SMIF (Standard Mechanical Interface) is an isolation technology developed in the 1980s by a group known as the "micronauts" at Hewlett-Packard in Palo Alto. The system is used in semiconductor wafer fabrication and cleanroom environments. It is a SEMI standard.

Development
The core development team was led by Ulrich Kaempf as engineering manager, under the direction of Mihir Parikh. The core team that developed the technology was driven by Barclay Tullis, who held most of the patents, with Dave Thrasher, who later joined the Silicon Valley Group, and Thomas Atchison, a member of the technical staff under direction of Barclay Tullis. Mihir later provided the technology to SEMI, and then licensed a copy for himself, and spun out Asyst Technologies to provide the technology commercially. Asyst technology subsequent acquire by Brooks Automation in their Versaport. The interface is the same after being acquired

Use
The purpose of SMIF pods is to isolate wafers from contamination by providing a miniature environment with controlled airflow, pressure and particle count. SMIF pods can be accessed by automated mechanical interfaces on production equipment. The wafers therefore remain in a carefully controlled environment whether in the SMIF pod or in a tool, without being exposed to the surrounding airflow.

Each SMIF pod contains a wafer cassette in which the wafers are stored horizontally. The bottom surface of the pod is the opening door, and when a SMIF pod is placed on a load port, the bottom door and cassette are lowered into the tool so that the wafers can be removed.

Both wafers and reticles can be handled by SMIF pods in a semiconductor fabrication environment. Used in lithographic tools, reticles or photomasks contain the image that is exposed on a coated wafer in one processing step of a complete integrated semiconductor manufacturing cycle. Because reticles are linked so directly with wafer processing, they also require steps to protect them from contamination or from being the source of contamination in the litho tool.

SMIF is typically used for wafers no larger than 200mm, the equivalent for 300mm wafers being the FOUP (Front Opening Unified Pod).  The greater flexibility of 300mm wafers means that it is not feasible to use SMIF technology and designs for 300mm, hence the reason for the emergence of FOUPs. Several FOUP SEMI standards, including SEMI  E47.1-1106, are related to both 300 and 450 mm wafers.

See also
 Semiconductor device fabrication
 Photomask

References

External links
 Semiconductor Equipment and Materials International - SEMI the semiconductor industry trade association
 Entegris wafer and reticle handling systems
 Fortrend Engineering

Semiconductor fabrication equipment
Semiconductor device fabrication

SMIF (interface)


Detroit/Hamtramck Assembly, also referred to as Factory Zero and GM Poletown, is a General Motors automobile assembly plant straddling the border between Detroit and Hamtramck, Michigan. It is located about three miles (five km) from GM's corporate headquarters.

The planning and construction of the facility led to the nearly complete demolition of Detroit's Poletown neighborhood that "had been a destination for Polish immigrants in the late 19th and early 20th century, but it was also home to African Americans and more recent immigrants from Albania, Yugoslavia, Yemen, and the Philippines." The City of Detroit's use of eminent domain to displace thousands of residents on behalf of a private corporation led to the Michigan Supreme Court case, Poletown Neighborhood Council v. Detroit permitting the practice to continue in the state until 2004, when, in Wayne v. Hathcock, the court reversed the decision. The site also included "Dodge Main," originally built in 1911, which had closed in 1980 and was demolished in 1981.
It replaced GM's Detroit Assembly on Clark Avenue, south of Michigan Avenue (U.S. Route 12) in Detroit, which was the primary facility for all Cadillacs starting in 1921. The first of GM's "BOC" (Buick/Oldsmobile/Cadillac) Group vehicles to roll off the assembly line on February 4, 1985, was a Cadillac Eldorado.

The plant builds vehicles for GM's Chevrolet, GMC and Cadillac divisions and had approximately 1,800 hourly and salaried employees in early 2017, and 924 in late 2022. Since opening in 1985, more than 4 million vehicles have been built at the plant.

As of May 2020, the plant is being retooled to produce electric vehicles, including the all-new GMC Hummer EV.

History

Dodge (1911–1980)
The Dodge Factory, or "Dodge Main" as it became known, occupied  on the edge of the village of Hamtramck, which is surrounded by the city of Detroit. Plant 4, on Conant Avenue, was separated only from the main plant structures by a railroad right-of-way, which was also the boundary line between the two cities. The plant started off as just a few buildings but it grew rapidly as needed, where it ended up as 35 separate buildings, to include a foundry, before it was demolished. The original plant was designed by noted industrial designer and architect Albert Kahn Associates but were replaced in 1912 by the architectural firm of Smith, Hinchman & Grylls, due to a disagreement with the Dodge brothers. Reflecting an engineering philosophy the brothers shared, the plant was vastly overbuilt.

There were two railroads crossing the area, and plenty of open land at the time. One of the railroad lines went north to the nearby Highland Park Ford Plant which had just opened earlier. The original intent was to continue providing parts and subassemblies, and ship them to Ford. It also included the first time a car manufacturer used a vehicle test track, including a portion where newly manufactured cars would drive up a ramp, to test the powertrain durability and the brakes on the way down.

John and Horace had grown up on factory floors and machine shops, and they made sure their employees were well cared for. The Dodge facility had a complete medical facility, with doctors and nurses on duty at all times, an efficient plant security department, and a well-equipped firefighting department with direct contact with the local Hamtramck Fire Department.

The plant included a "welfare department" that looked after workers' social needs and, reflecting the innovative nature of the Dodge brothers, a machine shop they called "the Playpen," where employees who wanted to fix or invent things could indulge in their ideas after hours. The facility had an executive dining room for senior plant and corporate officials and a cafeteria for office and plant employees, complete with a fully equipped kitchen; a smaller facility in Plant 4 prepared hot food for distribution directly to the factory areas via small trolleys. The factory was approximately two miles south of Lynch Road Assembly, which built Plymouth products exclusively until 1962. When the Chrysler C platform was introduced in 1965, the factory manufactured Dodge and Plymouth products that shared the platform.

By the 1970s, manufacturing and assembly needs began to diminish. A few small buildings around the facility were demolished, and others were repurposed to uses like research and record storage. By 1979, only 5,200 hourly employees remained at the plant, a sliver of the 36,000 employees that worked there during the peak in the 1940s. Dodge was struggling financially, and in an effort to cut costs it announced in spring 1979 that the plant would be closing.  The plant subsequently closed on January 4, 1980.

General Motors (1981–present)
The facility remained dormant until 1981, when General Motors moved to purchase the plant for $1 to build a new factory.  The  acquired also was home to a large Polish community that was part of an area that is sometimes referred to as Poletown.  The proposed GM facility included land that was home to 4,200 residents, 1,400 homes, several churches (including Immaculate Conception Church) and 140 businesses, plus the old Dodge factory. The residential area had been north of the Dodge facility. GM's acquisition of part of the property through eminent domain, and the subsequent clearing of this section of the neighborhood, was the subject of various protests and court battles. Eventually, the case went to the Michigan Supreme Court, which ruled in favor of General Motors, stating that economic development is a legitimate use of eminent domain.  Detroit Mayor Coleman Young sided with GM, seeking new jobs and investments for the struggling area.

The site is near (south) of another GM facility at the time, called Chevrolet Gear & Axle Division, which itself was the combination of two former factories, called Detroit Gear and Axle and Detroit Forge, which had occupied the location at Holbrook Avenue to the south, Lumpkin Street to the east, Poland Avenue to the north and I-75 to the west. (That factory was demolished in 2014, having occupied its location since 1917.)

While some residents protested the GM's sweeping development plans, others supported the efforts to build the new plant. Gary Campbell, a Poletown resident and bar owner, accused those opposing the new plant of presenting the opinions of a small minority as if they represented the entire neighborhood.  The controversy led to national news attention and the involvement of Ralph Nader and the Gray Panthers.  Protests centered around the Immaculate Conception Roman Catholic Church. The Detroit Archdiocese supported the relocations and had already agreed to sell the two Catholic churches that were in the area.  However, Joseph Karasiewicz, the priest at one of the parishes, defied his local Cardinal and fought to keep his building from being sold.  The Archdiocese stood firm in its support of the sale.  A 29-day sit-in at the Immaculate Conception Church came to an end on July 14, 1981, when police forcibly evicted 20 people from the church.  Twelve people were arrested; only three of the twelve arrested were from Poletown.  Shortly afterward, the site targeted for the plant was razed and construction began on the new $500 million auto assembly plant.  The controversy inspired at least one short film:  "Poletown Lives!"

A small Jewish cemetery, Beth Olem, occupies part of the grounds of the GM Assembly at the extreme northwest corner of the property, next to the water treatment facility.  The older pre-existing auto plant parking lot engulfed the small cemetery long before General Motors built the new assembly plant.  Visitation is currently limited to twice a year on the Sundays preceding Rosh Hashana and Passover.

The plans went forward and GM's Detroit-Hamtramck plant was opened in February 1985. Cadillac K-body production was consolidated there in the 1990s.  The Detroit-Hamtramck Assembly later received the contract for the production of Chevrolet Volt, which uses the Delta II/Voltec body.  On April 21, 2010, GM announced it would invest $121 million into the Detroit/Hamtramck factory to ensure GM could keep up with the demand for the next generation Chevrolet Malibu. In May 2011, GM announced it would invest $69 million in the plant for the Chevrolet Impala.  In 2013, production of the Cadillac ELR (a Cadillac equivalent of the Chevrolet Volt) began, followed two years later by production of the Cadillac CT6 and then the third-generation Buick LaCrosse.

In December 2016, GM announced they would soon eliminate the second shift and 1,300 jobs at the plant, less than twelve months after the second shift was added. Then in October 2017, GM indicated there would be an additional reduction in production at the plant, citing falling sales and excess inventory of sedans (which were made there), resulting in about 200 additional jobs lost. In 2018 the utilization rate at the plant was only 28 percent of the 230,000 unit production capability. Subsequently, on November 26, 2018, GM announced that the plant would be "unallocated" in 2019.

In February, 2019, General Motors (GM) announced that production of the Chevrolet Impala and Cadillac CT6 would continue at Detroit/Hamtramck Assembly until early 2020. Coincident with the discontinuation of the CT6 and Impala in 2020, the factory began a retooling to build electric vehicles, starting with the GMC Hummer EV.

The first GMC Hummer EV Pickup rolled off the assembly line at the rebranded Factory Zero on December 17, 2021.

Vehicles produced

Current
 Chevrolet Silverado EV (2023-present)
 GMC Hummer EV (2021–present)
 Cadillac Escalade IQ (2024, to commence)
 Cruise Origin (2024, to commence)

Previous

Chrysler Corp.

 Dodge 30-35 First Dodge engineered vehicle
 Dodge Series D5/Dodge Series D8 1937,1938
 M1918 light repair truck
 Dodge Aspen / Plymouth Volare 1976–1979
 Dodge Demon 1971–1972
 Dodge Challenger / Plymouth Barracuda 1970–1974
 Dodge Charger 1966–1978
 Dodge Monaco 1964–1978
 Dodge Custom 880 1962–1965
 Dodge 330 1962–1964
 Dodge Dart 1962–1976
 Dodge Polara 1959–1973
 Dodge Matador 1959–1960
 Dodge Lancer 1955–1962
 Dodge Royal 1954–1959
 Dodge Coronet 1949–1976
 Dodge Meadowbrook 1949–1954
 Dodge Wayfarer 1949–1952
 Dodge Custom 1946–1949
 Dodge Deluxe 1946–1949

General Motors

 Cadillac CT6 2016–2020
 Chevrolet Impala 2014–2020
 Buick LaCrosse 2017–2019
 Cadillac ELR 2014 and 2016
 Chevrolet Malibu 2013–2015
 Holden Volt 2013–2015
 Opel/Vauxhall Ampera 2012–2015
 Chevrolet Volt 2011–2019
 Buick Lucerne 2006–2011
 Cadillac DTS 2006–2011
 Pontiac Bonneville 2004–2005
 Buick LeSabre 2000–2005
 Buick Park Avenue 1997–2005
 Cadillac DeVille 1994–2005
 Buick Riviera 1986–1993
 Oldsmobile Toronado 1986–1992
 Cadillac Allanté 1987–1993
 Cadillac Seville 1986–2004
 Cadillac Eldorado 1986–2000

See also
 List of Chrysler factories

Further reading

References

External links

 Library of Congress archived photos of the Dodge plant

Chrysler factories
General Motors factories
Motor vehicle assembly plants in Michigan
Hamtramck, Michigan
Industrial buildings and structures in Detroit
Buildings and structures in Wayne County, Michigan
Historic American Engineering Record in Michigan
1911 establishments in Michigan

Detroit/Hamtramck Assembly


The Broad Front (, FA) is a Uruguayan centre-left to left-wing coalition of political parties.

Frente Amplio has close ties with PIT-CNT trade union and the cooperative housing movement.  It has been the governing party of Uruguay since 2005. Presidents Tabaré Vázquez and José Mujica are members of the party.

History
Frente Amplio was a coalition of more than a dozen leftist parties and movements.It was founded in 1971. Its first president was General Liber Seregni. he was also the front's first candidate for the Presidency of  Uruguay. The front was declared illegal during the 1973 military coup d'état. However, it emerged again in 1984 when democracy was restored in Uruguay.

In 1994 Progressive Encounter (Encuentro Progresista) was formed by several minor independent factions. Then the EP and FA started contesting elections jointly. They used the name Encuentro Progresista - Frente Amplio. Later Nuevo Espacio became linked to the front. After that, it started contesting elections as Encuentro Progresista - Frente Amplio - Nueva Mayoria.

In 2005 Progressive Encounter and New Majority (essentially Nuevo Espacio) merged into the front, and the coalition took the name of Frente Amplio. Previously, Progressive Encounter and New Majority had been separate organizations.

The alliance is formed by:
 Asamblea Uruguay (Uruguay Assembly) led by Danilo Astori
 Partido Socialista del Uruguay (Socialist Party of Uruguay) led by Daniel Martínez
 Partido Comunista del Uruguay (Communist Party of Uruguay) led by Eduardo Lorier
 Corriente 78 (Current 78)
 Nuevo Espacio (New Space) led by Rafael Michelini
 Vertiente Artiguista (Artiguist Stream) led by Enrique Rubio
 Movimiento de Participación Popular (Movement of Popular Participation) led by Lucía Topolansky
 Partido Demócrata Cristiano del Uruguay (Christian Democratic Party of Uruguay)
 Partido de los Comunes (Party of the Communes)
 Confluencia Frenteamplio (Broad Front Confluence)
 Alianza Progresista (Progressive Alliance) led by Rodolfo Nin Novoa
 Partido por la Victoria del Pueblo (People's Victory Party)

Pre-2004 election: economic crisis
Starting with the election of Luis Alberto Lacalle of the National Party in 1989, an economic reform began.

The reform was designed to modernize the country. However this  led to a devaluing of the peso and laws protecting banking secrecy. This secrecy lead to Uruguayan banks becoming a place to launder money from drug and other illegal businesses.

By the turn of the century, half the nation had to survive in the informal economy. In 2002, the economic crisis of Brazil and Argentina spread to Uruguay. This crisis was caused by the lack of productive power. In August of that year, the nation received 1.5 billion US dollars from the IMF to try and help with the crisis. The ruling Colorado Party's response to the crisis was to flood police into the poorer neighborhoods. This was the state of the nation when the Broad Front began campaigning for the 2004 election.

2004 election: Vazquez and economic restoration
The party's victorious 2004 campaign was the first time in the history of Uruguay which a left-leaning party gained majority. There are two major reasons the party took power in 2004. The first reason was that there was a obvious movement towards more moderate policies, and the other reason was that the front's support of an increased welfare state created a bond with working-class people.

References

Political parties in South America
Organizations based in Uruguay

Broad Front (Uruguay)


An inn is an establishment where travelers can procure food, drink and lodging.

Inn can also refer to:

 Inn (river), which flows through Switzerland, Austria and Germany
 Inn (district of Switzerland), a district in Switzerland named for the river Inn
 Inner automorphism, in mathematics, a set of functions on groups
 Inns of Court, London, England, institutions
 InterNetNews, Usenet News server
 Frank Inn, American animal trainer (1916–2002)

See also
 INN (disambiguation), as a three-letter acronym
 In, another word with the same pronunciation

Inn (disambiguation)


From Hell is a 2001 American Czech period horror thriller movie directed by The Hughes Brothers and was based on the graphic novel of the same name by Alan Moore and Eddie Campbell. It stars Johnny Depp, Heather Graham, Ian Holm, Ian Richardson, Robbie Coltrane, Jason Flemyng, Annabelle Apsion, Lesley Sharp, Susan Lynch, Paul Rhys, Ian McNeice, David Schofield, Bruce Byron and was distributed by 20th Century Fox.

Other websites

2001 horror movies
2001 thriller movies
2000s horror thriller movies
2000s serial killer movies
American horror thriller movies
American serial killer movies
Czech movies
Movies set in the 1880s
Movies based on books
Movies directed by Albert Hughes
Movies directed by Allen Hughes
Movies set in London
20th Century Fox movies

From Hell (movie)


Robert Alexander Mundell  (October 24, 1931 – April 4, 2021) was a Canadian economist. He was a professor of economics at Columbia University and the Chinese University of Hong Kong.

He received the Nobel Memorial Prize in Economic Sciences in 1999 for his pioneering work in monetary dynamics and optimum currency areas. Mundell is known as the "father" of the euro, as he laid the groundwork for its introduction through this work and helped to start the movement known as supply-side economics. Mundell was also known for the Mundell–Fleming model and Mundell–Tobin effect.

Early life
Mundell was born Robert Alexander Mundell on October 24, 1931, in Kingston, Ontario, Canada, to Lila Teresa (née Hamilton) and William Mundell. His mother was an heiress while his father was a military officer and taught at the Royal Military College of Canada. He spent his early years in a farm in Ontario and moved to British Columbia with his family when his father retired at the end of World War II. He completed his high school education in British Columbia where he was known to have participated in boxing and chess events during this time.

He earned his Bachelor of Arts in economics and Russian at the Vancouver School of Economics of the University of British Columbia, and went on a scholarship to the University of Washington in Seattle. He went on to complete his PhD from the Massachusetts Institute of Technology while continuing to study at the London School of Economics.

In 2006 Mundell earned an honorary Doctor of Laws degree from the University of Waterloo. He was Professor of Economics and Editor of the Journal of Political Economy at the University of Chicago from 1965 to 1972, Chairman of the Department of Economics at the University of Waterloo 1972 to 1974 and since 1974 he had been Professor of Economics at Columbia University. He also held the post of Repap Professor of Economics at McGill University.

Career
From 1974 until his death he had been a professor in the Economics department at Columbia University; and from 2001 he had held Columbia's highest academic rank – University Professor. After completing his post-doctoral fellowship at the University of Chicago in 1957, he began teaching economics at Stanford University, and then Paul H. Nitze School of Advanced International Studies at Johns Hopkins University during 1959–1961. In 1961, he went on to staff the International Monetary Fund. Mundell returned to academics as professor of economics at the University of Chicago from 1966 to 1971, and then served as professor during summers at the Graduate Institute of International Studies in Geneva until 1975. In 1989, he was appointed to the post of Repap Professor of Economics at McGill University.  In the 1970s, he laid the groundwork for the introduction of the euro through his pioneering work in monetary dynamics and optimum currency forms for which he won the 1999 Nobel Prize in Economics. During this time he continued to serve as an economic adviser to the United Nations, the IMF, the World Bank, the European Commission, the Federal Reserve Board, the United States Department of Treasury and the governments of Canada and other countries. He was the Distinguished Professor-at-Large of The Chinese University of Hong Kong. His 1971 Princeton tract The dollar and the policy mix is credited with founding supply-side economics (Bartlett 1971, p 101).

Among his major contributions are:
 Theoretical work on optimum currency areas
 Contributions to the development of the euro
 Helped start the movement known as supply-side economics
 Historical research on the operation of the gold standard in different eras
 Predicted the inflation of the 1970s
 Mundell–Fleming model
 Mundell–Tobin effect

International monetary flows
Mundell is best known in politics for his support of tax cuts and supply-side economics; however, in economics it is for his work on currency areas and international exchange rates that he was awarded the Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel by the Bank of Sweden (Sveriges Riksbank). Nevertheless, supply-side economics featured prominently in his Bank of Sweden prize speech.

In the 1960s, Mundell's native Canada floated its exchange rate: this caused Mundell to begin investigating the results of floating exchange rates, a phenomenon not widely seen since the 1930s "Stockholm School" successfully lobbied Sweden to leave the gold standard.

In 1962, along with Marcus Fleming, he co-authored the Mundell–Fleming model of exchange rates, and noted that it was impossible to have domestic autonomy, fixed exchange rates, and free capital flows: no more than two of those objectives could be met. The model is, in effect, an extension of the IS/LM model applied to currency rates.

According to Mundell's analysis:
 Discipline under the Bretton Woods system was more due to the US Federal Reserve than to the discipline of gold.
 Demand side fiscal policy would be ineffective in restraining central banks under a floating exchange rate system.
 Single currency zones relied, therefore, on similar levels of price stability, where a single monetary policy would suffice for all.

His analysis led to his conclusion that it was a disagreement between Europe and the United States over the rate of inflation, partially to finance the Vietnam War, and that Bretton Woods disintegrated because of the undervaluing of gold and the consequent monetary discipline breakdown. There is a famous point/counterpoint over this issue between Mundell and Milton Friedman.

This work later led to the creation of the euro and his prediction that leaving the Bretton Woods system would lead to "stagflation" so long as highly progressive income tax rates applied. In 1974, he advocated a drastic tax reduction and a flattening of income tax rates.

Mundell, though lionized by some conservatives, has many of his harshest critics from the right: he denied the need for a fixed gold-based currency or currency board  (he still often recommended this as a policy in hyperinflationary environments) and he was both a fiscal and balance of payments deficit hawk. He is well known for stating that in a floating exchange rate system, expansion of the money supply can come about only by a positive balance of payments.

In 2000, Mundell recommended that Canada permanently tie its dollar's value to the U.S. dollar.

Father of the euro

Robert Mundell was considered the "father of the euro" for his early work encouraging a European monetary union. Starting in the 1960s, Mundell supported the constitution of a European Economic and Monetary Union and pushed for the creation of the euro.

In 2000, he predicted that before 2010, the eurozone would expand to cover 50 countries, while the U.S. dollar would spread throughout Latin America, and much of Asia would look towards the yen. Such predictions have proved highly inaccurate.

In his 2012 article "Robert Mundell, evil genius of the euro", Greg Palast affirms that Mundell advocated for the euro because its implementation would have the effect of removing democratic control over monetary policy. As such, when a crisis hits, eurozone governments would not be able to stimulate the economy by creating money, as is prescribed by Keynesian economics. They would thus be forced to resort to other means to curtail unemployment, such as deregulating businesses, privatizing state industries, cutting taxes, and weakening the social safety net.

In 2014, Mundell voiced his opposition to proposals of a fiscal union between the European states. He declared that "it would be insane to have a central European authority that controls all the taxes and duties of the states ... controlled in the Union. This transfer of sovereignty is far too big". He also voiced his opposition to the prospect that countries could be liable for other countries' debt.

Awards and honours
Mundell was awarded the Guggenheim Fellowship in 1971 and the Nobel Memorial Prize in Economics in 1999. In 2002 he was made a Companion of the Order of Canada.

In 1992, Mundell received a Docteur honouris Causa from the University of Paris. Mundell's honorary professorships and fellowships were from Brookings Institution, the University of Chicago, the University of Southern California, McGill University, the University of Pennsylvania, the Bologna Center and Renmin University of China. He became a Fellow of the American Academy of Arts and Sciences in 1998. In June 2005 he was awarded the Global Economics Prize World Economics Institute in Kiel, Germany, and in September 2005 he was made a Cavaliere di Gran Croce del Reale Ordine del Merito sotto il Titolo di San Ludovico by Principe Don Carlo Ugo di Borbone Parma.

The Mundell International University of Entrepreneurship in the Zhongguancun district of Beijing, People's Republic of China, is named in his honour.

Mundell won the Nobel Memorial Prize in Economic Science in 1999 and gave as his prize lecture a speech titled "A Reconsideration of the Twentieth Century". According to the Nobel Prize Committee, he got the honour for "his analysis of monetary and fiscal policy under different exchange rate regimes and his analysis of optimum currency areas".

Mundell concluded in that lecture that "the international monetary system depends only on the power configuration of the countries that make it up". He divided the entire twentieth century into three parts by different periods of time:
 The first third of the century, from its beginning to the Great Depression of the 1930s, economics was dominated by the confrontation of the Federal Reserve System with the gold standard.
 The second third of the century was from World War II to 1973, when the international monetary system was dominated by fixing the price of gold with the US dollar.
 The last third of the century started with the destruction of the old monetary system due to the problem of inflation.

With the destruction of the old monetary system, a new international monetary system was finally founded. Controlling inflation by each country became a main topic during this era.

Television appearances
Mundell appeared on CBS's Late Show with David Letterman. His first appearance was on October 17, 2002, where he gave The Top 10 List on "Ways My Life has Changed Since Winning the Nobel Prize." In March 2004 he told "You might be a redneck" jokes, followed in May 2004 with "Yo Mama" jokes. In September 2004 he appeared again, this time to read excerpts from Paris Hilton's memoir at random moments throughout the show. In November 2005 he told a series of Rodney Dangerfield's jokes. On February 7, 2006, he read Grammy Award nominated song lyrics, the night before CBS aired the 48th Grammy Awards.

Mundell also appeared on Bloomberg Television many times, mainly speaking on euro-related topics and other European financial issues.

Mundell has also appeared on China Central Television's popular Lecture Room series. He was also a special guest making the ceremonial first move in Game Five of the 2010 World Chess Championship between Viswanathan Anand and Veselin Topalov. He also played the opening move at the Pearl Spring Chess Tournament.

Personal life
Mundell was married to Velerie Natsios-Mundell. The couple had a son and lived in Monteriggioni, Siena, Tuscany, Italy, starting the late 1970s. He had two sons and a daughter from an earlier marriage. One of his sons had predeceased him in a car accident. Mundell died on April 4, 2021, from cholangiocarcinoma, a cancer of the bile duct. He was aged 88.

See also
 Redundancy problem - suggested by Robert Mundell.
 List of economists
 Acmetal
 List of University of Waterloo people

References

Selected publications

External links

 Robert Mundell's homepage
 Single Global Currency Association – Bretton Woods 2024
 his analysis of monetary and fiscal policy under different exchange rate regimes and his analysis of optimum currency areas.
 Economista canadiense. Profesor en la Columbia University de New York.
 The Sveriges Riksbank Prize in Economic Sciences
 The Kiel Institute Global Economy Prize

 IDEAS/RePEc

1932 births
2021 deaths
Academic staff of the Chinese University of Hong Kong
Alumni of the London School of Economics
Canadian economists
Canadian Nobel laureates
Cato Institute people
Chinese University of Hong Kong people
Columbia University faculty
Companions of the Order of Canada
Deaths from cancer in Tuscany
Deaths from cholangiocarcinoma
Distinguished Fellows of the American Economic Association
Academic staff of the Graduate Institute of International and Development Studies
International economists
Johns Hopkins University faculty
Massachusetts Institute of Technology alumni
Monetary economists
Nobel laureates in Economics
People from Kingston, Ontario
Supply-side economists
University of Chicago faculty
Academic staff of the University of Waterloo
Vancouver School of Economics alumni
Journal of Political Economy editors

Robert Mundell


The 110 metres hurdles event at the 2005 World Championships in Athletics was held at the Helsinki Olympic Stadium on August 10, 11 and 12.

The top three runners in each of the initial six heats automatically qualified for the semifinals.  The next six fastest runners from across the heats also qualified. There were three semifinal heats, and only the top two from each heat plus the next two fastest runners advanced to the final.

Medalists

Results
All times shown are in seconds.
Q denotes qualification by place.
q denotes qualification by time.
DNS denotes did not start.
DNF denotes did not finish.
AR denotes area record
NR denotes national record.
PB denotes personal best.
SB denotes season's best.

Round 1
August 10

Heat 1
 Thomas Blaschek, Germany 13.86s Q
 Allen Johnson, United States 13.92s Q
 Yoel Hernández, Cuba 14.03s Q
 Ivan Bitzi, Switzerland 14.26s
 Cédric Lavanne, France 14.49s
 Alexandros Theofanov, Greece 14.73s
 Todd Matthews-Jouda, Sudan 15.43s

Heat 2
 Liu Xiang, China 13.73s Q
 Redelén dos Santos, Brazil 13.74s Q
 Jonathan Nsenga, Belgium 13.89s Q
 Anier García, Cuba 14.01s q
 Elmar Lichtenegger, Austria 14.04s q
 Matti Niemi, Finland 14.18s
 Jackson Quiñónez, Ecuador 14.34s
 Baymurat Ashirmuradov, Turkmenistan 15.52s

Heat 3
 Ladji Doucouré, France 13.86s Q
 Mateus Facho Inocêncio, Brazil 13.96s Q
 Chris Pinnock, Jamaica 14.11s Q
 Gregory Sedoc, Netherlands 14.24s
 Sergiy Demydyuk, Ukraine 14.25s
 Karl Jennings, Canada 14.30s
 Sultan Tucker, Liberia 14.34s
 Andrea Giaconi, Italy DNS

Heat 4
 Shi Dongpeng, China 13.80s Q
 Terrence Trammell, United States 13.80s Q
 Igor Peremota, Russia 13.89s Q
 Robert Kronberg, Sweden 13.90s q
 Masato Naito, Japan 13.90s q
 Allan Scott, Great Britain 14.18s
 Peter Coghlan, Republic of Ireland 14.57s
 Hon Sing Tang, Hong Kong 14.83s

Heat 5
 Anselmo da Silva, Brazil 13.96s Q
 Dominique Arnold, United States 13.96s Q
 Marcel van der Westen, Netherlands 14.01s Q
 Paulo Villar, Colombia 14.12s
 Joseph-Berlioz Randriamihaja, Madagascar 14.18s
 Satoru Tanigawa, Japan 14.25s
 Felipe Vivancos, Spain 14.34s
 Julien M'Voutoukoulou, Congo 15.41s

Heat 6
 Dayron Robles, Cuba 13.83s Q
 Staņislavs Olijars, Latvia 13.86s Q
 Joel Brown, United States 13.90s Q
 Maurice Wignall, Jamaica 13.90s q
 Dudley Dorival, Haiti 14.02s q
 Wu Youjia, China 14.38s
 David Ilariani, Georgia 14.88s
 Suphan Wongsriphuck, Thailand 15.05s

Semifinals
August 11

Semifinal 1
 Ladji Doucouré, France 13.35s Q
  Dominique Arnold, United States 13.39s Q
 Shi Dongpeng, China 13.44s
 Yoel Hernández, Cuba 13.54s
 Igor Peremota, Russia 13.71s
 Redelén dos Santos, Brazil 13.88s
 Masato Naito, Japan 13.88s
 Dudley Dorival, Haiti 14.11s

Semifinal 2
 Terrence Trammell, United States 13.31s Q
 Liu Xiang, China 13.42s Q
 Staņislavs Olijars, Latvia 13.53s
 Anselmo da Silva, Brazil 13.63s
 Robert Kronberg, Sweden 13.69s
 Chris Pinnock, Jamaica 13.73s
 Jonathan Nsenga, Belgium 13.94s
 Anier García, Cuba 13.99s

Semifinal 3
 Allen Johnson, United States 13.23s Q
 Maurice Wignall, Jamaica 13.24s Q (SB)
 Mateus Facho Inocêncio, Brazil 13.39s q
 Joel Brown, United States 13.43s q
 Thomas Blaschek, Germany 13.45s
 Marcel van der Westen, Netherlands 13.63s
 Elmar Lichtenegger, Austria 13.74s
 Dayron Robles, Cuba 14.16s

Final
August 12

 Ladji Doucouré, France 13.07s
 Liu Xiang, China 13.08s
 Allen Johnson, United States 13.10s
  Dominique Arnold, United States 13.13s
 Terrence Trammell, United States 13.20s
 Joel Brown, United States 13.47s
 Maurice Wignall, Jamaica 13.47s
 Mateus Facho Inocêncio, Brazil 13.48s

External links
IAAF results, heats
IAAF results, semi finals
IAAF results, final

Hurdles
Sprint hurdles at the World Athletics Championships

2005 World Championships in Athletics – Men's 110 metres hurdles


A haul truck is a giant truck used to transport materials in mining and heavy construction. It is a large type of dump truck which cannot run on highways or regular roads.

Most of these trucks are of a two-axle design, but some are three axis. Haul truck capacities range from 40 short tons (36 long tons; 36 t) to 496 short tons (443 long tons; 450 t). Large quarry-sized trucks range from 40 to 100 short tons (36 to 89 long tons; 36 to 91 t).

Trucks

Haul truck


Amapiano, a Nguni word loosely translated to "the pianos", is a subgenre of house music that emerged in South Africa in the mid-2010s. It is a hybrid of deep house, gqom, jazz, and lounge music characterised by synths and wide percussive basslines.

Origins
There is a lot of ambiguity and debate concerning its origins, with various accounts of the musical styles in the Johannesburg townships. Because of the genre's similarities with Bacardi, some people assert the genre began in Pretoria. Various accounts as to who formed the popular genre make it impossible to accurately pinpoint its origins.

The word amapiano is a IsiZulu or IsiXhosa, or dipiano is a word loosely translated to "the pianos",
The genre is mostly sang in Zulu and Xhosa, Sotho, Setswana, Xitsonga one of South Africa's native tongues.

Description
Amapiano is a subgenre of house and kwaito music. It is a hybrid of deep house, gqom, jazz, and lounge music characterised by synths and wide percussive basslines.

Amapiano is distinguished by high-pitched piano melodies, kwaito from South Africa basslines, low tempo 1990s South African house rhythms and percussions from another local subgenre of house known as tribal house.

An important element of the genre is the prevalent use of the "log drum", a wide percussive bassline, which was popularised by producer MDU aka TRP. According to amapiano pioneer Kabza De Small:
I don't know what happened. I don't know how he figured out the log drum. Amapiano music has always been there, but he's the one who came up with the log drum sound. These boys like experimenting. They always check out new plug-ins. So when MDU figured it out, he ran with it.

The use of percussive basslines in South African house music predates amapiano, and was possibly pioneered by kwaito producer M'Du (also known as Mdu Masilela.)

Popularity
In 2019, the genre experienced increased popularity across the African continent, with noted increases in digital streams and chart successes in countries far from its South African origin.

In 2021, an awards ceremony was created that was dedicated to the genre, the South Africa Amapiano Music Awards.

In 2022, the American online music store Beatport added the genre to its platform with its own dedicated charts and playlists.

The genre was popular amongst young people on social media platforms, where videos using amapiano music were uploaded, which fueled the dancing scene in South Africa.

Amapiano music has always been dominated mainly by men. Social media users in South Africa are constantly fighting to change the narratives about how they helped the country advance. In October 2023, the amapiano song "Water" by South African singer Tyla gained international prominence following a viral Bacardi dance challenge on social media. It became the first song by a South African soloist to enter the U.S. Billboard Hot 100 in 55 years, and was a top 10 hit in the United Kingdom, Ireland, Australia, the Netherlands, Sweden and New Zealand, where it reached number one.

International artists
The genre's popularity has created a proliferation internationally, where producers attempt to replicate or fuse the sound with other genres for their next hit.
Examples of such is Nigerian artist Davido's "Champion Sound" with South African artist Focalistic. This track was a major hit that led to the surge of Nigerian artists attempting to use the south African sound.
The track "Monalisa" by Lojay featuring Chris Brown contains the signature "log drum", also known as the slit drum and other amapiano percussive elements.

The "Top 50 - Nigeria" Spotify chart contains a plethora of amapiano-inspired songs. Some of the songs are explicitly titled amapiano, such as "Amapiano" by Asake featuring Olamide. This has led to a misconception in the United States that amapiano originates from Nigeria. This can be seen in a recent tweet by American artist Swae Lee, where he tweeted the Nigerian flag, alongside the words "Wait till y'all hear Swae Lee on Amapiano".

See also
List of South African musicians

References

African electronic dance music
House music genres
South African styles of music
Gqom albums

Amapiano


Suli Top is a Himalayan mountain peak in the Pithoragarh district of the Uttarakhand state of India.  It is situated over the eastern flank of Kalabaland Glacier, east of Johar Valley.  The other peaks on the massif are Chiring We (6,559 m), Trigal (5,983 m), and Bamba Dhura (6,334 m), etc.  This ridge is a geographical divide between Lassar and Kalabaland valley. The first ascent to the summit was achieved in 1986.

Mountains of Uttarakhand
Geography of Pithoragarh district

Suli Top


Pál Fejős (27 January 1897 – 23 April 1963), known professionally as Paul Fejos, was a Hungarian-American director of feature films and documentaries who worked in a number of countries including the United States. He also studied medicine in his youth and became a prominent anthropologist later in life. During World War I, Fejos worked as a medical orderly for the Imperial Austrian Army on the Italian front lines and also managed a theater that performed for troops. After the war, he returned to Budapest and eventually worked for the Orient-Film production company. He began to direct films in 1919 or 1920 for Mobil Studios in Hungary until he escaped in 1923 to flee the White Terror and the Horthy regime. He made his way to New York City and then eventually to Hollywood where he began production on his first American feature film, The Last Moment, in October 1927. The film proved to be popular, which allowed him to sign with Universal Studios. After a number of other successful films, Fejos left America in 1931 to direct sound films in France. In 1941, he stopped making films all together and became the director of research and the acting head of the Viking Fund.

Early life
Fejos was born in Budapest, Hungary, as Pál Fejős to parents Desiré Fejős and his wife Aurora (née Novelly). He had an older sister, Olga Fejős. Like many film directors, Fejos exaggerated or invented myths for large portions of his life story and, according to him, his father was a captain with the Hussars and his mother was a Lady-in-waiting for the Austrian-Hungarian Empress. In addition, Fejos fancied himself in his youth Fejos as an official of the Imperial Court. The truth is the family of Fejos' mother originated in Italy, but did have an aristocratic background, while Fejos' father was a pharmacist in Dunaföldvár. Shortly before Fejos was born, his father sold his business and moved the family to Budapest to buy a shop there. Desiré died of a heart attack before the new shop was purchased. Paul was then raised by his mother in his grandparents' home. As a boy, Fejos was said to be a smart student and to have loved films from an early age. He was sent to a school run by Piarist Fathers in Veszprém and later to a school in Kecskemét. He eventually studied medicine and, in 1921, received an M.D. from the Royal Hungarian Medical University of Budapest. In 1914, Fejos married Mara Jankowsky. World War I started soon afterward and Fejos worked as a medical orderly for the Imperial Austrian Army on the Italian front lines. During the war he also managed a theater that performed for the troops. Some additional myths about Fejos' life surfaced a year later that he was an officer in the Hussars, was wounded three times and that he was the first person to pilot a combat airplane. After the war, Fejos returned to Budapest. He began working as a set painter for an opera company and then eventually for the Orient-Film production company. He and Mara divorced in 1921, due allegedly to Fejos' irrational jealousy.

Early film career
Fejos began directing films in either 1919 or 1920 for Mobil Studios in Hungary. His earliest silent films included Pán, a fantasy based on the mythological character; Lord Arthur Savile's Crime, based on a play by Oscar Wilde; The Black Captain, a film about police corruption in New York City; The Last of Arsène Lupin, a remake of the popular American serial film; and The Queen of Spades, based on the novel by Alexander Pushkin. Fejos always saw film as closer to painting than to theater and was more concerned about issues of light and shadow than story. He also stated at the time that no great film would be made until it could be shot in color.

As did prominent Hungarian filmmakers Michael Curtiz and Alexander Korda, Fejos left Hungary in 1923 to escape the White Terror and the Horthy regime. Fejos first traveled to Vienna, where he Max Reinhardt briefly emplyed him. Fejos then headed to Berlin and worked as an extra in Fritz Lang's Die Nibelungen. Fejos then moved to Paris and staged an unsuccessful production of L'Homme, the avant-garde play of Walter Hasenclever. In October 1923, Fejos emigrated to the United States. He arrived in New York City penniless and speaking little English, but managed to get several low-paying jobs at funeral parlors and piano factories. His English improved and, by the spring of 1924, Fejos got a job as a laboratory technician at the Rockefeller Institute for Medical Research. He earned $80 a week and was employed there for two years. In 1925, he married a co-worker, Mimosa Pfalz, but the marriage lasted just thirty days. While living in New York, Fejos landed one theater gig as a technical adviser ensuring the Hungarian atmosphere of an adaptation of Ferenc Molnár's The Glass Slipper. In the spring of 1926, Fejos spent his entire life savings of $45 on an old Buick to move to Los Angeles and pursue a Hollywood film career.

Hollywood career
When he arrived in Hollywood, Fejos struggled financially. He landed a few odd jobs working on scripts. Sometimes he would survive by hitchhiking to Pasadena and stealing oranges from orchards. On one of his hitchhiking trips, Fejos was picked up by Edward Spitz, a rich, young New Yorker who had recently moved to Hollywood with ambitions to produce films. Fejos told Spitz about his movie career in Hungary and convinced Spitz to finance a feature film. Spitz agreed and gave Fejos $5,000, which was approximately 1 percent of the average film budget at that time. In October 1927, Fejos began production on his first American feature. He convinced actor friends to appear in the film for free, promising compensation if the movie were successful. That included Georgia Hale, Charlie Chaplin's frequent co-star, when she was earning $5,000 a week. Fejos rented studio space by the minute instead of by the day and hired Leon Shamroy, an inexperienced cameraman. Fejos utilized sets from other movies and changed the script when necessary for the settings. When actors or sets were unavailable, Fejos filmed close-ups of hands, feet, cars or anything else that stuck him as interesting. He obtained free film stock from the DuPont company, which was trying to compete with the more established Kodak and Agfa companies.

The finished project, The Last Moment, took 28 days to shoot. It starred Otto Matieson as a man committing suicide by drowning who remembers in flashbacks the events of his life leading up to his death. The seven-reel, silent movie contained no title cards. It is currently a lost film, but a review described it as having "dizzying wipes, multiple superimpositions and vertiginous camera movements." Released in 1928, The Last Moment received rave reviews and was a financial hit. Charlie Chaplin praised it and writer Tamar Lane called it "one of the most remarkable films that has ever been presented on the screen." With the film's success and Fejos' overnight celebrity status, major studios were suddenly competing for the former vagrant to sign contracts with them. He settled with Universal Studios because its contract offered him complete artistic control.

In 1928, Fejos quickly began production on his next and best-known film, Lonesome, from a script by Edward T. Lowe Jr. and Tom Reed based on a newspaper article about loneliness in modern American cities. Carl Laemmle Jr. produced the film. Actors Glenn Tryon and Barbara Kent play two lonely New Yorkers who live in adjoining apartments unbeknownst to each other. They meet by chance at Coney Island and begin a romance, but lose each other until finally reunited back at their building. The film was hand-tinted and stencil-colored at many points, making it already visually distinctive. After Lonesome went into general release as a silent film in mid-June 1928, Universal borrowed a Movietone News recording truck from Fox Film. On the pretext of making sound tests (their own sound stages would not be ready until late October), Universal hurriedly recorded "talkie" scenes for the film and synchronized music-and-effects scores by recently hired musical director Joseph Cherniavsky. Lonesome was the first of three already completed movies to which Universal added sound, with no input from Fejos on the dialogue sequences. This new version of the film was released on September 20, 1928. (After this first hastily accomplished phase, Universal continued using Fox's equipment to make its own first all-talking movie, Melody of Love - which is also the first-ever film musical - in under two week. That led a chagrined and angry crew from Fox to repossess its sound truck from Universal.) Lonesome was another box office hit for Fejos and the film's reputation has grown throughout the years. French cineaste Georges Sadoul called it a precursor to neorealism. Film critic Jonathan Rosenbaum praised Lonesome and compared Fejos to F. W. Murnau, Fritz Lang, Sergei Eisenstein and Vsevolod Pudovkin. Andrew Sarris called Lonesome it "a tender love story in its silent passages...[but] crude, clumsy and tediously tongue-tied in its talkie passages." Charles Higham stated that although "its visual style, initially attractive, becomes a monotonous succession of busy shots, dissolving over each other in a perpetual flurry...[but] the films charm is real."

Fejos's third Hollywood film, The Last Performance, was another box office success in 1929 for Universal Studios. Part sound and part silent, the film starred Conrad Veidt as a stage magician who falls in love with his assistant. Later that year, Fejos began production on his largest and most ambitious film, Broadway, based on the hit stage production produced by Jed Harris, George Abbott and Phillip Dunning. Fejos was given a $1 million budget, most of which was spent on the huge cubist nightclub set and a 28-ton camera crane that was the largest and most versatile one built by that time. The film starred Glenn Tryon and Evelyn Brent. The movie was only a modest success, however, and Fejos considered it a failure. (William A. Seiter made a new version of Broadway (1942 film) in 1942.) Film critic Miles Krueger said "the images of the Paradise Club and the huge musical number (Final in Technicolor)" from Fejos' movie "have become basic screen literature."

In 1930, Fejos became an American citizen and began filming the musical Captain of the Guard (AKA Marsellaise). During the shooting of an ambitious sequence using more than 300 extras to depict the storming of the Bastille, Fejos fell from a high scaffolding and suffered a concussion. He spent six weeks in bed recovering. John S. Robertson finish the movie, and Fejos received no screen credit.

He then worked on King of Jazz, on which John Murray Anderson received the official directing credit. This angered Fejos and continued when Universal did not let him direct All Quiet on the Western Front. Fejos broke his contract with Universal and signed with Metro Goldwyn Mayer shortly afterwards. That only led to Fejos directing the German and French language versions of The Big House.

European career
In 1931, Fejos left Hollywood, accepting an invitation from Pierre Braunberger to direct early sound films in France. Fejos complained to a reporter that Hollywood was too commercial and like a drug for the public. The Hollywood-fantasy happy endings simply blinded working people from their hopeless lives, he said. "(I)f the movie theaters were suddenly closed in America, there would be a revolution", Fejos added, but that, in Europe, he hoped for "films made in the name of art." His career in France was short-lived, beginning with his supervision in 1931 of Claude Heymann's American Love. Fejos then made the ambitious Fantômas, a remake of the famous serial made by Louis Feuillade in the 1910s.

In 1932, Fejos returned to Hungary to direct Spring Shower (Tavaszi Zápor), which some film critics have called his best movie. It stars Annabella as a young girl, Marie, who is seduced and abandoned with a child. She dies in poverty only to find herself having to scrub floors in Heaven. By dumping her wash bucket, she creates a rain storm that prevents her growing daughter from repeating Marie's mistakes.

Jonathan Rosenbaum praised the film. Much as Lonesome seems indebted to the city and amusement park scenes in Sunrise, Spring Shower also has nocturnal lighting and sensuality in Marie's seduction, as well as a mysterious musical aftermath, reminiscent of certain rustic night scenes in Sunrise. Unlike the determinism of Murnau's compositions and camera movements, though, Fejos' anthropological distance and fairy-tale encapsulations imply a different sort of relationship to his characters. The rapid cutting between details in a brothel, conveying Marie's confusion before fainting, encourages an identification with sensations, not thoughts or feelings. The beauty of Annabella's performance and a violin-and-clarinet theme also help one overlook some of the more reductive aspects of the folk legend that define the films dimensions.

Having fallen in love with Annabella, Fejos allegedly flew in a small plane over her train back to France and showered it with roses. Fejos's friend John W. Dodds has stated that "every time [Fejos] moved to another country, it was because of an ending love affair." Fejos spent the next few years throughout different European countries, often with his frequent collaborators Lothar Wolff, his assistant director, and Ferenc Farkas, his composer. The Verdict of Lake Balaton (Itél a Balaton) in 1932 was Fejos' second Hungarian film. It includes beautiful documentary-like footage of local fishermen and their everyday lives. The movie was highly criticized in Hungary, however, for its depiction of the fisherman and accused of bigotry against village life.

In 1933, Fejos moved to Austria and made Ray of Sunshine (Sonnenstrahl), again starring Annabella. The film focused on unemployment and poverty in post-World War I Austria and was praised by critics as "the summit of Fejos' art in Europe...too often ignored by the critics." Later that year, Fejos made the light comedy Voices of Spring (Frühlingstimmen).

In 1934, Fejos moved to Denmark and made three films for the Nordisk Film company: Flight of the millions (Flugten fra millionerne), a light comedy in 1934; Prisoner Number 1 (Fange Nr. 1), a farce in 1935 about a world where there are no prisoners or police officers; and The Golden Smile (Det Gyldne Smil), an adaptation in 1935 of playwright Kaj Munk's story about the relationship between art and life.

Career as ethnographic filmmaker
By 1935, Fejos had grown tired of narrative movies and their inauthentic sets and stories. Nordisk Film sent him to scout filming locations in Madagascar. Fejos loved the country so much that he stayed for nine months. He filmed over 30,000 feet of footage of animals, plants, tribal societies and local customs, all of which was unusable for a theatrical feature. He also collected many artifacts and eventually donated them to the Royal Danish Geographical Society. Upon Fejos' return to Denmark, Svensk Filmindustri's Gunnar Skoglund saw the Madagascar footage and commissioned a series of six short documentaries released between 1935 and 1936. These films included Black Horizons (Svarta Horisonter), The Dancers of Esira, Beauty Salon in the Jungle, The Most Useful Tree in the World, Sea Devil and The Graves of our Father. In 1936, Fejos married Inga Arvad, a Danish journalist noted both for being a guest of Adolf Hitler at the 1936 Summer Olympics and for a romantic relationship with John F. Kennedy. Arvad appeared in Flight of the millions, and the two remained married until 1942.

Inspired by his newfound passion for cultures and history, Fejos studied cultural anthropology in 1936 at the Museum of Copenhagen under Dr. Thompson. Svensk Filmindustri then commissioned Fejos to make a series of ethnographic films from 1937 to 1938 in such countries as Indonesia, the Philippines, New Guinea, Ceylon and Thailand. These movies included A Handful of Rice (En Handfull Ris), Man and Woman (Man och Kvinna), The Tribe Still Lives (Stammen lever än), The Bamboo Age of Mentawei (Bambuåldern på Mentawei), The Chief's Son is Dead (Hövdingens son är död), The Komodo Dragon (Draken på Komodo) and The Village Near Pleasant Fountain (Byn vid den trivsamma brunnen).

Returning in 1938 from filming in Thailand, Fejos met Swedish industrialist Axel Wenner-Gren. They became fast friends and Wenner-Gren changed Fejos' life much as Edward Spitz had a decade earlier. Wenner-Gren agreed to finance in late 1939 an expedition by Fejos to Peru. In Cusco there, a Franciscan friar told Fejos about a legendary lost city somewhere in the jungle. Fejos immediately contacted Wenner-Gren, who agreed to give additional financing for the expedition. The filmmmaker discovered 18 ancient Incan cities and traveled to the headwaters of the Amazon river. Fejos spent a year in Peru studying the culture and filming the Yagua tribe. The research resulted in Fejos' final series of films, Yagua, released in 1940 and 1941. It also led to the publication in 1943 of Ethnology of the Yagua by the Viking Fund Series of Publications in Anthropology.

Career as anthropologist and final years
In 1941, Fejos stopped traveling and making films to become both the director of research and acting head of the Viking Fund, a non-profit foundation based in New York City that Wenner-Gren created that year (and later renamed the Wenner-Gren Foundation for Anthropological Research). Fejos became highly respected in his field and was considered ahead of his time for calling for communication amongst various branches of anthropology. Fejos taught during this time at Stanford, Yale and Columbia universities.

In 1958, Fejos married anthropologist Lita Binns. She succeeded him as the Wenner-Gren Foundation research director after he died on 23 April 1963. "Fejos had the temperament of an artist rather than a scholar or research scientist," David Bidney wrote in an obituary. Fejos "supported not only research projects(,) but also, and primarily. individuals whom he trusted and considered worthy of support...His personal support of Pierre Teilhard de Chardin during the last years of the life of this eccentric genius is but one outstanding example...(Fejos) leaves behind him the Wenner-Gren Foundation for Anthropological Research which he built, an international host of friends whom he helped, and a wife whom he cherished and appreciated."

Selected filmography
Lord Arthur Savile's Crime (1920)
Stars of Eger (1923)
The Last Moment (1928, lost film)
Lonesome (1928)
Broadway (1929)
The Last Performance (1929)
The Big House (1930, German and French versions)
 Captain of the Guard (1930 Uncredited )
 Men Behind Bars (1931)
 American Love (1931)
Fantômas (1932)
Spring Shower (1932)
The Verdict of Lake Balaton (1932)
Voices of Spring (1933)
 Flight from the Millions (1934)
The Golden Smile (1935)
Prisoner Number One (1935)
 Svarta horisonter (1936, series of 6 short documentaries)
 Stammen lever än (1937
 Bambuåldern på Mantaivei (1937)
 Hövdingens son är död (1937)
 Draken på Komodo (1937)
 Byn vid den trivsamma brunnen (1937)
 Tambora (1938)
 Att segla är nödvändigt (1938)
 En handfull ris (1938)
 Man och kvinna (1939)
Yagua (1941)

Further reading
Büttner, Elisabeth (2004). Paul Fejos Die Welt macht Film. Vienna, Austria: verlag filmarchiv Austria, Wien.

See also
Runkuraqay

References

External links

 Literature on Paul Fejos
 The Travels of Paul Fejos

1897 births
1963 deaths
Hungarian film directors
Hungarian ethnographers
Hungarian emigrants to the United States
Film people from Budapest
Silent film directors
Visual anthropologists

Paul Fejos


Terry Waters (14 December 1943 – 27 July 2020) was an Australian rules footballer who played with Collingwood in the Victorian Football League (VFL).

Originally from Victorian Football Association (VFA) club Dandenong, Waters' transfer application to Collingwood was originally denied by Dandenong and he was required to go to the Supreme Court of Victoria to have writs issued to allow him to make his VFL debut in 1963.

Waters was a versatile player who was originally used as a ruck/forward before moving into defence later in his career. He was known as a reliable mark of the ball in dry or wet conditions. He won the Copeland Trophy for being Collingwood's best and fairest player in 1966, was their leading goalkicker in 1963 and 1964 and earned All Australian selection for his performance at the 1969 Adelaide Carnival.

Waters was appointed captain of Collingwood in 1970. In 1971, after suffering a series of injuries that caused him to miss seven games then he struggled with his form, he resigned the position midway through the season, reasoning that the responsibility associated with the captaincy had affected his form.

Waters attended school at De La Salle College Malvern.

Waters died in July 2020, aged 76.

References

External links

1943 births
2020 deaths
Australian rules footballers from Victoria (state)
Collingwood Football Club players
Copeland Trophy winners
Dandenong Football Club players
All-Australians (1953–1988)

Terry Waters


Fight CU is the fight song for the Colorado Buffaloes.  The song is usually performed by the Golden Buffalo Marching Band. The lyrics of the song were written by Richard Durnett.

Lyrics

History
The University of Colorado Boulder has had several fight songs that have lost and gained popularity over the years. The oldest, "Glory Colorado", is sung to the tune of "Battle Hymn of the Republic" and has been around nearly as long as the school. Glory Colorado is considered to represent all campuses of the university. "Go Colorado" was originally sung exclusively by the Glee Club at football games, though it is now played and known almost exclusively by members of the Golden Buffalo Marching Band. The most popular of the three fight songs and the most widely recognized is "Fight CU." Originally sung by the football team, the song has gained enough popularity that few people outside the band know that it is not the only fight song of the university. The original version included the line "fight, fight for every yard" but the line was changed to "fight, fight for victory" to allow the song to be used for all sports, not just football.

References

American college songs
College fight songs in the United States
Pac-12 Conference fight songs
Colorado Buffaloes

CU Fight Song


The Croatian Salesian Province of Saint Don Bosco is a province of the Salesian Order of the Catholic Church which is active in Croatia and Bosnia and Herzegovina. The first province in the region was formed in 1922, while the independent Croatian province was established in 1972.

The Salesians run several parishes as well as a seminary in Zagreb. Apart from that, the province has parishes in Rijeka, Zadar, Prvić, Split, Dubrovnik, and several smaller towns in the Slavonia region. While the number of Salesians is not large in Bosnia and Herzegovina, the order has one educational centre there in the town of Žepče.

External links
Croatian Salesian Province of Saint Don Bosco

Salesian Order
Catholic Church in Croatia
Catholic Church in Bosnia and Herzegovina


J. Lyons & Co. was a British restaurant chain store, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons' first teashop opened in Piccadilly, London in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the UK. At its peak the chain numbered around 200 cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls.

Making their first cakes and pastries in 1894, several Lyons cake products are still available on grocers' shelves, including Lyons treacle tart, Lyons Bakewell tart, Lyons Battenberg, and Lyons trifle sponges, which are sold by Premier Foods. The company is also known for its pioneering use of computers in the office.

Origins and early history

The company began as a collaboration between a group of entrepreneurs, the professional artist Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein, as a spin off from the Salmon & Gluckstein tobacco company.

J. Lyons & Co. was a pioneer in introducing computers to business. Between 1951 and 1963, the company manufactured and sold a range of LEO (Lyons Electronic Office) computers.

Products and image

The company was a substantial food manufacturer, with factories at Cadby Hall in Hammersmith, and from 1921 at Greenford, producing bread, cakes, pies, tea, coffee and ice cream. Lyons branded cakes included treacle tarts, Lyons Bakewell tart, Lyons Battenberg, and Lyons trifle sponges.

To the public, J. Lyons & Co. were best known for their chain of teashops which opened from 1894 and finally closed in 1981, and for the Lyons Corner Houses in the West End of London. The teashops provided for tea and coffee, with hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' teashops were slightly more up market than their ABC (Aerated Bread Company) competitors. They were notable for their interior design, from the 1920s Oliver P. Bernard being consultant artistic director. Until the 1940s they had a certain working-class chic, but by the 1950s and 1960s they were quick stops for busy shoppers where one could drink a cup of tea and eat a snack or an inexpensive meal. The teashops always had a bakery counter at the front, and their signs, art nouveau gold lettering on white, were a familiar landmark. Before the Second World War service was to the table by uniformed waitresses, known as 'Nippies', after the war the teashops converted to cafeteria service.

Corner Houses

Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their art deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time the Corner Houses were open 24 hours a day, and at their peak each branch employed around 400 staff. They featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops.  The artist Kay Lipton designed all the windows for the Corner Houses under the supervision of Norman Joseph, the director post-war. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.

Restaurants

As well as the tea shops and Corner Houses, Lyons ran other large restaurants such as the Angel Cafe Restaurant in Islington and the Throgmorton in Throgmorton Street in the City of London. Its chains have included Steak Houses (1961–1988), Wimpy Bars (1953–1976), Baskin-Robbins (1974–present) and Dunkin' Donuts (1989–present).

Hotels
The Regent Palace Hotel, Glasshouse Street, London was operated by Strand Hotels Limited, a subsidiary of J. Lyons and Company and opened on 16 May 1915. Strand Hotels also operated the Cumberland Hotel (Marble Arch, London), Kingsley Hotel, Park Court Hotel, Windsor Hotel, White's Hotel and the Strand Palace Hotel after the inception of Strand Hotels Limited. The last London hotel that they operated until the demise of the group in the mid-1970s was the Tower Hotel situated by Tower Bridge in London.

Biscuits company
In 1938, Lyons purchased the Bee Bee Biscuit Company, which manufactured biscuits from its factories in Blackpool. Six years later, Lyons changed the company's name to Symbol Biscuits Ltd. and began selling biscuits under the Symbol and Lyons brand names: one of their innovations was Maryland Cookies in 1956. In 1990, Lyons changed the Symbol Biscuits name to Lyons Biscuits Ltd.

Other activities

Supporting the war effort

The rearmament period just before World War II saw a big expansion in the number of Royal Ordnance Factories (ROFs), which were British government-owned. However, due to shortages of management resources some ROFs were run as agency factories; and J. Lyons and Co. ran at least one, ROF Elstow.  The management and stock control systems needed in the ROFs, in respect of control of raw materials and "perishable" finished products, were somewhat similar to those used in the catering business; and J. Lyons was ideally suited to this task. They do not appear to have any involvement in managing these after 1945, when the ROFs started to run down.

Princess Elizabeth and Philip Mountbatten's wedding cake
Princess Elizabeth and Philip Mountbatten were offered many cakes from well-wishers around the world for their wedding on 20 November 1947. Of these they accepted only 12, including one from J. Lyons and Co.

They created a three-tiered cake, mounted on a silver stand, made by F E Jacobs, chief decorator of J Lyons' Ornamental Department. It stood 1.8 metres high and weighed 63 kg. The first and second tiers featured specially commissioned 10 cm blue and white Wedgewood Jasper vases set in alcoves behind silver pillars, with smaller vases on the third tier. The cake's panels depicted Princess Elizabeth's coat of arms, the couple's initials and a Naval crown. Atop the third tier sat a larger Jasper vase, filled with fresh flowers and trailing orange blossom.

Contribution to computing in business
The top management of Lyons, with its background in the use of mechanical adding machines, saw the necessity of new electrical computers for organising the distribution of cakes and other highly perishable goods. They, therefore, substantially financed the University of Cambridge's Electronic Delay Storage Automatic Calculator (EDSAC) which was the second electronic digital stored-program computer to go into regular service, and built their own programmable digital computers and became the first user of these in businesses, with the LEO I digital computer: the Lyons Electronic Office I, designed and built by Dr John Pinkerton under the leadership of John Simmons. It handled the company's accounts and logistics. Lyons also included the weather forecast to ensure goods carried by their "fresh produce" delivery vans were not wasted in large quantities. Google chairman Eric Schmidt called this "the world's first office computer", built in 1951. A subsidiary LEO Computers Ltd was formed in 1954 and went on to build 11 Leo II and 94 Leo III computers that were sold worldwide.
One of the ardent users of LEO computers was the General Post Office (GPO), who bought them in the mid/late 1960s to produce telephone bills. They were kept going until 1981, helped by buying other companies' redundant machines and using them for spare parts.

Decline

The company was losing money in the 1960s but remained under the control of the Salmon family, descended from a founding partner. Lyons began to close some of its London tea shops and hotels; in 1963 it also merged its LEO Computers business with English Electric's computer interests to form the jointly owned English Electric LEO.

In 1964, Lyons sold their half-stake; and English Electric merged the company with Marconi's computer interests to form English Electric LEO Marconi Computers. A continuing problem in the British computer industry was both lack of investment capital and competition with the much larger U.S. computer companies, such as IBM. English Electric LEO Marconi Computers merged with other companies to form International Computers Limited (ICL) which was bought by Fujitsu in 1990.

In 1978, Lyons was acquired by Allied Breweries and became part of the resulting Allied Lyons.  It fell on hard economic times in the late 1980s; and was sold, eventually being broken up with its ice cream and ice lolly products, which were branded as Lyons Maid, being sold to Nestlé.  Other parts that were sold off included Lyons Cakes (sold to RHM and ending up as part of their Manor Bakeries subsidiary which also makes Mr Kipling's Cakes) and Ready Brek cereal (ending up being owned by Weetabix Limited). At the end of 1994, Lyons sold Lyons Biscuits to Hillsdown Holdings, which later sold it to a U.S. investment firm which subsequently sold it to British biscuit manufacturer Burton's Foods. Lyons' cake products, such as Bakewell tart and Battenberg, are owned by Premier Foods.

The J. Lyons & Co. papers are now stored in the London Metropolitan Archives. The niece and nephew of the Gluckstein brothers were Gluck, a painter; and Louis Gluckstein, a Conservative politician. A descendant of the Salmon side of the original partnership is Nigella Lawson.

Notable employees
Former British Prime Minister Margaret Thatcher worked as a chemist for the company prior to becoming a barrister and then a Conservative Party MP. While working for the company she helped develop methods for preserving ice cream.

Peter Bird began work operating the LEO computer and rose to be a director of Lyons Computer Services. He later wrote a history of the company and its computers.

Leadership

The chairmen of J. Lyons were:
 1894–1917 Sir Joseph Lyons
 1917–1922 Montague Gluckstein
 1923–1928 Alfred Salmon
 1928–1941 Sir Isidore Salmon MP
 1941–1950 Harry Salmon JP
 1950–1956 Major Montague Isidore Gluckstein
 1956–1960 Isidore Montague Gluckstein
 1960–1965 Barnett Alfred Salmon
 1965–1968 Sir Samuel Isidore Salmon JP (Mayor of Hammersmith 1968/69)
 1968–1972 Geoffrey Salmon
 1972–1977 Brian Lawson Salmon
 1977–1981 Neil Lawson Salmon

See also

 Horniman's Tea, once the largest tea company in the world, selling prepackaged tea, once owned by Lyons
 List of tea houses,
 J. Lyons and Co., Greenford

References

Further reading
 Bates, H. E. (1946). The Tinkers of Elstow: the Story of the Royal Ordnance Factory run by J. Lyons and Company Limited for the Ministry of Supply for the World War of 1939–1945. Privately published,
 Bird, Peter J. (1994). LEO: the First Business Computer. Wokingham: Hasler Publishing Limited. .
 Bird, Peter (2000). The First Food Empire. A History of J. Lyons & Co. Phillmore. Chichester, West Sussex. .
 Ferry, Georgina (2003). A Computer Called LEO. Lyons Teashops and the World's First Office Computer. Fourth Estate. London. . (Published in United States 2004, Hammersmith: Harper Perennial. .)
 Caminer, David, John Aris, Peter Hermon and Frank Land (eds). (1996, 1998). User-Driven Innovation (published in the United States as LEO: The incredible Story of the World's first Business Computer). McGraw Hill. ,

External links

  (relating to the Lyons computerization)

Catering and food service companies of the United Kingdom
British brands
English brands
Defunct food manufacturers of the United Kingdom
Defunct computer hardware companies
Filling factories
Royal Ordnance Factories in England
Food processing in London
1884 establishments in England
Manufacturing companies established in 1884
History of the London Borough of Hammersmith and Fulham
Buildings and structures in the London Borough of Hammersmith and Fulham
British companies established in 1884
Restaurants established in 1884

J. Lyons and Co.


Venetian Gothic is the particular form of  Italian Gothic architecture typical of Venice, originating in local building requirements, with some influence from Byzantine architecture, and some from Islamic architecture, reflecting Venice's trading network.  Very unusually for medieval architecture, the style is both at its most characteristic in secular buildings, and the great majority of survivals are secular.

The best-known examples are the Doge's Palace and the Ca' d'Oro.  Both feature loggias of closely spaced small columns, with heavy tracery with quatrefoil openings above, decoration along the roofline, and some coloured patterning to plain wall surfaces.  Together with the ogee arch, capped with a relief ornament, and ropework reliefs, these are the most iconic characteristics of the style.  Ecclesiastical Gothic architecture tended to be less distinctively Venetian, and closer to that in the rest of Italy.

The beginning of the style probably goes back no further than the 13th century, although the dates of early Gothic palaces, and especially features such as windows in them, are largely uncertain. It dominated the 14th century and because of the city's conservatism Venetian Gothic buildings, especially smaller palaces, continued to be built well into the second half of the 15th century, and Venetian Renaissance architecture very often retained reminiscences of its Gothic predecessor.

In the 19th century, inspired in particular by the writings of John Ruskin, there was a revival of the style, part of the broader Gothic Revival movement in Victorian architecture.  Even in the Middle Ages, Venetian palaces were built on very constricted sites, and were tall rectangular boxes with decoration concentrated on the front facade.  The style was therefore developed for a similar architectural context to that found in late 19th-century city centre streets.

Context

Venice is built on alluvial mud, and all buildings in the city were (and mostly still are) supported by large numbers of timber piles driven into the mud.  Above that the normal building material is brick, although the grander facades were usually faced with Istrian stone, a fine limestone that is not strictly a marble, although it is often so called.  This came by sea from quarries in Istria in the Terraferma, now in Croatia. Other stones with different colours were often used for contrast, especially a red stone from Verona. Marmorino stucco, made from grinding limestone, brick and terracotta fragments, was the typical finish for interior walls, and sometimes exteriors.  Flat ceilings supported with timber beams were preferred to vaults, which might crack as the building settled on the pile foundations.

The main city was already very largely built up, with buildings tightly packed in the centre; this is shown clearly by Jacopo de' Barbari's huge woodcut View of Venice with an elevated view of the city in 1500.  Because buildings were tightly packed, Venice was even more prone than other Italian city centres to fires, creating the need for many of the new buildings.

Palaces
Unlike the palaces or houses of wealthy families in other Italian cities, defence was not a major concern for Venetian palaces, which in any cases often had "moats" on some sides. The crowded city centre encouraged building high by the standards of the period, and the main access for light was often from the front facade, which therefore typically has more and larger windows than palaces elsewhere.

Most palaces doubled as places of business, on the ground floor, and homes above. The ground floors, which even when built were probably rather prone to periodic flooding, have relatively few rooms, and a rather grand stairway leading to the residential upper floors, where ceilings are rather low by the standards of palaces.  The portico on a canal allowed goods to be loaded and unloaded, and led to a large space called the androne, where they were stored and business transacted.  Upstairs, the portego or salone was another large room, centrally placed and usually "T"-shaped, received light from the windows and was the main space for dining and entertaining.  To the rear an open staircase led to a small courtyard with a well-head and often a rear door to the street.  In fact there are no true wells in Venice, and the well-head led down to a cistern sealed from the salty groundwater, which collected rainwater from the roof and courtyard through stone gutters leading to a sand filter system and the cistern.

By the 13th century porticos at the front were often abandoned, and replaced by one or more large doorways leading to the androne.

History

The Gothic Period arrived in Venice during a time of great affluence, when the upper class was funding the building of new churches as well as new, opulent homes for themselves. At the same time, the religious orders were beginning to bring the Gothic style to Venice's churches from mainland Italy. The most striking examples of this new architectural fashion can be seen in Santi Giovanni e Paolo and the Frari. However, these churches were still very similar to those found in the rest of Italy, the main difference being the building materials. It was not until the increase in palace construction, that Venetian Gothic became a distinct style in itself. Influenced by the Doge's Palace, the creators of this new style meshed Gothic, Byzantine, and Oriental themes to produce a totally unique approach to architecture.

Characteristics and examples
As described by Ruskin, the ogee arch was at the start of the stylistic development of the Venetian Gothic arch, rather than in the middle or at the end, as elsewhere.  Round arches began to sprout points on their outer rim, while initially remaining circular on the inside.  But neat progressions of style are not always reflected in actual buildings, and a variety of styles can sometimes be seen in a particular period, and in the same building.

The ogee arch is "relatively uncommon in ecclesiastical buildings", where a more conventional Italian Gothic was adopted (and there are fewer survivals).  Conversely, conventional Gothic arches are seen in palaces "only in the most solid elements".  Because the unstable ground discouraged vaulting, the "structural raison d'etre of Gothic architecture – to allow the erection of higher and higher vaults, with more flexibility in ground-plan – was completely irrelevant in Venice".

In Northern Europe, traceries only supported stained glass. In contrast, traceries in Venetian Gothic supported the weight of the entire building. Therefore, the relative weight sustained by the traceries alludes to the relative weightlessness of the buildings as a whole. This (and the associated reduced use of weight-bearing walls) gives the Venetian Gothic architectural style lightness and grace in structure.

The Venetian Gothic, while far more intricate in style and design than previous construction types in Venice, never allowed more weight or size than necessary to support the building.  Venice had always held the concern that every inch of land is valuable, because of the canals running through the city.

One major aspect of the Venetian Gothic style change that came about during the 14th and 15th centuries was the proportion of the central hall in secular buildings. This hall, known as the portego, evolved into a long passageway that was often opened by a loggia with Gothic arches. Architects favored using intricate traceries, similar to those found on the Doge's Palace. The most iconic Venetian Gothic structure, the Doge's Palace, is a luxuriously decorated building that includes traits of Gothic, Moorish, and Renaissance architectural styles. In the 14th century, following two fires that destroyed the previous structure, the palace was rebuilt in its present, recognizably Gothic form.

Churches

The two largest Gothic churches to remain largely unaltered are those of the main mendicant orders; both are designed to provide large open spaces for star preachers to reach big congregations. These orders were controlled from the Italian mainland, and their original architecture mostly reflected broader Italian styles developed by each order elsewhere, and so represented a novelty in Venice. Both became home to numerous important wall tombs inside, which has probably prevented the interiors from having Baroque makeovers, as has happened elsewhere.

The Frari is the Franciscan church. Like most medieval Franciscan churches, this is a large plain building, built economically to hold large crowds to hear star preachers.  First constructed in the 13th century, it was rebuilt in its current Gothic style over a long period in the 14th and 15th centuries.

The rival Dominican church of Santi Giovanni e Paolo is the other large Gothic church in the city that retains its original character.  This was first begun in the 1240s, but that church was too small, and the current building was probably begun in 1333, although not consecrated until 1430.  Many other churches retain significant Gothic work, especially Santo Stefano, a large parish church with a "ship's keel" wooden roof.  The Madonna dell'Orto, built by the Humiliati order, is mostly 14th-century, but the facade, still Gothic, dates to the 1460s.  Other Gothic churches have been given makeovers in Renaissance or Baroque styles.  In San Marco, the main church of the republic, there is much Gothic sculpture on the facade, and other details, but the main elements of the structure remain Italo-Byzantine Romanesque.

Islamic and Byzantine influence
The influence of Islamic architecture is reflected in some features of the Venetian style, in particular the use of colour and pattern on outside walls, and sometimes stone grills on windows, and perhaps purely decorative crenellations on rooflines.  During the period the Venetian economy was heavily bound up with trade with both the Islamic world and the Byzantine Empire, and the architectural styles of these two are somewhat entangled, especially in the early Islamic period.

As an example, decorating walls with large veneers of fancy coloured marble or other stones, which was certainly a Venetian taste, was also found in Byzantine and Islamic architecture, but both had derived it from imperial Roman architecture.  There are still examples in Ravenna (ruled by Venice from 1440 to 1509), Milan as well as Rome, and very likely much of the stripping of these from other surviving Roman buildings had not yet taken place.

Venetians may also have regarded some aspects of Byzantine and Islamic architecture as reflecting the world of Early Christianity – all over Italy "eastern" costume very often served for biblical figures in art, and the paintings of some Venetians, for example St Mark Preaching at Alexandria by Gentile Bellini () also use clearly Islamic architecture (including stone grills), although also reflecting the Byzantine styles of Constantinople, which Bellini visited in 1479, only some twenty-five years after it became the Ottoman capital.  There were also Venetian connections with Islamic styles though Sicily and southern Italy, and possibly al-Andalus (Islamic Spain).  Venetians probably saw the eastern elements in their architecture in a complex way, reflecting and celebrating both their history and the cause of their trade-derived wealth.

Venetian traders, and those of rival cities, reached into Persia and Central Asia in the Pax Mongolica after the Mongol conquests, from roughly 1240 to 1360.   There were small Venetian colonies of merchants in Alexandria, as well as Constantinople.  Venice's relations with the Byzantine Empire were still more intimate and complicated, involving many wars, treaties, and massacres.

Revival
The style was revived in the 19th century, largely through the influence of British architectural critic John Ruskin and his treatise The Stones of Venice. Because of the shortage of space in Venice, most palazzi were high (by medieval standards) rectangular boxes, with an ornamented facade, but very often plain on the other external elevations.  Nor did they have space-wasting courtyards.  Hence the basic shape suited 19th-century requirements very well, and the Venetian-ness of the style appeared mainly in the elaborate windows, cornice and other decoration to the facade.

In North America the style was popularized by architects Charles Amos Cummings, Frank Furness, Norman Shaw, William Robert Ware, Willard T. Sears, and Frederick William Stevens.  In Australia, the architect William Pitt was an exponent of the style and Joseph Reed was known to experiment in it also.

Examples in Europe and elsewhere

Examples in England,  the USA, and Australia

See also
Venetian Renaissance architecture
Italian Gothic architecture
History of the Doge's Palace in Venice

Notes

References
Burns, Howard, "Architecture", in Jane Martineau (ed), The Genius of Venice, 1500–1600, 1983, Royal Academy of Arts, London.
 Howard, Deborah (2004), The Architectural History of Venice (2nd edn), Yale UP,
Mack, Rosamond E., Bazaar to Piazza, 2002, University of California Press, , google books

External links

The Stones of Venice (Introductions) at Project Gutenberg

Victorian architectural styles
Culture of the Republic of Venice
architecture G

Venetian Gothic architecture


Borgia Egan (22 March 1876 - 11 February 1962) was a member of the Sisters of Mercy. She founded Mercyhurst College in 1926 and served as its first president. As an advocate of women's higher education, she believed that women should have the same chances and opportunities that men do. This was the foundation of her journey, along with her Catholic faith.

Life
Borgia Egan was born on 22 March 1876. She graduated from Catholic University and Duquesne University. She joined the Sisters of Mercy in 1831, and brought the lessons from the sisters to Erie, Pennsylvania, in the year 1920. Egan became Mother Superior of the Sisters of Mercy in Erie, Pennsylvania and became a well-known and well-liked member of the Diocese of Erie. She was a very enthusiastic speaker for women's higher education and with the assistance and support of Bishop Gannon, she sought to establish an institution of higher education for women in Erie.
She founded Mercyhurst College in 1926 and became the first president of the institution, serving from 1926 to 1962. She was known as the "6 foot nun" because she towered over all other students and faculty. She was described by her students as having "a towering stance and ready sense of humor combined with this intellectual prowess to make her an unforgettable woman." During her served time as President of Mercyhurst College, she suffered a stroke in 1956 and was hospitalized for three years after. Borgia Egan remained the president of Mercyhurst College until her death at age 84 on 11 February 1962.

Sisters of Mercy
The Sisters of Mercy, also known as the Religious Sisters of Mercy (RSM), were founded in 1831 by Catherine McAuley in Dublin, Ireland. She encouraged peace and harmony in all people. Born in Dublin Ireland, McAuley wanted to change the religious views of Dublin and to promote peace and safety for women and children. To carry out her mission, she created a house for religious worship, run and organized by other women like her. Titled, "The House of Mercy," this was a place for poor women and children to feel safe and was the foundation of the Sisters of Mercy. The three main values and purposes that McAuley wanted to enforce in the religious safe place were healthcare, education, and social welfare. The main goal of the Sisters of Mercy is to serve anyone who is suffering from illness, poverty, or struggling with day to day life. They have founded schools in countries like Ireland, United States, and Canada. There were over 11,000 members of the Sisters of Mercy across the globe in 2001.

Core Values of the Sisters of Mercy
 Spirituality
 Community
 Service
 Social Justice and Our Critical Concerns
 Works of Mercy

Mission statement
"We carry out the mission of mercy guided by prayerful consideration of the needs of our time."

Mercyhurst University
Borgia Egan brought the Sisters of Mercy to Erie, Pennsylvania, in the United States to help spread the values of the Sisters throughout the world. After they arrived in Erie, Bishop Gannon of the Diocese of Erie approached Egan about creating an institution that focused on the women in the community. With the help of the Sisters of Mercy, Egan took out all of the money from the bank and bought a large piece of land to fulfill Gannon's wishes. On 8 September 1924, construction started for the new college. The building itself was designed by architect F. Ferdinand Durang in a Tudor Gothic style. Egan wanted the exterior to have as much detail as the interior of the building. However, near the end of the project, the workers went on strike and the Sisters of Mercy in Erie had to complete the project on their own.

Mercyhurst College was founded on 7 September 1926 in Erie, Pennsylvania. Originally an all Catholic, women's institution, Mercyhurst College opened with the help of the Sisters of Mercy in the Diocese of Erie. With Egan as the first president, the college sought to enhance the learning experiences of young women and to give them a chance to use their potential. There was only 23 students that attended the college when it first opened, but the number of students grew soon enough. Egan remained president of Mercyhurst College from 1926 to 1963, all while maintaining the position of Mother Superior for the Sisters of Mercy in the Diocese of Erie.

Mercyhurst College became a co-ed institution in 1969. On 25 January 2012, Mercyhurst College was officially renamed Mercyhurst University. There is now a Mother Borgia Egan scholarship, titled, 'Mother M. Borgia Egan Endowed Scholarship,' that is given out each year to a student who is seeking out in pursuing a career of teaching and is following in the footsteps of Egan.

Core values of Mercyhurst
The core values of Mercyhurst University reflect those of the Sisters of Mercy.
 Socially Merciful
 Globally Responsible
 Compassionately Hospitable
 Intellectually Creative
 Reflectively Aware
 Ambassadors of Service

References

1876 births
1962 deaths
Education in Erie, Pennsylvania
Sisters of Mercy
Mercyhurst University
20th-century American Roman Catholic nuns

Borgia Egan


Vishal Sangh was a cane farmers' union established in Fiji on 1 September 1946, by mainly Sikh farmers, who refused to re-join the Kisan Sangh after its reunification following its split into two factions in 1943. It was led by Mehar Singh, one of the founding members of the Kisan Sangh and its former vice-president.

The Vishal Sangh played an active role in negotiations for cane contracts in 1950 and 1960 but always aligned itself with A. D. Patel and the Maha Sangh. It was regarded by many as a tool of A.D. Patel in his political ambitions. The Sikhs supporting the Vishal Sangh remained loyal members of Federation Party for many years.

Because of its small support base, the Vishal Sangh had an insignificant impact on the Fiji sugar industry after 1960.

See also
 Federation of Cane Growers
 National Farmers Union of Fiji
 Sugar Cane farmers unions in Fiji

References
 A.P. Sharma, Farmers Struggle in Fiji: a History of Fiji Kisan Sangh, Kisan Sangh, Lautoka, 1962

Cane growers unions of Fiji
Fiji Indian organisations
1946 establishments in Fiji
Trade unions established in 1946

Vishal Sangh


The Abolish Self Government Coalition was a minor Australian Capital Territory political party that experienced limited success in the early years of the Australian Capital Territory Legislative Assembly. It opposed self government for the ACT, supporting its re-integration into the local government of New South Wales. The party elected one MLA, Dennis Stevenson, to the ACT Legislative Assembly in 1989; he was re-elected in 1991 but retired in 1995, after which the party declined markedly. It was federally registered on 22 December 1992 and deregistered on 16 June 1995.

References

Defunct political parties in the Australian Capital Territory
Political parties established in 1989
Political parties disestablished in 1995
Single-issue political parties
Single-issue political parties in Australia
1989 establishments in Australia
1995 disestablishments in Australia

Abolish Self Government Coalition


Trezenzonio was a Galician monk who lived in times of the Asturian monarchy. Tradition attributes the deed of seeing and even visiting one of the islands of Paradise to him. His adventures were summoned in the Trezenzonii de Solistitionis Insula Magna, a medieval manuscript written in Latin in the 12th century.

After Galicia was once again plundered by one of the multiple raids with which the Muslims devastated the region in the 8th century, Trezenzonio went to the Tower of Hercules in A Coruña. There he took a look at the sea, where with the help of the first lights of the daning he could see the Great Isle of Solstice (Magna Insula Solistitialis), which was consecrated to Saint Thecla (Santa Tecla). He decided to sail to that place and after having landed in that island he saw an immense prairie where a great basilica stood up, decorated with jewels and gems. In that island, the weather was delicious and there was plenty of food. Pain, hunger, fear and misfortunes were absent. Trezenzonio remained there for seven years after which an angel appeared to him and commanded him to return to Galicia.

Because he resisted the divine orders, he was punished with leprosy and had to witness powerless how the proofs of the existence of the Great Isle of Solstice that he had collected on his ship rotted. Trezenzonio repented of his actions. After landing in Galicia, he walked to the city of Tui, where he met the local bishop, Adelfio.

Bibliography
M.C. Díaz y Díaz, Visiones del Más Allá en Galicia durante la Alta Edad Media, Santiago de Compostela, Artes Gráficas Galicia, 1985
P. d'Azevedo, Viagem á ilha de "Solistitionis" (Ms. do século XIV), Boletim da Clase de Letras. 622-629, Academia das Ciencias de Lisboa 12 (1918)

External links

Angelic visionaries
Galician culture
8th-century Asturian people

Trezenzonio