances have been preserved on film and prove a lasting testament to one of the greatest ballet partnerships in the history of dance. Among her other ballet partners were M. Liepa, M. Lavrovsky, and A. Bogatyrev.

Ballet achievements with other ballet companies

Maximova was invited to work with famous contemporary choreographers including Maurice Béjart, Roland Petit, Kasyan Goleizovsky, Pierre Lacotte, Gerald Arpino, Tom Schilling, Martha Clarke, Lorca Massine and appeared in their ballet productions and ballet excerpts for gala concert performances.

She also started dancing in Moscow Classical Ballet productions in 1980 where she performed the title role in Pierre Lacotte's Nathalie and roles of Juliet in Romeo and Juliet, and Eve in the Creation of the World. She danced the title role in Cinderella in the Kremlin Ballet choreographed by her husband, Vladimir Vasiliev who also choreographed a great number of ballet compositions for her through her career.

Maximova graduated from GITIS (now The Russian Academy of Theater Arts) in 1980 with a diploma of ballet master and started teaching classical choreography and dance composition there in 1982 while she was still dancing in the Bolshoi Theater.

After retiring from the Bolshoi Theater as a prima ballerina in 1988, Maximova continued dancing the role of Anyuta at the Bolshoi through 1994 and in addition she had more opportunities to tour and to work for other Russian ballet troupes and ballet companies abroad as a guest star for following 10 years performing some classical ballets with new choreography and modern ballets that did not appear in the Bolshoi repertoire.

Throughout her career she danced on the famous stages in the world such as Covent Garden (London), Grand Opera (Paris), La Scala (Milan), Metropolitan Opera (New York), Rome Opera (Rome), Teatro Colón (Buenos Aires) and performed with international ballet companies Maurice Bejart's The 20th Century Ballet (Belgium) (1977–1978), St. Carlo Theater (Italy) (1986, 1988–1989) Roland Petit's Ballet National de Marseille (France) (1987) English National Ballet (Great Britain) (1989), American Ballet Theatre (USA) (1990) National Ballet of Canada (1993) and others.

Ballet pedagogical and professional activities

In 1990 she started coaching the leading soloists in ballet roles in the Kremlin Ballet (such as N. Balakhnicheva, T. Predeina, Z. Bogoroditskaya) and in 1996 with the Bolshoi Ballet (such as G. Stepanenko, S. Lunkina, M. Ryzhkina, A. Nukulina) along with teaching in GITIS where she became a professor in 1996.

Maximova and Vasiliev were the founding organizers for the Arabesque ballet competition in Perm, Russia in 1990 and established their prize for "The best duet" there in 1992. She was a jury member at Arabesque through 2008.

Maximova taught masterclasses throughout the world, served as a member of various committees and councils for creative arts in Russia and abroad and was invited to be a jury member at ballet competitions (the Chairman of the jury in 5th International Ballet competition "Premia Rome", Italy and Arabesque ballet competition 1996–2008, Russia, and the juror of the ballet competitions in Jackson USA, Paris France, Lausanne Switzerland, Nagoya Japan, Seoul Korea and others).

While Vasiliev was the Bolshoi Theater director, he and Maximova took an active part in opening the first (outside Moscow) Bolshoi Theater ballet school in Joinville, Brazil in 2000. Both of them were awarded the highest Brazilian awards in 2004.

Her last ballet performance was at the gala dedicated to her 60th birthday on 1 February 1999 in the Bolshoi Theater.

Over the years, Maximova has received many of the most prestigious Soviet, Russian and foreign prizes, orders, medals and highest awards of the countries.

She appeared in a great number of Russian movies, video ballet productions, TV ballet and musical films as well as in international ones. Several TV ballet films were made for her by the movie director A. Belinsky (Galatea, Old Tango, Anyuta, Chapliniana) Maximova's art of dance was an inspiration for several ballets, movies, documentaries, books and even poems. She and her husband also gained wide exposure for their appearances in Franco Zeffirelli's filmed version of Giuseppe Verdi's opera La Traviata (1982). Both performed in Spanish costumes in the divertissements composed for the equivalent of Act II, scene 2.

Ballet roles
Selected ballet roles in the Bolshoi Theater (the first interpreter* and the first interpreter in the Bolshoi **)

 Katerina in The Stone Flower, S. Prokofiev, choreography Grigorovich (1959)**
 Prelude and Waltz in Chopiniana, F. Chopin, choreography Fokine (1960)
 Title role in Giselle A. Adam, choreography Coralli/Perrot/Petipa (1960)
 Jeanne in Flames of Paris, B. Asafyev, choreography Vainonen (1961)
 Muse in Paganini, S. Rachmaninov, choreography Lavrovsky (1962)
 Masha in The Nutcracker, P. Tchaikovsky, choreography Vainonen (1962)
 Maria in The Fountain of Bakhchisarai, B. Asafyev, choreography Zakharov (1962)
 Bacchante in Walpurgis Night, C. Gounod choreography Lavrovsky (1962)
 Florina in The Sleeping Beauty, P. Tchaikovsky, choreography Petipa/Grigorovich (1963)**
 Soloist in variation in School of Ballet, D. Shostakovich, A Glazunov, choreography Messerer (1963)*
 Title role in Cinderella, S. Prokofiev, choreography Zakharov (1964)
 Aurora in The Sleeping Beauty, P. Tchaikovsky, choreography Petipa/Grigorovich (1964) revised choreography Petipa/ Grigorovich (1973)**
 Ballerina in Petrushka, I. Stravinsky, choreography Fokine/Boyarsky (1964)**
 Kitri in Don Quixote, L. Minkus, choreography Gorsky (1965)
 Masha in The Nutcracker, P. Tchaikovsky, choreography Grigorovich (1966)**
 Phrygia in Spartacus, A. Khachaturian, choreography Grigorovich (1968)*
 Young girl in Le Spectre de la Rose, C. Weber, choreography Fokine (1968)
 Odette/Odile in Swan Lake, P. Tchaikovsky, choreography Petipa/Ivanov/Gorsky (1968)
 Young girl in Icarus, S. Slonimsky, choreography Vasiliev (1971)* Aoela (revised choreography) (1976)*
 Juliet in Romeo and Juliet, S. Prokofiev, choreography Lavrovsky (1973)
 Soloist in Those Charming Sounds, A. Corelli, G. Torelli, V. Mozart, choreography Vasiliev (1978)*
 Shoura Azarova in The Hussar's Ballad, T. Khrennikov, choreography Briantzev (1980)*
 Title role in Anyuta, V. Gavrilin, choreography Vasiliev (1986)*

Leading ballet roles with other ballet companies (first interpreter in Russia*)

 Match Pas de deux choreography T. Schilling (1972)*
 Juliet in Romeo and Juliet H. Berlioz, choreography M. Béjart (with Ballet of the 20th Century) (1977–1978)*
 Pas de deux from Sylvia L. Delibes, choreography F. Ashton (at M. Liepa's gala) (1979)*
 Title role in Nathalie A. Gyrowetz, choreography P. Taglioni/P. Lacotte (with Moscow Classical Ballet) (1980) *
 Juliet in Romeo and Juliet S. Prokofiev choreography Kasatkina/Vasilyov (with Moscow Classical Ballet) (1981)
 Eve in The Creation of the World A. Petrov, choreography Kasatkina/Vasilyov (with Moscow Classical Ballet) (1981)
 Rose in Blue Angel M. Constant, choreography R. Petit (with Ballet de Marseille) (1987)*
 Glove seller in Gaieté Parisienne J. Offenbach choreography L. Massine (St. Carlo Theater, Naples) (1988)*
 Tatiana in Onegin P. Tchaikovsky choreography J. Cranko (with English National Ballet) (1989)*
 Romola in Nijinsky selected music by various composers, director B. Menegatti choreography V.Vasiliev) (St. Carlo Theater, Naples) (1989)*
 Title role in Cinderella S. Prokofiev, choreography V.Vasiliev (with Kremlin Ballet) (1991)*
 Girl in Round of Angels G. Mahler, choreography G. Arpino (1994)*
 Soloist in The Gardens of Villandry, F. Schubert choreography M. Clarke (1999)*

Awards
Ballet, Theater and Film awards

1957 Gold medal All-Union Ballet competition Moscow, USSR

1959 1st prize and Gold medal VII International Youth Festival Vienna, Austria

1964 1st prize 1st Varna International Ballet Competition, Bulgaria

1969 Anna Pavlova Prize "The Best Dancer of the World" from Paris Dance Academy, France

1972 Marius Petipa Prize "The Best Duet of the World" with Vladimir Vasiliev from Paris Dance Academy, France

1980 InterVision Prize for the best actress in the leading role for TV film "Old tango" at International Festival "Zlata Praha", Czechoslovakia

1984 Premio SIMBA, Accademia SIMBA, Italy

1984 Vasilyev Brothers State Prize of the RSFSR for the leading role in TV film-ballet "Anyuta"

1989 Gino Tani Prize for the Art of Dance (Premio Internazionale Gino Tani, Italy) for "The Best Duet" with Vladimir Vasiliev

1990 Sergey Dyagilev Prize, Russia

1993 Leonide Massine Prize for Art of Dance (Positano Premia la Danza Leonide Massine), Italy

1993 Crystal Turandot Award for theater arts with Vladimir Vasiliev (Golden Duet) Russia

Honorary Soviet, Russian and International awards

1964 Honored Artist of the RSFSR

1969 People's Artist of the RSFSR

1971 Order of the Red Banner of Labour, USSR

1973 People's Artist of the USSR

1976 Order of Lenin, USSR

1981 Order of Friendship of Peoples, USSR

1981 USSR State Prize

1989 Member of International Academy of Creative Endeavors- Russian Section

1990 UNESCO Pablo Picasso Medal

1990 Member of the Executive Committee of Counseil International De La Danse, UNESCO (International Dance Council)

1991 Glinka State Prize of the RSFSR

1992 -2009 Jury member for Russian Independent Theater Award "Triumph"

1994 Second Order of Friendship of Peoples, Russia

1995 Honorary Professor, Moscow State University, Russia

1995 Academician of the Russian Academy of Arts

1999 Order "For Merit to the Fatherland", 3rd class

2004 Order of Rio Branco, Brazil

2004 Soul of Dance Award, Russian Magazine "Ballet"

2008 Order "For Merit to the Fatherland", 4th class

Film, television and books
List of leading roles in full length ballet videos

1970 Phrigia in Spartacus, A. Khachaturian, choreography Grogorovich, Bolshoi Theater

1974 Juliet in Romeo and Juliet, S. Prokofiev choreography, Lavrovsky, Bolshoi Theater

1978 Masha in Nutcracker, P. Tchaikovsky, choreography Grigorovich, Bolshoi Theater

1978 Katerina in the Stone Flower, S. Prokofiev, choreography Grigorovich, Bolshoi Theater

1980 Title role in Nathalie or Swiss Milkmaid, A. Gyrowetz, choreography Talioni/Lacotte, Moscow Classical Ballet

1987 Masha in Nutcracker, P. Tchaikovsky, choreography Grigorovich, Bolshoi Theater

1994 Title role in Cinderella, S. Prokofiev, choreography Vasiliev, Kremlin Ballet

List of selected appearances in TV film ballets, musical films and documentaries

 Ballet dancer in The USSR with an open heart, directors V Katanian & L Christie, Mosfilm, USSR 1961
 Self in The Best of Bolshoi (Bolshoi Ballet), TV miniseries, Skiatron, USA 1965
 Soloist in Moscow in Notes, film-concert, director N. Gostev, Mosfilm and Heinz Liesendahl, Bavaria-Atelier GmbH USSR & BRD 1969
 Girl in Trapeze, TV film-ballet, director F. Slidovker, choreography Ryzhenko, Central TV, USSR 1970
 Ballet dancer in Parad attraktsionov, musical film, director A. Andriyevsky, Gorky movie studio, USSR 1971
 Soloist in World of Dance, TV documentary, director Y. Aldokhin, Tsentrnauchfilm, USSR 1972
 Self in Le grand échiquier, TV series, 2 episodes 1972-1973 Office de Radiodiffusion Télévision Française (ORTF), France
 Soloist (Don Quixote) Masters of the Bolshoi in concert, musical film, USSR 1973
 Eve in Choreography Novellas, TV film, Central TV, USSR 1973
 Bacchante in Walpurgis Night, documentary, USSR 1974
 Soloist in Bolshoi Ballet and Japan, documentary, director Y. Aldokhin, Tsentrnauchfilm, USSR, 1974
 Eliza in Galatea, TV film, director A. Belinsky, choreography Briantzev, Lentelefilm, USSR 1977
 Francesca/Peter in Old Tango, TV film, director A. Belinsky, choreography Briantzev, Lentelefilm, USSR 1979
 Juliet in Romeo and Juliet, choreography M. Bejart, Central TV USSR 1979
 Self in The World of Galina Ulanova, documentary, director A. Simonov, Central TV, USSR 1981
 Soloist in That charming sounds, documentary, director F. Slivdoker choreography Vasiliev Gosteleradio 1981
 Title role in Anyuta, TV film, director A. Belinsky, choreography Vasiliev, Lentelefilm, 1982
 Soloist in Spanish dance in La Traviata, musical film, director Franco Zeffirelli, choreography Vasiliev, Accent Film B.V., Italy, 1983
 Soloist in Fragments of one biography, TV film, director N. Shevchenko, choreography Vasiliev, Central TV, USSR 1985
 Soloist in Grand Pas in the White Night, TV film ballet, director M. Bejart and O. Vinogradov, Lentelefilm, USSR 1987
 Primadonna in Chapliniana TV, film, director A. Belinsky, choreography Abaydulov Lentelefilm, USSR 1987
Soloist in Stars of the Russian Ballet, documentary, director F. Slidovker, Gosteleradio, Russia 1991
Soloist in The Glory of the Bolshoi (Nutcracker, Don Quixote, Spartacus, Paganini: Chapters 9, 10, 11, 12, 18), documentary, MIRIS/NYC ARTS, Russia &USA 1995

Leading roles in movies

Stella Cotman in Gigolo and Gigolette, director A. Belinsky, choreography V. Vasiliev, Central TV, USSR 1980

Elena Knyazeva in Fuete, (Fouetté) director B. Yermolaev, choreography for ballet excerpts V. Vasiliev, Lenfilm, USSR 1986

Nalalia Davydovna in Klassnaya Dama, director A. Belinsky, Lentelefilm, Russia, 1994

Documentaries and books about Ekaterina Maximova

Composition of dances Part II, documentary, director Y. Aldokhin, Tsentrnauchfilm, USSR 1967

Duet: Ekaterina Maximova Vladimir Vasiliev, TV film, director F. Slidovker T/O Ekran, USSR 1973

N Avaliani, L Jdanov. Bolshoi's young dancers, p.60-107 (London, Central books 1975)

S. Montague. Pas de Deux, p. 93-97 (N-Y., Universe books 1981)

M. Konstantinova. Ekaterina Maximova (M., Iskusstvo 1982)

G. Smakov. The Great Russian Dancers, p. 180-185 (N-Y., Knopt 1984)

Katia et Volodia, documentary, director D. Delouche, Les Films du Prieure, Paris, France 1989

And as always, something was left unsaid, Part I, Part II, TV documentary, 2 episodes, Central TV, Russia 1990

R. Lazzarini. Maximova & Vasiliev at the Bolshoi, photo album (London: Dance Books, 1995)

Katya, documentary, director N. Tikhonov, Bolshoi Theater video studio, Russia, 1999

E. Fetisova Ekaterina Maximova Vladimir Vasiliev, photo album (М., 1999)

Ekaterina Maximova: When dancing becomes one's life, documentary, director N. Tikhonov, Bolshoi Theater video studio, Russia, 2004

Fouette along the life, documentary, director N. Tikhonov, Bolshoi Theater video studio, Russia, 2009

Vasiliev Maximova: Dance of fate, TV documentary, Central TV, Russia, 2010

Katya. A letter from the past, documentary, director V. Vasiliev, Russia-K, Russia, 2019

Tributes
1980 An asteroid that was discovered by Crimea Astrophysical Observatory was named MAXIMOVA in her honor.

1994 Maximova Benefit performance for her 55th birthday was held in the Kremlin Palace. She performed in the Round of Angels choreographed by Gerald Arpino as his gift for her birthday.

1999 The Gala in honor of her 60th birthday was held in the Bolshoi Theater. Maximova performed in the Gardens of Villandry that was choreographed by Martha Clarke as her gift for Maximova's gala.

2002 Annual Ballet festival in Maximova's honor started in Chelyabinsk Ballet theater with the premier of Prokofiev's Cinderella choreographed by Vladimir Vasiliev. Maximova's student Tatiana Predeina danced Cinderella and the exhibition "E. Maximova and her students" was opened. Maximova's students S. Lunkina, M. Ryzhkina and others from the Bolshoi Theater and N. Balakhnicheva and Z. Bogoroditskaya from the Kremlin Ballet took part in the festival in the following years.

2008 The Bolshoi Theater celebrated Maximova's and Vladimir Vasiliev's "50 years on stage" with a five day festival of gala performances in their honor.

2009 The Gala performance in Maximova's honor was held to celebrate her 70th birthday on 1 February in the Kremlin Palace.

2010 XI Arabesque International ballet competition in Perm, Russia was dedicated to her memory.

2012 Arabesque Ballet competition and the Grand Prix were named after Maximova.

2014 In honor of Maximova's 75th birthday the exhibition in Moscow Bakhrushev Theater Museum has recreated a dressing room of Maximova with her tutus, shoes, make-up mirror (which had belonged to the great theater actress Vera Komissarzhevskaya), bottles, combs, and other items she had to prepare for going on stage.

2014 The Bolshoi gala to celebrate Maximova's 75th birthday was held on February 21.

2019 The Bolshoi Theater organized the Ballet Gala Night in Commemoration of Maximova's 80th birthday. Best ballet excerpts were performed by the Bolshoi Ballet Stars.

Personal life
Maximova was married to Vladimir Vasiliev for almost 50 years. They had no children.

She died of heart failure on 28 April 2009, at the age of 70.

See also
List of Russian ballet dancers

References

Obituaries
Daily Telegraph, 28 April 2009

External links

Official Website for Ekaterina Maximova

Ballerina gallery
Biography
Photos of the performance "The story of Romeo and Juliet"

1939 births
2009 deaths
Dancers from Moscow
Honored Artists of the RSFSR
People's Artists of the RSFSR
People's Artists of the USSR
Glinka State Prize of the RSFSR winners
Recipients of the Lenin Komsomol Prize
Recipients of the Order "For Merit to the Fatherland", 3rd class
Recipients of the Order "For Merit to the Fatherland", 4th class
Recipients of the Order of Friendship of Peoples
Recipients of the Order of Lenin
Recipients of the Order of the Red Banner of Labour
Recipients of the USSR State Prize
Recipients of the Vasilyev Brothers State Prize of the RSFSR
Prima ballerinas
Russian ballerinas
Soviet ballerinas
Burials at Novodevichy Cemetery

Ekaterina Maximova


Legendary (previously known as Legendary: The Box) is a first-person shooter video game developed by Spark Unlimited and released in 2008. It was published in North America by Gamecock Media Group, and in the PAL region by Atari Europe.

The game takes place in New York City and London. The protagonist is a professional thief named Charles Deckard, who is hired by a mysterious organization known as the Black Order to steal an artifact from a New York museum which turns out to be the fabled Pandora's Box. Unaware of the Box's nature, Deckard opens it, unleashing a plethora of mythological creatures rampaging throughout the world, as well as granting him a strange power (the Signet) which could be the key to resolving this crisis. It is up to Deckard and a secret paramilitary force known as the Council of 98 to set things right, while the Black Order seeks to acquire the box and control the creatures to conquer the world.

Gameplay
Gameplay is similar to many other titles in the genre of first-person shooters, with a strong focus on immersion and penetrating atmosphere, creating a first person movie-like experience. Several different weapons can be found and equipped, generally being taken from dead humans. The only melee weapon available in the game is a fire axe, which cannot be removed from the player character's inventory. In addition to the axe, two other weapons can be carried, as well as grenades and molotovs. The player also has access to a PDA-style journal, which updates with messages as data is found and whenever Deckard is given orders or instructions. It also includes detailed information on the monsters and weapons encountered. Throughout the gameworld, numerous objects must be interacted with to proceed, including switches. wheels and lockboxes. The player's health is monitored by a bar in the corner of the screen, while Animus energy is represented by a spherical gauge. Animus energy can be collected by killing monsters, which leave behind bluish gaseous residue. The player can then absorb the residue, replenishing the Animus gauge. This energy can then be used to heal the player, or to send destructive pulses towards monsters (human enemies are not affected by this), stunning them. Additionally, certain objects must be fed Animus energy in order to function properly.

Multiplayer
There is one mode in multiplayer, which can be played with up to 8 people online or through system link (1 player per console). Multiplayer pits the Council of 98 and the Black Order against each other. The multiplayer portion's objective is not to kill as many opposing team members as possible. The objective is to collect Animus Energy and put it into a machine. The team that fills up the machine first wins. There are creatures on the field, and the player has to kill them in order to harvest Animus Energy. The creatures automatically attack team members with the lower amount of Animus Energy in their machine.

Plot
The game's prologue slide show shows the original myth of Pandora's Box; in reality, Pandora's Box was a device of incredible power. In the early 21st century, archaeologists found the artifact in a ruin at the bottom of the ocean. Unable to pinpoint its origins, they place the artifact in a New York City museum for safe keeping. A wealthy millionaire named Ormond LeFey, knowing the true nature of the box, hires a professional thief named Charles Deckard, tasking him with opening the box, and stealing the contents inside (with, of course, a substantial payment).

The game opens with Deckard sneaking into the museum, easily bypassing all the security and opening the box. When he does, he has a Signet branded onto his left hand, and the box suddenly releases a huge energy surge that shoots toward the sky. Deckard gains the ability to absorb Animus Energy, which he can use to heal himself. He escapes the museum to discover that griffins have materialized, and are flying through the city attacking people.

After fighting various mythical creatures summoned by the box, Deckard finds out that LeFey has sent his private army, known as the Black Order, against him. He fights his way through those soldiers, eventually meeting up with the Council of 98, the group that originally concealed the box. They are distrusting at first, especially their commander, Lexington White Deer, but eventually agree to help upon seeing the Signet on Deckard's arm. A deal is struck; in exchange for his associate Vivian Kane's information on the Black Order's plans, the Council will help them.

After defeating a golem, The Council takes Deckard, Kane, and the box to where the headquarters of the Council is stationed: beneath the Houses of Parliament in London. After a mission to locate a hard drive detailing LeFey's plans in an abandoned cathedral, Deckard finds out that LeFey has built a machine that could harness Animus Energy and control the creatures. He aims to use it to take over the world. The surge of energy could also find its way to Deckard's Signet, and the energy surge could kill him.

Suddenly, the power goes out. It turns out that the hard drive also contained a Trojan Horse, which powered off all the power in the facility. All the creatures that they were keeping are released. The hard drive also gave the location of the headquarters away, and Black Order soldiers land and attack. Deckard and all the Council soldiers get up onto the roof, where they wait for reinforcements from other parts of the world. Suddenly, a Kraken surfaces in the Thames and attacks. Firing several rockets down the Kraken's mouth, Deckard succeeds in killing the Kraken. While the Council was distracted, however, the Black Order manages to steal Pandora's Box, and kidnap Vivian Kane. Deckard and the Council chase after them back to New York City.

In New York City, Deckard and the Council launch a full-scale attack on the Black Order headquarters. Inside the building, he manages to free Vivian, and she goes up the command post to help Deckard. On the roof, Deckard finds the machine. It turns out that Deckard can overload the machine, and destroy it by putting a lot of Animus Energy inside of it. In the end, the machine overloads, and then explodes. LeFey is hurled out of his control booth by a werewolf, grabbed in midair by a griffin and impaled on the machine, killing him. After the explosion, Vivian is nowhere to be seen. The Council arrives, and assumes that she was vaporized. The Council immediately turns on Deckard, locking him up, stating that Deckard's Signet contains information that could create a new Pandora's Box, the first one being destroyed when the machine exploded. Later, it turns out that Vivian survived, and Deckard, being a thief, easily escapes. A final picture shows Deckard holding his Signet branded hand out to a griffin, seemingly taming it.

Reception

The PC and PlayStation 3 versions of Legendary received "mixed" reviews, while the Xbox 360 version received "generally unfavorable reviews", according to the review aggregation website Metacritic. Eurogamer noted that the Xbox 360 version was "hilariously bad" citing unresponsive movement and twitchy crosshairs as well as Spark Unlimited managing "to take Unreal engine 3 and make it look like a 1997 Half-Life mod". X360 Magazine (later X-ONE Magazine) faulted the game for unskippable cutscenes and "Action sections that feel like a movie you just happen to be walking through, and not interacting with." IGN said of the PC and Xbox 360 versions, "the gameplay comes across as messy and incomplete, the arrangement of hazards and threats from monsters is ineffective at best and boring at worst." It also noted the PS3 version's long load times, frame drops and a lack of trophy support. According to The UrbanWire, the game "falls short".

References

External links

2008 video games
First-person shooters
Gamecock Media Group games
Games for Windows
Multiplayer and single-player video games
PlayStation 3 games
Science fantasy video games
Spark Unlimited games
Unreal Engine games
Video games adapted into comics
Video games based on multiple mythologies
Video games developed in the United States
Video games set in museums
Video games set in New York City
Video games set in London
Windows games
Xbox 360 games

Legendary (video game)


Allium gooddingii is a species of wild onion known by the common name Goodding's onion. It is native to Arizona and New Mexico in the United States.

This onion grows from a thick rhizome reminiscent of that of the iris. The rhizome has 1 to 3 bulbs on it. There are 3 to 6 leaves with flat blades up to 25 centimeters long. The inflorescence is borne atop an erect scape which is flattened and winged toward the top, growing to about 45 centimeters in height. The inflorescence is an umbel of 18 to 23 bell-shaped pink flowers each about a centimeter long. Blooming occurs in June through September. The plant has a strong onion scent.

This onion, one of 12 onion species in Arizona, occurs in the White, Santa Catalina, and Chuska Mountains there. It also occurs in the Mogollon Mountains and Sierra Blanca of New Mexico. It grows in Abies lasiocarpa/Vaccinium myrtillus plant communities at upper elevations and Abies concolor/Pseudotsuga menziesii/Poa pratensis communities in the lower. In some areas, it dominates the understory.

When available, this plant is favored by domestic and wild ungulates, which browse away the aboveground parts. Animals may eat so much plant material that they prevent all sexual reproduction within a population. This is one reason why it was considered to be rare and in decline. There now appear to be enough large, stable populations to be considered secure.

References

External links
USDA Plants Profile

gooddingii
Flora of Arizona
Flora of New Mexico

Allium gooddingii


Communion is a 1989 American science fiction horror film based on the book of the same name by Whitley Strieber in 1987.

Starring Christopher Walken and Frances Sternhagen, it tells a story of a family that experiences an extraterrestrial phenomenon while on vacation at a remote home in the wilderness during which the father is abducted and all of their lives change. According to Strieber, the story is a real-life account of his own encounter with "visitors", with Walken playing the role of the author.

Plot
In 1985, New York based author Whitley Strieber (Walken) lives with his wife and child in Manhattan and seems to be successful. However, he is woken at night by paranoid dreams that someone else is in the room.

On a trip to the family cottage in the woods, on the first night the intruder alarm is triggered and Strieber sees a face watching him from the doorway. Bright light fills the cottage windows and wakes his son and two other family friends but his wife remains asleep.

Disturbed by this they all return to New York and life seemingly returns to normal but Strieber finds that his work and personal life are becoming affected by recurring nightmares and visions of strange alien beings including greys, blue doctors and bugs. This upsets his son and puts strain on his marriage.

After an incident at their cottage in which Strieber is so convinced that there are alien beings inside the home that he pulls his gun out and almost shoots his wife, worried that his son is beginning to have the same visions, he is finally convinced to see a psychiatrist specialising in hypnotic regression therapy (Sternhagen).

The therapy confirms that he has possibly been abducted by unknown beings and experiments have been performed on him; however, he is still skeptical about it and reluctantly attends a group therapy session of fellow 'abductees'.

Eventually he realizes he has to confront his visions, real or not, and returns to the cottage where most of the incidents seem to occur. He interacts with the alien beings and realizes he has been in contact with them his whole life and it was passed on from his father and he will, in turn, pass it on to his son.

Making up with his family Strieber comes to accept the alien visitors as part of his life and in the last scene he sits in his office and embraces the face of a 'grey' alien.

Cast
 Christopher Walken as Whitley Strieber
 Lindsay Crouse as Anne Strieber
 Frances Sternhagen as Dr. Janet Duffy
 Andreas Katsulas as Alex
 Joel Carlson as Andrew Strieber

Production
Communion was written by Whitley Strieber adapting his book of the same name, itself chronicling Strieber's alleged encounters with extraterrestrials. Strieber opted to work with director and friend Philippe Mora on adapting the story to film with the understanding Strieber would handle the writing without interference while Mora would handle direction without interference. Strieber chose to have the film produced independently as he feared having a major studio adapt his experiences would turn it into a special effects heavy horror film rather than a character piece. During production it was reported that on set some members of the crew would crack jokes at Strieber's expense about the autobiographical aspects of the story.  Strieber said of these instances:
Some people who work on movies are nice people; some people who work on movies are jerks. We had the usual mix on this crew.

Reception
It received a mostly negative reaction and was panned by Strieber himself due to its non-factual portrayal of him. The film was considered a box office failure. It has subsequently picked up a moderate cult following. On Rotten Tomatoes, the film holds a 33% approval rating based on 12 reviews, with an average rating of 4.6/10.

Some critics praised Walken's performance as the highlight of the film. Los Angeles Times called his performance "terrific" and added: "Walken dazzles, giving us an intelligent, talented man caught in a nightmare and fearing for his sanity".

Music
The score was composed by Eric Clapton and Alan Clark, though no official soundtrack album was ever released. In 2010, the Main Theme and End Credit theme were released by film composer and former Oingo Boingo guitarist Steve Bartek.

References

External links

1989 films
Alien abduction films
American biographical drama films
Films set in New York City
American independent films
1989 crime drama films
Films directed by Philippe Mora
Biographical films about writers
Films set in 1985
Films based on works by Whitley Strieber
1980s English-language films
1980s American films

Communion (1989 film)


The Henry C. Turner Prize for Innovation in Construction Technology is awarded annually by the National Building Museum to recognize outstanding leadership and innovation in the field of construction methods and processes, including engineering design and construction techniques and practices. Created in 2002 by an endowment established by the Turner Construction Company and named after the company's founder, the prize carries a cash award of $25,000.

Past honorees include individuals and organizations such as architect I. M. Pei, for encouraging construction and engineering innovation with his designs; Stanford University civil engineering professor Paul Teicholz, for his work in paving the way for Building Information Modeling; and Engineers Without Borders–USA for efforts in creating sustainable infrastructure in poverty-stricken world communities and for "instilling a sense of global responsibility in the next generation of engineers," according to the award jury. When Frank Gehry accepted the prize on behalf of Gehry Partners in 2007, he stated, "I've gotten a lot of awards from the artsy side of the profession, but this one's from the meat-and-potatoes side, and that's pretty special."
In addition to the Turner Prize, the National Building Museum also awards the Vincent Scully Prize, which honors exemplary practice, scholarship, or criticism in architecture, historic preservation, and urban design, and the Honor Award for individuals and organizations who have made important contributions to the U.S.'s building heritage.

List of Turner Prize winners

References

External links
 National Building Museum's information on the Turner Prize
 Turner Construction's information on the Turner Prize

Architecture awards


The novel of manners is a work of fiction that re-creates a social world, conveying with detailed observation the complex of customs, values, and mores of a stratified society. The behavioural conventions (manners) of the society dominate the plot of the story, and characters are differentiated by the degree to which they meet or fail to meet the uniform standard of ideal social behaviour, as established by society.

The scope of a novel of manners can be particular, as in the works of Jane Austen, which deal with the domestic affairs of the landed gentry of England in the 19th century; or the scope can be general, as in the novels of Honoré de Balzac, which portray the social conventions of 19th-century France with stories about the public sphere and the private sphere of French life in Paris, the provinces, and the military. Notable English-language novelists of manners include Henry James, Evelyn Waugh, Jane Austen, Edith Wharton, and John Marquand.

Background

To realise upward social mobility in their societies, men and women learned etiquette in order to know how to get along with the people from whom they sought favour; an example of such instructions is the book Letters to His Son on the Art of Becoming a Man of the World and a Gentleman (1774), by Philip Stanhope, 4th Earl of Chesterfield. In consideration of being liked by the people with whom he keeps company, Chesterfield instructs his bastard son to engage with society by being a man of pleasing manner and demeanour and by avoiding controversial subjects, by speaking in a measured tone and by having a poised personal posture.

Many novels of manners, including Evelina: Or the History of a Young Lady's Entrance into the World (1779) by Frances Burney, take a sociological interest in the complex systems of etiquette and social hierarchy employed by the upper classes, especially those of Europe and North America.  Others works in the genre, including the novels of Jane Austen, offer critical social commentary through the use of satire.

Manners and Gothic fiction
As the creator of Gothic fiction and as the author of The Castle of Otranto (1764), Horace Walpole, the creator of Gothic fiction noted the importance of manners for social advancement. Walpole's knowledge of the Earl of Chesterfield's emphasis upon manners in society influenced his fiction and that of other authors of Gothic novels.

As genres of fiction, the novel of manners and the Gothic novel overlapped in the language of manners, in stories wherein the social mores and personal manners are important factors in the thematic structure of the novel. In the Gothic novel, the difference is the presence of the supernatural as influencing the human events of the story, however, the coarseness of affect of some characters characterises the Gothic story as a horror story and thus a different conclusion. The conclusion of a Gothic novel does not always reinforce the morals of society, as does the novel of manners, as in the anticlimactic conclusion of Zoflaya; or, The Moor: A Romance of the Fifteenth Century (1806) by Charlotte Dacre.

Another theory for the emergence and growth of the novel of manners is that the changes taking place in English society were eroding the class boundaries. Changes in the social hierarchy were taking place due to leaps in technology and the novel of manners was a way to comment upon challenges to the traditional class order. The different classes represented in the novels served to represent how the different classes in society were supposed to behave in different settings. This includes public versus private, rural versus urban, and settings where there were men versus women.

Notable works
Novels of manners in English include:

18th century
The Man of Feeling (1771) by Henry Mackenzie
Evelina (1778), and Camilla (1796) by Fanny Burney
19th century
Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1816), and Persuasion (1818) by Jane Austen
Vanity Fair: A Novel Without a Hero (1848) by William Makepeace Thackeray
North and South (1855) and Wives and Daughters (1864) by Elizabeth Cleghorn Gaskell
The Mill on the Floss (1860), Silas Marner (1861), and Middlemarch (1871–72) by George Eliot
The Portrait of a Lady (1881) by Henry James
20th century
The House of Mirth (1905) and The Age of Innocence (1920) by Edith Wharton
A Handful of Dust (1937), by Evelyn Waugh

See also
 Comedy of manners

Notes

References

Novel Beginnings: Experiments in 18th century English Fiction
Patricia Meyer Spacks
Yale Guides to English Literature
U.S.
2006

Lord Chesterfield's Letters
Lord Chesterfield, Introduction and Notes by David Roberts
Oxford University Press
Great Clarendon Street, Oxford
1992

The Castle of Otranto
Horace Walpole
Oxford University Press
Great Clarendon Street, Oxford
1996

Zofloya
Charlotte Dacre
Oxford University Press
Great Clarendon Street, Oxford
1997

Evelina
Frances Burney
Oxford University Press
Great Clarendon Street, Oxford
2006
http://www.docstoc.com/docs/2186248/A-BRIEF-HISTORY-OF-THE-NOVEL/
http://www.artandpopularculture.com/Sentimental_novel

Literary genres

Novel of manners


The Stane o Scuin (; , ), kent as the Stane o Destiny an aw, an eften referred tae in Ingland as The Coronation Stane, is an oblang block o reid saundstane, uised for centuries in the coronation o the monarchs o Scotland an later the monarchs o Ingland an the Unitit Kinrick o Great Breetain. In 1950 the stane wis taken frae the muckle kirk o' Westminster Abbey in London, by a wee group o' Scottish nationalists an' returnit to Scotland. It wis found by the polis at the kirk o'Arbroath on 11 April and returnit tae Westminster. In 1996 the chieftain o' the  Inglis folk, Prime Meenister John Major, ordered the stane tae be returnit tae Scotland and this wis duly performit by Prince Aindriú  o' the Windsors on 30 November 1996.

Thrones
Saucrit rocks
Scots ryalty
Breetish monarchy
Airt an cultural repatriation

Stane o Scuin


USS Chase (DE-158/APD-54) was a  in service with the United States Navy from 1943 to 1946. She was scrapped in 1946.

History
USS Chase was named in honor of Admiral Jehu V. Chase (1869–1937). She was launched 24 April 1943 by Norfolk Navy Yard; sponsored by Mrs. J. V. Chase ; and commissioned 18 July 1943.

Battle of the Atlantic
Between 14 September 1943 and 23 November 1944, Chase escorted six transatlantic convoys between New York and Norfolk, Virginia and North African ports. During her second such crossing, while approaching Bizerte on 20 April 1944, Chase fired on attacking enemy torpedo bombers, driving them off, then rescued swimming survivors from three torpedoed merchant ships. During the return passage, Chase joined in the search for the , which torpedoed  on 5 May, and rescued 52 survivors of the sinking.

Chase was converted to a Charles Lawrence-class high speed transport, reclassified APD-54 on 24 November 1944, and with conversion completed, sailed from Boston on 4 February 1945 for Pacific action waters.

Pacific War
She reached Ulithi on 18 March, and next day got underway for the Okinawa operation, sailing with the group scheduled to simulate a landing on the southern coast of the island as a diversion from the main assaults. This diversion received more attention from enemy aircraft than did the main landings as they made their demonstration on 1 April. Chase joined in the blaze of anti-aircraft fire which drove the enemy off, then moved north to join the anti-submarine screen protecting the landings.

Aside from two brief voyages to Guam and Ulithi, Chase continued on the dangerous duty of patrol off Okinawa until 20 May. On 20 May, Chase fired successfully on a diving kamikaze, but had to maneuver violently to avoid the falling aircraft. It splashed, a scant  from the ship, and the explosion of the two bombs it carried ripped Chases hull open, flooding the engine and fire rooms. With her steering gear jammed at hard left rudder, Chase drove off another suicide plane. Listing so badly as to be in danger of capsizing, Chase was kept afloat by the skillful work of her crew and towed into Kerama Retto for repairs. She was later towed across the Pacific to San Diego, arriving 11 October. Here she was decommissioned 15 January 1946, and sold for scrap on 13 November 1946.

Awards
Chase received two battle stars for World War II service.

References

External links

Buckley-class destroyer escorts
Charles Lawrence-class high speed transports
World War II frigates and destroyer escorts of the United States
World War II amphibious warfare vessels of the United States
1943 ships
Ships built in Portsmouth, Virginia
Maritime incidents in May 1945

USS Chase (DE-158)


Christopher Renshaw (born 18 March 1952 in Reading) is a British opera and theatre director. He has directed in multiple countries, including musical theatre in London's West End.

Biography
In 2001, Renshaw directed Taboo, a musical with the book by Mark Markham, lyrics by Boy George, and music by Boy George, Kevan Frost, Richie Stevens and John Themis, in London. He work-shopped Zorro, a new musical with the book by Helen Edmundson, lyrics by Stephen Clark and music by the Gipsy Kings and John Cameron, in London, San Francisco, Los Angeles and New York. In 2008, the production went on a UK national tour before opening in the West End. Renshaw later directed Zorro in Paris, Moscow, Tokyo, Amsterdam and Atlanta.

In 2016 he directed the world premier of Carmen La Cubana, billed as "The First Cuban Musical", at Paris's Théâtre du Châtelet. Carmen La Cubana narrates a gripping love story set against the backdrop of 1950s Cuba, at the dawn of the revolution.

In 2020, he directed the world-premiere musical, A Wonderful World, commissioned by Miami New Drama for its 2019-2020 theatrical season at the Colony Theatre. The musical follows the life and music career of Louis Armstrong, and is told from the perspective of his four wives.

References

External links

Living people
Drama Desk Award winners
British theatre directors
Tony Award winners
1952 births

Christopher Renshaw


The Gordon Riots were mass rioting in London, England in 1780.

The riots started as a non-violent protest.  In 1778 Parliament had passed the Catholic Relief Act, which stopped some oppression of people who practised the Roman Catholic Christian religion.  For example, it said Catholics could join the army without saying an oath that was against their religion. British people who practised the Protestant religion did not like that. In 1980, Lord Gordon said Parliament should repeal (take back) that law.

People who agreed with Gordon put blue cockade decorations in their hats and marched across London Bridge. Then they saw some Lords and called them names and attacked their carriages. Then they found some Roman Catholic churches and set them on fire.

References

18th century in England
1780
History of London
Riots in England
1780s in Great Britain

Gordon Riots


The U.S. Customshouse (now known as the Coast Guard Heritage Museum and the Donald G. Trayser Memorial Museum) is a historic customs house and United States Coast Guard museum on Cobbs Hill in Barnstable, Massachusetts.  Built in 1855 to a design by Ammi Young, it was used as a custom house and post office until 1913, continuing to house the post office and other offices until 1958.  It was converted into a museum in 1960, and was listed on the National Register of Historic Places in 1975.

Description and history

The former customshouse is set on the south side of Main Street just east of Barnstable's municipal complex.  It is a two-story brick building with late Italianate styling, designed by Ammi Young and built in 1855.  It has trim details of cast metal and a truncated hip roof.  The building is nearly square, three bays on a side, with the front-facing bays projecting slightly.  Its door and window openings have round-arch tops highlighted by light-colored trim.  A line of corbeled brickwork separates the two floors, and there is more elaborate corbelling at the cornice.  A carriage house with similar styling stands to the rear.

The port of Barnstable was one of the busiest in Massachusetts in the 19th century.  Prior to the construction of this facility, the customs collector of the U.S. Customs District of Barnstable operated from his own home.  This building at first house the post office on the ground floor and the offices of the customs collector on the second floor, serving both of these roles until 1913.  The upstairs offices next housed offices of the Barnstable County Extension Service.  The post office moved out in 1958, and the federal government turned the building over to the town in 1960.  It has served as a museum property since, currently housing the Coast Guard Museum.  The Old Jail (1690) is located on the museum grounds adjacent to the customshouse after being moved from another location nearby. There is also a working blacksmith shop with daily demonstrations on the museum grounds.

See also
List of maritime museums in the United States
National Register of Historic Places listings in Barnstable County, Massachusetts

References

External links

Official website

Government buildings on the National Register of Historic Places in Massachusetts
Buildings and structures in Barnstable, Massachusetts
Custom houses in the United States
United States Coast Guard
History of the United States Coast Guard
Maritime museums in Massachusetts
Military and war museums in Massachusetts
Naval museums in the United States
Museums in Barnstable County, Massachusetts
History museums in Massachusetts
Government buildings completed in 1855
Museums established in 2005
2005 establishments in Massachusetts
Ammi B. Young buildings
National Register of Historic Places in Barnstable, Massachusetts
Historic district contributing properties in Massachusetts
Custom houses on the National Register of Historic Places

United States Customshouse (Barnstable, Massachusetts)


Sias Koen (born 1 January 1994) is a South African rugby union player for the  in Pro14 on loan from  in the Currie Cup and in the Rugby Challenge. He is a utility forward that can play as a flanker, number eight or a lock.

Rugby career

2010–2011 : Schoolboy rugby

Koen was born in Bloemfontein, but grew up in the North West province. He went to Hoërskool Klerksdorp and was selected to represent the  at the Under-16 Grant Khomo Week in 2010, scoring tries in their matches against Griquas and Border Country Districts.

In 2011, Koen was named in the Leopards team that competed at the foremost rugby union competition at high school level in South Africa, the Under-18 Craven Week. He again scored two tries during the tournament, both in a 17–40 defeat to Eastern Province Country Districts.

2013 : Leopards Under-19

In 2013, Koen was included in the  squad that participated in the Under-19 Provincial Championship. He started eleven of the team's twelve matches during the regular season, scoring tries in matches against  and  as the team finished on fourth position on the log to qualify for the semi-finals. Koen also started the semi-final against , but the team from Pretoria won 37–21 to end the Leopards' interest in the competition.

2014–2015 : Sharks Under-21 and Vodacom Cup

For the 2014 season, Koen moved to Durban to join the  academy. He started nine of the  side's twelve matches in the 2014 Under-21 Provincial Championship, scoring a try against his former side the Leopards in a 55–41 victory and a second in a 106–3 win over . The Sharks finished in fifth spot, failing to secure a semi-final berth.

At the start of 2015, Koen was included in the  squad for the Vodacom Cup competition. He made his first class debut by coming on in the 28th minute of their match against the , helping his side to a 53–0 win. After two more appearances as a replacement against  and the , he made his first start in a 24–27 defeat to  in Pietermaritzburg, before reverting to the bench for their final match against the .

Koen made four appearances for the  during the Under-21 Provincial Championship in the latter half of 2015, again scoring a try against his old side the Leopards in a 45–12 win.

2016–present : Griquas

In 2016, Koen joined . He made eleven appearances for the Kimberley-based side during the 2016 Currie Cup qualification, scoring his first senior try in their 36–14 victory over a , as Griquas won eleven of their fourteen matches to finish the competition in second place to earn a spot in the Premier Division of the Currie Cup. He made his debut in the Currie Cup's Premier Division as a replacement in their first match of the season – against former side the  – before making his first start a week later in a 30–24 victory over defending champions the .

References

South African rugby union players
Living people
1994 births
Rugby union players from Bloemfontein
Rugby union locks
Rugby union flankers
Rugby union number eights
Griquas (rugby union) players
Sharks (Currie Cup) players
Cheetahs (rugby union) players
AS Béziers Hérault players

Sias Koen


Axis & Allies is a 1998 computer wargame closely based on the Axis and Allies: Classic board game.

Players take control of one of five world powers at the start of 1942 in World War II, grouped into the opposing factions of the Allies (US, UK, and USSR) and the Axis (Germany and Japan). Victory conditions are set at the start of the game: complete world domination, the capture of enemy capitals, or reaching a set level of economic power by the Axis.

The game is turn-based, with the USSR turn first, and the USA turn last. Each power's turn of the game is broken into several phases. First is the research phase, where IPCs (a representation of industrial power) can be gambled in an attempt to develop advanced technology, such as jet engines or rockets. The remaining IPCs are then used to buy troops in the purchase phase. Troops are then moved in the combat move phase, and battles resolved in the combat phase. Non-combative moves are then performed in the non-combat move phase, new units are then placed at the powers' factories & IPCs for all territories the power now controls are collected in the place units/collect income phase and the powers' turn ends.

A second edition of the game was released in 1999 titled Axis & Allies: Iron Blitz. It added a function to allow the third edition rules of the game as well as new features such as allowing a submarine to submerge instead of withdrawal and having multiple AA guns occupy the same territory. In addition, it included many alternate scenarios, providing for events that ranged from a Western Allied-Soviet war after World War II (Allies: UK/US vs Axis: Soviet Union/(Communist) Germany), to the Molotov–Ribbentrop Pact being made into a formal alliance, which turns Japan into the Allies (Allies: UK/US/Japan vs Soviet-German Axis.) And, of course, there is the default scenario from the board game (Allies: UK/US/Soviet vs Germany/Japan.)

Gameplay
Each power has a turn of 5 steps during each round of play. Each of the 5 powers will have a turn in a complete round of play. A full round of play consists of: USSR, Germany, United Kingdom, Japan, and United States. If one power's armed forces are completely destroyed, that nation is removed from play and gameplay skips that power's turn. Example: United Kingdom destroys all of Germany's armed forces. The play now follows: USSR, United Kingdom, Japan and USA. However, if Germany's ally Japan liberates Germany's capital and later Germany can produce new units, then Germany's turn is now restored as it was at the start of the game.

IPCs otherwise known as Industrial Production Certificates, is the only currency in the game. IPCs are used to buy land units, sea units or air units. Each power collect IPCs at the end of their turn. IPCs are collected for every territory under the player's control that has an IPC value at the end of each turn.

Victory

Allies: Historical victory of capturing both Axis capitals. Total victory means that both Japan and Germany are captured and none of the Allied capitals are captured by the Axis.

Axis: One of 2 conditions are met.

Total Victory: Axis capturing 2 of the 3 Allied capitals and none of the Axis capitals are captured by the Allies.

IPC Victory: When the combined IPCs controlled by both Japan and Germany reach 84 at the end of a complete round of play.

Reception
{{Video game reviews
| CGW =
| PCZone = 80/100
| PCGUK = 63%
| rev1 = Computer Games Strategy Plus
| rev1Score = <ref name=cgm>{{cite web | archive-url=https://web.archive.org/web/20050319085638/http://www.cdmag.com/articles/015/039/axis_allies_review.html | url=http://www.cdmag.com:80/articles/015/039/axis_allies_review.html | title=Axis & Allies | date=October 26, 1998 | archive-date=2005-03-19 | work=Computer Games Strategy Plus | author=Klimushyn, Chuck | url-status=dead | access-date=2018-10-30 }}</ref>
| rev5 = PC Games| rev5Score= B+
}}

The reviewer from the online second volume of Pyramid stated that "The computer version solves the problem of having to round up players, and eliminates the tedious chore of setting up the board. From the impressive opening movie to the video clips for air raids, anti-aircraft guns, and offshore bombardments, to the final clip for each alliance's victory, the game is as riveting as the tabletop equivalent."Axis & Allies was a commercial success, with sales of roughly 300,000 copies by February 1999, after its release in September of the previous year. It reached 350,000 in sales by June. At the time, Computer Gaming Worlds editors wrote that "Panzer Generals record as the best-selling computer wargame is in jeopardy" thanks to the success of Axis & Allies.Axis & Allies was a runner-up for Computer Games Strategy Pluss 1998 "Wargame of the Year" award, which ultimately went to The Operational Art of War. The editors noted the game's "mass-market appeal".

In a review in the February 2000 issue of InQuest Gamer, Tom Slizewski stated that the game Axis & Allies: Iron Blitz '' had decent graphics and interface, but that there was "not much good to report" for all other aspects of the game. He was very critical of the artificial intelligence system that he described as "stupid" and "slow" that made poor tactical decisions and at times failed to detect defeated countries.

See also
Axis & Allies: Classic board game by Milton Bradley
Axis & Allies: RTS video game (2004)

References

External links
Official website

 https://web.archive.org/web/20100621071421/http://axisandalliesworldclub.net/ AAWC - Axis & Allies World Club (competitive ladder play for the 1998 Hasbro version)

1998 video games
Axis & Allies
Computer wargames
Grand strategy video games
Multiplayer and single-player video games
Turn-based strategy video games
Video games based on board games
Video games scored by Bobby Prince
Video games developed in the United States
War video games set in the British Empire
Windows games
Windows-only games
World War II grand strategy computer games
World War II video games
Wargaming Chicago-Baltimore

Axis & Allies (1998 video game)


A box-spring (or divan in some countries) is a type of bed base typically consisting of a sturdy wooden frame covered in cloth and containing springs. Usually the box-spring is placed on top of a wooden or metal bedframe that sits on the floor and acts as a brace, except in the UK where the divan is more often fitted with small casters. The box-spring is usually the same size as the much softer mattress that is placed on it. Working together, the box-spring and mattress (with optional bed frame) make up a bed. It is common to find a box-spring and mattress being used together without the support of a frame underneath, the box spring being mounted directly on casters standing on the floor.

Purpose

The purpose of a box-spring mainly lies in the trade-off between ventilating the bed through the bottom and structural stability of the box-spring itself.

Purposes
The box-spring has a variety of advantages and purposes. Purposes include:
 elevating the mattress above the ground, increasing the ease of getting into bed and getting out of bed;
 Providing ventilation and allow body moisture to escape, reducing the growth of mold and mildew due to moisture retention;
 Creating a relatively flat and firm structure for the mattress to lie upon;
 Enhancing aesthetics or design-style value.

History

The first rectangular spring-cushioned wire frames to support mattresses did not have wood rims or cloth covers.  These were called bedsprings. More and more box-springs are being made out of wood, then covered in fabrics. Wood makes a better support system for the newer memory foam and latex mattresses. The newest design in box-springs is the folding box spring made of wood or metal, then covered in fabric which can fold in half and can be sent by shipping and courier companies.

With the increasing height of mattresses, manufacturers now make box springs in different heights so that the mattress and box spring pair maintain a standard height.  Standard "high profile" box springs are  in height, whereas "low profile" box springs are between . Changing the thickness of the box spring and mattress require revisions to the mattress and box spring coil stiffness.  This is often why box springs and mattresses are matched and sold in pairs.

Alternatives

Box-spring beds are especially popular in North America and Western Europe.

Alternatively, in Japan, futon mattresses are usually either placed on a bedframe or on the floor, without the use of springs.

In Europe, wooden frames with a middle section consisting of springs held in place by wire (to be put into the wooden bedframe as a unit) used to be the standard for most of the 20th century. The springs have mostly been replaced by pre-bent wooden slats (usually glued laminated timber made from beech or birch) which are joined to the outer wooden frame by some form of flexible rubber bolt, shoe or socket. This lath floor provides suspension, allows the mattress to ventilate, and can be designed to be vertically adjustable in order to elevate the legs and / or the torso. A more simple approach is to join straight laths with a textile strap so that they can be rolled up for transport and placed right into the bedframe.

References

Bedding
Furniture
Upholstery

Box-spring


The Faroe Islands, a self-governing nation within the Kingdom of Denmark, is not part of the EU, as explicitly asserted by both Rome treaties.

The relations of the Faroe Islands with the EU are governed by the accession treaty of Denmark to the EU, a Fisheries Agreement (1977) and a Free Trade Agreement (1991, revised 1998). The main reason for remaining outside the EU is disagreements about the Common Fisheries Policy.

EU relations
As explicitly asserted by both Rome treaties, the Faroe Islands are not part of the European Union. This means that free movement of goods, people, capital and services within the EU and other directives do not apply for the Faroe Islands. Denmark has the right to unilaterally include the Faroe Islands into EU.

A protocol to the treaty of accession of Denmark to the European Communities stipulates that Danish nationals residing in the Faroe Islands are not to be considered as Danish nationals within the meaning of the treaties (unless Faroe Islands joins the EU). Hence, Danish people living in the Faroes are not citizens of the European Union (other EU nationals living there remain EU citizens).

The Faroe Islands are not part of the Schengen Area. However, persons travelling between the Faroe Islands and the Schengen Area are not subject to border controls, although there may be identity checks when checking in for flights.

People needing a visa to Denmark will need a separate visa for the Faroe Islands, as for people with residence permits.

Charges for international services such as phone roaming and bank transfers are much higher than inside the EU.

The relations between EU and Faroe Islands were strained by the 2013 embargo, and remain tense even following the lifting of the embargo.

EU boycott against the Faroe Islands
In July 2013 the EU imposed sanctions on the Faroe Islands due to a dispute over the fishing quota of herring and mackerel. The boycott, which started on 28 August 2013, banned Faroese vessels carrying herring or mackerel from all EU ports, including Denmark, Sweden and Finland. The Faroe Islands could no longer export herring or mackerel to EU countries. The boycott was lifted on 20 August 2014 after a breakthrough in negotiations which saw the Faroese share of the total mackerel quota jump from 4.62% to 12.6%.

Euro adoption
The Faroe Islands utilize a special version of the Danish krone notes that have been printed with text in the Faroese language. It is not a separate currency and can be exchanged 1:1 with the Danish version.  Monetary policy is controlled by the Danish Central Bank. If Denmark does adopt the euro, separate referendums would be required in the Faroe Islands and Greenland to decide whether they should follow suit. Both territories have voted not to be a part of the EU in the past, and their populations will not participate in the Danish euro referendum.  On 5 November 2009 the Faroese Parliament approved a proposal to investigate the possibility for euro adoption, including an evaluation of the legal and economic impact of adopting the euro ahead of Denmark.

EU membership
There are politicians, mainly in the right-wing Union Party (Sambandsflokkurin), led by their chairman Kaj Leo Johannesen, who would like to see the Faroes as a member of the EU. However, the chairman of the left-wing Republic (Tjóðveldi), Høgni Hoydal, has expressed concerns that if the Faroes were to join the EU as is, they might vanish inside the EU, comparing this to the situation of Åland today, and wants the local government to solve the political situation between the Faroes and Denmark first.

A major concern is also fishing, which accounts for 90 percent of Faroese exports. As such a large part of their economy, the islands do not want decisions on it being made so far away as they would have so little say in the EU due to their small population. As an EU member, according to the Common Fisheries Policy they would have to give away large fish quotas in their own waters to other EU countries.

References

Third-country relations of the European Union
Foreign relations of the Faroe Islands
Denmark and the European Union

Faroe Islands and the European Union


In law, a majority opinion is a judicial opinion agreed to by more than half of the members of a court.  A majority opinion becomes the decision of the court in a matter. It also gives an explanation of the reasons for the court's decision.

Decisions
A dissenting opinion is an opinion written by one or more judges expressing disagreement with the majority opinion of the court. Very similar to a majority opinion is a plurality opinion. In this instance, a majority of Justices agree on the result of a case, but do not all agree on the reasons for the result.

In the United States Supreme Court, a majority of the Justices have to agree with all of the contents of the Court's opinion before it can be published. In a few cases, after reading drafts of the opinions, Justices may switch their votes and what was the minority opinion becomes the majority opinion. No opinion is considered official until it is read in open court or made available publicly.

Tie votes
Normally, appellate courts (or panels) are staffed with an odd number of judges to avoid a tie vote. Sometimes and in some jurisdictions, when judicial positions are vacant or a judge has recused (excuse) himself or herself from the case, the court may be stuck with a tie. In this situation the decision of the lower Court stands.

References

Other websites
 Supreme Court of the United States
 The Opinion-Writing Process

Legal terms

Majority opinion


Thomas Jefferson Jeffords (January 1, 1832 – February 19, 1914)  was a United States Army scout, Indian agent, prospector, and superintendent of overland mail in the Arizona Territory. His friendship with Apache leader Cochise was instrumental in ending the Indian wars in that region. He first met Cochise when he rode alone into Cochise's camp in 1871 to request that the chief come to Canada Alamosa for peace talks. Cochise declined at least in part because he was afraid to travel with his family after the recent Camp Grant Massacre. Three months later he made the trip and stayed for over six months during which time their friendship grew while the negotiations failed. Cochise was unwilling to accept the Tularosa Valley as his reservation and home. In October 1872, Jeffords led General Oliver O. Howard to Cochise's Stronghold, believed to be China Meadow, in the Dragoon Mountains. Cochise demanded and got the Dragoon and Chiricahua Mountains as his reservation and Tom Jeffords as his agent. From 1872 to 1876, there was peace in southern Arizona. Then renegade Apaches killed Nicholas Rogers who had sold them whiskey and the cry went out to abolish the reservation and remove Jeffords as agent. Tom Jeffords embarked on a series of ventures as sutler and postmaster at Fort Huachuca, head of the first Tucson water company trying to bring artesian water to that city, and as prospector and mine owner and developer. He died at Owl Head Buttes in the Tortolita Mountains 35 miles north of Tucson.

Early life
Tom Jeffords was born in Chautauqua County, New York, where his father was trying to earn enough money to purchase a farm. When Tom was seven, the family moved to Ashtabula, Ohio, in the Western Reserve. Jeffords and his brothers sailed the Great Lakes, Tom becoming a captain while still in his early twenties. Bored and in search of wealth, Tom followed the gold rush to Pike's Peak in 1859, working on the road from Leavenworth to Denver. From there. he pursued the San Juan Gold Rush of 1860 to Taos County, New Mexico, and that same year followed the Colorado Gold Rush to Gila City in Arizona. He soon moved on to the mines in Pinos Altos, New Mexico. The Civil War found Tom near Fort Craig and he participated in the Battle of Valverde as a civilian courier. Jeffords accepted an assignment from Colonel Edward Canby to ride over 500 miles alone across Apache country to Fort Yuma, California, where Colonel James Carleton was arriving with the California Column. Since Confederate forces had invaded southern New Mexico and occupied the countryside as far as Tucson, Colonel Canby needed a brave courier who knew the route through the wilds along the Gila River. Tom Jeffords returned east to Arizona Territory in 1862 as a scout with the lead companies of the California Column. He remained with the Army as a civilian scout throughout the war as the Army engaged Navajo, Apache and Comanche Indians and kept the Texans out of New Mexico.

Bascom Affair

Open war with the Chiricahua Apaches had begun in 1861, when Cochise, one of their chiefs, was accused by the Army of kidnapping an 11-year-old Mexican boy, Felix Ward, stepson of Johnny Ward, later known as Mickey Free. Although the abduction was probably the work of Pinal Indians, a clear trail led to Cochise's doorstep. Reassignment of two companies of dragoon cavalry to Fort Breckinridge on the lower San Pedro River had forced the Pinal, Coyotero and other Western Apaches to alter their raiding routes so that they swung east toward the Chiricahua Mountains and Apache Pass.

Lieutenant George Nicholas Bascom was sent with 66 men of Company C, 7th Infantry, which he commanded, to get the boy back. Johnny Ward went along as interpreter. The lieutenant invited Cochise to his camp for parley and they retired to the lieutenant's tent for lunch and talk along with his brother, Coyuntura, and Ward. Bascom told Cochise that he wanted the boy and Ward's stolen livestock.

This was not the first time that Cochise had been forced to return stolen stock. Captain Richard S. Ewell had been out to Apache Pass twice before to recover stock and had sworn he would, "proceed to force them to terms the next time".

Cochise said he did not have them but thought he knew who did. Bascom told the chief he would be a hostage against the boy's safe return. Cochise's father and brothers had been slain by Mexicans during parley and his people had been poisoned. Hearing that he would be a hostage, Cochise pulled his knife, slashed the ties of the tent, and escaped up Overlook Ridge. His brother, his son and nephew, two warriors and his wife remained as hostages.

Meeting the next day, Cochise violated the flag of truce and took his own hostage. In following days, he took three more. Surrounded by what he believed were 500 Apaches, Bascom sent for aid. The first to arrived was Surgeon Bernard Irwin, who took three more hostages on his way to rescue Bascom while leading only eleven men. He was awarded the Medal of Honor 32 years later for this action.

Cochise killed and possibly tortured his four hostages. Two troops of dragoons arrived under command of Lieutenants Isaiah Moore and Richard Lord, both senior to Bascom. Moore took command. Irwin proposed hanging the six Apache hostages (the woman and boys were released at Fort Buchanan). Bascom demurred but, outranked, allowed the hanging.

Cochise, formerly inclined toward peace with the white settlers, now joined other Apache chiefs in hostility to them. It was not long before the Army retaliated, and the war was on.

Between 1867 and 1869, Jeffords was the superintendent of a mail line from Tucson to Socorro. He apparently gave people to understand that he had met Cochise during this period and negotiated a peace for his mail riders. This is very unlikely as they were attacked as often, seldom, after he took charge as before.

In 1871 President Grant sent General Oliver Howard to the Arizona Territory with orders to end the Apache wars by negotiating treaties with the tribes. Howard was an apt choice, as he had been head of the Freedmen's Bureau, the agency responsible for assisting freed black slaves after the Civil War. General Howard enlisted the help of Jeffords in concluding these treaties. Learning of his work with the Freedmen's Bureau, Jeffords knew that Howard was honorable and would be respected by Cochise, and eventually conducted the general into Cochise's camp. A treaty was signed in 1872, ending the decade-long war with the Chiricahua Apaches.

On December 14, 1872, 18th President of the United States Ulysses Grant issued an Executive Order establishing the Chiricahua Reservation in the southeast Arizona Territory at the Mexico–United States border and New Mexico Territory border. Cochise requested that his people be allowed to remain in the Chiricahua Mountains and that Jeffords be made Indian agent for the region. These requests were granted, and the Indian raids subsided.

Settlers branded Jeffords "Indian lover" and wrote scathing reports to politicians back in Washington. In 1875, he was removed as the federal agent and the Chiricahua Apaches were relocated to the San Carlos Reservation. Cochise was spared this; he had died of natural causes about a year after signing the now broken treaty. The Apache wars began again, but were ended in 1886 with the surrender of Geronimo, the last Apache leader.

Later life and death
Jeffords relocated to Tombstone, AZ, where he was part owner of a number of mines. He staked claims in the Huachuca, Dos Cabezas, and Chiricahua Mountains.  With Nicholas Rogers and Sidney De Long, he staked a claim to the famed Brunckow Mine in 1875 and remained in control of it into the 1880s. He was a partner in a mine in the Santa Ritas and head of a company trying to supply water to the city of Tucson. He lived out the last 22 years of his life in the Tortolita Mountains north of Tucson, Arizona, at a homestead near the Owlhead Buttes. He died on February 19, 1914, and was buried in Tucson's Evergreen Cemetery.

A monument was dedicated to Jeffords in Evergreen Cemetery in 1964.

In popular culture
The story of Jeffords, General Howard, Cochise, and the Apache wars was told in historically-based but dramatized form in a novel by Elliott Arnold called Blood Brother. The novel was adapted into the Delmer Daves's film Broken Arrow (1950). James Stewart played Jeffords in the movie. It was later adapted into a 1956 television show that ran for 72 episodes, in which John Lupton played Jeffords.

References

External links
 Cochise
 The grave of Tom Jeffords
 Tom Jeffords, Evergreen Cemetery, Tucson, Arizona

1832 births
1914 deaths
Military personnel from New York (state)
People from Chautauqua County, New York
People of the American Old West
United States Indian agents
United States Army soldiers

Tom Jeffords


Rudolf Westphal (3 July 182610 July 1892) was a German classical scholar.

Life
Westphal was born at Obernkirchen in Schaumburg.
He studied at Marburg and Tübingen, and was professor at Breslau (1858–1862) and Moscow (1875–1879). He subsequently lived at Bückeburg, and died at Stadthagen in Schaumburg-Lippe on 10 July 1892. Westphal devoted his life in translating and interpreting the works of Aristoxenus. He then applied Greek theories of poetic meter to eighteenth- and nineteenth century music.

Westphal was a man of varied attainments, but his chief claim to remembrance rests upon his contributions on Greek music and metre.
His chief works were:
Griechische Metrik (3rd ed., 1885–1889)
System der antiken Rhythmik (1865)
Hephaestion's De metris enchiridion (1866)
Aristoxenus of Tarentum (translation and commentary, 1883–1893, vol. ii. being edited after his death by F Saran)
Die Musik des griechischen Altertums (1883)
Allgemeine Metrik der indogermanischen and semitischen Volker (1892)
He made translations of Catullus (1870) and of Aristophanes' Acharnians (1889), in which he successfully reproduced the Dorisms in Low German.

References

1826 births
1892 deaths
People from Schaumburg
German classical scholars
German music theorists
19th-century German musicologists

Rudolf Westphal


Phyllis Kaniss was the executive director of the American Academy of Political and Social Science. Born in 1951 in Philadelphia, she received her Bachelor of Arts degree from the University of Pennsylvania and a Ph.D. in Regional Science from Cornell University.

In 1999 Kaniss created the Student Voices Project, an initiative sponsored by the Annenberg Public Policy Center that works with urban school systems to encourage youth civic involvement. Kaniss served as Assistant Dean for the Annenberg School for Communications and taught courses on local news media and urban politics and policy. Her book, The Media and the Mayor's Race: The Failure of Urban Political Reporting, an account of how the media covered the 1991 mayoral race involving Edward G. Rendell and Frank Rizzo, won the 1995 Bart Richards Award for media criticism. Kaniss also published numerous Op-Eds in newspapers, including the Philadelphia Inquirer and New York Times. Kaniss died December 17, 2010, after a long battle with cancer.

Bibliography
The Media and the Mayor's Race: The Failure of Urban Political Reporting(Indiana University Press, 1995)
Making Local News (University of Chicago Press, 1991)

External links
 Official Bio from the American Academy of Political and Social Science
American Academy of Political and Social Science

American sociologists
American women sociologists
University of Pennsylvania alumni
Cornell University alumni
2010 deaths
1951 births
21st-century American women

Phyllis Kaniss