The Castle of Dinerth (, , or ) is a Welsh castle located near Aberarth, Ceredigion, west Wales that was completed  1110. It is also known as Hero Castle, presumably from the Norse hiro ("king's carl").

History
The founder is thought to be one Richard de la Mare, a follower of Richard fitz Gilbert, Lord of Clare, an Anglo-Norman lord, who, by the archaeological evidence, built it on top of a previous defensive position. The castle was razed by Gruffydd ap Rhys but probably rebuilt, as it is known to have been destroyed again by Owain Gwynedd in 1136. The castle probably spent the next fifty years passing from one feudal ruler to another: from Hywel to Cadwaladr in 1144, and then ceded to Roger de Clare, 3rd Earl of Hertford in 1158, who garrisoned it. Destroyed by The Lord Rhys in 1164, it came into the possession of Maelgwn ap Rhys who lost it to, and recovered it from, his brother, Gruffudd ap Rhys.  Maelgwn dismantled it to prevent his lands being held by Llywelyn the Great of Gwynedd. As Llywelyn then captured and held all the territory from the River Arth to the River Aeron, he conferred Dinerth on the sons of Maelgwn's brother Gruffudd as was rightfully due. The site was abandoned soon afterwards.

The site
The ruins of the medieval timber castle can be found on a hill about 1½ miles up the valley from the seaside town of Aberarth. It occupies a strategic position at the confluence of the River Arth with the Erthyg Brook, with steep ravines on all sides except the east where there is a deep ditch backed by a bank. The whole site covers about three hectares and includes two mounds, which presumably supported towers, and a series of platforms to the south where it is likely the main buildings stood including the hall. The whole site is now covered by ancient oak and beech woodland which supports a varied flora.

Arthurian legend
The site's Welsh name ( "Fort Bear") and a passage in Gildas's work On the Ruin of Britain., describing a receptaculi ursi (literally "bear's lair" but equally "stronghold of the Bear"), led some historians to suggest that the site might have a connection with King Arthur or his supposed court at Camelot.  However, the site's name more likely derives from the nearby River Arth and the passage in Gildas, describing the King Cuneglas much more likely describes the Dark Age hillfort of Dinerth at Bryn Euryn above Llandrillo-yn-Rhos, his supposed kingdom.

References

External links

Castles in Ceredigion
Castle ruins in Wales

Dinerth Castle


The John Fuller House is a historic house at 463 Halladay Avenue in Suffield, Connecticut.  Built in 1824, it was the main house for Suffield's town farm, its facility for supporting the poor and needy, between 1887 and 1952.  It is a well-preserved example of Georgian architecture, then long out of fashion.  It was listed on the National Register of Historic Places in 1982.

Description and history
The John Fuller House is located in a rural area of central northern Suffield, on the west side of Halladay Avenue north of its junction with Blossom Street.  It is a -story brick structure, with a side gable roof oriented perpendicular to the street.  The main entrance is in the short street-facing facade, in the center-left bay of four.  It is recessed within an opening with a rounded top, which is filled with a fanlight panel.  A similar panel is found at the center of the gable above.  The interior of the house has two rooms in the front, with a nearly straight-run staircase on the far right.  Behind these is a single large chamber, original two that were combined by the removal of an intervening wall.  Behind this is a narrow chamber running the width of the building, apparently originally used for storage.  The second story roughly follows the downstairs plan.  The interior retains original woodwork and some plaster.

The house was built in 1824 by George Fuller.  It remained in the family until 1887, when it and the surrounding farmland were purchased by the town as a place to house its indigent population.  The town had been incurring expenses since 1868 to care for the needy, and this purchase was apparently seen as a long-term cost reduction measure.  Use of the farm declined beginning in the 1920s, and with expenses mounting, the town sold the property back into private ownership in 1952.

See also
National Register of Historic Places listings in Hartford County, Connecticut

References

Houses on the National Register of Historic Places in Connecticut
National Register of Historic Places in Hartford County, Connecticut
Georgian architecture in Connecticut
Houses completed in 1824
Houses in Hartford County, Connecticut
Suffield, Connecticut

John Fuller House


Waldyr Geraldo Boccardo (28 January 1936 – 18 November 2018) was a Brazilian basketball player. Boccardo was born in São Manuel, Brazil. He was a member of the team that won the title at the 1959 World Championship and the bronze medal at the 1960 Olympics.

Boccardo died in Rio de Janeiro on 18 November 2018 from pneumonia at the age of 82.

References

1936 births
2018 deaths
Brazilian Olympic bronze medalists
Basketball players

Waldyr Boccardo


Sujatha Byravan is a biologist and journalist. She has several years of experience in the broad area of sustainable development, which is bolstered by her technical background and education in biological sciences. Her PhD and Postdoctoral work in the US were followed by a 2-year training fellowship from the Rockefeller Foundation in leadership and environment and development, work experience in India, and a leadership position as main architect and Fellows Program Director (New York and London) in an international environment and development organization.

Education
Byravan received a PhD in molecular biology in 1989 from the University of South Carolina. She completed post-doctoral work from 1993 to 1995 at UCLA.

Career
She then worked in India as a science writer and freelance journalist. Topics she has written on include science policy, gender issues, and Indian environmental concerns and politics. During that time, Byravan also became a fellow of the Rockefeller Foundation's LEAD (Leadership for Environment and Development) Program (1995 to 1997). She later served as Director of the Fellows Program at LEAD International from 1999-2002, and in that capacity was responsible for developing and executing the program for the graduates of LEAD, who number over 1,300 and work all over the world in various sectors.
Between 2002 and 2007, she was Executive Director and President of the Council for Responsible Genetics (CRG), a non-profit/non-governmental organization devoted to fostering informed debate on the social, ethical and environmental implications of new genetic technologies. CRG carries out policy research, education and advocacy.

Byravan is also a fellow of the Salzburg Global Seminar on Biotechnology: Legal, Ethical and Social Issues. She received a Rockefeller Foundation Residential Fellowship at Bellagio in 2007.

Selected publications
"Before the Flood". New York Times. May 9, 2005.
"Ensuring privacy in genetic testing". Boston Globe. Byravan & Matlaw. November 2, 2005.
"DNA Typing - A Technology of Fear".Development, Vol. 49, No. 4, pp. 28–32, 2006
"Louise Brown will turn 28 this year. The Indian Express. March 17, 2006.
"Gender and Innovation in South Asia (PDF)". Innovation, Policy and Science. February 2008.
"The Climate Exile Alarm"" The Hindu. July 15, 2009.
"Where's the science in GM crops?". IndiaTogether. November 6, 2009.
"Warming up to Immigrants: An Option for US Climate Policy".Economic and Political Weekly, November 7, 2009.
"The Ethical Implications of Sea-Level Rise Due to Climate Change".Ethics and International Affairs, Fall 2010.
"The Inter-Academy Report on Genetically Engineered Crops: Is It Making a Farce of Science?". Economic and Political Weekly, October 23, 2010.
"Climate Change: Sea Level Rise Initiative". November 2010.
"Development Benefits from a Low-Carbon Pathway". Economic and Political Weekly, August 20, 2011.
"Below the Guard Rail" Economic and Political Weekly, December 29, 2018.
"The Twisted Trajectory of Bt Cotton" The Hindu. September 10, 2020.

External links
"LEAD page on Byravan"
"NAPCC Evaluation"
"The Hindu articles"

References

University of South Carolina alumni

Sujatha Byravan


The Berke–Hulagu war was fought between two Mongol leaders, Berke Khan of the Golden Horde and Hulagu Khan of the Ilkhanate. It was fought mostly in the Caucasus Mountains area in the 1260s after the destruction of Baghdad in 1258. The war overlaps with the Toluid Civil War in the Mongol Empire between two members of the Tolui family line, Kublai Khan and Ariq Böke, who both claimed the title of Great Khan (Khagan). Kublai allied with Hulagu, while Ariq Böke sided with Berke. Hulagu headed to Mongolia for the election of a new Khagan to succeed Möngke Khan, but the loss of the Battle of Ain Jalut to the Mamluks forced him to withdraw back to the Middle East. The Mamluk victory emboldened Berke to invade the Ilkhanate. The Berke–Hulagu war and the Toluid Civil War as well as the subsequent Kaidu–Kublai war marked a key moment in the fragmentation of the Mongol empire after the death of Möngke, the fourth Great Khan of the Mongol Empire.

Background
In 1252, Berke converted to Islam, and in 1257 he assumed power in the Golden Horde after the death of Ulaghchi. Like his brother Batu, he was loyal to the Great Khan Möngke. Although aware of Berke's conversion to Islam, Hulagu, after conquering Persia, destroyed Baghdad in 1258, added Mesopotamia to the Mongol Empire, advanced towards the Levant and Mamluk Sultanate, and began a war of attrition against the Mamluk Sultanate. Berke became enraged with Hulagu's rampage through Muslim lands, and as a preparatory step, directed his nephew Nogai Khan to raid Poland in 1259 in order to collect booty to finance a war. Several Polish cities were plundered, including Kraków and Sandomierz. Berke then struck an alliance with the  Mamluk Sultan Qutuz and later Sultan Baibars of Egypt.

That same year, Mongke died in a military campaign in China. Muslim historian Rashid al Din quoted Berke Khan as sending the following message to Mongke Khan, protesting the attack on Baghdad, (not knowing Mongke had died in China): "He (Hulagu) has sacked all the cities of the Muslims. With the help of God I will call him to account for so much innocent blood."

Even though Berke was Muslim, he was at first resistant to the idea of fighting Hulagu out of Mongol brotherhood; he said '"Mongols are killed by Mongol swords. If we were united, then we would have conquered all of the world"; but the economic situation of the Golden Horde due to the actions of the Ilkhanate led him to declare jihad because the Ilkhanids were hogging the wealth of North Iran and the Ilkhanate's demands for the Golden Horde not to sell slaves to the Mamluks.

The war
In 1260, Hulagu's lieutenants in the Middle East lost the Battle of Ain Jalut to the Mamluks while Hulagu was in Mongolia to participate in the succession of a new Great Khan following the death of Mongke.  Upon hearing the news, Hulagu began preparing to avenge the defeat. Two years later he returned to his lands in Persia, but was distracted and prevented from dealing with the Mamluks when Berke carried through on the threat to war against his cousin so as to avenge the sack of Baghdad.  Berke again unleashed Nogai Khan to launch a series of raids – this time multiple reconnaissances in force in the Caucasus region – which drew Hulagu north with the bulk of his forces.  Berke also dispatched Negudar to eastern Afghanistan and Ghazni, recovering lands under Il Khanate control.

Hulagu was loyal to his brother Kublai, but clashes with their cousin Berke, the ruler of the Golden Horde in the northwestern part of the Empire, began in 1262. The suspicious deaths of Jochid princes in Hulagu's service, unequal distribution of war booties and  Hulagu's massacres of the Muslims increased the anger of Berke, who considered supporting a rebellion of the Georgian Kingdom against Hulagu's rule in 1259–1260. Berke also forged an alliance with the Egyptian Mamluks against Hulagu, and supported Kublai's rival claimant, Ariqboke.

Kublai dispatched an army under Abaqa to attack the Golden Horde, while Ariqboke sent Nogai to invade the Ilkhanate; both sides suffered disastrous defeats. Hulagu marched northwards through the pass of Derbend against Berke. On the banks of the Terek, he was ambushed by an army of the Golden Horde under Nogai, and his army was defeated at the Battle of the Terek River (1262), with many thousands being cut down or drowning when the ice of the river gave way. Hulagu subsequently retreated back into Azerbaijan.J.J Saunders, "The History of the Mongol Conquests," p. 117.

Arikboqe surrendered to Kublai at Shangdu on August 21, 1264, after which the rulers of the Golden Horde and Chagatai Khanate acknowledged the reality of Kublai's victory and rule, after which Kublai began preparations for his conquest of the Song dynasty.

When the Byzantine Empire, the ally of the Ilkhanate, captured Egyptian envoys, Berke sent an army through his vassal Bulgaria, prompting the release of the envoys and the Seljuq Sultan Kaykaus II. He tried to raise civil unrest in Anatolia using Kaykaus but failed. In the new official version of the family history, Kublai Khan refused to write Berke's name as the khan of Golden Horde for his support to Arikboke and wars with Hulagu, however, Jochi's family was fully recognized as legitimate family members.

Kublai Khan also reinforced Hulagu with 30,000 young Mongols in order to stabilize the political crises in western khanates. As soon as Hulagu died on 8 February 1265, Berke marched to cross near Tiflis, but he died on the way. Within a few months of these deaths, Alghu Khan of the Chagatai Khanate died too. Nevertheless, this sudden vacuum of power relieved Kublai's control over the western khanates somewhat.

Aftermath
This was the second open war between Mongols, shortly after the beginning of the Toluid Civil War between Kublai Khan and Ariq Böke. Before that there had been tensions between Batu and Güyük that could have erupted into an open war, but the sudden death of the latter averted hostilities. Together with the war between Kublai Khan and Ariq Böke, Berke and Hulagu set the precedents that was repeated in the form of further wars between Mongol khanates and even inside the khanates, such as the conflicts between Abaqa and Baraq in 1270, Kaidu and Kublai Khan in the 1270s and 1280s, Toqta and Nogai in the late 1290s, and the war between Duwa and Chapar in the early 14th century. This war, along with the second raid against Poland, also marked the rise of Nogai Khan in the Golden Horde. After Berke's death he became ever more powerful, and became a kingmaker in the Golden Horde.

See also
 Division of the Mongol Empire

References

1260s conflicts
1262 in Asia
1262 in the Mongol Empire
Wars involving the Ilkhanate
Wars involving the Golden Horde
Hulagu Khan
Wars of succession involving the states and peoples of Asia

Berke–Hulagu war


Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage A-la-Mode) and towards a more cutting satire on the problems of poverty and crime.

On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English small beer and ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, closer inspection uncovers other targets of his satire, and reveals that the poverty of Gin Lane and the prosperity of Beer Street are more intimately connected than they at first appear. Gin Lane shows shocking scenes of infanticide, starvation, madness, decay, and suicide, while Beer Street depicts industry, health, bonhomie, and thriving commerce; but there are contrasts and subtle details that some critics believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane.

Background

Gin Craze

The gin crisis was severe. From 1689 onward the English government encouraged the industry of distilling, as it helped prop up grain prices, which were then low, and increase trade, particularly with England's colonial possessions. Imports of French wine and spirits were banned to encourage the industry at home. Indeed, Daniel Defoe and Charles Davenant, among others, particularly Whig economists, had seen distilling as one of the pillars of British prosperity in the balance of trade. (Both later changed their minds — by 1703 Davenant was warning that, "Tis a growing fad among the common people and may in time prevail as much as opium with the Turks," while by 1727 Defoe was arguing in support of anti-gin legislation.)

In the heyday of the industry there was no quality control whatsoever; gin was frequently mixed with turpentine, and licences for distilling required only the application. When it became apparent that copious gin consumption was causing social problems, efforts were made to control the production of the spirit. The Gin Act 1736 imposed high taxes on sales of gin, forbade the sale of the spirit in quantities of less than two gallons and required an annual payment of £50 for a retail licence. These measures had little effect beyond increasing smuggling and driving the distilling trade underground.

Various loopholes were exploited to avoid the taxes, including selling gin under pseudonyms such as Ladies' Delight, Bob, Cuckold's Delight, and the none-too-subtle Parliament gin. The prohibitive duty was gradually reduced and finally abolished in 1743. Francis Place later wrote that enjoyments for the poor of this time were limited: They had often had only two: "sexual intercourse and drinking," and that "drunkenness is by far the most desired" as it was cheaper and its effects more enduring. By 1750 over a quarter of all residences in St Giles parish in London were gin shops, and most of these also operated as receivers of stolen goods and co-ordinating spots for prostitution.

Prints
The two prints were issued a month after Hogarth's friend Henry Fielding published his contribution to the debate on gin: An Inquiry into the Late Increase in Robbers, and they aim at the same targets, though Hogarth's work lays more blame for the gin craze on oppression by the governing class and focuses less on the choice of crime as a ticket to a life of ease.

Hogarth advertised their issue in the London Evening Post between 14 and 16 February 1751 alongside the prints of The Four Stages of Cruelty, which were issued the following week:

The prints, like The Four Stages of Cruelty, had moralising verses composed by Rev James Townley and, on the surface, had a similar intent — to shock the lower classes into reforming. Engraved directly from drawings, no paintings of the two scenes exist, although there are preliminary sketches. By reducing his prices, Hogarth hoped to reach "the lower Class of People", and while one shilling was still prohibitively expensive for most of the poor, the lower prices did allow him to reach a larger market, and more importantly rendered the prints cheap enough to display in taverns and coffee houses before a wider audience. Hogarth also had an eye on his copyright: the lower prices meant there was less chance of the images being reproduced and sold without Hogarth's permission. Although Hogarth had been instrumental in pushing through the Engraving Copyright Act 1734, so much so that the Act is commonly known as "Hogarth's Act", keeping costs down provided further insurance against piracy.

Gin Lane

Set in the parish of St Giles — a notorious slum district that Hogarth depicted in several works around this time — Gin Lane depicts the squalor and despair of a community raised on gin. Desperation, death and decay pervade the scene. The only businesses that flourish serve the gin industry: gin sellers; a distiller (the aptly named Kilman); the pawnbroker where the avaricious Mr Gripe greedily takes the vital possessions (the carpenter offers his saw and the housewife her cooking utensils) of the alcoholic residents of the street in return for a few pennies to feed their habit; and the undertaker, for whom Hogarth implies at least a handful of new customers from this scene alone.

Most shockingly, the focus of the picture is a woman in the foreground, who, addled by gin and driven to prostitution by her habit — as evidenced by the syphilitic sores on her legs — lets her baby slip unheeded from her arms and plunge to its death in the stairwell of the gin cellar below. Half-naked, she has no concern for anything other than a pinch of snuff. This mother was not such an exaggeration as she might appear: in 1734, Judith Dufour reclaimed her two-year-old daughter, Mary, from the workhouse where she had been given a new set of clothes; she then strangled the girl and left her body in a ditch so that she could sell the clothes (for 1s. 4d.) to buy gin.

In another case, an elderly woman, Mary Estwick, let a toddler burn to death while she slept in a gin-induced stupor. Such cases provided a focus for anti-gin campaigners such as Thomas Wilson, and the image of the neglectful and/or abusive mother became increasingly central to anti-gin propaganda. Sir John Gonson, featured in Hogarth's earlier A Harlot's Progress, turned his attention from prostitution to gin and began prosecuting gin-related crimes with severity.

The gin cellar Gin Royal below advertises its wares with the slogan:

Other images of despair and madness fill the scene: a disturbed man cavorts in the street, beating himself over the head with a pair of bellows while holding a baby impaled on a spike — the dead child's mother rushes from the house screaming in horror; a barber has taken his own life in the dilapidated attic of his barber-shop, ruined because nobody can afford a haircut or shave; on the steps, below the woman who has let her baby fall, a skeletal pamphlet-seller rests, perhaps dead of starvation, as the unsold moralising pamphlet on the evils of gin-drinking The Downfall of Mrs Gin slips from his basket. An ex-soldier, he has pawned most of his clothes to buy the gin in his basket, next to the pamphlet that denounces it. Next to him sits a black dog, a symbol of despair and depression. Outside the distiller a fight has broken out, and a crazed cripple raises his crutch to strike his blind compatriot.

Images of children on the path to destruction also litter the scene: aside from the dead baby on the spike and the child falling to its death, a baby is quieted by its mother with a cup of gin, and in the background of the scene an orphaned infant bawls naked on the floor as the body of its mother is loaded into a coffin on orders of the beadle. Two young girls who are wards of the parish of St Giles — indicated by the badge on the arm of one of the girls — each take a glass.

Hogarth also chose the slum of St Giles as setting for the first scene of The Four Stages of Cruelty, which he issued almost simultaneously with Beer Street and Gin Lane. Tom Nero, the central character of the Cruelty series wears an identical arm badge.

In front of the pawnbroker's door a starving boy and a dog fight over a bone, while next to them a girl has fallen asleep; approaching her is a snail, emblematic of the sin of sloth.

In the rear of the picture the church of St. George's Church, Bloomsbury, can be seen, but it is a faint and distant image, and the picture is composed so it is the pawnbroker's sign, which forms a huge corrupted cross for the steeple: the people of Gin Lane have chosen to worship elsewhere.

Townley's verses are equally strong in their condemnation of the spirit:

Beer Street

In comparison to the sickly hopeless denizens of Gin Lane, the happy people of Beer Street sparkle with robust health and bonhomie. "Here all is joyous and thriving. Industry and jollity go hand in hand". The only business that is in trouble is the pawnbroker: Mr. Pinch lives in the one poorly maintained, crumbling building in the picture. In contrast to his Gin Lane counterpart, the prosperous Gripe, who displays expensive-looking cups in his upper window (a sign of his flourishing business), Pinch displays only a wooden contraption, perhaps a mousetrap, in his upper window, while he is forced to take his beer through a window in the door, which suggests his business is so unprofitable as to put the man in fear of being seized for debt. The sign-painter is also shown in rags, but his role in the image is unclear.

The rest of the scene is populated with doughty and good-humoured English workers. It is George II's birthday (30 October) (indicated by the flag flying on the church of St Martin-in-the-Fields in the background) and the inhabitants of the scene are no doubt toasting his health. Under the sign of the Barley Mow, a blacksmith or cooper sits with a foaming tankard in one hand and a leg of beef in the other. Together with a butcher — his steel hangs at his side — they laugh with the pavior (sometimes identified as a drayman) as he courts a housemaid (the key she holds is a symbol of domesticity).

Ronald Paulson suggests a parallel between the trinity of signs of ill-omen in Gin Lane, the pawnbroker, distiller, and undertaker, and the trinity of English "worthies" here, the blacksmith, pavior, and butcher. Close by a pair of fish-sellers rest with a pint and a porter sets down his load to refresh himself. In the background, two men carrying a sedan chair pause for drink, while the passenger remains wedged inside, her large hoop skirt pinning her in place. On the roof, the builders, who are working on the publican's house above the "Sun" tavern share a toast with the master of a tailor's workshop. In this image it is a barrel of beer that hangs from a rope above the street, in contrast to the body of the barber in Gin Lane.

The inhabitants of both Beer Street and Gin Lane are drinking rather than working, but in Beer Street the workers are resting after their labours — all those depicted are in their place of work, or have their wares or the tools of their trade about them — while in Gin Lane the people drink instead of working. Exceptions to this rule come, most obviously, in the form of those who profit from the vice in Gin Lane, but in Beer Street Hogarth takes the opportunity to make another satirical statement. Aside from the enigmatic sign-painter, the only others engaged in work in the scene are the tailors in an attic. The wages of journeyman tailors were the subject of an ongoing dispute, which was finally settled by arbitration at the 1751 July Quarter sessions (in the journeymen's favour). Some believe that the tailors serve another purpose, in that Hogarth shows them continuing to toil while all the other inhabitants of the street, including their master, pause to refresh themselves. Much as the tailors are ignored by their master and left to continue working, the occupants of Beer Street are oblivious to the suffering on Gin Lane.

Hogarth also takes the opportunity to comment on artistic pretensions. Tied up together in a basket and destined for use as scrap at the trunk-maker are George Turnbull's On Ancient Painting, Hill on Royal Societies, Modern Tragedies, Polticks vol. 9999 and William Lauder's Essay on Milton's Use and Imitation of the Moderns in Paradise Lost, all examples, real and imagined, of the type of literature that Hogarth thought fabricated connections between art and politics and sought out aesthetic connections that did not exist. Lauder's work was a hoax that painted Milton as a plagiarist.

The picture is a counterpoint to the more powerful Gin Lane — Hogarth intended Beer Street to be viewed first to make Gin Lane more shocking — but it is also a celebration of Englishness and depicts of the benefits of being nourished by the native beer. No foreign influences pollute what is a fiercely nationalistic image. An early impression showed a scrawny Frenchman being ejected from the scene by the burly blacksmith who in later prints holds aloft a leg of mutton or ham (Paulson suggests the Frenchman was removed to prevent confusion with the ragged sign-painter).

There is a celebration of English industriousness in the midst of the jollity: the two fish-sellers sing the New Ballad on the Herring Fishery (by Hogarth's friend, the poet John Lockman), while their overflowing baskets bear witness to the success of the revived industry; the King's speech displayed on the table makes reference to the "Advancement of Our Commerce and the cultivating Art of Peace"; and although the workers have paused for a break, it is clear they are not idle. The builders have not left their workplace to drink; the master tailor toasts them from his window but does not leave the attic; the men gathered around the table in the foreground have not laid their tools aside. Townley's patriotic verses further refer to the contrast between England and France:

Paulson sees the images as working on different levels for different classes. The middle classes would have seen the pictures as a straight comparison of good and evil, while the working classes would have seen the connection between the prosperity of Beer Street and the poverty of Gin Lane. He focuses on the well-fed woman wedged into the sedan chair at the rear of Beer Street as a cause of the ruin of the gin-addled woman who is the principal focus of Gin Lane. The free-market economy espoused in the King's address and practised in Beer Street leaves the exponents prosperous and corpulent but at the same time makes the poor poorer. For Paulson the two prints depict the results of a move away from a paternalistic state towards an unregulated market economy. Further, more direct, contrasts are made with the woman in the sedan chair and those in Gin Lane: the woman fed gin as she is wheeled home in a barrow and the dead woman being lifted into her coffin are both mirror images of the hoop-skirted woman reduced to madness and death.

Sign-painter

The sign-painter is the most difficult figure of the two images to characterise. He appeared in preliminary sketches as another jolly fat archetype of Beer Street—but by the time of the first print, Hogarth had transformed him into a threadbare, scrawny, and somewhat dreamy character who has more in common with the inhabitants of Gin Lane than those who populate the scene below him. Most simply, he may be a subtle aside on the artist's status in society—he carries the palette that Hogarth made his trademark, which appears in several of his self-portraits.

However he is painting a sign advertising gin, so his ragged appearance could equally reflect the rejection of the spirit by the people of Beer Street. He may also be a resident of Gin Lane, and Hogarth includes him as a connection to the other scene, and as a suggestion that the government's initial policy of encouraging the distillation of gin may be the cause of both Gin Lane's ruin and Beer Street's prosperity. He is ignored by the inhabitants of Beer Street as they ignore the misery of Gin Lane itself. Paulson suggests that he is the lone "beautiful" figure in the scene. The corpulent types that populate Beer Street later featured as representations of ugliness in Hogarth's The Analysis of Beauty, while the painter, as he leans back to admire his work, forms the serpentine shape that Hogarth identified as the "line of beauty".

Thomas Clerk, in his 1812 The Works of William Hogarth, writes that the sign-painter has been suggested as a satire on Jean-Étienne Liotard (called John Stephen by Clerk), a Swiss portrait painter and enameller whom Horace Walpole praised for his attention to detail and realism, mentioning he was, "... devoid of imagination, and one would think memory, he could render nothing but what he saw before his eyes." In his notes in Walpole's Anecdotes of painting in England, James Dallaway adds a footnote to this statement about Liotard saying, "Hogarth has introduced him, in several instances, alluding to this want of genius." However, Liotard was wearing a full beard, as his self-portrait of 1746 shows.

Influences
Beer Street and Gin Lane with their depictions of the deprivation of the wasted gin-drinkers and the corpulent good health of the beer-drinkers, owe a debt to Pieter Bruegel the Elder's La Maigre Cuisine and La Grasse Cuisine engraved by Pieter van der Heyden in 1563, which shows two meals, one of which overflows with food and is populated by fat diners, while in the other the emaciated guests squabble over a few meagre scraps. Brueghel's compositions are also mirrored in the layers of detail in Hogarth's two images.

Inspiration for these two prints and The Four Stages of Cruelty probably came from his friend Fielding: Hogarth turned from the satirical wit of Marriage A-la-Mode in favour of a more cutting examination of crime and punishment with these prints and Industry and Idleness at the same time that Fielding was approaching the subject in literature. Paulson thinks it likely that they planned the literature and the imagery together as a campaign.

Reception

Charles Knight said that in Beer Street Hogarth had been "rapt beyond himself" and given the characters depicted in the scene an air of "tipsy jollity". Charles Lamb considered Gin Lane sublime, and focused on the almost invisible funeral procession that Hogarth had added beyond the broken-down wall at the rear of the scene as mark of his genius. His comments on Gin Lane formed the centre of his argument to rebut those who considered Hogarth a vulgar artist because of his choice of vulgar subjects:

The critic William Hazlitt shared Lamb's view that Hogarth was unfairly judged on the coarseness of his subject matter rather than for his skill as an artist. He singled out Gin Lane and The Enraged Musician as particular examples of Hogarth's imagination and considered that "the invention shewn in the great style of painting is poor in the comparison".

Both John Nichols and Samuel Felton felt that the inclusion of Turnbull's work in the pile of scrap books was harsh, Felton going as far as to suggest Hogarth should have read it before condemning it.

After the Tate Britain's 2007 exhibition of Hogarth's works the art critic Brian Sewell commented that "Hogarth saw it all and saw it straight, without Rowlandson's gloss of puerile humour and without Gainsborough's gloss of sentimentality," but in a piece titled Hogarth the Ham-fisted condemned the heavy-handedness and lack of subtlety that made his images an "over-emphatic rant in his crude insistence on excessive and repetitive detail to reinforce a point."

The reception by the general public is difficult to gauge. Certainly one shilling put the prints out of reach for the poorest people, and those who were pawning their clothes for gin money would not be tempted to buy a print, but there is evidence that Hogarth's prints were in wide circulation even among those that would have regarded them as a luxury, and there are records from the 18th century indicating that his works were used for moral instruction by schoolmasters. At any rate, the Gin Act — passed in no small measure as the result of Fielding and Hogarth's propaganda — was considered a success: gin production fell from  in 1751 to  in 1752, the lowest level for twenty years. By 1757, George Burrington reported, "We do not see the hundreth part of poor wretches drunk in the street". Social changes, quite apart from the Gin Act (among them the increase in the price of grain after a series of bad harvests) were reducing the dependence of the poor on gin, but the problem did not disappear completely: in 1836, Charles Dickens still felt it an important enough issue to echo Hogarth's observations in Sketches by Boz. Like Hogarth, Dickens noted that poverty rather than gin itself was the cause of the misery:

The vast numbers of prints of Beer Street and Gin Lane and The Four Stages of Cruelty may have generated profits for Hogarth, but the wide availability of the prints meant that individual examples did not generally command high prices. While there were no paintings of the two images to sell, and Hogarth did not sell the plates in his lifetime, variations and rare impressions existed and fetched decent prices when offered at auction. The first (proof) and second states of Beer Street were issued with the image of the Frenchman being lifted by the blacksmith, this was substituted in 1759 by the more commonly seen third state in which the Frenchman was replaced by the pavior or drayman fondling the housemaid, and a wall added behind the sign-painter. Prints in the first state sold at George Baker's sale in 1825 for £2.10s, but a unique proof of Gin Lane with many variations, particularly a blank area under the roof of Kilman's, sold for £15.15s. at the same sale. Other minor variations on Gin Lane exist – the second state gives the falling child an older face, perhaps in an attempt to diminish the horror, but these too were widely available and thus inexpensive. Copies of the originals by other engravers, such as Ernst Ludwig Riepenhausen, Samuel Davenport, and Henry Adlard were also in wide circulation in the 19th century.

Modern versions
The iconic Gin Lane, with its memorable composition, has lent itself to reinterpretation by modern satirists. Steve Bell reused it in his political cartoon Free the Spirit, Fund the Party, which added imagery from a Smirnoff vodka commercial of the 1990s to reveal the then Prime Minister, John Major, in the role of the gin-soaked woman letting her baby fall, while Martin Rowson substituted drugs for gin and updated the scene to feature loft conversions, wine bars and mobile phones in Cocaine Lane in 2001. There is also a Pub Street and Binge Lane version, which follows closely both the format and the sentiment of Hogarth's originals. In 2016 the Royal Society for Public Health commissioned artist Thomas Moore to re-imagine Gin Lane to reflect the public health problems of the 21st Century. The work is displayed in the Foundling Museum, London.

See also
 List of works by William Hogarth

Notes

a.  The snuff may be a reference to Fielding, who was renowned as a heavy snuff taker.

b.  This woman appeared as she does here, wedged into a sedan chair with her hoop skirt pinning her in place, as the subject of a painting displayed in Hogarth's Taste in High Life, a forerunner to Marriage à-la-mode commissioned by Mary Edwards around 1742.

c.  While Davenport's engraving of Gin Lane is a faithful reproduction of Hogarth's original there are multiple minor variations in his engraving of Beer Street: noticeably, elements from different states are mixed, and lettering is altered or removed on the copy of the King's speech and the scrap books.

d.  Baker had bought a number of Hogarth's works at Gulston's sale in 1786 where the first state prints of Gin Lane and Beer Street sold for £1.7s. Whether they were bought by Baker directly is not recorded.

e.  Compare this with the four plates of Four Times of the Day, which sold for £6.12s.6d., and a unique proof of Taste in High Life, which went for £4.4s. A proof (probably unique) of the print of Hogarth's self-portrait (with his pug) Gulielmus Hogarth 1749 sold for £25.

References

Sources

External links
 Discussion by Janina Ramirez and Lars Tharp: Art Detective Podcast, 11 Jan 2017

Prints by William Hogarth
1751 works
Beer culture
Gins
Dogs in art
Streets in art
London in art

Beer Street and Gin Lane


The 2019 Atlantic hurricane season was the fourth consecutive season of above-average and damaging seasons dating back to 2016. This hurricane season has 20 tropical cyclones and 18 named storms in total in which tropical cyclones were formed in the Northern Hemisphere at the Atlantic basin. The season officially began on June 1, 2019, and ended on November 30, 2019.

Subtropical Storm Andrea formed on May 20, making 2019 the fifth consecutive season in which storms formed before the official start of the hurricane season; this breaks the record of four consecutive years set in 1951-1954. Barry became the first hurricane of the season in early July. Hurricane Dorian became a first major hurricane of the season in late August, and later became a Category 5 hurricane on September 1, making 2019 the fourth consecutive season to feature at least one Category 5 hurricane (Matthew in 2016; Irma and Maria in 2017; Michael in 2018). Tropical Storm Imelda formed on September 17 and caused catastrophic flooding over Southeast Texas, making Imelda one of the wettest tropical cyclones in U.S. history. Hurricane Lorenzo became a second Category 5 hurricane of the season on September 29, making 2019 one of the Atlantic hurricane seasons to feature more than one Category 5 hurricane; and also, this made Lorenzo the easternmost Category 5 hurricane on record, surpassing Hurricane Hugo in 1989. The season ended with Tropical Storm Sebastian on November 25.

Storms

For a record fifth consecutive year, activity began before the official start of the season when Subtropical Storm Andrea formed on May 20. No storms formed in the month of June, but activity resumed in July when Hurricane Barry formed. Tropical Depression Three formed soon afterwards. After the dissipation of Three less than 24 hours later, the activity again suppressed. However, nearly a month later, on August 21, Tropical Storm Chantal formed, making the 2019 hurricane season the second latest starting season of the 21st century. Early on August 24, Chantal dissipated. Later that day, Dorian formed. On August 26, a tropical depression formed off the coast of North Carolina Carolina.

References

2019 Atlantic hurricane season

2019 Atlantic hurricane season


The Lock is an oil painting by English artist John Constable, finished in 1824. It depicts a rural scene on the River Stour in the English county of Suffolk, one of six paintings within the Six-Footer series. It was auctioned for £22,441,250 at Christie's in London on 3 July 2012.

Description
The Lock is painted in oil on canvas. It depicts a working rural scene from Suffolk, as a figure struggles to open a canal gate at Dedham Lock near Flatford Mill in Suffolk to allow a lighter barge to progress on the River Stour. There is a distant view of Dedham church across the quintessentially English water meadows. The scene is set under a towering tree and a dramatic, cloud-filled sky.

History

The Lock is the fifth of six paintings that make up the Stour series of large-scale rural works, that Constable exhibited at the Royal Academy between 1819 and 1825. The painting is the only one of the series which remains in private hands, with the more famous The Hay Wain in the National Gallery, London.

After its exhibition in 1824, The Morning Post commented: "Mr Constable contributes a landscape composition which for depth, sparkling light, freshness and vigorous effect exceeds any of his works." Samuel William Reynolds offered to make a mezzotint print, but never completed it. His pupil David Lucas eventually prepared one from Constable's private copy of the painting (Foster version).

On the opening day of the exhibition, James Morrison (1789–1857) an inn-keeper's son from Balham Hill, London, and Basildon Park, Berkshire, acquired the painting for 150 guineas, the only occasion in Constable's career when a painting sold on its first day of exhibition. Its ownership then progressed down through his family:
Grandson, Colonel James Archibald Morrison (1873–1934), at Basildon Park
His daughter Mary, wife of Major John Dent-Brocklehurst of Sudeley Castle, Gloucestershire
The Trustees of the Walter Morrison Picture Settlement

On 14 November 1990 it was bought as lot No.128 for £10,780,000 at Sotheby's auction in London, by Baron Hans Heinrich Thyssen-Bornemisza and his wife Carmen "Tita" Thyssen. This set a record for a British work of art, which it held until 2006 when a view of Venice by J. M. W. Turner, Constable's rival, sold for £20.5m at Christie's in New York. From 1992, the couple placed the painting on loan to their museum, the Museo Thyssen-Bornemisza in Madrid, Spain. It was part of the Baroness's personal collection rather than the main collection.

In light of "a lack of liquid funds", the Baroness decided in 2011 to sell the painting. It was auctioned for  £22,441,250 at Christie's in London on 3 July 2012, following a low estimate of £20million. Museum trustee Sir Norman Rosenthal resigned in protest at the sale, saying that the decision to sell represented ".. a moral shame on the part of all those concerned, most especially on the part of Tita."

Foster version and 1826 version

Constable made a copy of this painting, known as the Foster version, in 1825. This was the only copy of a painting from the Stour series he made, though later he commonly made copies of his most popular compositions, such as his views of Salisbury Cathedral. The Foster version remains in private hands, one of just three such major works by Constable, and was auctioned at Sotheby's London on the evening of 9 December 2015 on its low estimate at £9,109,000. Previous owners of the painting include William Orme Foster (1814–1900) of Apley Hall, Shropshire, one time High Sheriff of Shropshire, and his descendants.

In 1826 Constable painted a variation of the same subject in landscape format, entitled A Boat Passing a Lock.

See also
 List of paintings by John Constable
 The White Horse
 Stratford Mill
 The Hay Wain

References

External links
John Constable – The Way I See The World at sothebys.com

1824 paintings
1825 paintings
Paintings by John Constable
Dogs in art
Horses in art
Ships in art
England in art

The Lock (Constable)


Flaming Carrot Comics is an American superhero comic book created by Bob Burden, featuring the absurd, surreal adventures of the Flaming Carrot.

The series first appeared in Visions #1, a magazine-size comic book publication. Flaming Carrot chronicled "the further adventures of the strangest man alive". Flaming Carrot is often noted for his distinctive exclamation "Ut!" Flaming Carrot adventures have been published by Aardvark-Vanaheim, Renegade Press, Dark Horse Comics, and Image Comics, among others. He has guest-starred and made cameos in comics published by Fantagraphics, Mirage Studios, Atomeka Press, and others.

Concept and themes
The Flaming Carrot was in part inspired by the obscure Golden Age character The Fin. Burden recounted that "I took this particular idea and scratched it down one night when I came home about three o'clock in the morning. I'd been out on the town all night, and it was one of those nights when I came home tired, and fell asleep with my clothes on". When asked to explain the meaning of the character's catchphrase "Ut!", he stated:
Flaming Carrot Comics and Burden's spin-off Mysterymen project went on to forsake the elitist, perfection-oriented traditional superheroes with characters who were blue-collar, second-string, roughnecks and goofballs with mediocre powers: outcasts that couldn't make it into the major leagues, but nonetheless saved people, risked everything and fought evil.

Hailing from rust-belt mill towns and backwater boondocks of America, Flaming Carrot and his fellow Mysterymen were irreverent, carousing, hard-drinking, ruffians and rabble-rousers, hammering square pegs into round holes, dodging lawsuits, cutting up, skirting the thin line between good and evil and earning a hot meal, a refreshing cocktail and some romance now and then.

Burden commented that "our theme was do the best you can with what you got, never leave a pal behind, lost causes are sometimes the best ones and keep it fun. I'd say, Flaming Carrot was to the regular superheroes what Huckleberry Finn was to Tom Sawyer".

Publication history
The Flaming Carrot first appeared in Visions #1 (1979), a direct-market magazine  and in subsequent yearly issues that eventually became the program booklet of the Atlanta Fantasy Fair, with Flaming Carrot stories went on to appear in each yearly edition of the magazine through 1987. Bob Burden illustrated and wrote the book, with lettering by Roxanne Starr, who went on to be one of the first pioneers of computer lettering.

In 1981, Burden, under the company name Killian Barracks Press, self-published Flaming Carrot Comics #1, an oversized one-shot. Four to eight-page Flaming Carrot stories appeared in each subsequent annual issue of Visions through #4 (1982), that last of which contained an apocryphal Flaming Carrot history that convinced Dave Sim, of the self-publishing company Aardvark-Vanaheim, to publish Flaming Carrot as a regular comic, First, however, Sim included back-up stories of the Carrot in the pages of Aardvark-Vanaheim's Cerebus''' #61–62 (cover-dated April–May 1984). The Carrot eventually guest starred in the series proper in Cerebus #104 (Nov. 1987).

In the meantime, Aardvark-Vanaheim had published Flaming Carrot #1-5 (May 1984 - Jan. 1985). The company also published a 3-D special, A-V In 3-D #1 (Dec. 1984).

After Dave Sim and Deni Loubert, the couple behind Aardvark-Vanaheim, divorced, Loubert established Renegade Press to publish all of Aardvark-Vanaheim's former titles apart from Cerebus. Flaming Carrot was one of these, and remained with Renegade until the publisher went bankrupt in 1988. Renegade published issues #6-17 (March 1985 - July 1987). Burden also published a short Flaming Carrot piece in the Fantagraphics anthology Anything Goes! (Oct. 1986).

After Renegade, Burden took Flaming Carrot to Dark Horse Comics, which published 14 more issues of Flaming Carrot, #18-31 (June 1988 to Oct. 1994). Dark Horse also published Flaming Carrot stories in its anthology Dark Horse Presents #20 (Aug. 1988) and its annual anthology San Diego Comic Con Comics #1.

Following issue #31 in 1994, the character appeared only sporadically in one-shots over the next decade as Burden focused on writing stories for a number of new properties including a new Mysterymen comic series. In winter 1994, Bob Burden self-published Flaming Carrot Stories No. 1, referred to on the cover as a "Text Version of Future Issue". From 1997-1998, the company published four volumes of the Flaming Carrot Comics Collected Album, which was the first time the series had been reprinted, and the 64-page "Flaming Carrot Comics Annual No.1", featuring a new story. In 1999, Dark Horse published four issues of the spin-off series "Bob Burden's Original Mysterymen Comics", which did not feature the Flaming Carrot. In 2002, Dark Horse published the crossover special Flaming Carrot & Reid Fleming, World's Toughest Milkman, listed as Flaming Carrot Comics #32 in the indicia.

In 1993–1994, Mirage Studios published the four-issue series Teenage Mutant Ninja Turtles / Flaming Carrot Crossover. Burden did not do the art for this series, however.Flaming Carrot was relaunched in 2004 with Image Comics and Desperado Publishing. This series lasted two years, comprising four issues (simultaneously numbered #1-4, and #33-36).

The final appearance of Flaming Carrot was the 2006 Photo Comic Special #1 (#37), featuring "fumetti" style of storytelling using photographs instead of illustration, in conjunction with Sam Gaffin and his Killer Robots project.

Fictional character biography
The Flaming Carrot origin states that "having read 5,000 comics in a single sitting to win a bet, this poor man suffered brain damage and appeared directly thereafter as—the Flaming Carrot!".

Flaming Carrot's villains include the likes of the Artless Dodger, Don Wiskerando, The Bicycle Thief, Garbage Mouth, Mr. Chicken Pants, a giant spider with diapers on, and many others. The Carrot, who lives in Palookaville, a blue-collar district of rust-belt era Iron City, has staved off at least three alien invasions, a Communist takeover of Iron City, flying dead dogs, the Man in the Moon, Death itself, and a cloned horde of evil marching Hitler's boots. Flaming Carrot even died in #6 by falling into a deep toxic waste pit in Palookaville, but was brought back from clinical death in #7, described his sojourn in Limbo in #8 and got back at those who sent him to Limbo in #9.

Flaming Carrot was also a founding member of the blue collar superhero group the Mystery Men, introduced in a flashback/dream sequence in Flaming Carrot Comics #16. The story of this group was later made into the 1999 film Mystery Men and a short-lived spin-off comic book series. The Flaming Carrot himself does not appear in the film, although a handful of characters like Mr. Furious, the Shoveler, and Dr. Heller do.

 Powers and abilities
The Carrot wears a costume that consists of a giant carrot mask which extends from above his head to below his crotch, a white shirt, red pants, and flippers on his feet (in case he has to swim). The mask has a continually burning flame at the top and a secret compartment containing a nuclear-powered pogo stick (the mask and the pogo stick were invented by Dr. Heller of the Mystery Men). Flaming Carrot also wears a crime fighting utility belt which is filled with Silly Putty, rubber bands, laughing gas, random playing cards, sneezing powder, and other similarly frivolous items. Dr. Heller upgraded Flaming Carrot's equipment after bringing him back from the clinically dead. The Flaming Carrot also relies heavily on his 9mm Radom pistol to kill his enemies.

Flaming Carrot is able to go into a self-induced state of "Zen Stupidity" in order to face danger and evil boldly and without trepidation.

 Legacy

Flaming Carrot's unpredictable antics, irreverent humor, fantastic characters and surreal storylines engendered a cult following and legendary status that still exists to this day. Burden attributes his longevity and success to the storytelling more than anything else: "The stories seem, at first glance, non-linear and spontaneous, and in truth they start that way, but they are really linear. I always somehow manage to orchestrate a beginning, middle and end. I believe I was born a natural storyteller, but journalism school and the Robert McKee books and writing seminars didn't hurt at all. Studying is not about memorizing or mimicking the methods of others. When trying to mentor young, new artists, my main objective is to teach them to teach themselves, to also learn on their own and experiment, take risks... just use knowledge as a jumping off point for wisdom. And always remember, no matter how hard it seems, it's also got to be fun. Never lose sight of that".

Like the primitive, raw New Wave music of the early 80s spawned from the art-student/garage-band movement, the New Wave comics championed creativity over musical experience and expertise. Flaming Carrot was one of the founding elements of the New Wave in comics, where independent, self-published, outside-the-box, creators wrote books that rebooted, reformatted and revived the comics industry. Burden never went to art school or took lessons, but collected and studied original comic art and took tips and critiques from experienced comic and art mentors like Jim Steranko, Stanislav Szukalski and Steve Ditko.

Working outside of the company environment and skirting the creative hegemony of caution and apprehension that is born out of corporate liability and fear, the "Indi Comics" creators of the early 80s set a trend of more literary, more creative and more fun stories for the medium, with a fresh, novel approach to comics: one that brought in new, older and more diverse elements, and set new standards for the traditional, corporate elements of the comics industry to live up to.

The early, pioneering, and seminal New Wave/independent books like Cerebus The Aardvark and Flaming Carrot Comics served as "missing links" to the heritage of the then fading Underground comics. Books like Flaming Carrot carried on the explorations and off-the-wall forays of the preceding undergrounds, and revived the sense of freedom and creativity that the undergrounds had instigated.

Eventually, the comic revolution of the early 80s was absorbed and co-opted by the big companies and the mainstream comics industry, but not before giving inspiration to more commercial properties like Teenage Mutant Ninja Turtles, Spawn and The Crow'', all of which crowned and validated the indie comics movement with mass-market success. In Burden's commentary: "Even Flaming Carrot succumbed to the pop comics frenzy with the 60 million-dollar spin-off Mystery Men movie from Universal. But walk down artist alley at any comic convention and there's a whole new generation of go-getters and story-tellers sharpening their pencils with a pocket knife, publishing their own short run books, having fun and ready to take on the world".

Awards
 1992 Eisner Award nomination: Best Continuing Series
 1992 Eisner Award nomination: Best Humor Publication
 2007 Eisner Award: Best Humor Publication

References

External links
  (inactive as of Oct. 2018)

  Instructions for making a Flaming Carrot costume

1984 comics debuts
Aardvark-Vanaheim titles
Comics characters introduced in 1979
Dark Horse Comics titles
Eisner Award winners for Best Humor Publication
Image Comics superheroes
Image Comics titles
Parody comics
Parody superheroes
Renegade Press titles
Satirical comics

Flaming Carrot Comics


A veteran (from the Latin word vetus, meaning old) is a person who has a long experience in something. The term is most often used to describe people who were in the armed forces, especially those who had to fight in a war.

Veterans associations

United Kingdom
The Royal British Legion began in 1921 after the First World War.

United States
At the end of the American Revolution Army and Navy Officers formed the Society of the Cincinnati. After the US Civil War Veterans from the opposing sides formed their own associations:
Union
Military Order of the Loyal Legion
Grand Army of the Republic

Confederate:
United Confederate Veterans

After the Spanish-American War of 1898 Veterans formed an associations which still exists, called the Veterans of Foreign Wars. After World War I veterans formed the American Legion

There is also the:
AMVETS - American Veterans organization, also "American Veterans of WW2 and Korea", and later Vietnam
DAV - Disabled American Veterans organization-for veterans who were disabled by their military service
Marine Corps League - United States Marine veterans organization
Veterans organizations are also made up of different branches of the armed services - such as the Army; Navy, USMC or USAF or by units such as ships or divisions or regiments

References

Military terminology

Veteran


Andrew Bird's Bowl of Fire was an American band fronted by musician Andrew Bird. After releasing his first solo album, Music of Hair, Bird appeared on three albums by Squirrel Nut Zippers before becoming the bandleader for Andrew Bird's Bowl of Fire.

Andrew Bird's Bowl of Fire released Thrills on Rykodisc in 1997, shortly followed by second album Oh! The Grandeur in 1998. Both albums were heavily influenced by traditional folk, pre-war jazz, and swing, with Bird relying on the violin as his primary musical instrument, as well as providing vocals along with his trademark verbose lyrics.

The Bowl of Fire featured musicians from Bird's home town of Chicago, including Kevin O'Donnell, Joshua Hirsch, Jon Williams, Nora O'Connor, Andy Hopkins, Jimmy Sutton, Colin Bunn, and Ryan Hembrey. Members of the Squirrel Nut Zippers, Katharine Whalen and Jimbo Mathus also appeared on Thrills. During this period, Andrew Bird was a member of the jazz group Kevin O'Donnells Quality Six, for which he was the lead singer and violinist and contributed to arrangements and songwriting for the albums Heretic Blues (Delmark 1999) and Control Freak (Delmark 2000) (both Delmark albums were produced by Raymond Salvatore Harmon).

In 2001, the Bowl of Fire released their third album, The Swimming Hour, a dramatic departure from their previous recordings. It featured a mixture of styles, from the zydeco-influenced "Core and Rind" to more straightforward rock songs such as "11:11". Due to this eclectic yet pop-like nature, Bird has often referred to it as his "jukebox album".  Although gaining critical praise (The Swimming Hour received a 9.0 from indie music website Pitchfork), the band failed to attain commercial success or recognition, playing to audiences as small as 40 people.
In 2002, Bird was asked to open for a band in his hometown of Chicago, but fellow Bowl of Fire members were unavailable for the date.  The reluctant Bird performed the gig alone, and the surprising success of this solo show suggested potential new directions for his music. The Bowl of Fire unofficially disbanded in 2003, and Bird went on to gain mainstream recognition and re-invent himself as a solo artist.

In December of 2017, members of the band held a reunion performance at the Hideout Inn in support of the Foundations of Music's Andrew Bird scholarship. The line-up included Andrew Bird, Nora O'Conner, Kevin O'Donnell, and Colin Bunn, as well as Are You Serious bassist, Alan Hampton.

Discography
Thrills (1998)
Oh! The Grandeur (1999)
The Swimming Hour (2001)

References

External links
Official site

Indie rock musical groups from Illinois
American folk rock groups
Rykodisc artists

Andrew Bird's Bowl of Fire


County Wicklow (Irish: Contae Chill Mhantáin) is a county on the east coast of Ireland. It is directly south of Dublin. County Wicklow has an area of 2,024 square kilometres (781 sq mi). Wicklow is known as "The Garden of Ireland" because of its scenery.

The county town is Wicklow. County Wicklow's largest municipality is Bray. Bray has a population of 30,951 and is not a suburb of Dublin. Other main towns include Greystones and Arklow.

Other websites
Wicklow County Council
Map of Wicklow
Wicklow News
Pictures of County Wicklow, Irelandscape

County Wicklow


Rosanna Carteri (14 December 1930 – 25 October 2020) was an Italian soprano. She was active from the 1950s through the mid-1960s. She was born in Verona, Italy.

he made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Verona Arena as Mimi in 1958, Covent Garden as Tosca in 1960, Paris Opera in 1961 as Violetta in La traviata.

Carteri died on 25 October 2020 in Monte Carlo at the age of 89.

References

1930 births
2020 deaths
Italian opera singers
Italian singers
Italian stage actors

Rosanna Carteri


In mathematics, a set  is inhabited if there exists an element .

In classical mathematics, the property of being inhabited is equivalent to being non-empty. However, this equivalence is not valid in constructive or intuitionistic logic, and so this separate terminology is mostly used in the set theory of constructive mathematics.

Definition
In the formal language of first-order logic, set  has the property of being  if

Related definitions
A set  has the property of being  if , or equivalently . Here  stands for the negation .

A set  is  if it is not empty, that is, if , or equivalently .

Theorems
Modus ponens implies , and taking any a false proposition for  establishes that  is always valid. Hence, any inhabited set is provably also non-empty.

Discussion
In constructive mathematics, the double-negation elimination principle is not automatically valid. In particular, an existence statement is generally stronger than its double-negated form. The latter merely expresses that the existence cannot be ruled out, in the strong sense that it cannot consistently be negated. In a constructive reading, in order for  to hold for some formula , it is necessary for a specific value of  satisfying  to be constructed or known. Likewise, the negation of a universal quantified statement is in general weaker than an existential quantification of a negated statement. In turn, a set may be proven to be non-empty without one being able to prove it is inhabited.

Examples
Sets such as  or  are inhabited, as e.g. witnessed by . The set  is empty and thus not inhabited. Naturally, the example section thus focuses on non-empty sets that are not provably inhabited.

It is easy to give examples for any simple set theoretical property, because logical statements can always be expressed as set theoretical ones, using an axiom of separation. For example, with a subset  defined as , the proposition  may always equivalently be stated as . The double-negated existence claim of an entity with a certain property can be expressed by stating that the set of entities with that property is non-empty.

Example relating to excluded middle
Define a subset  via

Clearly  and , and from the principle of non-contradiction one concludes . Further,  and in turn

Already minimal logic proves , the double-negation for any excluded middle statement, which here is equivalent to . So by performing two contrapositions on the previous implication, one establishes . In words: It cannot consistently be ruled out that exactly one of the numbers  and  inhabits . In particular, the latter can be weakened to , saying  is proven non-empty.

As example statements for , consider the consistency of the theory at hand, an infamous provenly theory-independent statement such as the continuum hypothesis, or, informally, an unknowable claim about the past or future. By design, these are chosen to be unprovable. A variant of this is to consider mathematiacal propositions that are merely not yet established - see also Brouwerian counterexamples.
Knowledge of the validity of either  or  is equivalent to knowledge about  as above, and cannot be obtained.
As neither  nor  can be proven in the theory, it will also not prove  to be inhabited by some particular number. Further, a constructive framework with the disjunction property then cannot prove  either. There is no evidence for , nor for , and constructive unprovability of their disjunction reflects this. Nonetheless, since ruling out excluded middle is provenly always inconsistent, it is also established that  is not empty. Classical logic adopts  axiomatically, spoiling a constructive reading.

Example relating to choice
The full axiom of choice is independent of  and provenly not constructively compatible with other common set theory axioms. So a theory including these axioms that does not permit excluded middle does also not validate that function existence principle.

In , the choice axiom is equivalent to the statement that for every vector space there exists basis. So more concretely, consider the question of existence of a Hamel bases of the real numbers over the rational numbers. Such an object is elusive in the sense that are different  models that either negate and validate its existence. So it is also consistent to just postulate that existence cannot be ruled out here, in the sense that it cannot be negated. Again, that postulate may be expressed as saying that the set of such Hamel bases is non-empty.

Model theory
Because inhabited sets are the same as nonempty sets in classical logic, it is not possible to produce a model in the classical sense that contains a nonempty set  but does not satisfy " is inhabited".

However, it is possible to construct a Kripke model  that differentiates between the two notions. Since an implication is true in every Kripke model if and only if it is provable in intuitionistic logic, this indeed establishes that one cannot intuitionistically prove that " is nonempty" implies " is inhabited".

See also

 Type inhabitation in type theory.

References

 D. Bridges and F. Richman. 1987. Varieties of Constructive Mathematics. Oxford University Press.

Basic concepts in set theory
Concepts in logic
Constructivism (mathematics)
Mathematical objects
Set theory

Inhabited set


Winston Lagoon () is a lagoon indenting the southeast coast of Heard Island in the southern Indian Ocean, about 1 nautical mile (1.9 km) northeast of Cape Lockyer. The feature is roughly portrayed on an American sealer chart of the 1860 period. It was sighted from the air by Lieutenant Malcolm Smith, RAAF, pilot of the ANARE (Australian National Antarctic Research Expeditions) seaplane that made the first reconnaissance flight over the island in 1948. Lieutenant Smith proposed that it be named Lake Winston after his wife. In view of his death in an aircraft accident shortly afterward, this proposal was adopted by Australian Antarctic Names and Medals Committee (ANCA) with only a change of generic term.

 Heard
Bodies of water of Heard Island and McDonald Islands

Winston Lagoon


Telestrations is a party game in which players must draw an object listed on a card, then guess what the other players have drawn. USAopoly makes the game.

Gameplay
All players have a drawing book and a marker each. At the start of each round, they get a card with a list of secret words, all with a number between one and six. One player rolls a die, then all players have sixty seconds to draw the word or phrase with that number on page one of their drawing book.

After the sixty seconds, the players pass their books to the player on their left. On page two, the players guess what was drawn on page one of the book that was passed to them. When all players have written their guesses, they turn their books to page three and again pass their books to the left. Players draw and guess until they have their original books back.

The players then take turns revealing what was drawn and guessed in their books, then award points. Each player awards:
 One point to the player who drew their favorite sketch in their book
 One point to the player who made their favorite guess in their book
 One point to themselves if the final guess is the same as the secret word

The player with the most points after three rounds wins the game.

Reception
Gaming website BoardGameGeek named Telestrations "Best Party Game" of 2010.

Video game version
An video game version of Telestrations has been announced to only come out on the Intellivision Amico.

References

Other websites
 Telestrations  at USAopoly
 Telestrations at BoardGameGeek
Online version of Telestrations

Games

Telestrations


The Waita River is in the West Coast Region of New Zealand's South Island. It flows generally west to reach the Tasman Sea 10 kilometres northeast of the mouth of the Haast River. The river has its source on the western flanks of the Mataketake Range and passes through dense native forest which opens up into farm land before passing under the State Highway 6. The Maori River is one of the tributaries of the Waita.

There are a number of baches next to the river after the point where it is crossed by the State Highway. About seven permanent residents live in them, some of which date back to the 1900s and have historic value. The Department of Conservation, which administers the land on which the baches lie, wanted to have the baches removed by 2025 as part of a draft Conservation Management Strategy (CMS). This was on the basis of a policy to avoid private accommodation on public land. The final version of the CMS allowed the baches to stay, but they must be made available to the public where possible.

The settlement at Waita River is also home to a commercial whitebait business. It began in 1970 as a whitebait buying and packing business in a collection of caravans, and added a house and warehouse with packing operation and walk-in freezers, and now sells wholesale whitebait and serves whitebait patties to tourists.

See also
List of rivers of New Zealand

References

Rivers of the West Coast, New Zealand
Westland District
Rivers of New Zealand

Waita River


The University of South Alabama (USA) is a public research university in Mobile, Alabama. It was created by the Alabama Legislature in May 1963, and replaced existing extension programs operated in Mobile by the University of Alabama. The first classes were held in June 1964, with an enrollment of 276 students; the first commencement was held in June 1967, with 88 bachelor's degrees awarded.

USA is divided into ten colleges and schools that include one of Alabama's two state-supported medical schools. In the fall semester of 2018, South Alabama had an enrollment of 15,093 students. By the spring of 2019, the university had awarded over 90,000 degrees. It is classified among "R2: Doctoral Universities – High research activity".

USA has an annual payroll of more than $400 million (US), with over 6,000 employees, and is the second-largest employer in Mobile. The university claims to have an annual economic impact of US$3 billion.

Academics

The university offers a range of undergraduate and graduate degrees in ten colleges and schools. Several programs offer masters level degrees in addition to undergraduate degrees. Doctoral level degrees are offered in several areas, including a Doctor of Pharmacy degree offered in collaboration with Auburn University.

USA also offers classes in nearby Baldwin County at its Fairhope campus, and in 2015 opened its new Gulf Coast Campus in Gulf Shores. In all, undergraduate students at South Alabama can choose from more than 50 bachelor's degree and certificate programs while there are more than 40 master's degree programs. As of 2011, USA ranks as the 22nd best public university in the southern United States, and 52nd overall (in the South). It has an acceptance rate of 86.5%.

The student-faculty ratio at USA is 18:1, and the school has 44.1% of its classes with fewer than 20 students. USA students are 57% female and 43% male. As of 2018, the university had a 44% six-year graduation rate and a 22% four-year graduation rate for bachelor's degree programs.

Colleges

The University of South Alabama has ten colleges and schools:
 Pat Capps Covey College of Allied Health Professions
 College of Arts and Sciences
 Mitchell College of Business
 College of Education and Professional Studies
 College of Engineering
 College of Medicine
 College of Nursing
 School of Computing
 Honors College
 Graduate School

Administration
The university is governed by a board of trustees appointed by and including the governor of Alabama. The board appoints a president of the university. Frederick Palmer Whiddon served as president from 1963 until 1998 and was succeeded by V. Gordon Moulton who served until 2013. John W. Smith, the current executive vice president, served as an interim president until the arrival of Tony G. Waldrop in 2014 and after his retirement in 2021. Jo Bonner was appointed as university president in 2021.

Athletics

The Jaguars participate in 17 NCAA sanctioned sports (8 men's and 9 women's), and are founding members of the Sun Belt Conference. Men's sports include football, basketball, baseball, tennis, cross country, golf, indoor track and field, and outdoor track and field. Women's sports include basketball, softball, soccer, tennis, cross country, volleyball, indoor track and field, outdoor track and field, and golf. All sports participate in the Sun Belt Conference, a Division I/FBS conference.

Football
The university announced the creation of an NCAA sanctioned football team on December 6, 2007, with the goal of fast tracking the program to full FBS status by the 2013 season. Since starting the football program from scratch, South Alabama has built a football facility and practice fields. The Hancock Whitney Stadium opened in 2020.

Basketball
South Alabama men's and women's basketball play in the 10,000+ seat Mitchell Center.

Baseball
South Alabama's home park is Eddie Stanky Field, which is a 4,500-seat stadium featuring a natural grass playing surface. The Jon Lieber Clubhouse was originally constructed in 2005, but was torn down following the 2019 season to build a new Jon Lieber Clubhouse that was completed prior to the 2020 baseball season.

Legal and other matters

Police shooting
On October 12, 2012, 18-year-old freshman Gil Collar was shot by a campus police officer, after appearing naked outside the police station. The university released a statement saying a campus police officer "was confronted by a muscular, nude man who was acting erratically." Collar was 5 foot 7 and weighed 135 pounds. Authorities state that Collar appeared to be on drugs when the incident occurred. The student's family filed suit against the university, the officer involved, and the police chief, Herbert Earl "Zeke" Aull. In February 2013, a Mobile County judge ruled that the university was not liable for the student's death. in 2014 the case moved to federal court. In 2015, the officer was cleared in a civil suit. The shooting inspired Brian Burghart, then editor of the News & Review in Reno, to found Fatal Encounters, a database that tracks killings by law enforcement officers.

2014 federal discrimination lawsuit
In 2014, a group of students belonging to Students for Life USA, a pro-life student organization, filed a complaint about alleged discrimination in federal court against University of South Alabama officials. The university later settled the lawsuit, paying the students an undisclosed amount of money. According to a copy of the settlement document provided by the Alliance Defending Freedom, the university "denied all material allegations and Plaintiff's claims of constitutional infirmities". USA agreed to change a portion of its policy on use of its space and facilities, and to pay an unspecified sum settling "all of plaintiff's remaining claims, including liability, damages, and attorney's fees".

Abuse lawsuits
In September 2021, a lawsuit was filed against a former University of South Alabama volleyball coach due to alleged sexual and mental abuse in 2019 and 2020. The lawsuit included eight former players as plaintiffs. The amendment also alleged that university administrators had knowledge of the abuse and added the university's athletic directors and coaches as defendants. A second lawsuit was filed in 2022 by a former player uninvolved in the first lawsuit. WKRG-TV reported that the claims of abuse made by the second lawsuit was similar to the first and that both allegations included inappropriate touching and overtraining. The volleyball coach was hired by the University of South Alabama in December 2018 and resigned in February 2021.

Student life

Notable alumni

Notable alumni of the University of South Alabama include:
 Tina Allen (1949-2008), sculptor
 Marlon Anderson (second baseman), baseball player
 Kawaan Baker,  football player
 Jake Bentley, football player
 Rosalynn Bliss, mayor of Grand Rapids, Michigan
 Glenn Borgmann, baseball player
 Braedon Bowman, football player
 Herbert L. "Sonny" Callahan, United States Congressman
 Terry Catledge, basketball player
 Susan DuBose, American politician from Alabama
 Grant Enfinger, race car driver
 Steve Falteisek, baseball player
 David Freese, baseball player
 Luis Gonzalez, baseball player
 Carolyn Haines, author
 Lance Johnson, baseball player
 Michael Kearney, world's youngest college graduate
 Jon Lieber, baseball player
 Dan Povenmire, Disney animator
 Adam Lind, baseball player
 Darrell Luter Jr., football player
 Rodger McFarlane, gay rights activist
 Mark Mostert, professor of education
 Mike Mordecai, baseball player
 Juan Pierre, baseball player
 Heath Slocum, golfer
 Courtney Smith, football player
 Eddie Stanky, baseball player
 Larry Stutts, Alabama state senator
 Jessie Tompkins, athletic hurdler and civil-rights activist
 P.J. Walters, baseball player
 Turner Ward, baseball player
 Jalen Wayne, football player
 Harold G. White, engineer and physicist

Publications
 USA Vanguard
 The Lowdown
 The Oracle
 Due South
 College Student Journal (founded 1966).

Notes

References

External links

 South Alabama Athletics website

University of South
Universities and colleges in Mobile, Alabama
Educational institutions established in 1964
Universities and colleges accredited by the Southern Association of Colleges and Schools
Medical schools in Alabama
1964 establishments in Alabama
BSL3 laboratories in the United States
Glassmaking schools

University of South Alabama


The Battle of La Belle-Famille occurred on July 24, 1759, during the French and Indian War along the Niagara River portage trail. François-Marie Le Marchand de Lignery's French relief force for the besieged French garrison at Fort Niagara fell into Eyre Massey's British and Iroquois ambush. This action formed part of the larger Battle of Fort Niagara.

The British knew of the French approach well in advance and constructed a breastwork across the road about two miles south of Fort Niagara.  The French were ambushed, their force was routed, with many casualties.  Captain Le Marchand de Lignery was mortally wounded in the battle.

Background
British General Jeffery Amherst made plans for the 1759 military campaigns of the French and Indian War that included an expedition to capture Fort Niagara, a major French military and supply point between the French province of Canada and their forts in the Ohio Country.  Amherst chose Brigadier General John Prideaux to lead the expedition, which was accompanied by Sir William Johnson, the British Indian agent who led the expedition's Iroquois forces.  Prideaux arrived at Fort Niagara on July 6 and immediately began siege operations.  On July 20, Prideaux was killed when struck by a shell fragment thrown from one of his own guns, and Sir William took over the siege operations.

Fort Niagara had been largely constructed under the direction of Captain Pierre Pouchot of the French Army.  In early 1759, General Louis-Joseph de Montcalm and New France's Governor, the Marquis de Vaudreuil, sent him with about 2,500 men to fortify Niagara. About 500 men had wintered there.  Pouchot, under orders from Vaudreuil, sent many of those men south to Fort Machault (later Fort Venango) in mid-June as part of a plan to reinforce the French forts of the Ohio Country and attack the British at Fort Pitt.  When the British arrived on July 6, he immediately dispatched messages to the south, requesting support.

Captain Le Marchand de Lignery was organizing the French expedition against Fort Pitt from Fort Machault when Pouchot's appeal for help arrived on July 12.  On that day, Lignery was trying to convince nearly 1,000 Indians to join in the planned attack against Fort Pitt.  Johnson had sent messages to Fort Pitt, urging Indians there to join the British in attacking the French forts, and many Indians were unsure about which side to take.  Lignery was able to rally support; when combined with forces under Charles Philippe Aubry, a large force left Fort Machault for Niagara.  Messengers he sent to Pouchot also leaked news of their advance to the besieging British, who prepared an ambush.

Before the action, the British native allies told their French counterparts that they intended to remain neutral in the upcoming clash. They wished that the French native allies would do likewise. This induced many of the French-allied Indians to desert.

Battle
Lignery and Aubry, in spite of their knowledge of Indian ways, apparently advanced without taking normal precautions against ambush, and marched right into a prepared trap.

Lieutenant Colonel Massey of the 46th Foot commanded 464 British regulars to defend the trail running north from Niagara Falls to Fort Niagara. On the right flank covering the portage trail, Massey deployed about 130 men of the 46th in the La Belle Famille clearing. Thrown forward from the right flank, just above the river gorge, were the grenadiers of the 46th and a small detachment of the 44th Foot. To the left of the 46th, the converged light companies of the 44th, 46th, and 4th battalion of the 60th Foot took position. On the extreme left stood a detachment from the 44th and New York Regiment. Understanding that his enemies included a significant number of regulars, Massey ordered the redcoats to lie down and fix bayonets.

As the French came out of the woods into the open, they immediately opened fire and began to deploy from column into line formation. Waiting until the French were within very close range, the British commander gave his troops the command to rise and fire. The 46th fired seven volleys, then advanced, firing at will. Massey later estimated that his men each fired about 16 rounds in the action. Meanwhile, the grenadier company's fire caught the French left flank in enfilade. When the French flinched before the deadly fire, the British attacked with the bayonet. French morale collapsed and the British-allied Iroquois rushed the survivors.

The French began a panicked retreat, in which the British gave chase, according to one report, for as much as .  French casualties were significant, including Lignery, who sustained a mortal wound. Massey was wounded.

Aftermath
Pouchot surrendered Fort Niagara on July 26 after it became clear the relief column had been driven off.

Johnson, who was not present, wrote an account of the action which gave equal credit to the regulars and their native allies. To Massey's fury, this version reached the newspapers. The British officer later claimed that the tribesmen behaved "most dastardly" by slaughtering the wounded and those who were trying to surrender.

References

Printed materials
 Brumwell, Stephen. Redcoats: The British Soldier and War in the Americas, 1755-1763. NY: Cambridge University Press, 2002.
 Dunnigan, Brian Leigh, Siege - 1759, The Campaign against Niagara, 1996,

External links
 Frank Hayward Severance, An Old Frontier of France

Footnotes

La Belle-Famille
Conflicts in 1759
1759 in New France
Battles involving France
Pre-statehood history of New York (state)
Battles involving Great Britain
Battles involving the Iroquois
1759 in the Province of New York

Battle of La Belle-Famille


"Let's keep the Goan tradition and culture alive, worldwide"

Fulu Aum Jardinintulem

I am a flower from a garden.

Type: Dulpod

Source: J.A.A. Fernandes, vulgo: André Xett (1884-1980). Album Cantarancho. Bogtavaddo, Chorão

Musical form: Binary

Literary form: Dialogue

Translated by António Vicente de Noronha (1895-1982), Pandavaddo, Chorão, July 1981

Fulu ãum jardinintulem, votan bavolem. (bis)

I am a flower from a garden,

Fading in the sun.

Neketro ãum fanteavelem[22], cupan dampolem. (bis)

I am a star of the dawn,

Covered by a cloud.

Borem dista mun, bakra-baban ravunc dovôrlem[23]. (bis)

Because you are so beautiful,

The landlord invited you to live in his house.

Polleiat

Dulpod Goenche

Sondorbh

Konknni
Dulpod
Romi panam

Fulu Aum Jardinintulem - Dulpod


Leonardo is a masculine given name, the Italian, Spanish, and Portuguese equivalent of the English, German, and Dutch name, Leonard.

People
Notable people with the name include:
 Leonardo da Vinci (1452–1519), Italian Renaissance scientist, inventor, engineer, sculptor, and painter

Artists
 Leonardo Schulz Cardoso, Brazilian singer
 Emival Eterno da Costa (born 1963), Brazilian singer known as Leonardo
 Leonardo de Mango (1843–1930), Italian-born Turkish painter
 Leonardo DiCaprio (born 1974), American actor
 Leonardo Pieraccioni (born 1965), Italian actor and director

Athletes
 Leonardo Araújo (born 1969), usually known as Leonardo, Brazilian World Cup-winning footballer, and former sporting director of Paris Saint Germain
 Leonardo Fioravanti (born 1997), Italian surfer
 Leonardo Lourenço Bastos (born 1975), Brazilian footballer
 Leonardo Bittencourt, German footballer
 Leonardo Bonucci (born 1987), Italian footballer
 Leonardo Candi (born 1997), Italian basketball player
 Leonardo Cardona (born 1971), Colombian road cyclist
 Leonardo Emilio Comici (1901–1940), Italian mountain climber
 Leonardo David (1960–1985), Italian alpine skier
 Leonardo André Pimenta Faria (born 1982), Brazilian footballer
 Leonardo de Jesus Geraldo (born 1985), Brazilian footballer
 Leonardo Renan Simões de Lacerda (born 1988), also known as Léo, Brazilian football defender
 Leonardo Meindl (born 1993), Brazilian basketball forward
 Leonardo José Aparecido Moura (born 1986), Brazilian footballer of Shakhtar Donetsk
 Leonardo Narváez (born 1980), Colombian track cyclist
 Leonardo Rodriguez Pereira (born 1986), Brazilian footballer of Jeonbuk Hyundai Motors
 Leonardo Santiago (born 1983), Brazilian footballer
 Leonardo Ferreira da Silva (born 1980), Brazilian footballer of Chiangrai United
 Leonardo dos Santos Silva (born 1976), Brazilian footballer of FC Dordrecht (also known as Leonardo II)
 José Leonardo Ribeiro da Silva (born 1988), usually known as Leonardo, Brazilian footballer
 Leonardo Sottani, Italian water polo player
 Leonardo Nascimento Lopes de Souza (born 1997), Brazilian footballer
 Leonardo Zappavigna, Australian boxer

Other
 Leonardo Bruni (c. 1370–1444), humanist, historian and chancellor of Florence
 Leonardo Farkas (born 1967), Chilean businessman
 Leonardo Fibonacci (c. 1170 – c. 1250), Italian mathematician
 Leonardo León (born 1952), Chilean historian

Fictional characters
 Leonardo, the leader of the four Teenage Mutant Ninja Turtles
 Leonardo Acropolis, painter on the BBC sitcom Blackadder
 Leonardo Leonardo, on the short-lived animated series, Clerks: The Animated Series
 Leonardo Vetra, in Dan Brown's novel Angels and Demons
 Leonardo Watch, in the manga series Blood Blockade Battlefront

Entertainment
 Leonardo, a British television series based on the life of Leonardo da Vinci as a teenager
 Leonardo, an English speaking Italian historical drama series

Business
 Leonardo S.p.A. an Italian multinational aerospace, defense, and security company

Journal
 Leonardo (journal)

See also
 Lenny (disambiguation)
 Leonard (disambiguation)
 Leo (disambiguation)
 Leon (disambiguation)

References

Given names derived from animals
Italian masculine given names
Masculine given names
Spanish masculine given names
Portuguese masculine given names

Leonardo (given name)


Monte Formoso is a Brazilian municipality located in the northeastern part of the state of Minas Gerais. The city belongs to the IBGE statistical mesoregion of Jequitinhonha and to the microregion of Almenara.  As of 2020 the population was 4,923 in an area of 384 km2  and the elevation was 651 meters.

Due to its isolation and poor soils for agriculture, Monte Formoso is one of the poorest municipalities in the country.  The main economic activities were cattle raising and modest production of coffee, sugarcane, beans, and rice.  As of 2007 there were no financial institutions.  In the same year there were 56 automobiles, 10 trucks, 13 pickup trucks and 81 motorcycles.  In the rural area there were 384 producers on 17,000 hectares.  Only 2 of the farms had tractors in 2006.  There were 4 public health clinics and no hospital as of 2006.

Municipal Human Development Index
MHDI: .570 (2000)
State ranking: 852 out of 853 municipalities
National ranking: 5,115 out of 5,138 municipalities
Life expectancy: 60
Literacy rate: 61 For the complete list see Frigoletto
Combined primary, secondary and tertiary gross enrolment ratio: .733
Per capita income (monthly): R$63.02 For the complete list see Frigoletto

See also
 List of municipalities in Minas Gerais

References

IBGE

Municipalities in Minas Gerais

Monte Formoso


In Norse mythology, Gleipnir was the third chain used to tie up Fenrir, the wolf. Fenrir was the son of Loki and Angrboða, the giantess. The first two chains, named Lædingr and Dromi, were forged by Thor and did not hold him. Gleipnir was created by the sons of Ivaldi and did hold Fenrir. It was as thin as spider's silk. Gleipnir was made from six things:
 The stomping of cats
 The beards of women
 The roots of mountains
 The spit of bird.
 The breath of fishes
 The Sinew (nerves, as in nervousness) of a bear.

This was probably used to explain why all of those things are impossible.

The gods lured Fenrir to the island of Lyngvi. They challenged him to be bound by Gleipnir. To show Fenrir it was no trick, Týr put his hand in Fenrir's mouth. When he could not break Gleipnir's grip on him and they refused to let him out, Fenrir naturally bit off Týr's hand. Fenrir was to remain bound by Gleipnir until Ragnarök (the final great battle of the gods).

References

Norse mythology

Gleipnir


An overhead projector (OHP) is a device that allows you to display images from either a computer/laptop or images created in real time. Overhead projectors were often used in classrooms to showcase some type of presentation on paper for a group of students to view. In more recent times, overhead projectors are being used and designed to project things on technological devices. This machine has a plastic frame that is placed on top of the projector, and a fan that cools the machine, so that it won't overheat if it is used for long periods of time.
Recently, overhead projectors in classrooms and conference rooms are being replaced by things like document cameras and interactive whiteboards, since they let the presenter project video directly from a computer file.
The device has sometimes been called a "Belshazzar", after Belshazzar's feast.

History
Before this device was made, there were machines similar to it, called magic lanterns.
French scientist Edmund Becquerel developed the first known overhead projection machine in 1853. It was used by Jules Duboscq in 1866. During World War II, overhead projectors started to be used in U.S. military training. After that, they were used at schools. Overhead projectors began to be widely used in schools and businesses in the late 1950s and early 1960s. As the need for overhead projectors grew, a company named Bruhl Industries was founded in 1953, which created more overhead projectors than anyone else.

Display technology
Machines

Overhead projector


The Soviet 117th Rifle Division was a rifle division that served during the Second World War. Originally formed in 1939 destroyed and reformed during the war.

History

First Formation
Formed on 23 August 1939 in the Volga Military District, under the command of Colonel Spiridon Chernyugov.  On 22 June 1941 the division was still located in the district.  The division was assigned to the 21st Army moving from the Volga Military District to Gomel in the Western Special Military District  when the war started.  The army was to attack north from Gomel area into the flank and rear of the German advance.  On 5–6 July 1941 the division attacked across the Dnepr River at Zhlobin as part of the 63rd Rifle Corps and 21st Army.  Of the 12,000 men assigned to the division and despite the support of the 546th Corps Artillery Regiment the division lost almost 20% of its strength in the space of two days.  By 12 July the division was retreating back behind the Dnepr River.  By early September when the German 2nd Panzer Group struck south the division, along with most of the Central and Southwestern Fronts in the Kiev Pocket and annihilated.  The division headquarters was disbanded on 20 September 1941.

Subordinate Units
240th Rifle Regiment
269th Rifle Regiment
275th Rifle Regiment
322nd Light Artillery Regiment
707th Howitzer Regiment
222nd Antitank Battalion
321st Anti-aircraft Battalion
Tank Battalion (with 54 BT and T-26 tanks)

Second Formation
The second formation was formed on 7 January by redesignating the 308th Rifle Division at Ivanovo in the Moscow Military District.  In late February the division left the Moscow Military District and moved to the Kalinin Front reserves.  In March the Front assigned the division to the 3rd Shock Army and it remained in that army until February 1943.  In February the division went back into Kalinin Front reserves as part of the 2nd Guards Rifle Corps and as part of this corps was assigned to the 22nd Army.  In April 1943 the 22nd Army was transferred from the Kalinin to the Northwestern Front.  In September 1943 the division was moved to the 4th Shock Army, which became part of the 1st Baltic Front after 20 October 1943.  In February 1944 the division briefly served in the 1st Baltic Front's 43rd Army and then went into STAVKA reserves and moved south.  In late April 1944 the division was assigned to the 91st Rifle Corps in the 69th Army of the 1st Belorussian Front.  The division spent the rest of war under this command structure.

Subordinate Units
240th Rifle Regiment
269th Rifle Regiment
275th Rifle Regiment
322nd Artillery Regiment
222nd Antitank Battalion

See also
List of infantry divisions of the Soviet Union 1917–1957

References

Infantry divisions of the Soviet Union in World War II
Military units and formations established in 1939
1939 establishments in the Soviet Union

117th Rifle Division