The Magdalen Weeping is an oil on oak panel painting attributed to the workshop of the unidentified Early Netherlandish artist known today by the notname the Master of the Legend of the Magdalen, active in Brussels. Although beautiful, the painting is significantly damaged and has been restored and overpainted a number of times since the 19th century; not always successfully and the impact of the image is considered to have been lessened as a result.

It has been cut down both in width and height, although given that the background is flat and featureless, no significant detail is thought to have been lost.

Attribution and dating
Because so little is known about the artist, dating his work or that attributed to his workshop is extremely difficult. This panel is thought to have been completed in the mid-1500s, based on the fashion of the woman's dress, which is comparable the female figure in Joos van Cleve's 1524 Lamentation triptych. The work's provenance extends to Venice and Madrid in the 1800s, and it has been kept in the National Gallery, London since donated by the estate of Lady Layard in 1916. Some aspects of the joinery of the oak panel support suggest that it was created as the left wing of a lost triptych, but no works that fit as the central and right hand panels have emerged.

Description

The woman can be identified as Mary Magdalen from the jar of oil held in her hand; her traditional attribute in 15th and 16th century northern European art. The jar, depicted in fine detail, seems to be made from  a precious blue stone,  delicately carved and mounted in gold. The Magdalen is shown with very elegant and beautiful facial features, brown eyes and shallow pale skin, and is dressed in finely embroidered clothes. She wears a white patterned cap over her strawberry-blond hair. The cap is covered by two white veils; one semi-transparent, the other opaque white. Infra-red photography reveals a number of preparatory underdrawings. Samples of the pigments show that three different purples were used; formed from mixtures of lead white, azurite and red lake, however most passages of purple have either faded or been overpainted by restorers.

Her overcoat is golden with purple designs on the sleeves, which have been overpainted in green by restorers. Her underdress is laced and plunges to daringly reveal the upper portion of her chest. She wears a rosary around her fashionably long and elegant neck. The beads seems to be formed from coral or glass and are strung on brown cord (the cord may originally have been green). She holds a white cloth to her eye to wipe away tears, presumably those of repentance.

The cloth held to her face is heavily folded and linear in a manner reminiscent of the style of Rogier van der Weyden, by whom the artist is believed to have been influenced. The painting was in fact at one point in the 19th century attributed to van der Weyden. However, the painting contains a number of anatomical flaws  not usually associated with a van der Weyden; the woman's ear is far too large; her forehead unusually flat, the chin recedes and her eye is too close to the center. While the curves of her cleavage are well described the lower sections of her bust appear not to exist. The oak frame is not especially well-made, another reason why the painting is generally attributed to the Master's workshop rather than to he himself.

The woman is finely and delicately portrayed and the use of colour has been described as at the highest level of painterly skill. Her rich and sumptuous gown, veil and cleavage have moralistic undertones as reminders of her sinful past. At the same time the image is clearly intended to be exotic and sensual, a reflection of the new confidence and daring allowed to artists of the early 16th century.

Sources
The painting's sources can be easily derived; it shares the emotional impact and broad colourisation of Rogier van der Weyden, while the representation of female crying face in European art of this period began with Robert Campin and was extended and developed by van der Weyden and Hugo van der Goes. Although the comparable passages in the works by these earlier artists are more technically proficient, the sensual daring of the 1520s panel far exceeds what might have been deemed acceptable in female representation in the mid-15th century.

Notes

Sources
 Campbell, Lorne. The Fifteenth Century Netherlandish Schools. London: National Gallery Publications, 1998.
 Levey, Michael. The National Gallery, London. London: Thames and Hudson, 1977.

Early Netherlandish paintings
Collections of the National Gallery, London
Paintings depicting Mary Magdalene

The Magdalen Weeping


Kamennoostrovsky Bridge spans the Little Nevka River and connects Aptekarsky Island with Kamenny Island in Saint Petersburg, Russia. Originally constructed as a floating pontoon bridge in 1760. Between 1811 and 1813, Kamennoostrovsky Bridge became the first seven span timber arch bridge in Russia. In 1859, the bridge was improved with the addition of strut-supported spans. In 1952, the bridge was rebuilt to its current design with five spans.

Original construction
The bridge was originally designed by architect  in 1760 to be a pontoon bridge consisting of 11 pontoon sections. In 1765, the pontoons were replaced with a floating bridge and was connected to the river abutments on piles.

19th century improvements
Between 1811 and 1813, Project Engineer Agustín de Betancourt replaced the floating bridge with a seven span wooden arch bridge on timber foundations with stone abutments. The total length of the bridge in this form was .

In 1859, Project Engineer  conducted a complete reconstruction of the bridge. The arch design was replaced with a complex strut-frame system.

In 1899, during repair work, the bridge was completely rebuilt again. This reconstruction converted the bridge from a seven span to an eleven span simple timber bridge.

20th century improvements
In 1938, the bridge was renovated. Metal I-beams replaced the wooden girders, granite facing replaced old stone abutments, and the intermediate supports were renovated.

In 1953, under Project Engineers  and B. B. Levin work began to improve the bridge again. Project architects P. A. Areshev and V. S. Vasilyev designed a new five span metal bridge including a central draw span to accommodate increased traffic and load weights. The draw span was a twin-leaf rolling bascule system with fixed counterweights and was powered by an electromechanical drive. Currently, the span is no longer functional.

See also
 List of bridges in Saint Petersburg

References

Bridges in Saint Petersburg
Cultural heritage monuments of regional significance in Saint Petersburg
Kamennoostrovsky Prospekt

Kamennoostrovsky Bridge


The Canyon Diablo shootout was a gunfight between American lawmen and a pair of bandits that occurred on April 8, 1905, in the present-day ghost town of Canyon Diablo, Arizona. On the night before, two men named William Evans and John Shaw robbed a saloon in Winslow and made off with at least $200 in coins. Two lawmen pursued the bandits and on the following day they encountered each other in Canyon Diablo. A three-second shootout ensued, which was described at the time as "one huge explosion" that resulted in the death of Shaw and the wounding and capture of Evans.

Background
Little is known about the lives of William Evans and John Shaw before they became bandits. The former was an ex-convict who also went by the name of William Smith, or Smythe. Both were in their early to mid twenties when they decided that banditry would be easier than being a cowboy. The robbery which ultimately led to the shooting in Canyon Diablo occurred on the night of April 7, 1905. Shortly before midnight, Evans and Shaw entered the Wigwam Saloon in Winslow, Arizona, dressed in their finest clothing. The two headed straight for the bar and ordered a couple shots of rot gut, a type of whiskey common at the time. They weren't interested in wasting time, though, and before drinking they turned around and pulled out their revolvers to hold up a group of seven men playing poker at one of the tables. At gunpoint, the two bandits relieved the gamblers of between $200 and $600 worth of silver coins and then fled out the front door without firing a shot.

Pete Pemberton, the deputy sheriff of Navajo County, and owner of the saloon, was immediately notified and after examining the crime scene he informed his superior, Sheriff Chet Houck, who was the younger brother of Jim Houck. Shortly before, Pemberton and the city marshal, Bob Giles, found a trail of silver coins along the railroad tracks leading to Flagstaff so it was assumed that the bandits had jumped on board a moving train and that the coins must have fallen out of their pockets. From Holbrook, Sheriff Houck boarded a train to Flagstaff, where he met up with Pemberton and started an investigation. After finding neither the bandits or any relevant information, they reboarded the train for Winslow. However, on the ride back the lawmen just happened to receive word that two suspicious-looking men had been seen hiding in the bushes along the railroad tracks, near the turn to Canyon Diablo.

The town of Canyon Diablo was located about twenty-five miles west of Winslow, next to the gorge Canyon Diablo and the border of the Navajo Reservation. It was still a wild place in 1905, though by that time it was nearly a ghost town with only a small population. According to the Tombstone Epitaph, Canyon Diablo was described as being the "toughest Hellhole in the West," which may have been at least part of the reason why Evans and Shaw chose to flee there instead of Flagstaff. The two lawmen followed their instincts and stopped the train a couple miles past the town and then got off to walk back on foot. By the time they had made it onto Hell Street, the main road through town, the sun was just beginning to set.

Shootout
Sheriff Houck and Pemberton first made contact with Fred Volz, who owned a small store in town since 1886, where he traded with the Navajo and the Hopi. After the usual questioning, Volz told the policemen that earlier in the day there had been two well-dressed men standing outside the trading post for a long time and acting suspiciously. Just then, Evans and Shaw came around the corner of the trading post and were spotted. The two bandits were walking the opposite way, towards the train depot, so the two lawmen went after them. When they were all about six to eight feet apart, Houck called out for them to submit to a search, to which one of them said: "No one searches us!" The two pairs briefly stood face-to-face when all of a sudden each man went for his sidearm. All four began shooting at point blank range, Houck advanced to within four feet of the bandits.

Having failed to make any hits with his first five shots, Shaw looked down to reload his gun when he was struck in the head by one of Houck's bullets. Pemberton then wounded Evans in the leg and he fell to the ground shooting. With his last bullet, Evans aimed for Houck and fired, but Pemberton shot him again, this time in the shoulder, which knocked the weapon out of his hand. The bullet went through Houck's coat on the left side, grazed him across the stomach, and then exited through the right side. The wound was not considered serious though. In roughly three seconds, Shaw was dead and Evans was badly wounded. As was common in the Old West, most men filled their six-shooters with only five rounds so they could rest the firing pin on an empty slot and avoid accidents. Sheriff Houck, Shaw and Evans each fired all five of their bullets, but Pemberton had one extra, making for a total of twenty-one shots fired.

Aftermath
Immediately after the shootout, Sheriff Houck had the body of Shaw placed in a pine wood coffin, provided by Volz, and buried in a shallow grave because of the extremely rocky soil. Evans was taken to the hospital in Winslow, where he recovered, and later he was sent to Yuma Territorial Prison for nine years. $271 worth of silver coins was found in their possession. On the night after the shooting, a group of cowboys, once employed by the Aztec Land & Cattle Company, were having drinks at the Wigwam Saloon when they heard the news and how both Evans and Shaw failed to drink the shots they had paid for on the night before. One of them came up with the idea of going to Canyon Diablo to exhume Shaw's corpse for one final drink.

Between fifteen and twenty men hastily volunteered for the journey and, as Sheriff Houck and Pemberton did, they hopped aboard a westbound train and made it to Canyon Diablo at about dawn on April 10, 1905. First they had a few more drinks at the train station and then went to borrow some shovels from Fred Volz to proceed with digging up Shaw's coffin. Volz was angry about what the drunken mob intended to do in the cemetery so at first he was reluctant in giving up his tools. However, he eventually gave in and provided not only the shovels, but a Kodak camera. According to differing accounts, Volz either wanted pictures to collect reward money, being that he was directly involved in the demise of the outlaws, or they were taken for posterity. A short time later, Shaw's coffin was open and two of the cowboys had his body lifted out of the box and leaned up against the picket fence surrounding another man's grave. Shaw appeared to be smiling, which made all of the men uncomfortable, some of whom began to cry. After giving Shaw "a plentiful gulp of whiskey", taking a few pictures, and saying some prayers, his body was replaced in the coffin with a half-empty bottle and put back into the grave.

The pictures were displayed on the walls of the Wigwam Saloon in Winslow until the 1940s when the building was torn down. By that time, the ghost town of Canyon Diablo was reopened and renamed Two Guns. On October 28, 1905 Just seven months after the shooting in Canyon Diablo, Deputy Pemberton drunkenly shot and killed Winslow Town Marshal Bob Giles during a dispute in the Wigwam Saloon. Pemberton was arrested and found guilty, but he was acquitted after serving only a small fraction of his twenty-five year sentence.

See also

 List of Old West gunfights

References

Conflicts in 1905
1905 in Arizona Territory
American Old West gunfights
Arizona folklore
Aztec Land & Cattle Company
Crimes in Arizona Territory
April 1905 events

Canyon Diablo shootout


In Greek mythology, Cercyon (Ancient Greek: Κερκύων, -ονος Kerkyon) was the name of the following two figures:

 Cercyon, malefactor who was killed by Theseus.
 Cercyon, son of Agamedes, and the father of Hippothous, who succeeded Agapenor as king of Arcadia when he did not return from Troy.

Notes

References

 Pausanias, Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. . Online version at the Perseus Digital Library
Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903.  Greek text available at the Perseus Digital Library.

Theseus
Arcadian mythology

Cercyon


Roger Alan McDowell (born December 21, 1960) is an American former professional baseball right-handed relief pitcher who played in Major League Baseball from 1985 to 1996.  He played for the New York Mets, Philadelphia Phillies and Los Angeles Dodgers in the National League and the Texas Rangers and Baltimore Orioles of the American League.  McDowell was a key component in the 1986 World Series champion New York Mets and was the winning pitcher in the deciding Game 7.  His major league record of decisions was 70 wins and 70 losses. McDowell served as the Atlanta Braves pitching coach from 2006 to 2016. McDowell's family is of Scottish descent.

Professional career

New York Mets (1985–89)
Roger McDowell was born in Cincinnati, Ohio, graduated from Colerain High School and was drafted by the Mets in the third round of the 1982 Major League Baseball Draft from Bowling Green State University.  He spent 1982 in the A-level minor leagues and spent  with the AA Jackson Mets, both as a starting pitcher.  In , McDowell was at Jackson when he suffered an elbow injury which limited him to only three games.  As a result of the injury, he became a relief pitcher and developed a fantastic sinker ball that became the main weapon in his arsenal for his entire career.

McDowell debuted in the majors in .  He was impressive as both a middle relief pitcher and as a closer, splitting the duties with Jesse Orosco.  Orosco was a lefty and a strikeout threat while McDowell was a righty and a groundball specialist, making them a challenging pair late in games.  McDowell posted a 2.83 earned run average.  The Mets continued on an upward surge that saw them barely miss their first postseason in over a decade.  McDowell averaged more than two innings pitched per appearance in his rookie season and even logged the only two games started of his career.  He never again averaged more than two innings per appearance and, through most of his career, averaged less than one-and-a-half inning, as became customary throughout the majors.

In , McDowell was again impressive and was part of a strong core of Mets farm-hands — players that had come up through the minor leagues in the Mets' system — which, together with a few fiery veterans, helped the Mets win the 1986 World Series.  McDowell was involved in many close games, posting an amazing 23 pitching decisions despite never starting a game.  His 14–9 record, which included winning his first seven decisions, and 3.02 ERA resulted in five points in the voting for National League MVP.  McDowell was fantastic in the 1986 National League Championship Series, allowing a single hit in seven innings pitched including five innings in the famous sixteen-inning Game 6.  He was less impressive in the World Series, where he pitched in five of the seven games.  Although Sid Fernandez gets much deserved recognition for holding the Boston Red Sox silent in the middle innings of Game 7, McDowell was credited with the win by pitching an important scoreless seventh inning before the Mets broke the tie in the bottom of the inning.

 was McDowell's first down year, with an ERA over four after missing the first six weeks of the season with a hernia.  He did manage to post a career-high 25 saves but his most infamous game occurred on September 11, 1987 when he gave up a game-tying 9th inning two-run home run to the St. Louis Cardinals' Terry Pendleton.  The Cardinals won the game the following inning.  With the Cardinals and Mets in the midst of a close division race, many credited the home run with ending the Mets' chances for a repeat championship.

After the season, Jesse Orosco was traded to the Los Angeles Dodgers and, in , McDowell improved his ERA back down to 2.63 and moved into third place on the Mets' all-time save list behind Orosco and Tug McGraw.  The lefty-righty closer platoon system was maintained with McDowell and Randy Myers.  The Mets won 100 games and were pitted against Orosco and the Dodgers in the 1988 National League Championship Series.  In Game 4, the Mets had a chance to take a commanding 3–1 series lead but Mike Scioscia tied the game with a 2-run shot off Dwight Gooden in the 9th inning. McDowell would later give up the game-winning home run to Kirk Gibson in the 12th inning.  Overall, McDowell gave up a run in three of his four games.  The favored Mets lost in seven games in their last postseason for over a decade.  It also spelled the last postseason appearance of the 27-year-old McDowell's career.

Philadelphia Phillies (1989–91)
In , McDowell pitched about average for the Mets before the Mets blundered in mid-June by trading him and Lenny Dykstra to the Phillies for potential superstar Juan Samuel. Samuel proved to be a huge disappointment for the Mets, batting .228 before the Mets re-traded him after the season, and he never regained the combination of speed and power he had shown in his few years with the Phillies.  Dykstra, meanwhile, became a fixture for the Phillies, twice finishing in the top ten in MVP voting including a second-place finish in 1993 when he led the Phils to the 1993 World Series.  McDowell was untouchable in his first partial season with Philadelphia, compiling a microscopic 1.11 ERA in 44 games for the last-place 1989 Phillies.

McDowell was rewarded with his first million-dollar contract for  but was only average as the Phillies finished below .500.  In , McDowell improved for the Phillies but was traded at the trading deadline to the Dodgers for two minor leaguers.  Neither minor leaguer accomplished much in Philadelphia but the Phillies shocked the National League by winning the pennant two years later.

Los Angeles Dodgers (1991–94)
McDowell was again impressive after a mid-season trade with a 2.55 ERA.  Similar to 1990, however, he was less impressive in the first full season after a trade and his ERA ballooned to over four in , leading the league in relief losses and lowest save percentage.  The Dodgers finished with their worst winning percentage in eighty years and their only last-place finish of the 20th century.

After his poor 1992, McDowell re-signed with the Dodgers for , but for only $1.35 million as opposed to the $2.2 million he was paid for 1992.  He responded with a 2.25 ERA which was the last time his season ERA was below 4.00.  The Dodgers defense was a factor for McDowell as nearly half of the runs he allowed were unearned in 1993.  The Dodgers rose from last in 1992 to .500 in 1993 to first place in  when the 1994 Major League Baseball strike prematurely ended the season.  The unearned runs of 1993 were replaced by earned runs in 1994 and McDowell's ERA skyrocketed to a career-worst 5.23.  He was granted free agency after the season and was signed by the Texas Rangers shortly before the strike ended in April .

American League (1995–96)
In his first year in the American League, the 34-year-old McDowell fit in well and was given the most innings he'd pitched since 1991.  He also pitched in the second-highest number of games in the American League.  While his 4.02 ERA was poor compared to his career average, it was far better than the 4.67 A.L. average for 1995.  Nearing his 35th birthday, the Rangers granted him free agency and he signed on with the Orioles for .  His ERA was again high but better than the league average in 1996 but shoulder surgery ended his season in mid-August.  After the season, he was again a free agent before the Chicago White Sox signed him for the  season.  Unfortunately for McDowell, he had two more shoulder surgeries wiping out the whole season.  In , he attended spring training with Chicago but retired before the season began at age 37.

Prankster reputation
While McDowell was a stable major league-level pitcher, he was also notorious in the league and among fans as a prankster who would light firecrackers in the dugout. He also could skillfully wrap a wad of chewing gum around a cigarette, then secretly place the contraption on the heels of unsuspecting teammates' cleats. This is known as the hot foot.

In 1992, McDowell made a cameo appearance in a two-part episode of Seinfeld called "The Boyfriend".  The episode starred McDowell's ex-teammate, Keith Hernandez, and featured McDowell as a grassy knoll-type figure spitting on Cosmo Kramer and Newman during a Zapruder film parody after Kramer and Newman insulted Hernandez.

McDowell made several appearances on the softball edition of the MTV series MTV Rock N' Jock, often donning humorous costumes such as kilts and wigs.

Post-retirement and coaching
McDowell was hired as the pitching coach of the Dodgers' single-A minor league South Georgia Waves for 2002 and 2003.  He was promoted to the AAA Las Vegas 51s for 2004 and 2005.

On October 29, 2005, McDowell was hired to replace Leo Mazzone as the pitching coach of the Atlanta Braves after Mazzone became the coach for the Baltimore Orioles.

Fredi Gonzalez was named Braves manager for the 2011 season after Bobby Cox's retirement. McDowell was kept on as the pitching coach. His contract was not renewed following the end of the 2016 season.

The Baltimore Orioles named McDowell their major league pitching coach on November 22, 2016.

McDowell and his wife, Gloria, have two daughters. His eldest, Amanda, attended New York University. His youngest daughter, Rachel, attended Auburn University.

References

External links

Roger McDowell - Baseball Biography
Roger McDowell Interview at Baseball Digest Daily - February 2006

1960 births
Living people
Atlanta Braves coaches
Baltimore Orioles coaches
Baltimore Orioles players
Baseball players from Cincinnati
Jackson Mets players
Los Angeles Dodgers players
Lynchburg Mets players
Major League Baseball pitchers
Major League Baseball pitching coaches
New York Mets players
Philadelphia Phillies players
Shelby Mets players
Texas Rangers players

Roger McDowell


Tujunga Wash is a  stream in Los Angeles County, California. It is a tributary of the Los Angeles River, providing about a fifth of its flow, and drains about . It is called a wash because it is usually dry, especially the lower reaches, only carrying significant flows during and after storms, which usually only occur between November and April. The name of the wash derives from a Tongva village name.

About
The name Tujunga or Tuxunga means "old woman's place" in both Fernandeño and Tongva, where Tuxu means "old woman". The term is thought to relate to an ethnohistoric narrative, known as Khra'wiyawi, collected by Carobeth Laird from Juan and Juana Menendez at the Leonis Adobe in 1916. In the narrative, the wife of Khra'wiyawi (the chief of the region) is stricken with grief over the untimely loss of her daughter. In her sadness, she retreats to the mountains and turns to stone. It is thought this event became the basis for the village name. In fact, there is a large rock in Little Tujunga Canyon which looks like an old woman in a sitting position. However, there was also a Fernandeño village in the vicinity of Big Tujunga Canyon called Muxúnga, which means "place of shooting" in the Fernandeño dialect of the Tongva language. The name comes from the verb muxú, which means "shoot him."

Tujunga Wash consists of two forks, both beginning in the San Gabriel Mountains. The upper portion of Big Tujunga Wash is called Tujunga Creek, or Big Tujunga Creek. It travels roughly east to west, and several tributaries from the north and south join it as it flows to Big Tujunga Reservoir, formed by Big Tujunga Dam. Below the dam, the stream is called Big Tujunga Wash. It continues its westward flow, enters San Fernando Valley and is met by Little Tujunga Wash a mile before reaching Hansen Reservoir, which is formed by Hansen Dam. Little Tujunga Wash comes from the north, draining the portion of the San Gabriel Mountains immediately north of Hansen Reservoir. Downstream of the dam, Tujunga Wash flows roughly south and is met halfway to its confluence with the Los Angeles River by Pacoima Wash, which drains the other side of the mountains that Little Tujunga Wash drains. Finally, Tujunga Wash meets the Los Angeles River near Studio City, California.

Big Tujunga Dam was built by Los Angeles County and completed in 1931. Big Tujunga Reservoir can hold  of water. In the Los Angeles Flood of 1938 it was tested. The dam underwent a seismic retrofit, completed in July 2011, which included doubling the thickness of the gravity arch dam. Hansen Dam was built by the United States Army Corps of Engineers and completed in 1940. Hansen Reservoir can hold  of water. Their primary purposes are flood control, although they also provide some groundwater recharge. Water cannot percolate in the lower portion of the watershed because it is so urbanized that there is little bare ground and streambeds have been transformed into concrete channels, and the water flows too fast in the upper reaches of the watershed to sink into the ground very much. As a result, the majority of the water is discharged into the ocean.

In 1969, there was a flood in the Tujunga Wash. Water flowed down a formerly inactive channel and entered a large gravel pit  deep.  The channel bed degraded by about , leading to the failure of three highway bridges and the loss of seven homes.

Crossings
From north to south (with year built in parentheses):

Hansen Dam (1940)
Service bridge
Glenoaks Boulevard (1953)
Railroad
San Fernando Road (1935)
Laurel Canyon Boulevard (1952)
Interstate 5 & California 170 (1963)
Arleta Avenue (1968)
Roscoe Boulevard (1956)
Cantara Street (1952)
Saticoy Street (1952)
Railroad: Union Pacific Coast Line
Sherman Way (1952)
Vanowen Street & Fulton Avenue (1951)

Ethel Avenue
Victory Boulevard (1952)
Oxnard Street (1952)
Burbank Boulevard & Coldwater Canyon Avenue (1951)
Chandler Boulevard North (1951)
Metro G Line
Chandler Boulevard South (1957)
Magnolia Boulevard (1950)
Riverside Drive & Whitsett Avenue (1950)
U.S. Route 101 - Ventura Freeway (1959)
Laurel Canyon Boulevard (1950)
Moorpark Street (1951)
Merges with Los Angeles River

See also
Tujunga Wash Greenway and Bike Path
Great Wall of Los Angeles

References

Rivers of Los Angeles County, California
Tributaries of the Los Angeles River
Geography of the San Fernando Valley
Washes of California
San Gabriel Mountains
Studio City, Los Angeles
Sun Valley, Los Angeles
Van Nuys
Rivers of Southern California

External links

Historical Marker Database website, Tujunga Wash

Tujunga Wash


is a Japanese bank holding company headquartered in Chiyoda, Tokyo, Japan.

MUFG holds assets of around US$2.459 trillion as of 2016, making it the world's fifth largest bank by total assets and is one of the main companies of the Mitsubishi Group. It is Japan's largest financial group and the world's second largest bank holding company holding around US$1.8 trillion (JPY 148 trillion) in deposits as of March 2011. MUFG is the second largest public company in Japan when measured by market capitalization. The letters MUFG come from Mitsubishi and United Financial of Japan, the name of an acquired company.

References

2005 establishments in Japan
Banks of Japan

MUFG Bank


Cathedral Provincial Park and Protected Area, usually known as Cathedral Provincial Park and also as Cathedral Park, is a provincial park in British Columbia, Canada. It is located east of E.C. Manning Provincial Park, south of BC Highway 3, and southeast of the town of Princeton, and southwest of Keremeos. Its southern boundary is the border with the United States. Much of the park is the basin of the Ashnola River. Cathedral Park is home to teal sub-alpine lakes, vast ridges and jarred peaks, old-growth forests, and rock formations of siltstone, granodiorite, and basalt. Hikers can scramble along various peaks such as the 8000-foot Grimface Mountain and Lakeview Mountain. Tourists flock to Smokey the Bear and Stone City because of their unique formations with incredible views formed by millennia of erosion, volcanic and tectonic activity, and glacial recession.

The park has a mixed history of use from Indigenous Peoples and a variety of endemic species, as well as resource extraction, including forestry and recreational use such as hiking, camping, and fishing. Today the park primarily serves the purpose of facilitating recreation as a "Class A" provincial park. Climate change poses a threat to the park due to recent wildfires. The future of the park depends on the management of these issues and more.

History
The park gets its name from Cathedral Mountain, near the international border. The peak was named in 1901 by Carl and George Smith on a United States Geological Survey expedition, who are believed to be the first to have ascended the summit. The original area of Cathedral Provincial Park was established on May 2, 1968, with an area of 7,372 hectares (18,216 acres). This park ran in a narrow north–south corridor along Lakeview Creek from the Ashnola River in the North to the international boundary. The park included the Cathedral Lakes area. After a lengthy consultation process with local interest groups, industry, and researchers, the park was expanded to have boundaries that roughly matched natural boundaries. This expanded the park to an area of roughly 33,000 hectares (82,000 acres), with the Ashnola River forming the Western and Northern boundaries of the park and Ewart Creek forming the Eastern boundary, with certain exceptions for existing mineral claims. On April 18, 2001, the contiguous conservation area protected was expanded with the establishment of the 25,889 hectares (63,970 acres) Snowy Protected Area.

Cultural history

Cathedral Provincial Park is rich with culture and heritage from both European and Indigenous peoples. The park lies on the traditional homeland of the Nlaka'pamux and Syilx, now colonially known as the Okanagan. Prior to settlement, the Syilx peoples moved nomadically, following the natural migrations and different land uses of the earth throughout seasons. This brought Indigenous peoples through the lands of Cathedral Park for the rich hunting and foraging of the area, a transient lifestyle shared by all First Nations in the area. The park was established by Europeans in the late 1960s, but evidence from the Ministry of Forests reveals horseback trails dating back to the 1930s. The Ministry of Forests also discusses early settlement and tourism, and the development of cabins and 4x4 roads throughout the park. These were followed by the first lodge in 1970.

Resource extractions

Before its designation as a protected area, Cathedral Provincial Park and its surroundings were exposed to resource extraction activities. As in many other regions, timber harvesting, in particular, played a significant role in the local economy. Several logging companies operated within the area, impacting the forest ecosystems. This caused habitat disruption, fragmentation, soil erosion, and changes in hydrology. The historic resource extraction and its ecological consequences presumably influenced the decision to protect Cathedral Provincial Park, aiming to preserve its natural beauty from further degradation.

Since the park's establishment in 1968, recreation use and development have evolved in line with the original intent to maintain the Park's natural qualities for public enjoyment and recreation. In 1975, an Interim Policy Statement was prepared to provide guidelines for the development and management of the Park. Several management concerns or issues were identified in this Policy Statement, remaining and revolving around fundamental problems of balancing park development and use while maintaining the Parks resource values and wilderness atmosphere and minimizing friction between potentially conflicting recreation interests.

Recreation
The park is home to front-country vehicle-accessible camping as well as back-country camping. There are multiple day-use areas in the park. Accommodation is provided within the park at the Cathedral Lakes Lodge. There are no public roads within the park itself. The park is connected to E. C. Manning Provincial Park by the Centennial Trail from Osoyoos to Simon Fraser University. Though it has not been maintained recently and no longer appears on maps of Manning Park.

Endemic species

Sonora skipper
The Sonora skipper is a butterfly with a tiny wingspan of 25–30 mm. It is light brown in color and has spots on its tail. The Sonora Skipper typically resides in moist, mesic grassy meadows as its preferred habitat. However, the area in which they live can also include, forest openings, clear-cuts and logged areas, and roadside areas These habitats are located in a small section of the Okanogan area in British Columbia, which is only about 2092 km², but still includes Cathedral Lakes Provincial Park. The population that was recorded in this area was tiny. In the Ashnola River area which includes Cathedral Lakes Provincial Park only 51 individuals were observed during the time of 1906 to 2012. There were just 2 Sonora Skippers counted in the entire 2012 year in the Ashnola River area. The Sonora Skipper has many threats in the wild. The threats can be natural such as fire and flooding and unnatural causes such as destruction of habitat or invasive species introduction. All of these things contribute to the low population in the Cathedral Provincial Park area. Sonora skippers are not classified as endangered or threatened globally. Sonora skippers don't have any major human threats, just removal from habitat caused by logging.

Mountain goats

Mountain goats are a species that like to live in high alpine areas, capable of climbing vertical rocks.  Which is ideal because Cathedral Park is very mountainous. Mountain Goats can be found all across the world in strong, healthy populations, however, they have a strong chance of expiration in British Columbia. In Southern British Columbia near where Cathedral Provincial Park is located, the population is the most at risk because, they have a tiny population size. In 2006 a study was done where Mountain Goat populations were estimated at, 200 - 300 individuals in the whole Okanagan area.  Not just in Cathedral Provincial Park. Mountain goats have numerous threats which include, historical over harvest, climate change causing reduced habitat, and negative impacts from recreation.  In Cathedral Provincial Park they are of special concern because of the large amounts of people in the area, leading to human-goat conflict.  The population around the Cathedral Provincial Park area is not well understood because, for a couple of decades, data collection has not happened.  However, the population is estimated to be around, 24 - 28 goats.  There are a few reasons for the low populations however, human interactions and helicopters are a couple of the main ones. The reason for all the human and goat interactions is that goats can become aggressive and charge people at the park over salt resources. Salt is vital to, goat ecology, and goats will usually ingest sodium from mineral lick sites.  In Cathedral Provincial Park, goats have been spotted looking for salt near the campgrounds, which is often where humans are present. In the Park, goats force visitors to move around them by standing their ground.  The conflicts that come with these interactions have caused, death or injury to humans and or wildlife.  Helicopters also bring many issues to the goat population. Helicopters regularly fly over Cathedral Provincial Park mainly in the months for helicopter training which is the spring and winter time. Whenever helicopters fly over the park goats do not behave well to the flying which causes a loud disturbance.  The behavior that occurs when a helicopter is nearby may include, increased movements or a shift from the habitat in which they prefer to live in.  In other words with the consistent flying of helicopters above the park, many mountain goats may have been displaced from their habitat which is why the population is so low in the area. Mountain Goats are also not classified as endangered or threatened globally. Mountain goats have a small effect on the mountainous landscape where they live. Mountain goats can destroy small plants such as flowers and shrubs as they walk and when they eat. Mountain goats eat mountain mahogany, shrubs, conifers, sedges, rushes, mosses, lichens, and grasses.

Fauna

Other animals that can be found in the park that are not at risk include California Bighorn sheep, mule deer, porcupines, and Columbia ground squirrels.  California Bighorn sheep have a compact body that is muscular, with brown fur with white on the muzzle and belly.  The average weight of these animals is about 160 to 250 pounds.  In order to stay alive from predators, bighorn sheep have abilities to climb the vertical rocks akin to mountain goats.  Bighorn sheep live in the western mountainous regions of North America. However, bighorn sheep no longer live in many areas of the Okanagan because their habitat has been lost over time.

Flora
Some plants that are commonly found in Cathedral Provincial Park include Douglas firs and Black Cottonwood trees. Douglas firs are evergreen trees. There are two varieties of this species, coast Douglas fir and Rocky Mountain Douglas fir, which are differentiated by their habitats and physical characteristics. Rocky Mountain Douglas firs are the inland trees that live in Cathedral Provincial Park. They are much more tolerant of cold than the coastal Douglas fir, which is suited to moist, mild climates on the west coast. The population of these trees is in good numbers.

Black cottonwood is a medium- to large-sized broad-leaved tree. Many kinds of wildlife use the foliage, twigs, and buds for food. The wood is light and soft and it can be used for lumber and pulp. Cottonwoods live in cool and wet climates such as Cathedral Provincial Park.

Climate change and ecological impacts

Cathedral Park is a unique environment in British Columbia as it is a part of the Okanagan Range, in a distinct section of the Cascade Mountains. The Okanagan Range consists of a uniquely dry climate and a particular geological makeup. The park contains four bio-geoclimatic zones: interior mountain-heather alpine, Engelmann, Interior Douglas-fir, and Spruce-Subalpine Fir.

Cathedral Provincial Park, like many natural areas worldwide, faces the challenges of climate change. While specific predictions for this park may vary, some general trends associated with climate change include temperature increase, altered precipitation patterns, heightened wildfire risks, changes in snowpack and glacier melt, and shifts in the timing of biological events for plants and wildfire. Park management authorities and conservation organizations are likely actively monitoring and responding to these changes to ensure the long-term health of the park's ecosystem. Forest fires have played a key role in creating a diverse mosaic of vegetation over the park's landscape. In contrast, forest health issues have also affected ecosystem dynamics with significant tree die-offs in specific proportions of the park.

Park goals
The primary goal driving the creation of Cathedral Provincial Park was that of the preservation of the natural environment for the public's use for recreation of the Cathedral Lakes and the Ashnola River drainage. The original park boundaries were focused on the lakes and nearby mountain peaks. Maintaining the park's focus on being a pristine, natural, and accessible recreational area has been the driving force in managing the park's uses since its inception. The three aspects of the park that managers sought to enhance were the natural environment, like maintaining access to the whole public rather than just outdoor specialists; intensive use, including making it accessible to activities like fishing and camping; and wilderness for more involved outdoor activities like backpacking that are completely isolated.

Today Cathedral Provincial Park exists as a "Class A" provincial park that garners the highest protection available to a provincial park under Bill 174, the same as when it was officially declared a provincial park in 1968. These protections include only allowing new resource extraction in the park without approval by the Minister of Environment and Climate Change that would ultimately leave the recreational use of the park unchanged.

Future

Cathedral Provincial Park has not had a new master plan since 1989, although a new master plan is being worked on that aims to be completed and approved by the end of 2023. Issues that are present include, modifying recreational facilities to have less of an impact on the surrounding environment, increasing capacity, reduction in wildfire risk, First Nations collaboration, and human impact on the local wildlife. While resource development has been allowed in the past and the use of the area has an impact on the local ecology, the natural beauty of the overall park persists.

References

External links

BC Parks Web page
A day hike along the ridge over Glacier Lake
BCGNIS listing "Cathedral Park"

Provincial parks of British Columbia
Similkameen Country
Canadian Cascades
2001 establishments in British Columbia


Karl Walter Friedensburg (6 March 1855 in Hamburg – 19 February 1938 in Wernigerode) was a German historian and archivist.

He studied history at the Universities of Göttingen and Breslau, obtaining his habilitation at the University of Marburg in 1878. From 1880 he served as an archivist in Marburg, later working as a university lecturer in Marburg and Göttingen. From 1888 to 1901 he was associated with the Deutsches Historisches Institut Rom (German Historical Institute in Rome).

In 1901 he was appointed director of the Staatsarchiv Stettin (National Archives in Stettin), and in 1913 succeeded Georg Winter (1856–1912) as director of the State Archives of Magdeburg. Here he was co-author of Geschichte des Staatsarchiv Magdeburg (History of the State Archives of Magdeburg). He entered into retirement in 1923, relocating to Wernigerode during the following year.

From 1913 he was a member of the Historischen Kommission für die Provinz Sachsen und für Anhalt (Historical Commission for the Province of Saxony and for Anhalt), serving as its chairman in 1922–23.

Written works
Friedensburg's prime area of research involved the history of the Reformation. The following are a few of his better known publications:
 Der Reichstag zu Speier 1526, im Zusammenhang der politischen und kirchlichen Entwicklung Deutschlands im Reformationzeitalte, 1887 - The Diet of Speyer in 1526, in the context of political and religious development in Germany.
 Die chronik des Cerbonio Besozzi, 1548-1563, 1904 (edition) - Chronicles of Cerbonio Besozzi.
 Geschichte der Universität Wittenberg, 1917 - History of the University of Wittenberg.
 Die Protokolle der Kirchenvisitationen im Stift Merseburg von 1562 und 1578, 1931
 Kaiser Karl v. und papst Paul III. (1534-1549), 1932 - Emperor Charles V and Pope Paul III.
 Johannes Sleidanus, der geschichtsschreiber und die schicksalsmächte der reformationszeit, 1935 - book on historian Johannes Sleidanus (1506-1556).

References
 University of Magdeburg Biographies

Writers from Hamburg
20th-century German historians
German archivists
1855 births
1938 deaths
University of Göttingen alumni
University of Breslau alumni
University of Marburg alumni
German male non-fiction writers

Walter Friedensburg


The Searching Wind is a 1946 American drama film directed by  William Dieterle and starring Robert Young, Sylvia Sidney, and Ann Richards. It is based on the play of the same name by Lillian Hellman. It had originally been planned for producer Hal Wallis to make the film at Warner Bros., but after he left the studio he brought the project to Paramount Pictures.

Synopsis
In 1945, after hearing of the death of Mussolini, an American career diplomat and his family reflect on his mistakes he made during the interwar years.

Cast
Robert Young as Alex Hazen
Sylvia Sidney as Cassie Bowman
Ann Richards as Emily Hazen
Dudley Digges as Moses
Douglas Dick as Sam Hazen
Albert Basserman as Count Von Stammer
Dan Seymour as Torrone
Ian Wolfe as Sears
Marietta Canty as Sophronia
Norma Varden as Mrs. Hayworth
Charles D. Brown as Carter
Don Castle as David
William Trenk as Ponette
Mickey Kuhn as Sam as a Boy

Original play
Hellman's play debuted on Broadway in 1944 and ran for 318 performances. Montgomery Clift was in the original cast.

References

Bibliography
 Dick, Bernard F. Hal Wallis: Producer to the Stars. University Press of Kentucky, 2015.

External links

The Searching Wind at New York Times

1946 films
1946 drama films
American black-and-white films
American films based on plays
American war drama films
Films based on works by Lillian Hellman
Films directed by William Dieterle
Films produced by Hal B. Wallis
Films scored by Victor Young
Films set in Washington, D.C.
Films set in Paris
Films set in Berlin
Films set in Rome
Films set in the 1920s
Films set in the 1930s
Films set in the 1940s
Paramount Pictures films
Films with screenplays by Lillian Hellman
American World War II films
1940s war drama films
1940s English-language films
1940s American films
English-language war drama films

The Searching Wind


Przemysław Gintrowski (21 December 1951 – 20 October 2012) was a Polish composer and musician.

Gintrowski debuted in 1976 on a review of the Warsaw Riviera with the song "Epitaph for Sergei Yesenin". Shortly afterwards, in 1979, he formed a trio with Jacek Kaczmarski and Zbigniew Łapiński, and initiated a poetic programme "Mury" ("Walls"). The title song of the programme, "Mury", based on the song written by Catalan bard Lluis Llach L'Estaca – became an informal anthem of the Polish trade union Solidarity and the symbol of the fight against the regime. Other programs they created were "Raj" (Paradise) and "Museum".

With the declaration of martial law in December 1981 Trio broke up – Jacek Kaczmarski remained in exile in France, and Gintrowski started his own artistic activity. He made his debut as a composer of film music – during the next ten years he created music for over twenty fictional films and serials.

Gintrowski's songs were based on texts by Jacek Kaczmarski, Zbigniew Herbert, Tomasz Jastrun, Krzysztof Maria Sieniawski, Jerzy Czech, Tadeusz Nowak and Marek Tercz.

For many years he did not record his own songs, although he still composed them for other artists and prepared music for films. For example, he created sound tracks for Andrzej Wajda's Man of Iron, Mother of Kings by Janusz Zaorski, and Stanisław Bareja's mid-1980s comedy series "Zmiennicy" (Shiftworkers). Gintrowski recorded another album entitled "Kanapka z człowiekiem" ("Human sandwich") that contained older material as well as some brand new songs.

On 31 August 2006 he was awarded by President Lech Kaczyński with The Order of Polonia Restituta.

References
Krzysztof Gajda: To moja droga: biografia Jacka Kaczmarskiego. Wrocław: Wydawnictwo Dolnośląskie, 2009. .

External links

Page dedicated to Gintrowski
Gintrowski on filmweb.pl

1951 births
2012 deaths
People from Stargard
Polish composers
Polish musicians
Warsaw University of Technology alumni
Recipients of the Order of Polonia Restituta
20th-century Polish male singers

Przemysław Gintrowski


In Māori mythology, Atutahi is the name of Canopus, (Alpha Carinae).
Atutahi is the second brightest star in the night-time sky, second only to Sirius (Takurua).
Aotahi, Autahi, and Atutahi, "First-light"  or "Single-light", were equivalent names that also intimated the star's solitary or self-centered nature.

Atutahi is considered to be very tapu star,  and always dwells alone. This is seen in its position outside the Milky Way.

Of all the stars known to the Māori, Atutahi had a special place, along with Rigel (Puanga), because of their intimate association with kumara cultivation. Their appearance in the eastern sky was the sign for planting to begin.
Atutahi and Puanga could be used to foretell the weather.

Atutahi has several different mythologies attached to it as well. One story tells of how Atutahi was left outside of the basket representing the Milky Way when Tane wove it. Another related myth surrounding the star says that Autahi was the first-born child of Rangi, who refused to enter the Milky Way and so turned it sideways and rose before it. The same name is used for other stars and constellations throughout Polynesia.

Other names
Aotahi
Autahi
Atutahi-mā-Rehua

References

E. Best, Astronomical Knowledge of the Maori Dominion Museum Monograph No. 3. (Museum of New Zealand: Wellington), 1955.
MW Makemson The Morning Star Rises: an account of Polynesian astronomy  (Yale University Press 1941)
E.R. Tregear, Maori-Polynesian Comparative Dictionary (Lyon and Blair: Lambton Quay, 1891).

Māori mythology
Canopus

Atutahi


Vero Man refers to a set of fossilized human bones found near Vero (now Vero Beach), Florida, in 1915 and 1916. The human bones were found in association with those of Pleistocene animals. Pleistocene dates range from 2,580,000 to 11,700 years ago. The suggestion that humans might have been present in Florida (or anywhere in the Americas) during the Pleistocene was controversial at the time and most of the contemporary archaeologists did not accept that the Vero fossils could be that old.

Recent studies show that, in fact, the Vero human bones are from the Pleistocene. They now are recognized as the largest collection of human remains from the Pleistocene found in North America.

Initial discovery

Starting in late 1913, vertebrate fossils were uncovered during the construction of a drainage canal from the Indian River between Vero and Gifford. Samples of the fossils were sent by Isaac M. Weills and Frank Ayers to the state geologist of Florida, E. H. Sellards, who recognized the finds as Pleistocene animals.  In 1915, 26 fossilized human bones and fragments were found in the banks of the canal. The following year Sellards conducted his own excavations at the site, recovering an engraved mammoth tusk and a bird bone with marks possibly made by humans. In a nearby location he recovered human bones from the stratum that contained Pleistocene fossils. Sellards also found chert flakes and bone tools, including what appears to be a broken stemmed Archaic projectile point, and near the surface, he found a few ceramic sherds.

Sellards first published his findings in 1916. He invited other scientists to visit the Vero site in order to investigate it themselves in October 1916 and in March 1917. Aleš Hrdlička, T. Wayland Vaughan, Oliver Perry Hay, George Grant MacCurdy, and Rollin T. Chamberlin visited and examined the site. Sellards and Hays concluded that the human bones dated from the Pleistocene. Hrdlička, MacCurdy, and Chamberlin argued that the human bones were much more recent, while Vaughan felt that more evidence was needed before making a decision. Hrdlička, the most prominent physical anthropologist in America at the time, was firmly convinced that humans had not arrived in America until well after the Pleistocene had ended.

Human bones, artifacts, and/or human-modified animal bones in a Pleistocene context now have been found elsewhere in Florida, including at the nearby Helen Blazes and Melbourne Bone Bed sites.

Later discoveries
The human bones excavated by Sellards were passed around various institutions for study. By the time carbon-14 dating of fossils became possible, about 35 years after the discovery of Vero Man, some of the bones had been lost, and others had been rendered unusable for such testing due to the way they had been preserved with chemicals.

In 2009, scientists announced the discovery of a carving of a mammoth or mastodon or—although not considered so likely—a giant sloth, on a piece of bone found north of Vero Beach (the general area in which Vero Man was found). The carving may be among the oldest art found in the Americas. Scientists studying the carving noted similarities with Pleistocene art in Europe. Art historian Barbara Olins Alpert has noted that similarity does not prove connection, as finely executed realistic art styles have appeared in various times and places.

In 2014, new excavations at the site of the discovery of Vero Man were undertaken by Mercyhurst University and the Old Vero Ice Age Sites Committee, a local nonprofit organization. The Old Vero Ice Age Sites Committee announced the discovery of a possible "human living surface" at least 12,000 years old during the 2014 excavation season. Excavations continued into 2015 at the site, with finds including 14,000 year-old charred bones from both a dire wolf and a horse, possibly from a hearth. The archaeologists from Mercyhurst University withdrew from excavations at the Old Vero Man site in Vero Beach after 2015. Starting in 2016, archaeologists from Florida Atlantic University joined the Old Vero Man site excavations.

References

External links

Old Vero Ice Age Sites Committee

Paleo-Indian period
Archaeological sites in Florida
Homo fossils
Native American history of Florida
1915 archaeological discoveries
Vero Beach, Florida
1915 in Florida

Vero man


Germany has a long history before 1871, having different tribes and states. There are many names of Germany in different languages, more than any other European nation. For example, in the German language, the country is known as  from the Old High German , in Spanish as  and in French as  from the name of the Alamanni tribe, in Italian as  from the Latin , in Polish as  from the Protoslavic nemets, and in Finnish and Estonian as  and  respectively from the name of the Saxon tribe.

Names from Alemanni

The name Allemagne came from the Germanic Alemanni tribe, who lived in Alemannia (today's Alsace, parts of Baden-Württemberg and Switzerland).

In English, the name "Almain" or "Alman" was used for Germany until the 16th century. The word German was first used in 1520 as an alternative word, it then becoming a replacement word.

Names from Germania

The name Germany came from the Latin Germania in the 3rd century BC, it was word describing fertile land for farming behind the limes. The Gauls called the people who crossed east of the Rhine Germani but the original Germanic tribes did not call themselves that.

Julius Caesar was the first to use Germanus in writing when describing people in north-eastern Gaul in his Commentarii de Bello Gallico: he records the four northern Belgic tribes: Condrusi, Eburones, Caeraesi and Paemani.

References

History of Germany

Names of Germany


Pinatisan is a Filipino cooking process consisting of meat (usually chicken, pork, or beef) braised in  patis (fish sauce), garlic, ginger, onion, black peppercorns, and bay leaves. Some recipes also add non-traditional ingredients like tomatoes, chili peppers, and other herbs and spices. Vinegar may also be added. It is very similar to binagoongan, which is made using fermented shrimp (bagoong, which are also used to make fish sauce). It is also similar to Philippine adobo and paksiw, but is distinguished by the primary use of fish sauce in place of vinegar (pinatisan literally means "[cooked] with patis"). Pinatisan has a strong umami flavor rather than the characteristic sour and sweet flavor of adobo.

See also
 Piaparan
 Ginataan

References

Filipino cuisine
Philippine chicken dishes
Philippine pork dishes

Pinatisan


Grand Theft Auto 2 is a video game made by DMA Design and published by Rockstar Games, for Windows and PlayStation in 1999, and the Dreamcast and Game Boy in 2000. It is the sequel to Grand Theft Auto (1997), and the second installment of the Grand Theft Auto series. Set within a city known as "Anywhere City", the game is based on players taking the role of a criminal as they explore an open world, doing jobs for various crime mobs and having free rein to do whatever they wish to achieve their goal. The game's intro is unique for a title in the series, as it involved live-action scenes filmed by Rockstar Games.

1999 video games
Windows games
PlayStation games

Grand Theft Auto 2


Ronald James Sider (September 17, 1939 – July 27, 2022) was a Canadian-born American theologian and social activist. He was the founder of Evangelicals for Social Action. He was also a founding board member of the National Religious Partnership for the Environment. He was a professor at Palmer Theological Seminary. Sider was born in Stevensville, Canada.

Sider died on July 27, 2022 at his home in Wayne, Pennsylvania from a heart attack, aged 82.

References

1939 births
2022 deaths
Naturalized citizens of the United States
Canadian activists
Writers from Ontario
Writers from Pennsylvania
Canadian academics
American theologians
American activists
Academics from Pennsylvania

Ron Sider


Claude Winter (18 February 1931 in Tianjin (China) – 25 April 2011 in Paris) was a French stage and film actress.

Biography
She is admitted at the Comédie-Française 1 September 1953, becomes sociétaire on 1 January 1960, then dean 1 January 1987. In 1988, following the death of the administrator (Jean Le Poulain), she is administrator per intérim for two and a half month. When she made the decision to retire, she was named honorary sociétaire by her camarades.

Filmography

Cinema
1950: Beware of Blondes (by André Hunebelle
1954: Crainquebille (by Ralph Habib) - the lawyer
1973: Les Hommes (by Daniel Vigne)
1984: Le Bon Plaisir (by Francis Girod) - The First Lady
1984: A Sunday in the Country (by Bertrand Tavernier) - Mme. Ladmiral
1992: Savage Nights (by Cyril Collard) - Jean's mother
1993: Couples et Amants (by John Lvoff) - Génia
1994: Délit mineur (by Francis Girod)
1994: L'ange noir (by Jean-Claude Brisseau) - Mrs. Pitot
2010: Rendez-vous avec un ange (by Yves Thomas and Sophie de Daruvar) - the grandmother (final film role)

Television
1962:  (by Claude Santelli) (L'Auberge de l'ange gardien and Le Général Dourakine) - Madame Blidot
1969:  (Affaire vous concernant) (by Jean-Pierre Conti, TV director Pierre Sabbagh, Théâtre Marigny)
1969: Le Profanateur - Benvenuta
1971: 29 degrés à l'ombre - Mrs. Pomadour
1972: Ruy Blas - the queen
1972: Le Bunker - Eva Braun
1973: Horace - Julie
1975: Ondine - Queen Yseult
1975: Tartuffe - Elmire
1981: Le Pain de ménage - Marthe
1982: Les Caprices de Marianne - Hermia
1989: L'Été de la Révolution (by Lazare Iglesis) - Mrs. Necker
1989: Manon Roland - Manon's mother
1989: Les Grandes Familles - Adèle Schoudler
1995: Maigret - La comtesse de Saint-Fiacre

Theatre

1953: Un caprice by Alfred de Musset, directed by Maurice Escande, Comédie-Française
1953: Six Characters in Search of an Author by Luigi Pirandello, directed by Julien Bertheau, Comédie-Française
1955: Elizabeth, la femme sans homme by André Josset, directed by Henri Rollan, Comédie-Française
1960: Ruy Blas by Victor Hugo, directed by Raymond Rouleau, Comédie-Française
1962: La Troupe du Roy, hommage to Molière, directed by Paul-Émile Deiber, Comédie-Française
1962: The liar by Corneille, directed by Jacques Charon, Comédie-Française
1965: L'Orphelin de la Chine by Voltaire, directed by Jean Mercure, Comédie-Française
1967: L'Émigré de Brisbane by Georges Schéhadé, directed by Jacques Mauclair, Comédie-Française
1968: Tartuffe by Molière in the part of Elmire, directed by Jacques Charon, Comédie-Française
1968: Athalie by Racine, directed by Maurice Escande, Comédie-Française
1970: Malatesta by Henry de Montherlant, directed by Pierre Dux, Comédie-Française
1970: A Dream Play by August Strindberg, directed by Raymond Rouleau, Comédie-Française
1971: Les Sincères by Marivaux, directed by Jean-Laurent Cochet, Comédie-Française
1971: Ruy Blas by Victor Hugo, directed by Raymond Rouleau, Comédie-Française at the Théâtre de l'Odéon
1972: Horace by Pierre Corneille, directed by Jean-Pierre Miquel, Comédie-Française
1973: L'Impromptu de Versailles by Molière, directed by Pierre Dux, Comédie-Française
1973: Hunger and Thirst by Eugène Ionesco, directed by Jean-Marie Serreau, Comédie-Française at the Théâtre de l'Odéon
1973: Tartuffe by Molière, directed by Jacques Charon, Comédie-Française
1973: C'est la guerre Monsieur Gruber de Jacques Sternberg, directed by Jean-Pierre Miquel, Comédie-Française at the Théâtre de l'Odéon
1974: Ondine by Jean Giraudoux, directed by Raymond Rouleau, Comédie-Française
1975: The Idiot by Fiodor Dostoïevski, directed by Michel Vitold, Comédie-Française et the Théâtre Marigny
1976: Cyrano de Bergerac by Edmond Rostand, directed by Jean-Paul Roussillon, Comédie-Française
1977: Le Cid by Corneille, directed by Terry Hands, Comédie-Française
1978: Murder in the Cathedral by T. S. Eliot, directed by Terry Hands, Palais de Chaillot
1978: Six Characters in Search of an Author by Luigi Pirandello, directed by Antoine Bourseiller, Comédie-Française
1979: Le Pain de ménage by Jules Renard, directed by Yves Gasc, Comédie-Française
1980: Port-Royal by Henry de Montherlant, directed by Jean Meyer, Comédie-Française
1980: The Seagull by Tchekhov, directed by Otomar Krejča, Comédie-Française
1980: The Moods of Marianne by Alfred de Musset, mise en scène François Beaulieu, Comédie-Française
1981: Andromaque by Racine, directed by Patrice Kerbrat, Comédie-Française
1981: La Dame de chez Maxim by Georges Feydeau, directed by Jean-Paul Roussillon, Comédie-Française
1982: Les Corbeaux de Henry Becque, directed by Jean-Pierre Vincent, Comédie-Française
1984: Cinna by Corneille, directed by Jean-Marie Villégier, Comédie-Française
1984: La Mort de Sénèque by Tristan L'Hermite, directed by Jean-Marie Villégier, Comédie-Française
1985: The Triumph of Love by Marivaux, directed by Alain Halle-Halle, Comédie-Française
1985: Macbeth by Shakespeare, directed by Jean-Pierre Vincent, Comédie-Française
1987: The Eternal Husband by Dostoevsky, directed by Simon Eine, Comédie-Française at the Théâtre de l'Odéon
1987: A Kind of Alaska by Harold Pinter, directed by Bernard Murat, Comédie-Française at the festival d'Avignon
1988: Death of a Salesman by Arthur Miller, directed by Marcel Bluwal, Théâtre de l'Odéon, Théâtre national de Nice

Dubbing
 Lady (1st dubbing) :
1955: Lady and the Tramp
 Elizabeth Taylor in :
1959: Suddenly, Last Summer
1963: Cleopatra
1954: Janet Leigh in Prince Vaillant
1954: Lizabeth Scott in Silver Lode
1956: Linda Cristal in Comanche
1956: Yvonne De Carlo in The Ten Commandments

Prizes and awards
 1988 : Prix du Brigadier for Death of a Salesman by Arthur Miller, Centre national de création d'Orléans and Théâtre national de l'Odéon

External links

 Claude Winter à la Comédie-Française
 Claude Winter, reine du Théâtre Français
 Claude Winter on "Les Gens du cinéma"

French stage actresses
French film actresses
Sociétaires of the Comédie-Française
Administrators of the Comédie-Française
Actresses from Tianjin
1931 births
2011 deaths

Claude Winter


The Altamont Speedway Free Festival was a counterculture rock concert in the United States, held on Saturday, December 6, 1969, at the Altamont Speedway outside of Tracy, California. Approximately 300,000 attended the concert, and some anticipated that it would be a "Woodstock West". The Woodstock festival had been held in Bethel, New York, in mid-August, almost four months earlier.

The event is remembered for its use of Hells Angels as security and its considerable violence, including the stabbing death of Meredith Hunter and three accidental deaths: two by a hit-and-run car accident, and one by an  LSD-induced drowning in an irrigation canal. Scores were injured, numerous cars were stolen (and subsequently abandoned) and there was extensive property damage.

The concert featured (in order of appearance): Santana, Jefferson Airplane, the Flying Burrito Brothers and Crosby, Stills, Nash & Young (CSNY), with the Rolling Stones taking the stage as the final act. The Grateful Dead were also scheduled to perform following CSNY, but shortly before their scheduled appearance chose not to because of the increasing violence at the venue. "That's the way things went at Altamont—so badly that the Grateful Dead, the prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event, terming it in an additional follow-up piece "rock and roll's all-time worst day, December 6th, a day when everything went perfectly wrong."

Filmmakers Albert and David Maysles shot footage of the event and incorporated it into the 1970 documentary film titled Gimme Shelter.

Background

Jefferson Airplane-centered narrative
According to Jefferson Airplane's Spencer Dryden, the idea for "a kind of Woodstock West" began when he and bandmate Jorma Kaukonen discussed the staging of a free concert with the Grateful Dead and Rolling Stones in Golden Gate Park. Referring to the Stones, Dryden said, "Next to the Beatles they were the biggest rock and roll band in the world, and we wanted them to experience what we were experiencing in San Francisco."

As plans were being finalized, Jefferson Airplane were on the road, and by early December they were in Florida, believing the concert plans for Golden Gate Park were proceeding. But by December 4, the plans had broken down, in Paul Kantner's account, because the city and police departments were unhelpful; innate conflict between the hippies of Haight-Ashbury and the police was manifested in obstructiveness. Sonoma Raceway was then the venue, but its owners wanted $100,000 in escrow from the Rolling Stones.

At the last moment, Dick Carter offered his Altamont Speedway in eastern Alameda County for the festival. Jefferson Airplane flew out of Miami on December 5. Kantner said the location was taken in a spirit of desperation: "There was no way to control it, no supervision or order." According to Grace Slick, "The vibes were bad. Something was very peculiar, not particularly bad, just real peculiar. It was that kind of hazy, abrasive and unsure day. I had expected the loving vibes of Woodstock but that wasn't coming at me. This was a whole different thing."

Rolling Stones/Grateful Dead-centered narrative
During the Rolling Stones' 1969 U.S. tour, many (including journalists) felt that the ticket prices were far too high. In answer to this criticism, the Rolling Stones decided to end their tour with a free concert in San Francisco.

The concert was originally scheduled to be held at San Jose State University's practice field, as there had recently been a three-day outdoor free festival there with 52 bands and 80,000 attendees. Dirt Cheap Productions was asked to help secure the property again for the Rolling Stones and Grateful Dead to play a free concert. The Stones and the Dead were told the city of San Jose was not in the mood for another large concert and the grounds were out of bounds. Golden Gate Park in San Francisco was next on the list. However, a previously scheduled Chicago Bears–San Francisco 49ers football game at Kezar Stadium, located in Golden Gate Park, made that venue impractical, and permits were never issued for the concert. The venue was then changed to the Sears Point Raceway near Sonoma. However, a dispute with Sears Point's owner, Filmways, Inc., arose over a $300,000 up-front cash deposit from the Rolling Stones and film distribution rights, so the festival was moved once again. The Altamont Raceway, just outside of Tracy, was chosen at the suggestion of its owner, local businessman Dick Carter. The concert was to take place on Saturday, December 6; the location was switched on the night of Thursday, December 4.

In making preparations, Grateful Dead manager Rock Scully and concert organizer Michael Lang helicoptered over the site before making the selection, much as Lang had done when the Woodstock Festival was moved at the last moment from Wallkill to Bethel, New York.

The hasty move resulted in numerous logistical problems, including a lack of facilities such as portable toilets and medical tents. The move also created a problem for the stage design; instead of being on top of a rise, which characterized the geography at Sears Point, at Altamont the stage would now be at the bottom of a slope. The Rolling Stones' stage manager on the 1969 tour, Chip Monck, explained that "the stage was one metre high – 39 inches for us – and [at Sears Point] it was on the top of a hill, so all the audience pressure was back upon them". Because of the short notice for the change of location, the stage could not be changed. "We weren't working with scaffolding, we were working in an older fashion with parallels. You could probably have put another stage below it...but nobody had one," Monck said.

Because the stage was so low, members of the Hells Angels motorcycle club, led by Oakland chapter head Ralph "Sonny" Barger, were asked to surround the stage to provide security.

Security
By some accounts, the Hells Angels were hired as security by the management of the Rolling Stones, on the recommendation of the Grateful Dead and Jefferson Airplane (who both had previously used the Angels for security at performances without incident), for $500 worth of beer. This story has been denied by some parties who were directly involved. According to the road manager of the Rolling Stones' 1969 US Tour, Sam Cutler, "the only agreement there ever was ... the Angels would make sure nobody tampered with the generators, but that was the extent of it. But there was no way 'They're going to be the police force' or anything like that. That's all bollocks." The deal was made at a meeting including Cutler, Grateful Dead manager Rock Scully, and Pete Knell, a member of the Hells Angels' San Francisco chapter. According to Cutler, the arrangement was that all the bands were supposed to share the $500 beer cost, "[but] the person who paid it was me, and I never got it back, to this day."

Hells Angels member Bill "Sweet William" Fritsch recalled this exchange he had with Cutler at a meeting prior to the concert, in which Cutler had asked them to provide security:

We don't police things. We're not a security force. We go to concerts to enjoy ourselves and have fun.

Well, what about helping people out—you know, giving directions and things?

Sure, we can do that.

When Cutler asked how they would like to be paid, William replied, "We like beer." In the documentary Gimme Shelter, Sonny Barger states that the Hells Angels were not interested in policing the event, and that organizers had told him that the Angels would be required to do little more than sit on the edge of the stage, drink beer, and make sure there were not any murders or rapes occurring.

In 2009, Cutler explained his decision to use the Angels.
I was talking with them, because I was interested in the security of my band—everyone's security, for that matter. In the country of the blind, the one-eyed man is king. They were the only people who were strong and together. [They had to protect the stage] because it was descending into absolute chaos. Who was going to stop it?
Grateful Dead manager Rock Scully said that if the Angels hadn't been on the stage, that whole crowd could have easily passed out, and rolled down onto the stage. There was no barrier.

Stefan Ponek, who helped organize the event, hosted a December 7, 1969, KSAN-FM radio broadcast of a four-hour, "day after" post-concert telephone call-in forum, provided the following for the 2000 release (the four-hour recording is included) of the Gimme Shelter DVD:
What we learned in the broadcast was pretty much startling: These guys—the Angels—had been hired and paid with $500 of beer, on a truck with ice, to essentially bring in the Stones and keep people off the stage. That was the understanding, that was the deal. And it seemed like there was not a lot of disagreement over that; that seemed to emerge as a fact, because it became rather apparent that the Stones didn't know what kind of people they were dealing with.

The Gimme Shelter DVD contains extensive excerpts from that broadcast. A Hells Angels member who identified himself as "Pete, from Hells Angels San Francisco" (most likely Pete Knell, president of the San Francisco chapter), says "they offered us $500 worth of beer [to] go there and take care of the stage ... we took this $500 worth of beer to do it." Sonny Barger, who also called into the KSAN forum, states: "We were told by one of the [other Hells Angels] clubs if we showed up down there [and] sat on the stage and drink some beer ... that the Stones manager or somebody had bought for us." In his lengthy call, Barger mentions the beer deal yet again:
I ain't no cop, I ain't never going to ever pretend to be no cop. I didn't go there to police nothing, man. They told me if I could sit on the edge of the stage so nobody could climb over me, I could drink beer until the show was over. And that's what I went there to do.

A woman who called in to the program revealed that she had seen at least five fist fights from her vantage point near the stage and that the Angels were involved in all of them. She also described a general uncaring attitude toward people who clearly needed help; a girl who was dragged across the stage by her hair, another who was on a bad acid trip and bystanders kicked and walked on her. She said she felt having the Angels as "security" was an irresponsible move because "we were all in terror of them". When she tried to speak about this at the concert, she was warned to be quiet by the people around her, for fear of being beaten. At this point, KSAN's Scoop Nisker mentioned the bystander effect and the murder of Kitty Genovese.

Emmett Grogan (founder of the radical community-action group the Diggers), who was intimately involved in the organization of the event (especially at the two earlier-planned venues), confirmed the $500 beer arrangement on that same KSAN forum with Ponek.

"Pete" also tells host Ponek that the Angels were hired by Cutler because of some rowdy, anxious on-stage incidents during the Stones' Oakland and Miami concerts weeks earlier. As security guards, Pete said "we ain't into that security", but that they agreed after the beer offer. He also claimed that, other than being told to "just keep people off the stage," Cutler gave the Hells Angels very little specific instructions for stage security: "They didn't say nothing to us about any of that." And although the Angels are not security guards, "If we say we're going to do something, we do it. If we decide to do it, it's done. No matter what, how far we have to go to do it." The similar lack of detailed security instructions by the concert's management was also mentioned by Barger during his telephone call-in.

Altamont Speedway owner Dick Carter had hired hundreds of professional, plainclothes security guards, ostensibly more for the purpose of protecting his property rather than for the safety and well-being of the concertgoers. Barger mentions these guards, as identified by their wearing of "little white buttons".

Political scientist and cultural critic James Miller believes that since Ken Kesey had invited the Hells Angels to one of his outdoor Acid Tests, the hippies had viewed the bikers unrealistically, idealizing them as "noble savages" and thus "outlaw brothers of the counterculture". Miller also maintains that the Rolling Stones may have been misled by their experience with a British contingent of self-described "Hells Angels", a non-outlaw group of admirers of American biker gear who had provided nonviolent security at a free Stones concert earlier that year in Hyde Park, London. Cutler, however, denies ever having had any illusions about the true nature of Californian Hells Angels. "That's another canard foisted on the world by the press", he said, but Rock Scully remembers explaining to the Stones what the "real" Angels were like after watching the Hyde Park concert.

Situation deteriorates
The first act on the stage, Santana, gave a performance that generally went smoothly; however, over the course of the day, the mood of both the crowd and the Angels became progressively agitated and violent. The Angels had been drinking their free beer all day in front of the stage, and most were very drunk. The crowd had also become antagonistic and unpredictable, attacking each other, the Angels, and the performers. A Mick Jagger biographer, Anthony Scaduto, in Mick Jagger: Everybody's Lucifer, wrote that the only time the crowd seemed to calm down to any degree was during a set by the country-rocking Flying Burrito Brothers. However, Denise Jewkes, lead singer of the local San Francisco rock band The Ace of Cups, six months pregnant, was hit in the head by an empty beer bottle thrown from the crowd and suffered a skull fracture.  The Angels proceeded to arm themselves with sawed-off pool cues and motorcycle chains to drive the crowd further back from the stage.

After the crowd (perhaps accidentally) toppled one of the Angels' motorcycles, the Angels became even more aggressive, including toward the performers. Marty Balin of Jefferson Airplane jumped off the stage to try to sort out the problem, only to be punched in the head and knocked unconscious by an Angel during the band's set. When Jefferson Airplane guitarist Paul Kantner sarcastically thanked the Angels for knocking the singer out, Angel Bill Fritsch took hold of a microphone and argued with him about it. The Grateful Dead had been scheduled to play between Crosby, Stills, Nash & Young, and the Rolling Stones, but after hearing about the Balin incident from Santana drummer Michael Shrieve, they refused to play and left the venue, citing the quickly degenerating security situation.

During Crosby, Stills, Nash & Young's set, Stephen Stills was reported to be repeatedly stabbed in the leg by a "stoned-out" Hells Angel, with a sharpened bicycle spoke.

By the time the Rolling Stones took the stage in the early evening, the mood had taken a decidedly ugly turn as numerous fights had erupted between Angels and crowd members and within the crowd itself.

The Rolling Stones waited until sundown to perform. Stanley Booth stated that part of the reason for the delay was that Bill Wyman had missed the helicopter ride to the venue. When the Stones began their set, a tightly packed group of between 4,000 and 5,000 people were jammed to the very edge of the stage, and many attempted to climb onto it.

Killing of Meredith Hunter

Rolling Stones lead singer Mick Jagger, who had already been punched in the head by a concertgoer within seconds of emerging from his helicopter, was visibly intimidated by the unruly situation and urged everyone to, "Just be cool down in the front there, don't push around." During the third song, "Sympathy for the Devil", a fight erupted in the front of the crowd at the foot of the stage, prompting the Stones to pause their set while the Angels restored order. After a lengthy pause and another appeal for calm, the band restarted the song and continued their set with less incident until the start of "Under My Thumb". At this point, some of the Hells Angels got into a scuffle with Meredith Hunter, age 18, when he attempted to get onstage with other fans. One of the Hells Angels grabbed Hunter's head, punched him, and chased him back into the crowd.  After a minute's pause, Hunter returned to the stage  where, according to Gimme Shelter producer Porter Bibb, Hunter's girlfriend Patty Bredehoft found him and tearfully begged him to calm down and move further back in the crowd with her; but he was reportedly enraged, irrational and "so high he could barely walk". Rock Scully, who could see the audience clearly from the top of a truck by the stage, said of Hunter, "I saw what he was looking at, that he was crazy, he was on drugs, and that he had murderous intent. There was no doubt in my mind that he intended to do terrible harm to Mick or somebody in the Rolling Stones, or somebody on that stage."

Following his initial scuffle with the Angels as he tried to climb onstage, Hunter, as seen in concert footage wearing a bright lime-green suit, returned to the front of the crowd and drew a long-barreled .22 caliber revolver from inside his jacket. Hells Angel Alan Passaro, seeing Hunter drawing the revolver, drew a knife from his belt and charged Hunter from the side, parrying Hunter's pistol with his left hand and stabbing him twice with his right hand, killing him.

Footage shot by Eric Saarinen, who was on stage taking pictures of the crowd, and Baird Bryant, who climbed atop a bus, appears in the Gimme Shelter documentary. Saarinen was unaware of having caught the killing on film. This was discovered more than a week later when raw footage was screened in the New York offices of the Maysles Brothers. In the film sequence, lasting about two seconds, a two-meter (six-foot) opening in the crowd appears, leaving Bredehoft in the center. Hunter enters the opening from the left. His hand rises toward the stage, and the silhouette of a revolver is clearly seen against Bredehoft's light-colored vest. Passaro is seen entering from the right and delivering two stabs with his knife as he parries Hunter's revolver and pushes him off-screen; the opening then closes around Bredehoft. Passaro was reported to have stabbed Hunter five times in the upper back, although only two stabs are visible in the footage. Witnesses also reported Hunter was stomped on by several Hells Angels while he was on the ground. The gun was recovered and turned over to police. Hunter's autopsy confirmed he was high on methamphetamine when he died. Passaro was arrested and tried for murder in the summer of 1971, but was acquitted after a jury viewed concert footage showing Hunter brandishing the revolver and concluded that Passaro had acted in self-defense.

The Rolling Stones were aware of the skirmish, but not the stabbing ("You couldn't see anything, it was just another scuffle", Jagger tells David Maysles during film editing). But it soon became apparent they could see something of what had happened because the band stopped playing mid-song and Jagger was heard calling into his microphone, "We've really got someone hurt here... is there a doctor?" After a few minutes the band began playing again and eventually completed their set. Jagger told Maysles they all agreed that if they abandoned the show at that point, the crowd would have become even more unruly, perhaps degenerating into a full-scale riot.

In 2003, the Alameda County Sheriff's Office initiated a two-year investigation into the possibility of a second Hells Angel having taken part in the stabbing. Finding insufficient support for this hypothesis, and reaffirming that Passaro acted alone, the office closed the case for good on May 25, 2005.

Reactions
The Altamont concert is often contrasted with the Woodstock festival that took place fewer than four months earlier. While Woodstock represented "peace and love", Altamont came to be viewed as the end of the hippie era and the de facto conclusion of late-1960s American youth culture: "Altamont became, whether fairly or not, a symbol for the death of the Woodstock Nation." Rock music critic Robert Christgau wrote in 1972 that "Writers focus on Altamont not because it brought on the end of an era but because it provided such a complex metaphor for the way an era ended." Writing for The New Yorker in 2015, Richard Brody argued that what Altamont ended was "the idea that, left to their own inclinations and stripped of the trappings of the wider social order, the young people of the new generation will somehow spontaneously create a higher, gentler, more loving grassroots order. What died at Altamont is the Rousseauian dream itself." More contemporary perspectives challenge that, since the Manson family murders, also ascribed to counter-cultural hippies, occurred even before Woodstock.

The music magazine Rolling Stone, in a 14-page 11-author article on the event entitled "The Rolling Stones Disaster at Altamont: Let It Bleed" published in their January 21, 1970, issue, stated that "Altamont was the product of diabolical egotism, hype, ineptitude, money manipulation, and, at base, a fundamental lack of concern for humanity". The article covered the many issues with the event's organization and was very critical of the organizers and the Rolling Stones; one writer stated: "what an enormous thrill it would have been for an Angel to kick Mick Jagger's teeth down his throat." Another follow-up piece in Rolling Stone called the Altamont event "rock and roll's all-time worst day". In Esquire magazine, Ralph J. Gleason observed, "The day The Rolling Stones played there, the name [Altamont] became etched in the minds of millions of people who love pop music and who hate it as well. If the name 'Woodstock' has come to denote the flowering of one phase of the youth culture, 'Altamont' has come to mean the end of it."

The film Gimme Shelter was criticized by Pauline Kael, Vincent Canby and other reviewers for portraying the Stones too sympathetically, and for staging a concert for the sole reason that it could be filmed, despite all the problems leading up to it. Salon'''s Michael Sragow, writing in 2000, said many of the critics took their cues from the Rolling Stone review, which heavily blamed the filmmakers for being part of a "staged event" so that the Rolling Stones could profit from making a "concert" film. Sragow pointed out numerous errors in the Rolling Stone coverage and added that the Maysles did not make "major motion pictures" in the traditional way; instead, a variety of factors contributed to the tragedy.

The Rolling Stones' Keith Richards was relatively sanguine about the show, calling it "basically well-handled, but lots of people were tired and a few tempers got frayed" and "on the whole, a good concert."

The Grateful Dead wrote several songs about, or in response to, what lyricist Robert Hunter called "the Altamont affair", including "New Speedway Boogie" (featuring the line "One way or another, this darkness got to give") and "Mason's Children". Both songs were written and recorded during sessions for the early 1970 album Workingman's Dead, but "Mason's Children" was not included on the album.

Altamont also inspired the Blue Öyster Cult song "Transmaniacon MC" ("MC" means "motorcycle club"), the opening track of their first album.

The incident is mentioned in the 1996 film The Cable Guy, in a scene where Jim Carrey's character, Chip Douglas, performs "Somebody to Love" on karaoke: "You might recognize this song as performed by Jefferson Airplane, in a little rockumentary called Gimme Shelter, about the Rolling Stones and their nightmare at Altamont. That night the Oakland chapter of the Hell's Angels had their way. Tonight, it's my turn."

In 2004, Australian electronic psych group Black Cab released their debut LP Altamont Diary, a concept album based on the concert and its cultural fallout. The LP features a cover of "New Speedway Boogie".

Altamont is also referenced by Don McLean in the song "American Pie" in the song's fifth verse, the majority of which contains symbols related to Altamont: "Jack Flash", a reference to San Francisco ("Candlestick", though that venue had nothing to do with the actual concert), (Sympathy for) "the Devil", an enraged spectator watching something on a stage, and an "angel born in Hell". McLean officially refused to confirm or deny the song's ties to Altamont until he sold his songwriting notes in 2015. Within the context of the song, Altamont served as the culmination of a period that had begun with the plane crash that killed Buddy Holly, Ritchie Valens and the Big Bopper in February 1959, during which "things (were) heading in the wrong direction" and life was "becoming less idyllic."

In 2008, a former FBI agent asserted that some members of the Hells Angels had conspired to murder Mick Jagger in retribution for the Rolling Stones' lack of support following the concert, and for the negative portrayal of the Angels in the Gimme Shelter film. The conspirators reportedly used a boat to approach a residence where Jagger was staying on Long Island, New York, the plot failing when the boat was nearly sunk by a storm. Jagger's spokesperson has refused to comment on the matter.

In January 2022, the Library of Congress shared a 30-minute clip of soundless footage shot from the stage at Altamont. The Library obtained the footage from the Prelinger Archives.

Set list

Santana
 "Savor"
 "Jin-go-lo-ba"
 "Evil Ways"
 "Conquistadore Rides Again"
 "Persuasion"
 "Soul Sacrifice"
 "Gumbo"

Jefferson Airplane
 "We Can Be Together"
 "The Other Side of This Life" (During the performance of this song, Marty Balin was struck by a member of the Hells Angels, causing a temporary halt to the music.)
 "Somebody to Love"
 "3/5 of a Mile in 10 Seconds"
 "Greasy Heart"
 "White Rabbit"
 "Come Back Baby"
 "The Ballad of You and Me and Pooneil"
 "Volunteers"

The Flying Burrito Brothers
 "Lucille"
 "To Love Somebody"
 "Six Days on the Road"
 "High Fashion Queen"
 "Cody, Cody"
 "Lazy Day"
 "Bony Moronie"
 "Close Up The Honky Tonks"
 "Sweet Mental Revenge"

Crosby, Stills, Nash & Young
 "Black Queen"
 "Pre-Road Downs"
 "Long Time Gone"
 "Down by the River"
 "Sea of Madness"

The Rolling Stones
 "Jumpin' Jack Flash"
 "Carol"
 "Sympathy for the Devil" (Interrupted by numerous fights near the stage, causing the band to stop and then restart the song.)
 "The Sun Is Shining"
 "Stray Cat Blues"
 "Love in Vain"
 "Under My Thumb" (Stopped following the fracas involving Meredith Hunter, then restarted; after this, the violence subsided for the remainder of the concert.)
 "Brown Sugar" (Debut live performance of the song; the studio version had been recorded only two days earlier in Muscle Shoals, Alabama.)
 "Midnight Rambler"
 "Live with Me" (The scene in the film showing a naked woman attempting to climb onto the stage actually occurs during this song, though it is shown while "Sympathy for the Devil" is played. The performance of the song is also faintly heard in the background as the medical intern talks about Meredith Hunter's death.)
 "Gimme Shelter"
 "Little Queenie"
 "(I Can't Get No) Satisfaction"
 "Honky Tonk Women"
 "Street Fighting Man"

See also

 Gimme Shelter (1970 film)
 Rolling Stones at Altamont--home movie'' from the Library of Congress
 List of music festivals
 List of historic rock festivals
 Woodstock '99

References

Citations

Sources

External links

1969 disasters in the United States
1969 in American music
1969 in California
1969 music festivals
1969 riots
December 1969 events in the United States
Music festivals established in 1969
Concerts in the United States
Free festivals
Hells Angels
Rock concerts
History of San Joaquin County, California
Jam band festivals
Man-made disasters in the United States
Music riots
Rock festivals in the United States
Stadium disasters
Tracy, California
Concert disasters

Altamont Free Concert


Captain Kenneth William Junor  (August 3, 1896 – April 23, 1918) was a Canadian flying ace during World War I. He was credited with eight confirmed victories.

He began his service in mounted infantry and transferred to a machine gun unit. He was entrusted with a commission while still only 19 years old. He then transferred to the Royal Flying Corps, where his courage won him a Military Cross, awarded him on the day he was killed in action.

Early life
Kenneth William Junor was the son of Alice E. and William Junor. The younger Junor was born on 3 August 1896 in Toronto, Ontario, Canada. He served in the 4th Mounted Rifles of the militia prior to enlisting into the Canadian Expeditionary Force on 24 July 1915 to serve in the First World War. At the time of his enlistment as a private into the 75th (Mississauga) Battalion, CEF, he was a third year student at Toronto University serving in the 9th Mounted Horse of the militia. The annotation on his enlistment papers that he was being recruited as an officer seems to indicate he was already being considered for a commission. His physical examination noted that he was 5 feet 8 1/2 inches tall, fair complected, with brown hair and blue eyes.

World War I
In March 1916, Junor was shipped to England as a lieutenant in the 11th Machine Gun Company of the Canadian Machine Gun Corps. In July 1916, he was forwarded to serve on the Western Front. He served during the Battle of the Somme, and was stricken with fever.

After his recovery, he was seconded to the Royal Flying Corps, on 28 July 1917. In December 1917, after training, he was posted to No. 56 Squadron as a Royal Aircraft Factory SE.5a pilot. Between 29 January and 20 April 1918, using planes he dubbed Bubbly Kid and Bubbly Kid II, he would set two German aircraft afire in midair, destroy three others, and drive down three more down out of control.

On 23 April 1918, Junor fell victim to German ace Egon Koepsch of Jagdstaffel 4, who shot him down at Bray-sur-Somme. Kenneth William Junor is buried in an unidentified plot in Faubourg-d'Amiens Cemetery, as well as memorialized on the Arras Flying Services Memorial.

Kenneth William Junor was awarded the Military Cross for valour on the very day he was killed in action; however, it was gazetted posthumously on 13 May 1918. The award citation gives an incomplete description of his aerial career:

For conspicuous gallantry and devotion to duty in aerial fighting. He destroyed two enemy machines and drove down two others out of control, which crashed on landing. He always showed the greatest courage, skill and resource.

References

External links
 Photograph of Kenneth William Junor's memorial

Canadian World War I flying aces
Canadian recipients of the Military Cross
1896 births
1918 deaths
People from Old Toronto
Canadian military personnel killed in World War I
Canadian military personnel of World War I
Canadian Machine Gun Corps officers
Military personnel from Toronto
Royal Flying Corps officers
Canadian Expeditionary Force officers

Kenneth William Junor


Yamauchi or Yamanouchi (やまうち or やまのうち, lit. "inside mountains") is a Japanese surname. Either name is written in kanji as 山内 while Yamanouchi can also be written as 山ノ内.

Notable people with the surname include:

Yamanouchi Toyoshige, 15th feudal lord of the Tosa domain
Yamauchi Kazutoyo, first feudal lord of the Tosa domain
Kenji Yamanouchi, eponymous founder of Yamanouchi Pharmaceutical Co., now part of Astellas Pharma
Edwin M. Yamauchi, historian and biblical scholar
Fusajiro Yamauchi, founder of Nintendo
Sekiryo Yamauchi (born Sekiryo Kaneda), second president of Nintendo, son-in-law of Fusajiro Yamauchi
Hiroshi Yamauchi, third president of Nintendo, grandson of Fusajiro Yamauchi
Goiti Yamauchi, Japanese-Brazilian mixed martial artist
Kazunori Yamauchi, creator of the Gran Turismo videogame series
Mara Yamauchi, British long-distance runner
, Japanese rower
, Japanese long-distance runner
Wakako Yamauchi, American writer
Tetsu Yamauchi, Japanese bass guitarist for the bands Free and The Faces
Akihiro Yamauchi, Japanese volleyball player

Other uses:
Yamanouchi, Kamakura, a neighbourhood in Kanagawa Prefecture, Japan
Yamanouchi, Nagano, a town in the Shimotakai District, Nagano Prefecture, Japan
Yamauchi, Saga, a former town of Kishima District, Saga Prefecture, Japan
Yamanouchi Pharmaceutical, a company acquired by Astellas Pharma

See also
 Japanese name
 Special:Prefixindex/Yamauchi - the page gives articles starting with Yamauchi.
 Special:Prefixindex/Yamanouchi - the page gives articles starting with Yamanouchi.

Japanese-language surnames

Yamauchi