Matt West is a choreographer and actor. He choreographed the first Broadway production of Beauty and the Beast. He won a Drama-Logue Award for his work on that show.

His acting credits include the role of Bobby in the Broadway musical A Chorus Line. He reprised this role in the 1985 movie version directed by Richard Attenborough.

West co-produced and choreographed Lestat, a musical based on the Vampire Lestat stories by Anne Rice.

References

External links
 Playbill Bio

 Matt West at broadwayworld.com

Year of birth missing (living people)
Living people
American choreographers

Matt West


Bradford West Gwillimbury is a town in Simcoe County, Ontario, Canada. It was founded in 1991 when the Town of Bradford was merged with parts of the Townships of West Gwillimbury and Tecumseth. According to the Canada 2011 Census, the town had a population of 28,077.

Two highways run through the town: Highway 9 and Highway 400.

Towns in Ontario
1991 establishments in Canada

Bradford West Gwillimbury


Chevrolet, also known as Chevy, and formally the Chevrolet Division of the General Motors Company, is a car company owned by General Motors. Chevrolet is known for producing popular, affordable cars. Chevrolet produces the Corvette, one of the most famous sports cars in the world.

Chevrolet was created in 1911 by Louis Chevrolet. Louis was a racing car driver. Chevrolet started using its "bow-tie" logo in 1913. It could have come from a wallpaper Chevrolet saw in a hotel. It could also be a version of the cross on the Swiss flag, due to Chevrolet having been born in Switzerland.

In 1917, Chevrolet combined with General Motors. In 2002, GM acquired the recently bankrupt Daewoo Motors company of South Korea, and in 2011, the brand was folded into Chevrolet making the marque global except for Australasia.

Models

Current
Some of these vehicles also come, or used to come in, hybrid-electric versions.
 Avalanche
 Aveo/Sonic
 Camaro
 Caprice PPV
 Chevrolet City Express (a rebadged Nissan transit van)
 Corvette
 Cruze
 Colorado
 Equinox
 Express Commercial Van
 Malibu and Malibu Hybrid
 Silverado
 Spark
 Suburban
 Tahoe
 TrailBlazer (not sold in North America)
 Trax/Tracker
 Traverse
 Volt, a plug-in hybrid
 Bolt EV, a battery-electric vehicle

Discontinued
 Caprice
 Prizm
 Metro
 Tracker
 Uplander
 Impala
 Lumina
 Chevrolet Astro
 Chevrolet Cobalt
 Chevrolet Optra
 Chevrolet S10 Blazer
 K5 Blazer
 Chevrolet Evanda/Epica
 Chevrolet Rezzo
 Chevrolet Orlando

Other websites
 Official Chevrolet Site
 Chevrolet in Canada

General Motors

Chevrolet


Neuropsychoanalysis integrates both neuroscience and psychoanalysis, to create a balanced and equal study of the human mind. This overarching approach began as advances in neuroscience lead to breakthroughs which held pertinent information for the field of psychoanalysis.  Despite advantages for these fields to interconnect, there is some concern that too much emphasis on neurobiological physiology of the brain will undermine the importance of dialogue and exploration that is foundational to the field of psychoanalysis. Critics will also point to the qualitative and subjective nature of the field of psychoanalysis, claiming it cannot be fully reconciled with the quantitative and objective nature of neuroscientific research.  However, despite this critique, proponents of the field of neuropsychoanalysis remind critics that the father of psychoanalysis, Sigmund Freud himself, began his career as a neuroanatomist, further arguing that research in this category proves that the psychodynamic effects of the mind are inextricably linked to neural activity in the brain. Indeed, neuroscientific progress has created a shared study of many of the same cognitive phenomenon, and proponents for a distinct field under the heading of neuropsychoanalysis point to the ability for observation of both the subjective mind and empirical evidence in neurobiology to provide greater understanding and greater curative methods. Therefore, neurospsychoanalysis aims to bring a field, often viewed as belonging more to the humanities than the sciences, into the scientific realm and under the umbrella of neuroscience, distinct from psychoanalysis, and yet adding to the plethora of insight garnered from it.

History
Neuropsychoanalysis as a discipline can be traced as far back as Sigmund Freud's manuscript, "Project for a Scientific Psychology". Written in 1895, but only published posthumously, Freud developed his theories of the neurobiological function of the storage of memory in this work. His statement, based on his theory that memory is biologically stored in the brain by, "a permanent alteration following an event", had a prophetic insight into the empirical discoveries that would corroborate these theories close to 100 years later. Freud speculated that psychodynamics and neurobiology would eventually reunite as one field of study. While time would eventually prove him correct to some degree, the latter half of the 20th century only saw a very gradual movement in this direction with only a few individuals championing this line of thought.

Significant advances in neuroscience throughout the 20th century created a clearer understanding of the functionality of the brain, which have vastly enhanced the way we view the mind. This began in the 1930s with the invention of electroencephalography, which enabled imaging of the brain as never seen before. A decade later the use of dynamic localization, or the lesion method, further shed light onto the interaction of systems in the brain. Computerized tomography lead to even greater understanding of the interaction within the brain, and finally the invention of multiple scan technologies in the 1990s, the fMRI, PET, and the SPECT gave researchers empirical evidence of neurobiological processes.

It was in 1999, just before the turn of the century, that the term "neuropsychoanalysis" was used in a new journal entitled with the same name. This term once was hyphenated to indicate that the conjoining of the two fields of study did not suggest that they had been fully integrated, but rather that this new line of scientific inquiry was interdisciplinary. With repeated use, the hyphen was lost, and the name appears as we see it today.

Theoretical base

Dual-aspect monism
Neuropsychoanalysis is best described as a marriage between neuroscience and psychoanalysis. However, its relationship to the broader field of neuropsychology – which relates the biological brain to psychological functions and behavior – cannot be denied. Indeed, neuropsychoanalysis further seeks to remedy classical neurology's exclusion of the subjective mind.

The subjective mind, that is, sensations, thoughts, feelings and consciousness, can seem antithetical to the cellular matter that makes up the neurobiology of the brain. Indeed, while Freud is most often credited with being the seminal creator of the study of the mind in mordern terms, it was Descartes who concluded that mind and brain were two entirely different kinds of stuff. Accordingly, he invented the "dualism" of the mind, the mind-body dichotomy.  Body is one kind of thing, and mind (or spirit or soul) is another.  But since this second kind of stuff does not lend itself to scientific inquiry, many of today's psychologists and neuroscientists have seemingly rejected Cartesian dualism.

Neuropsychoanalysis meets this challenge via dual-aspect monism, sometimes referred to as perspectivism.  That is, we are monistic.  Our brains, including mind, are made of one kind of stuff, cells, but we perceive this stuff in two different ways.

Psychoanalysis as a foundation
Perhaps because Freud himself began his career as a neurologist, psychoanalysis has given the field of neuroscience the platform upon which many of its scientific hypotheses were founded. With the field of psychoanalysis suffering from what many see as a decline in innovation and popularity, a call for new approaches and a more scientific methodology is long overdue. The history of neuropsychoanalysis therefore, goes some way in explaining why some consider it the logical conclusion, and representative of an evolution that psychoanalysis was in need of.  Since the mind itself is viewed as purely ontological, our appreciation of reality is dependent on neurobiological functions of the brain, which we can use to observe "subjectively," from inside, how we feel and what we think.  Freud refined this kind of observation into free association.  He claimed that this is the best technique that we have for perceiving complex mental functions that simple introspection will not reveal.  Through psychoanalysis, we can discover mind's unconscious functioning.

Neuroscience as a foundation
Due to the very nature of neuropsychoanalysis, those working in this burgeoning field have been able to draw useful insights from a number of distinguished neuroscientists, indeed many of these now serve on the editorial board of the journal Neuropsychoanalysis. Some of these more notable names foundational to the development of neuropsychoanalysis include:

 Antonio Damasio
 Eric Kandel
 Joseph LeDoux
 Helen Mayberg
 Jaak Panksepp
 VS Ramachandran
 Oliver Sacks
 Mark Solms

Neuroscientists, often studying the same cognitive functions of the brain as psychoanalysts, do so in quantitative methods such as dissection post mortem, small lesions administered to create certain curative effects, or with the visual and objective aid of brain imaging, all of which enable researchers to trace neurochemical pathways and build a more accurate understanding of the physical functioning of the brain. Another branch of neuroscience also observes the "mind" from outside, that is, by means of neurological examination. This is often done in the form of physical tests, such as questionnaires, the Boston Naming test or Wisconsin Sorting, creating bisecting lines, acting out how one performs daily tasks such as a screwdriver, just to name a few. Neurologists can compare the changes in psychological function that the neurological examination shows with the associated changes in the brain, either post mortem or by means of modern imaging technology. Much of neuroscience aims to break down and tease out the cognitive and biological functions behind both conscious and unconscious actions within the brain. In this way it is no different than psychoanalysis, which has had similar goals since its inception. Therefore, to ignore the additional insight neuroscience can offer psychoanalysis would be to limit a huge source of knowledge that can only enhance psychoanalysis as a whole.

Models of pathologies

Depression
Heinz Böker and Rainer Krähenman proposed a model of depression as dysregulation of the relationship between the self and the other. This psychodynamic model, is related to the neurobiological model of the default mode network, DMN, and the executive network, EN, of the brain, noting experimentally the DMN seemed to be more active in depressed patients. The psychological construct of rumination is conceptualized which is experimentally more common in depressed patients, is viewed as equivalent to the cognitive processing of the self, and therefore the activation of the DMN. Similarly, experimentally measurable constructs of attribution bias are viewed as being related to this "cognitive processing of self". It has been shown that forms of psychodynamic therapy for depression have effects on the activation of several areas of the brain.

Research directions
Neuropsychoanalytic relate unconscious (and sometimes conscious) functioning  discovered through the techniques of psychoanalysis or experimental psychology to underlying brain processes.  Among the ideas explored in recent research are the following:

 "Consciousness" is limited (5-9 bits of information) compared to emotional and unconscious thinking based in the limbic system. Note: Solm's book showed as reference in the footnote does not provide such an information. It may be confused with the capacity of short-term memory.
 Secondary-process, reality-oriented thinking can be understood as frontal lobe executive control systems.
 Dreams, confabulations, and other expressions of primary-process thinking are meaningful, wish-fulfilling manifestations of the loss of frontal executive control of mesocortical and mesolimbic "seeking" systems.
 Freud's "libido" corresponds to a dopaminergic seeking system
 Drives can be understood as a series of basic emotions (prompts to action) anchored in pontine regions, specifically the periaqueductal gray, and projecting to cortex: play; seeking; caring; fear; anger; sadness.  Seeking is constantly active; the others seek appropriate consummations (corresponding to Freud's "dynamic" unconscious).
 Seemingly rational and conscious decisions are driven from the limbic system by emotions which are unconscious.

 Infantile amnesia (the absence of memory for the first years of life) occurs because the verbal left hemisphere becomes activated later, in the second or third year of life, after the non-verbal right hemisphere.  But infants can and do have procedural and emotional memories.
 Infants' first-year experiences of attachment and second-year (approximately) experiences of disapproval lay down pathways that regulate emotions and profoundly affect adult personality.
 Oedipal behaviors (observable in primates) can be understood as the effort to integrate lust systems (testosterone-driven), romantic love (dopamine-driven), and attachment (oxytocin-driven) in relation to key persons in the environment.
 Differences between the sexes are more biologically-based and less environmentally-driven than Freud believed.

See also
 Clinical neuroscience
 List of psychology disciplines

References

External links

Cognitive neuroscience
Cognitive psychology
Psychoanalysis

Neuropsychoanalysis


Dan Jason (born July 22, 1946) is a Canadian active in food politics, as an opponent of genetically modified foods and proponent of heirloom plants and seedbanks.  He is a writer, lecturer, and runs a business providing heirloom seeds.

Jason is active in food politics, being an outspoken opponent of genetically modified seeds, patents on living organisms, and industrial agriculture in general. He frequently gives lectures at environmental and horticultural events in British Columbia, including Seedy Saturday.  He was involved in the founding of Seeds of Diversity Canada and the Seed and Plant Sanctuary for Canada; both are seed banks whose mission is to preserve varieties of vegetables and crops.

He is the founder and owner of Salt Spring Seeds, a mail order seed company that specializes in heritage and heirloom varieties of vegetables and plants. Popular varieties include garlic, beans, tomatoes, lettuce, and grains. The company, founded in 1988, has stocks of many unusual seeds including over 150 tomato varieties.

Jason currently lives on Salt Spring Island, British Columbia with his wife Celeste.

Publications

He has written several books including:
The Whole Organic Food Book: Safe, Healthy Harvest from Your Garden to Your Plate,
and most recently Saving Seeds as if Our Lives Depended on it.

Jason has been interviewed and been published in a number of publications, including:
The Georgia Straight,
Canadian Organic Growers Magazine,
Seeds of Diversity Canada Magazine,
Mother Earth News,
Global Public Media,
and Salt Spring News.

There is a documentary about Dan Jason: Gardens of Destiny. In this 75 minute production, filmmaker, Jocelyn Demers meets Dan Jason on Salt Spring Island.  Dan has been a longtime critic of the non-organic food system in North America. Jocelyn Demers explores Dan's garden and investigates what other experts from the agriculture milieu think about Dan's observations and initiative.

References

External links
 Website of Salt Spring Seeds
 Website of the Seed and Plant Sanctuary for Canada
 Website of Seeds of Diversity Canada
 Website of Seeds of Diversity Canada
 Books he has written, available through Amazon

Canadian environmentalists
Businesspeople from British Columbia
People from the Capital Regional District
Living people
1946 births
Place of birth missing (living people)

Dan Jason


Runcorn is a town in Cheshire, England. It is located within the Borough of Halton. In 2010 about 61,000 people lived there. It is on the southern bank of the River Mersey.

Halton Castle is the main landmark of the town. The Norton Priory is an important historical site in the town.

Towns in Cheshire

Runcorn


Naan bread is a type of bread made with flour. It is a flatbread that is baked in a tandoor. Naan bread often looks like a tear drop. It is often covered in herbs and spices such as garlic to change the taste.

Naan bread is made from basic bread ingredients like wheat flour, a leavening agent (either yeast, yogurt, baking powder, or all), salt, and butter or ghee. It also is made with yogurt and milk. The yogurt is what makes naan bread taste so much different than other kinds of bread.

Gallery

Related pages
 Bread

Indian food
Flatbreads

Naan


The Xbox Live Vision is a webcam designed for the Xbox 360 and Xbox Live.

Overview
The camera can be used for video chat, personalized gamer pictures, in-game video chat, and still pictures. The camera features 640 × 480 video at 30 fps and is capable of taking still images at 1.3 megapixels. It allows for video chat and picture messages using an Xbox Live Gold Subscription with video effects along with in-game compatibility.

It also features three camera effects, in which the currently captured video image is overlaid on the dashboard background. The three effects are 'watery', 'edgy', and 'dotty'. The camera uses a standard USB 2.0 connection and is also Windows (XP and newer) and Mac OS X (v10.4.9 and newer) compatible.

The Xbox Live Vision Camera was announced at E3 2006 and released in North America on September 19, 2006, following a 1-month pre-launch period in which Toys "R" Us stores in New York City and Los Angeles sold them to build up hype. It was released in Europe and Asia on October 6, 2006, and November 2, 2006 in Japan.

PC compatibility
The Vision Camera is compatible with Windows XP Service Pack 2 using USB 2.0 connection. It requires a microphone for audio when used on a PC. Drivers are not included with the Vision Camera–you must allow Windows to download them automatically when prompted.

If the Vision Camera is not working and appears as a device in "Universal Serial Bus Controllers" in Device Manager, try the following:

 Go to Device Manager
 Go to USB Controllers, select the camera, right click, and choose Update Driver
 Choose "Install from Specific Location"
 Choose "Don't Search"
 Select USB Composite device

After a few seconds, the device will appear in "Imaging Devices."  In "USB Controllers" there will be an entry called "Microsoft Xbox 360 Live Vision Security Method 3."  This indicates the camera is installed and ready for use.

Mac OS X 10.4.9 added support for the USB "video class" group of peripherals, including Vision Camera. They work in iChat, Photo Booth and other applications that use Quicktime for video display, such as Skype. Connection over USB2 is also mandatory.

The Vision Camera is also compatible with Sony's PlayStation 3 (requires firmware 1.54).

References

Other websites
 Xbox Live Vision , Xbox.com
 Xbox Live Membership levels explained on Xbox.com
 Using Xbox Live Vision with Windows

Xbox

es:Xbox Live Vision

Xbox Live Vision


The Piper to the Sovereign (, also known as the Queen's Piper or King's Piper) is a position in the British Royal Household in which the holder of the office is responsible for playing the bagpipes at the Sovereign's request.

History
The position was established in 1843 when Queen Victoria and Prince Albert visited the Marquess of Breadalbane at Taymouth Castle a year earlier and discovered the Marquess had his own personal piper. The Queen was taken with the idea of having one for herself, writing to her mother, the Dowager Duchess of Kent:

We have heard nothing but bagpipes since we have been in the beautiful Highlands and I have become so fond of it that I mean to have a Piper, who can if you like it, pipe every night at Frogmore.

The office has been held continuously since then (apart from a brief interruption during World War II) and the piper's main duty is to play at 9am for 15 minutes under the Sovereign's window, and on state occasions.

The first Piper to the Sovereign was Angus MacKay, a noted collector and publisher of piobaireachd. Every subsequent piper has been a serving non-commissioned officer and experienced Pipe Major from a Scottish regiment or an Irish Regiment. While the Piper is a member of the Royal Household, he retains his military rank for the duration of the secondment.

1843–1854: Angus MacKay
1854–1891: PM William Ross, 42nd Highlanders (Black Watch)
1891–1910: PM James Campbell, 42nd Highlanders (Black Watch)
1910–1941: PM Henry Forsyth, Scots Guards
1941–1945: None
1945–1965: PM Alexander MacDonald, Scots Guards
1965–1973: PM Andrew Pitkeathly, Argyll and Sutherland Highlanders
1973–1980: PM David Caird, Royal Highland Fusiliers
1980–1995: PM Brian MacRae, Gordon Highlanders
1995–1998: PM Gordon Webster, Scots Guards
1998–2003: PM Jim Motherwell, Argyll and Sutherland Highlanders
2003–2006: PM Jim Stout, The Highlanders, 1st Battalion
2006–2008: PM Alastair Cuthbertson, 1st Battalion, The Royal Scots
2008–2012: PM Derek Potter RVM, Royal Scots Dragoon Guards
2012–2015: PM David Rodgers, Irish Guards
2015–2019: PM Scott Methven, The Royal Regiment of Scotland
2019–2021: PM Richard Grisdale, The Royal Regiment of Scotland
2021–Present PM Paul Burns, The Royal Regiment of Scotland

See also
 Piper to the Queen Mother

References

External links
Official Royal posts, The Queen's Piper

Positions within the British Royal Household
Ceremonial officers in the United Kingdom
Military music
British military bands
Pipe bands

Piper to the Sovereign


Franklin Place, designed by Charles Bulfinch and built in Boston, Massachusetts, in 1793–95, included a row of sixteen three-story brick townhouses that extended in a 480-foot curve, a small garden, and four double houses. Constructed early in Bulfinch's career, Franklin Place came after he had seen the possibilities of modern architecture in Europe and had determined to reshape his native city. It was the first important urban housing scheme undertaken in the United States, and the city's first row-house complex. However, years of decline and the push of industry into the area forced its demolition in 1858.

Tontine Crescent

The name "Tontine" derives from a financial scheme originated by Neapolitan banker Lorenzo de Tonti, which he introduced in France in the 17th century. Money for the enterprise was to be raised by selling shares of stock to the members of the public, who would later share in the profits from the sale of the homes. It is essentially an annuity, the shares passing on the death of each beneficiary to the surviving partner until all are held by a single shareholder, or being divided among surviving stockholders at the end of a stated period. Although this method of financing was in rather wide use in Europe at the time, the Massachusetts General Court refused articles of incorporation and the project ultimately rested on Bulfinch's meager business talent.

On July 6, 1793, the Columbian Centinel carried the following notice:

The cornerstone was laid on August 8, and the crescent was completed the following year.

Building began with less than 50% of the shares taken up and continued in a discouraging atmosphere created by the prolonged negotiations over the Jay Treaty. Bulfinch completed the project, including its complementary file of four double houses facing across the grass plot (17-24 Franklin Place), but in so doing sacrificed both his and his wife's fortunes. As events proved, the Crescent was far too ambitious an idea for either the man or the times, and he and his family were ruined by his determination to finish it at all costs. However, he was gratified "in knowing that not one of my creditors was materially injured, many were secured the full amount, and the deduction on the balance due to workmen did not exceed 10 PC on their entire bills."

Bulfinch's first attempt to introduce monumental town planning into Boston, the Crescent was an interesting failure, unlike any other building in America. In fact, not even London had a crescent at the time; the architect relied for his model primarily on examples he had seen in Bath—a memory reinforced by a folio of Bath pictures preserved in his library. The Crescent no doubt also owed something to the well-known plan Robert Adam devised for two half circles of connecting houses as an extension of London's Portland Place, as well as certain examples Bulfinch had seen in Paris. In architectural detail, the Crescent recalls the Adelphi Terrace, which Bulfinch knew both as a center of Neoclassical building in London and as the haunt of exiled Tory relatives and family friends. (Adelphi too was a financial disaster, and the Adam brothers saved their project only through a lottery and the sale of their art collections; Bulfinch lacked such resources.)

This innovative project for a new and fashionable residential district south of the central business district was located in an undeveloped, unpromising bit of fields and marshlands between Milk Street and Summer Street that consisted in part of a quagmire that Joseph Barrell—Bulfinch's former employer, who had a house on Summer Street—had partially drained and converted into a fish pond in his garden. Its western edge intersected today's Hawley Street, and on the east it ended near Federal Street. Until the American Revolution, Boston still had enough space in most locations to accommodate single dwellings with small gardens. However, as land values began to rise, many newer dwellings began to be built with their narrow ends to the street and their entrances on the side. With his long row of attached houses, Bulfinch gambled that wealthy individuals would not mind living in relatively cramped quarters. Knowing that most wealthy Londoners living in garden squares also had country estates, he believed perhaps that potential residents of Franklin Place would also have summer homes with large gardens elsewhere.

Thomas Pemberton described the Crescent at the time of completion as "a range of sixteen well built and handsome dwelling houses, extending four hundred and eighty feet in length ... The general appearance is simple and uniform." As Bulfinch's elevation shows, the chief feature was a central pavilion, slightly higher than the Crescent's wings, with a large arch that spanned a passageway passing entirely through the structure, an attic story and two secondary pavilions projecting 6' forward from the middle section. The form was suggested by Queen's Square in Bath, constructed more than half a century earlier by John Wood, the Elder; the arch, with Palladian window, was probably taken from the Market in High Street, Bristol, traditionally attributed to Wood also. However, in style the Tontine Crescent was Neoclassical rather than Neo-Palladian, and its main architectural distinction, three ranges of pilasters rising two stories above an architectural basement, is taken from the Adelphi. Moreover, the structure contained all the Neoclassical elements of the new Federal style: attenuated pilasters on the central pavilion and two end pavilions that projected forward several feet, swag panels, and delicate fanlights and lunettes. The plan, which featured two large rooms (about 18' x 18') on each floor offset by a hallway with main and service staircases, was traditional with London row-house builders since the 17th century. Indeed, the Neoclassical façade of the Adam brothers' Royal Society of Arts building in London was another inspiration for the central building. The houses' brick exterior walls were painted gray to simulate masonry and the architectural detail, apparently all of wood, was painted white. Delicate decorative devices were present on the handsome three-floor houses, each 27' wide, but ornament was so restrained that there were no frames around the windows. The identical doorways were spaced two to a porch. Each floor consisted of two large rooms, described by Massachusetts Magazine as "spacious and lofty", with a hallway on one side containing both the main and service stairways.

Once finished, the Crescent received unanimous praise from contemporaries. Asher Benjamin claimed it "gave the first impulse to good taste; and to architecture, in this part of the country." Massachusetts Magazine called the style "the most improved of modern elegance" and was especially impressed by the spacious rooms and the attention given to household conveniences: "Each house will have annexed to it a pump, rain water cistern, wood house, and a stable, and a back avenue will communicate to all the stables." Bulfinch was also praised for presenting the large room behind the Palladian window above the arch to the Boston Library Society and the attic above to the newly founded Massachusetts Historical Society, which at the time was lodged in the northwest corner of Faneuil Hall's attic. (Granted, Bulfinch and his partners did realize it might be difficult to find buyers for the two pavilion rooms, potentially unsuitable for residences.) The Library Society remained there until the building's demolition in 1858, when the city paid it $12,000 for its room, while the Historical Society stayed until 1833, moving next to the King's Chapel burying ground because of cramping and fear of fire.

17-24 Franklin Place

The four double houses in Franklin Place substituted for the northern half of what was planned as a double crescent separated by an oval of grass. This solution, although less aesthetically successful, was dictated by difficulties in acquiring sufficient land adjoining the estate of Thomas Barrell for the execution of the original scheme. It is also evident that Bulfinch's approaching financial ruin precluded the construction of anything so costly as the projected northern crescent. As it was, the architect was hopelessly in debt when he began building on the north side of Franklin Place, probably in December 1794. The earliest reference to the project is in Pemberton's description of the recently completed Crescent: "The opposite side is intended to be built in a straight line, and in a varied style of building."  On October 15, 1795, the eastern half of one of the buildings, Number 22, was sold to John McLean for $8,000, and it is presumed the range of four brick double houses was completed shortly thereafter. The entire property, including the houses in the Crescent and the four double ones in Franklin Place, was assessed in the Direct Tax of 1798 at something over $125,000. By that time, five years after the beginning of construction on Franklin Place, all twenty-four properties had been sold and were occupied by the families of prominent businessmen and men of letters.

As the site plan made for the Historic American Buildings Survey shows, the axis of the Crescent and the double houses opposite was along the line of Arch Street with the Franklin Urn serving as a focus. The four double houses were of the same architectural proportions, although the middle pair was somewhat larger in area. The end houses were placed obliquely to the middle ones and thus corresponded to the east and west pavilions of the Crescent; the slight angle helped keep the street openings as wide as possible. The houses on both sides of the street had identical fanlight entrance doors, and despite Pemberton's prediction of variety in architectural treatment, the double houses were quite similar to the opposing Crescent. The major stylistic differences were Bulfinch's exclusive use of swag panels in the Crescent and recessed brick arches in the houses across the way. No floor plan has been discovered but it is presumed the double houses had the traditional arrangement of two rooms on either side of a transverse hallway divided, as in the Crescent, by main and service staircases. The two center units were much larger than the pairs at the ends and included tiny fenced-in front gardens. The row faced south on the enclosed grass plot and was considered at the time the most modern and pleasant range of houses in Boston.

Other characteristics
Between the Crescent and the double houses was a wrought-iron-fenced semi-oval grass plot 40' wide at its center and about 280' long, with shade trees; it was at the heart of the city's first garden square. In 1795, Bulfinch placed a large Neoclassical urn (similar to one executed by Robert Adam) and pedestal in the square's center; he had purchased these in Bath and brought them home from his Grand Tour of 1785–87. Soon after 1858, the urn, which served as a memorial to the late Benjamin Franklin, was moved together with the pedestal to Bulfinch's grave in Mount Auburn Cemetery. While much smaller than its London counterparts, the garden was important for recreation, and its shape echoed that of the surrounding buildings. Also unlike in London, where gated streets allowed entry only to residents, access to the garden was not restricted and it could be enjoyed by visitors to the Library and Historical Societies, as well as by theater- and church-goers. As Massachusetts Magazine observed in 1794, the garden "will contribute to the ornament of the buildings, and be useful in promoting a change and circulation of air."

Also as part of the complex were included Boston Theater (1793), the first theater built in Boston, placed at the northeast end of the square, and Holy Cross Church (begun 1800), the city's first Roman Catholic church, directly opposite the theater at the southeast end. These additional amenities for residents recalled what St Albans had done for St. James's Square, and were a bold move, considering that Puritan Boston had banned theatrical performances until December 1793 and had displayed religious intolerance throughout its history.

What the social life in Franklin Place was like is suggested by two paintings, now held by the Museum of Fine Arts: Henry Sargent's The Dinner Party (ca. 1821) and The Tea Party (ca. 1824). These probably represent actual parties that took place in Sargent's home at 10 Franklin Place, on the Crescent. Based on Bulfinch's plan, the two rooms depicted in The Tea Party must have been adjoining parlors, most likely on the second floor above the first-floor dining room. The graceful archway connecting the two rooms in the picture is a Neoclassical architectural detail used by Bulfinch to relate the interior of the house to the Palladian window on the Crescent's central building. Despite the rooms' long, narrow configuration, lavish entertainment could still take place, in part because the high ceilings made the rooms seem larger. Bulfinch's drawing of the Crescent suggests that the first- and second-floor windows were of the same height; this is consistent with the interiors shown in the painting and contrasts with London terraces of the period, where the second-floor parlor windows were usually taller. The furnishings that Sargent depicts represent contemporary high-style Boston interiors, in most respects similar to what could be found in London. The dining room in The Dinner Party is quite masculine, with mahogany furniture and large portraits suitable to the gathering of gentlemen, the two parlors or drawing rooms shown in The Tea Party are lighter in feeling, more feminine, and ornamented with many French and Italian decorative objects. The women are adorned with the latest and most expensive fashions of the day—column-like Empire gowns with accompanying shawls.

Demolition and legacy

Notable residents of Franklin Place included John and Judith Sargent Murray, Abby May, James Perkins, merchant and principal donor to the Boston Athenaeum's first building, William Tudor Jr., founder of Monthly Anthology and the North American Review, and his literary associate Dr. John S. J. Gardiner, rector of Trinity Church. Two women owned houses: Abigail Howard, a founder of the Boston Library Society, and Elizabeth Amory. While wealthy merchants and prominent men of letters inhabited both the Crescent and the houses across the street, it was the free-standing houses that became the most fashionable, even though they were more expensive and the side yards were very narrow; Bostonians had a deep-seated preference for even the narrow yards of semi-detached houses as opposed to the block of connected houses, two walls in each of which had to be windowless. The pattern held true in the late 19th and early 20th centuries: except for a few houses in the Back Bay, Bostonians at every class level utterly rejected the connected town house block and instead turned back to some version of the 18th- and early 19th-century ideal of the garden lot and free-standing town house.

Shortly after the Crescent's completion, the newly widened Arch Street was extended through the center archway, and other connecting streets were opened to the south and east. The addition of these new streets reflected the growth of the downtown business area immediately surrounding the complex; this long-lasting push by businesses into the area would eventually doom Bulfinch's buildings. After about thirty years, when the Mount Vernon Proprietors were developing an exclusive residential neighborhood on Mount Vernon just to the west of Beacon Hill that was beginning to lure affluent residents farther from the central business district, middle-class residents began to move in. The single-family dwellings were soon converted into boarding houses. The new residents were less concerned with the neighborhood's overall appearance, as seen from late photographs that show the garden overcrowded with small shrubs planted randomly among the trees, and a wood picket fence replacing the original iron posts and chains. Oliver Wendell Holmes Sr. noted these changes in The Autocrat of the Breakfast-Table, published in 1858 just as demolition was underway: "There were the shrubs and flowers in the Franklin-Place front-yards or borders; Commerce is just putting his granite foot upon them."

The Tontine Crescent and the other houses in Franklin Place were acquired by the city "for the public convenience" and razed in 1858 to make way for blocks of large stone stores and granite warehouses in Franklin Street. These buildings, along with a single elm remaining from the garden (plus three empty circular pits that once held trees), were destroyed in the Great Boston Fire of 1872. The graceful curve and unusual width of Franklin Street today below Hawley Street are reflections of the Crescent's ground plan. Architectural descendants include the Sears Crescent near today's Boston City Hall and the façade of the Kirstein Business Branch of the Boston Public Library (built 1929–30), which replicates the entire central portion of the Tontine. Despite residents' general aversion to connected structures, hundreds of brick row houses in the area draw inspiration from the Bulfinch structure, including Worcester and Chester Squares in the South End; West Hill Place and Charles River Square on Beacon Hill; a set of fifteen attached brick and half-timbered town houses on Elm Hill Avenue in Roxbury Highlands originally called Harris Wood Crescent; and a block of fifteen red-brick connected houses on Beacon Street in Brookline, built in 1907.

An economic downturn meant that subscriptions came too slowly to meet bills, and Bulfinch went bankrupt in January 1796, turning from a comfortable situation as a gentleman concerned with architecture to a laborious life of architectural practice and public service. Financial troubles continued to plague him, such that he spent July 1811 in debtors' prison, but the Crescent and Franklin Place helped transform Boston from an 18th-century town into a 19th-century city.

Notes

References
Goodman, Phebe S. The Garden Squares of Boston, pp. 25–35. Lebanon, New Hampshire: University Press of New England, 2003, .
Kirker, Harold. The Architecture of Charles Bulfinch, pp. 78–81, 89–90. Cambridge, Massachusetts: Harvard University Press, 1969.

1795 establishments in Massachusetts
Residential buildings completed in 1795
Demolished buildings and structures in Massachusetts
Squares in Boston
Financial District, Boston
19th century in Boston
Charles Bulfinch buildings
Crescents (architecture)
Buildings and structures demolished in 1858

Franklin Place


"We Can't Stop" is a popular hit song from singer and songwriter Miley Cyrus. The lyrics are about recreational drug use at house parties. The single sold well beyond two million units in the United States. The song managed to reach number one in the UK, number two in the US, and number three on the charts in Canada.  Cyrus performed the song at the 2013 MTV Video Music Awards with American-Canadian singer-songwriter Robin Thicke as a medley with his 2013 hit song, "Blurred Lines".  This performance was very provocative and was widely reported following the award show.

A music video of the song came out on June 19, 2013. The video got mixed reviews from the critics.

2013 songs
Pop songs
Songs about drugs
Miley Cyrus songs

We Can't Stop


Thomas Henry Donald Mahoney (November 4, 1913, in Cambridge, Massachusetts – April 21, 1997, in Palo Alto, California) was an American professor and politician.

Academia
Mahoney graduated from Boston College in 1936 and earned his master's degree and a Ph.D. at George Washington University. In 1945 he joined the faculty at the Massachusetts Institute of Technology. A professor of history and political science, Mahoney twice served as chairman of the history section.

Mahoney wrote and edited several books, including The United States in World History (co-written with J. B. Rae) and a number of works on the life and thought of philosopher and statesman Edmund Burke.

Mahoney retired from M.I.T. in 1984. In 1989, at the age of 75, he earned a second doctorate degree in public affairs at Harvard University's John F. Kennedy School of Government.

Politics
In 1948, Mahoney entered politics when he ran for and was elected to the Cambridge, Massachusetts School Committee. He remained on the committee until 1954 when he decided not to run for re-election.

From 1964 to 1972 Mahoney was a member of the Cambridge City Council.

From 1971 to 1979, Mahoney served in the Massachusetts House of Representatives, representing the 2nd Middlesex District. In the House, Mahoney was the founding chairman of the ethics committee and was also chairman of the House Energy Committee.

In 1979 he was appointed by Governor Edward J. King to serve as Massachusetts' Secretary of Elder Affairs. In 1981, he led the Massachusetts delegation at the White House Conference on Aging.

Later life and death
After his tenure as Elder Affairs Secretary, Mahoney worked as a social gerontologist and was an adviser to the United States House of Representatives He was also a part of many United Nations agencies, panels, and conferences. At the time of his death he was a member of the executive committee of the United Nations Nongovernmental Organizations Committee.

In 1997, Mahoney addressed the 97th conference Inter-Parliamentary Union in Seoul, South Korea. On his return trip home he suffered a stroke while stopping over in California. He died on April 21, 1997, at the Stanford Medical Center.

References

1913 births
1997 deaths
Boston College alumni
George Washington University alumni
Harvard University alumni
MIT School of Humanities, Arts, and Social Sciences faculty
Democratic Party members of the Massachusetts House of Representatives
Politicians from Cambridge, Massachusetts
Massachusetts Secretaries of Elder Affairs
Cambridge, Massachusetts School Committee members
20th-century American politicians

Thomas H. D. Mahoney


The Branner Earth Sciences Library and Map Collections is the main library supporting the Stanford University School of Earth, Energy & Environmental Sciences on the Stanford University campus and part of Stanford University Libraries and Academic Information Resources (SULAIR). It was named after John Casper Branner, first professor of geology and former president of Stanford University, whose book collection was the initial core of the library.
Branner Library contains more than 125,000 volumes, including 2000 serial titles, most of which are related to the earth and environmental sciences. The library  also houses a collection of over 270,000 sheet maps and the Branner GIS facilities and services.

History
Branner Earth Sciences Library and Map Collections had its origins when Stanford's first faculty member and second President, John Casper Branner, began buying books as an 18-year-old student at Cornell. He continued to acquire books, maps, and reports while at the Pennsylvania and Arkansas Geological Surveys. When he came to Stanford in 1891, he and his wife brought a boxcar full of books, which became the de facto departmental library, with himself also as the university's first librarian. He oversaw its continued growth and use by colleagues and students until he sold it to the university in 1915. He continued to buy and donate books to the collection until his death in 1922. Later, during the tenure of librarian Kathryn Cutler (1939–1979) the library had been moved from its long-time location on the second floor of Geology Corner to its current location in the Mitchell Earth Sciences Building.

Building
Between 1968 and 1970, Spencer, Lee & Busse provided architectural design and planning for the building that houses the Earth Sciences library. The design includes a small, permanent mineral exhibit in the Mitchell Earth Sciences Building open to the public. Most specimens are on the second floor of the Branner Library, surrounded by a spiral staircase or glass library court.

Collections and services
  GIS at Branner Library  at Stanford University Libraries
  Map Collections (270,000 sheet maps) are housed in the Branner Earth Sciences Library at Stanford University Libraries
 John Casper Branner Presidential Papers, 1913-1917 (6.5 linear ft.) are housed in the Department of Special Collections and University Archives at Stanford University Libraries

References

External links
 Stanford University Libraries

Stanford University libraries
Earth sciences

Branner Earth Sciences Library


The Scream refers to different versions of a painting made by Edvard Munch. They were painted in the early 20th century, and drawn using many types of materials. These include lithography, tempera paint, oil paint and pastel.

The first version of The Scream was drawn in 1893. Two pastel drawings, two paintings and also some lithographs were printed.

1890s paintings

The Scream


The BMW 335 is a six-cylinder sports sedan produced by the Bavarian firm BMW between 1939 and 1941.

Conception
Commercial success for the BMW 326, introduced in 1936, encouraged a move upmarket. This would involve BMW in challenging the dominance then enjoyed by Mercedes-Benz over a lucrative sector, with their 320 and 340 models.

BMW were producing, in their Eisenach plant, the model that would form the basis for the larger car. The 326 had already spawned successful sporting derivatives. The 335 was also to be based on the 326, but with the wheelbase and chassis extended to accommodate a 3485 cc M335 six-cylinder in-line engine.  Despite clearly reflecting the approach taken with existing BMW units, this was an entirely new design. Claimed maximum power output of   was lower than the values advertised for comparably sized and powered Jaguars of the period, it achieved full power at only 3500 rpm. With , the car had top speed of .

The engine's additional weight prompted the fitting of larger brake drums and wheels than on the 326. The 335 sustained BMW's reputation for innovation, being the first car to offer a four-speed gear box with full synchromesh on all ratios.

The car was sold as a four-door sedan and as a two- or (more unusually) four-door cabriolet.

Launch
A prototype 335 was first presented at London in 1938. The car was branded for these purposes as a Frazer Nash. There had been close relations between BMW and England ever since BMW had established themselves in the small-car market by building a version of the English Austin 7. Frazer Nash had been BMW's English importers since 1934, and after the war BMW design chief Fritz Fiedler, the man primarily responsible for designing and developing the 335, would for several years work with Frazer Nash's successor company in London.

The production version was launched on the German market as the BMW 335 in 1939.

End of production

The German invasion of Poland in September 1939 triggered the Second World War. Initially, aspects of Germany's peacetime economy persisted, and BMW were able to produce 335s at their Eisenach facility. Perfect production records are thought not to survive, but it appears by the time passenger car production ceased in 1941, more than 400 had been assembled.

References

335
Executive cars
Rear-wheel-drive vehicles
1940s cars
Cars introduced in 1939
Convertibles
Sedans

BMW 335


The Podgorica Airbase (also known as Golubovci Airbase) is an active airbase in Montenegro. The airbase facilities are shared with Montenegro's main international airport, Podgorica Airport. It is the main base of the air arm of the Military of Montenegro. During the Yugoslav era, it was the home to the 172nd Aviation Brigade of Yugoslav Air Force and its main flying training base for primary and basic pilot training.

Overview
Podgorica Airbase shares the main runway with nearby Podgorica Airport, and has a large ramp attached to the taxiway, used exclusively for military aircraft.

Part of the military complex was also 08/26 runway, which was not used by civilian planes. It is connected to the main 18/36 runway by 3 km long taxiway, and is located adjacent to Šipčanik Hill, near the town of Tuzi. The hill doubled as an underground aircraft shelter.

Airbase facilities were frequent target of 1999 NATO bombing. Fuel tanks and the aircraft ramps were extensively targeted, as well as parked aircraft. All of the Leteće zvezde aerobatic team G-4 Super Galebs were destroyed on the airbase premises during the strikes. Šipčanik underground shelter was also targeted on several occasions, and was since unused as an aircraft shelter. It has been converted into a wine cave by the Plantaže company. The entire Šipčanik compound, tightly guarded by the JNA during the Yugoslav era, is now of civilian use, and even first 800m of 08/26 runway adjacent to the Šipčanik hill is accessible by car.

With Montenegro's independence on 3 June 2006, the newly formed Military of Montenegro announced that it will not maintain a combat air force. Currently, 11 G-4 Super Galebs (4 operational), 4 Lola Utva 75s, 11 Aérospatiale Gazelles and 1 Mil Mi-8 are located at Podgorica Airbase. The helicopters were incorporated in the newly formed air arm of the Military of Montenegro, while the fate of the jets and trainers is yet to be decided. The Podgorica Airbase is designated to become a regional helicopter pilots training facility.

See also
Entrance in Šipčanik underground aircraft shelter
Podgorica Airport
Military of Montenegro

References
  – IATA and ICAO codes
  – IATA, ICAO and DAFIF codes

References

Military of Montenegro
Airports in Montenegro
Yugoslav Air Force bases
Podgorica Municipality

Podgorica Airbase


Standing stones or menhirs  are stones set into the ground vertically. They were put there by Neolithic people in the British Isles and Brittany, and they also occur elsewhere in the world.

There may be single standing stones, circles, lines or groups of them. Their dates are mostly from 4000 BC to 1,500 BC. Since Neolithic peoples did not have writing, we know little about their use. It is generally thought they had both practical (meeting place) and ceremonial or religious uses. Pottery that has been found near some of these stones suggest some of them in Europe belonged to the so-called 'Beaker culture'.

Their shape is generally uneven and squared, often tapering towards the top. Menhirs can be found across Europe, Africa and Asia, but they are most numerous in Western Europe; in particular in the British Isles (Great Britain and Ireland), and Brittany. There are about 50,000 megaliths in these areas. Standing stones are usually difficult to date, but pottery found underneath some in western Europe connects them with the Beaker people. They were erected as part of a megalithic culture which flourished in Europe and beyond.

Where they appear in groups, often in a circular, oval, henge or horseshoe formation, they are sometimes called megalithic monuments. These are sites of ancient religious ceremonies, sometimes containing burial chambers. The developments of radiocarbon dating and tree-ring calibration have added to our knowledge of their timing. In some archaeological sites, the remains of wooden henges can be found. Woodhenge was a henge and timber circle monument in the Stonehenge World Heritage Site in Wiltshire, England. It is 2 miles (3.2 km) north-east of Stonehenge.

History
Practically nothing is known of the social organization or religious beliefs of the people who erected the menhirs. There is not even any trace of their language. We do know that they buried their dead, and had the skills to grow cereal, farm and make pottery, stone tools and jewellery. Some recent research into the megaliths in Brittany suggests a much older origin, perhaps back to six to seven thousand years ago. This is not generally accepted at present.

Related pages
Stonehenge
Avebury
Carnac stones

Further reading
Malone, Caroline. 2005. Neolithic Britain and Ireland. Tempus, Stroud, Gloucestershire.

References

Prehistoric buildings and structures
Archaeological sites
Neolithic
Buildings and structures in Europe

Standing stone


A vacation (American English) or holiday (British English) is a time for people to relax and take a break from whatever they usually do. People spend their vacation time in different ways. For many, it's a time for tourism. They might go backpacking to a holiday camp, or stay in a trailer, hostel, or hotel. Families often take a vacation together. Because the cost of many things is becoming higher, some people are giving up going on vacation to other countries, and are staying in their home country and finding interesting places to go there. This type of trip is known colloquially as a "staycation".

Vacations are usually taken when somebody has time off of work or school. This means that many people go on vacation during religious or national holidays. Many jobs allow for workers to have several days off during which they will still be paid. This practice, known as annual leave, is another common time for people to go on vacation.

References

Leisure

Vacation


Jabra Nicola (, ; February 16, 1912 - December 25, 1974) was a Palestinian Arab Israeli Trotskyist leader, the author of numerous articles and pamphlets who also translated some of the classics of Marxism into Arabic. Born in Haifa, he joined the Palestine Communist Party before he turned 20, and was responsible for its publication al-Ittihad.

The Communist Party split along nationalist lines in 1939, and Jabra Nicola refused to join either wing, and, after being imprisoned by the British occupation from 1940–1942, was recruited to a small Trotskyist movement by Yigael Gluckstein, later better known as Tony Cliff. However, with the collapse of the group in the late 1940s, Jabra Nicola returned to the Palestinian Communist Party. While in the Communist Party he played a leading role on the party's publications, but when, after 1962, a small new left movement, the Matzpen group, revived in what was now Israel, he was to join it for a second and final time.

Placed under house arrest in 1967 after the Six-Day War he then left Israel for London in 1970 where he lived until his death in 1974.

In 1963, Nicola was elected to the International Executive Committee of the Fourth International, for which he wrote many articles and pamphlets, and translated Marxist classics into Arabic. His most important theoretical essays were Theses on the Revolution in the Arab East ) (1972)  and Arab Revolution and National Problems in the Arab East (1973), written together with  Moshé Machover.

Jabra Nicola lived with political activist Aliza Novik (b. 1912, Tiberias, d. 1970 Haifa), with whom he had three children.

Sources

References

 Fiedler, Lutz (2020), Matzpen. A History of Israeli Dissidence, Edinburgh: Edinburgh University Press, 2020, pp. 86–102.

1912 births
1974 deaths
Politicians from Haifa
Arab citizens of Israel
Palestinian Trotskyists
Palestine Communist Party politicians

Jabra Nicola


Winifred Wells was a courtier at the Stuart Restoration court as a Maid of Honour to Queen consort Catherine of Braganza. She was also one of the many mistresses of King Charles II of England. Samuel Pepys refers to her as the King's mistress in his diary, and she also features in Philibert de Gramont's famous Mémoirs.

At the royal court
Wells was born about 1642 as the youngest daughter of Gilbert Wells of Twyford, Hampshire. The Wells family members were staunch Royalists during the English Civil War. She came to court early in the reign of King Charles II as she was one of Queen Catherine's original Maids of Honour. She became a mistress to King Charles sometime in 1662. Winifred is referred to in Philbert de Gramont's Mémoirs in which he wrote of her:

"As her father had first served Charles I, she thought it would ill become his daughter to decline to be served by Charles II".

Wells was described by Gramont as having been a "big, splendidly handsome creature who dressed well", with the "carriage of a goddess and the physiognomy of a dreamy sheep"; however, Barbara Villiers, the King's chief mistress, compared her to a goose.

In his diary entry for 8 February 1663, Samuel Pepys reported that it was said that Wells had "dropped a child during a court ball held on 31 December 1662". The child was allegedly fathered by the King. Pepys later went on to record that it was rumoured King Charles had given her £1,500 or £2,000 on 20 February 1663.

Nine years later in September 1672, Charles made her another present of £2,150 as a marriage portion. Sometime before 14 July 1673, she married Thomas Wyndham, one of the King's equerries. Queen Catherine appointed her  as a dresser, and she remained in Catherine's service until 1692, seven years after the death of King Charles.

References

1642 births
Year of death unknown
British maids of honour
Mistresses of Charles II of England
17th-century English women
17th-century English people
Household of Catherine of Braganza

Winifred Wells


The Cricetidae are a family of rodents in the large and complex superfamily Muroidea. It includes true hamsters, voles, lemmings, muskrats, and New World rats and mice. At almost 608 species, it is the second-largest family of mammals, and has members throughout the Americas, Europe and Asia.

Characteristics
The cricetids are small mammals, ranging from just  in length and  in weight in the New World pygmy mouse up to  and  in the muskrat. The length of their tails varies greatly in relation to their bodies, and they may be either furred or sparsely haired. The fur of most species is brownish in colour, often with a white underbelly, but many other patterns exist, especially in the cricetine and arvicoline subfamilies.

Like the Old World mice, cricetids are adapted to a wide range of habitats, from the high Arctic to tropical rainforests and hot deserts. Some are arboreal, with long balancing tails and other adaptations for climbing, while others are semiaquatic, with webbed feet and small external ears. Yet others are burrowing animals, or ground-dwellers.

Their diets are similarly variable, with herbivorous, omnivorous, and insectivorous species all being known. They all have large, gnawing, incisors separated from grinding molar teeth by a gap, or diastema. Molar teeth may be buno-lophodont like in cricetines or lophodont like in arvicolines or some new world mice. Although a few exceptions occur, the dental formula for the great majority of cricetids is:
Cricetids' populations can increase rapidly in times of plenty, due to a combination of short gestation periods between 15 and 50 days, and large litter sizes relative to many other mammals. The young are typically born blind, hairless, and helpless.

Evolution and systematics

The cricetids first evolved in the Old World during the Early Oligocene. They soon adapted to a wide range of habitats, and spread throughout the world. The voles and lemmings arose later, during the Pliocene, and rapidly diversified during the Pleistocene.

The circumscription of Cricetidae has gone through several permutations. Some members of the family as currently defined have been placed in the family Muridae. Some muroids have historically been placed in Cricetidae, such as mouse-like hamsters (subfamily Calomyscinae, family Calomyscidae), gerbils (subfamily Gerbillinae, family Muridae), the crested rat (subfamily Lophiomyinae, family Muridae), zokors (subfamily Myospalacinae, family Spalacidae), the white-tailed rat (subfamily Mystromyinae, family Nesomyidae), and spiny dormice (subfamily Platacanthomyinae, family Platacanthomyidae). Multigene DNA sequence studies have shown the subfamilies listed below to form a monophyletic group (that is, they share a common ancestor more recently than with any other group), and other groups now considered muroids should not be included in the Cricetidae.

The cricetids thus currently include one fossil and five extant subfamilies, with about 112 living genera and 580 species:
 Arvicolinae — voles, lemmings, muskrat
 Cricetinae — hamsters
 Democricetodontinae † (fossil)
 Neotominae — North American rats and mice, including deer mice, pack rats, and grasshopper mice
 Sigmodontinae — New World rats and mice, predominantly South American, such as brucies
 Tylomyinae — New World climbing rats and relatives
Eumys † (fossil)
Wilsoneumys † (fossil)

References

 Eisenberg, J.F.; Feaver, J. & Krebs, C.J. (1984): Cricetidae. In: : The Encyclopedia of Mammals: 640–655, 672–673. Facts on File, New York.

 Savage, R.J.G. & Long, M.R. (1986): Mammal Evolution: an illustrated guide. Facts on File, New York.

External links

Rodent families
Extant Miocene first appearances
Taxa named by Gotthelf Fischer von Waldheim

Cricetidae


Allan Gibson Brodie (October 31, 1897 in New York City – January 2, 1976) was an American dentist and orthodonist.

An  orthodontics teacher, writer, and researcher, Brodie served in a variety of professional positions, such as President of the Chicago Association of Orthodontics, served on advisory boards, achieved a number of professional awards, and was a member of the American Association of Orthodontists (AAO), where he established the Prize Essay Award to promote research.

Education
After earning his DDS (Doctor of Dental Surgery) degree from the University of Pennsylvania School of Dental Medicine in 1919, he began practicing dentistry in Newark, NJ, the next year.  Brodie studied under Edward Angle, the "father of orthodontics," at the Angle School of Orthodontia in Pasadena, California, in 1925 and 1926, and matriculated in the school's final graduating class. Brodie, in turn, often referred to the Angles as his foster parents.

In 1923, he married Vera Elizabeth Smock. They had three children.

Professional life
Brodie returned to practice in Newark, but in 1929 he was invited by Dean Frederick Bogue Noyes came to the University of Illinois College of Dentistry to organize its Department of Orthodontics—one of the first graduate orthodontics departments established in the United States. The Journal of the Charles H. Tweed International Foundation called Noyes' hiring of Brodie the beginning of "the golden age of orthodontics," and considered the department under Brodie "the West Point of orthodontics." The Journal also noted that the establishment of the Department of Orthodontics at the University of Illinois College of Dentistry "marked the fulfillment of Dr. Edward Angle lifelong ambition—to provide a broader and more scientific foundation for the practitioners of his specialty." Brodie ran the department until 1966, and was Dean of the College from 1944 to 1956, while also maintaining a private practice.

Brodie received his MS (Master of Science) degree in anatomy and histology from the University in 1934, and his PhD in anatomy in 1940.

At the time of his death on January 2, 1976, Brodie was writing his own book on orthodontics. In 2004, The Dentofacial Complex (UIC College of Dentistry Press) was published after being completed by alumni, faculty, and staff of the University of Illinois at Chicago College of Dentistry.

References

External links
 University of Illinois at Chicago College of Dentistry

1897 births
1976 deaths
American dentists
American dentistry academics
University of Illinois Chicago faculty
Orthodontists
University of Pennsylvania School of Dental Medicine alumni
20th-century dentists

Allan G. Brodie


Ralph Theodore Morse (October 23, 1917 – December 7, 2014) was a career staff photographer for Life magazine.  He photographed some of the most widely seen pictures of World War II, the United States space program, and sports events, and was celebrated for his multiple-exposure photographs.  Morse's success as an improviser led to his being considered Life magazine's specialist in technical photography. Former managing editor George P. Hunt declared that "If [the] equipment he needed didn't exist, [Morse] built it."

During his thirty years at Life, Morse covered assignments including science, theater, fads and spot news.   When first hired by Life and sent to photograph World War II, he was the youngest war correspondent. His pictures documented the war's Pacific and European theatres and the post-war reconstruction of Europe. Morse was the civilian photographer at the signing of the surrender by the Germans to General Dwight Eisenhower. He was the senior staff photographer at the time when Life ceased weekly publication.

Morse photographed the NASA space program from its inception, an assignment which outlasted Life as a weekly magazine. On November 6, 2009 LIFE.com unveiled a photo retrospective of Project Mercury, America's first human spaceflight program.  Most of this photo collection is credited to Morse, as he had been exclusively assigned by Life to cover the space program.  Over the early decades of the space program, Morse became an insider at NASA, providing him with the privileged access which helped produce some of the most iconic images of NASA projects.  On July 15, 2009, LIFE.com published a photo gallery of never-before-seen photos Morse took of Buzz Aldrin, Michael Collins, and Neil Armstrong in the days before their Apollo mission. In the gallery, Morse talks with Life about Apollo 11 and the astronauts who first landed on the moon.

Morse believed that photos lend a unique understanding to the world in which we live.  Photographer Jim McNitt, who worked with Morse on several Time magazine assignments in the 1970s, described him as a fun-loving extrovert who was delighted to mentor an aspiring photojournalist. "Watching Ralph plan his shots, respond to editors, and deal with reluctant subjects with off-hand humor taught me things I couldn't learn in photo magazines or workshops," said McNitt.  Former Life managing editor George P. Hunt proclaimed of Morse, "If Life could afford only one photographer, it would have to be Ralph Morse."

Early life
Ralph Morse had humble roots. Born in Manhattan and raised in the Bronx area of New York City, he lived with his mother and sister in an apartment where the income was $25 a week.  At fifteen, he starting working in a drug store delivering orders every afternoon, and at a soda fountain every evening until 11:00 pm, making soda and sandwiches for the public. At DeWitt Clinton High School, he joined the school newspaper and was a dedicated student of journalism.

Aspiring to become a newsreel cameraman but lacking the requisite $1,000 to join the union, Morse instead entered the City College of New York for free and took every class offered in photography.  Subsequently, Morse looked up photography in the business directory called the Manhattan Redbook. Starting with "A", he went door-to-door visiting all the listings until finally being hired at "P" by Paul Parker Studio.  Paul Parker was a social photographer with such customers as the United Fund and the Red Cross, a type of photography of great interest to Morse.  Paul Parker had a most fascinating capability of moving lights.  Morse stayed with Parker for most of a year until hearing of a job of hanging lights for George Karger, a German banker turned photographer who was freelancing through Pix Publishing, an agency in New York that sold pictures around the world.  Earning $6 a week, Morse worked with Karger for six months, at which time Morse realized that he had learned all that Karger had to offer.  Then a job opened at Harper's Bazaar.  Morse only stayed at Harper's for a day, as he could not understand taking pictures that meant nothing to anyone outside the fashion industry.

As one who delivered photos to Pix on a daily basis, Morse was readily hired by Pix to work in their darkroom. The first weekend as a printer, Morse spent a day with friends at Jones Beach on Long Island.  Not owning a camera, Morse borrowed a 35mm Contax from his friend Cornell Capa, who was also a printer in the Pix publishing lab, as well as the brother of Life photographer Robert Capa.   At the beach, Morse happened upon a father throwing his baby into the air and catching him.  Capturing the father and son on film, Morse immediately brought the pictures to Leon Daniel, the editor of Pix.  Daniel proclaimed that Pix could sell the picture that very afternoon. Indeed, within an hour, Daniel had sold the photo to the Houston Chronicle and then sold it to about twenty other publications in the world over the following week.  Morse continued working in the darkroom and continued taking pictures every weekend.  Morse credits Leon Daniel as being the person who definitively encouraged him to become a professional photographer, as it was Daniel who urged Morse to just take pictures and let Pix sell them, noting that such an arrangement would be more lucrative both experientially and financially.  Morse bought himself his first camera equipment and began buying The New York Times every day in order to select events to photograph, creating pictures which Daniel then sold instantly.

Of the three owners of Pix, one was a silent partner, Alfred Eisenstaedt, a photographer who had left the Associated Press in Germany to join the new Life magazine staff in New York City. Eisenstaedt closely observed Morse's photographing while encouraging Wilson Hicks, the picture editor of Life, to meet the young upstart at Pix.  After weeks of Eisenstaedt's nagging, Hicks relented and asked to meet Morse.   At their initial  encounter, Hicks gave Morse his first assignment.  Not at all sure how he would actually meet the demands of the most important picture editor in the United States, Morse covered up his fear with gratitude.  Between his own and Capa's equipment, Morse was able to cover the author Thornton Wilder's acting on Broadway in his own show Our Town.  The success of this assignment earned him a second—capturing on film women buying hats for their husbands in the basement of Gimbels department store—which turned out to be Morse's first photo story published by Life.  As a result, Hicks offered Morse a contract to work for Life one day a week through Pix, which amounted to about ten days a month of working for Life until the start of World War II.

War correspondent
At 24, Morse was the youngest war correspondent when Life hired him full-time in 1942 and sent him to the Pacific Theatre of World War II.  He immediately learned that not all of his photos would end up in print, as his first war assignment turned out to be a secret mission.  War coverage was the ultimate on-the-job training, needing to learn on the spot such feats as descending rope ladders overloaded with both combat and photographic gear in order to accompany troops from ship to shore. Landing with the Marines on Guadalcanal, Morse's cameras recorded America's first amphibious attack in the Pacific. He arranged for the captain of the , the Navy ship on which Morse had arrived, to deliver his film to Washington, D.C., as such pictures needed to be screened before being printed.  Unfortunately, the Vincennes was torpedoed that night in the Battle of Savo Island.  Morse's film and equipment went down with the ship while he trod water all night amidst destroyers dropping depth charges on submarines, fortunately scaring away the sharks and barracuda.  With neither cameras nor clothing, Morse made a secret pact with Naval command to return briefly to Life in New York to re-equip, but was mandated to tell no details of the sea battle, no explanation of how he lost his equipment.  Unknown to him, he was being trailed by Naval intelligence to confirm that he had kept his word. Guadalcanal grew a jungle so thick that accompanying nocturnal troop movement was filled with the risk of abandonment if one ever lost sight of the soldier's foot he was following.

During a daytime patrol, Morse came upon a burnt-out Japanese tank in a clearing with a skull and helmet on the fender.  Life magazine and newspapers around the country ran Morse's photo; it proved to be the first horror picture released by the censors of World War II.  Morse left the Pacific with not just an accommodation for his photo coverage from the United States Secretary of the Navy, but also with a case of malaria.    Upon being healed in a New York City hospital, he was reassigned to photograph General George Patton's Army's traversing France.

He did a most comprehensive story of a wounded soldier by braving a request to the Surgeon General of the Army to certify him as wounded as well, so that he would become privy to all means of transportations, first aid stations, and hospitals as was his wounded man.  Searching the battlefield between artillery shellings, he observed a corpsman as both arms were hit. Morse was witness to all the surgeries, fed him his meals, and, in time, poured penicillin into his wounds.  The photos of this soldier in pain and his arms being placed in casts, considered a model of effective photojournalism, are the commonly used pictures of the wounded of World War II. Morse was witness to the invasion at Normandy, air raids in Verdun, General Charles de Gaulle's peace parade in Paris, and Hermann Göring's trial at Nuremberg.  He accompanied a Frenchman by open rail and hitched rides all the way from the German concentration camp where he had been enslaved back to the dinner table with the family members from whom he had been estranged for four years. He was the civilian photojournalist present at the signing of the surrender by the Germans at Reims.

Eighth astronaut
A decade after photographing the post-war reconstruction of Europe, Morse received his next singular assignment:  documenting American preparations to explore outer space.  He spoke to the science and managing editors of Life, recommending that one reporter and one photographer go everywhere and do everything in which the astronauts were engaged.  The editors chose Morse for the job, launching a thirty-year assignment and lifelong friendships between Morse and the astronauts and their families.  After years of joining the astronauts as they trained—flying weightless, diving undersea, studying rocks, surviving deserts and jungles—Morse was dubbed by them as the eighth astronaut.

Conventional photography was sufficient at the onset of Morse's coverage of the space program which began as an introduction to Life readers of the astronauts themselves and their families; however, as the program grew in complexity from Project Mercury to Gemini to Apollo, Morse needed to devise new ways to capture subject matter never before photographed.  He illustrated subjects that no-one had ever seen. He did his homework, gathering the necessary knowledge to make the desired photograph.  He invented his own techniques for images such as a rocket launch.  He photographed double exposures, he shot with infrared cameras, he relied on motion detectors.  Because he photographed with remote camera, the results were dramatic as the cameras were so close to the rockets. He positioned a six-foot man next to a thirty-seven-story missile to show its scale.

Sports historian
The equipment Morse used for showing the space program served him well on his other assignments, also.  When he photographed the Brooklyn Dodgers in the 1955 World Series, he brought a missile-tracking camera to the stadium.  Forewarned that Jackie Robinson would try to steal home, Morse rigged the camera with a foot switch set to fire a hundred feet of film at ten frames a second.   With his hand-held camera focused on the outfield, Morse triggered the foot button as soon as energy mounted between Robinson and the pitcher. When Robinson made the dash, Morse's camera was already running.

Years before, Nat Fein's Pulitzer Prize-winning picture of the back of Babe Ruth captured, as well, Morse kneeling and photographing Ruth from the front.  As he stood addressing the public, and visibly weakened by cancer, Ruth leaned on his bat as a crutch.  Morse chose to illustrate the somber mood of the dying hero's farewell by using color film, despite its being new and still slow in reproduction.  Morse's shot of Ruth's downcast eyes with stands of fans in the background was distinctively captured in muted color tones. In response to Morse's being assigned to produce a picture that would show in one image Hank Aaron's entire 715th home run, he and fellow Life photographer Henry Groskinsky planned a multiple exposure of the pitch along with Aaron's hitting the homer, touching each base, and being congratulated by his teammates in the dugout.  To make this photograph, they used a 4 X 5 view camera with strips of black paper mounted on a glass in front of the lens.  As Aaron approached each of the locations to be photographed, a section of the black covering was lifted from the glass, allowing an exposure to be made.

Technically similar, in covering the hundred yard dash in New York's Madison Square Garden, Morse wanted to put the start, middle, and finish of the race in the same picture. He was able to place wiring under the track, but no place existed for situating the cameras. Morse had a hanging box built under the balcony in which he mounted his equipment.  His assistant tripped the lights at the required intervals, and Morse made the photograph.

Medical recorder
Morse also documented breakthroughs in the field of medicine.  In response to the US Surgeon General's decree that smoking caused lung cancer,   Morse obtained from the American Cancer Society the exact number of daily cancer-inducing cigarettes.  Morse laid the smoked butts on a plate of glass and snapped a photo.  Then he superimposed onto the same photographic plate a model silhouetted against black paper, blowing smoke out of her mouth.

Just as with the astronauts, developing friendships with the medical people he was photographing opened doors for Morse that would have been closed to others.  To illustrate an article about the schism between two Houston heart surgeons, Drs. Michael DeBakey and Denton Cooley, Morse photographed each of them alone against the same dark backdrop, presumably unknown to each other, on the same frame of film.  The double exposure of the dueling doctors back-to-back became a Life magazine cover.

Previously, when first photographing Dr. Cooley transplanting human hearts, Morse asked whether anyone had ever seen his own heart. Morse located a patient's recently removed heart floating in a jar of formaldehyde, and photographed Man's seeing his own heart for the first time.  His previous experience with Dr. DeBakey occurred when the need for transplants outnumbered available cadaver hearts.  When DeBakey was about to put a man-made left ventricle into a dying man's chest cavity for the first time, Morse requested to be present on the floor.  DeBakey explained that the American Medical Association would not allow an outsider's presence in the operating room.  The photograph was made when DeBakey hired Morse as a temporary hospital staff member for a dollar.  In the deal, DeBakey gained ownership of the pictures, and Life had the right to publish them.

Family life
Morse and the late Ruth Zizmor Morse lived in Paris after World War II while he photographed the post-war reconstruction of Europe. Later, they settled in northern New Jersey, where they raised their three sons, Alan, Bob, and Don, as Morse's work was based out of the Time-Life Building in New York City.  When schedules permitted, the family joined Morse on his photographic assignments, including journeys to Cape Canaveral, Florida to watch missiles being launched.  Morse retired to south Florida where he enjoyed sailing and boating, spending time with his companion Barbara Ohlstein, his six grandchildren, and his four great-grandchildren. He died on December 7, 2014 in Delray Beach, Florida.

Awards
Morse won thirty awards for his photography.  He received the 1995 Joseph A. Sprague Memorial Award.  According to the National Press Photographers Association, this award is the highest honor in the field of photojournalism.  Morse was the recipient of the 2010 Briton Hadden Life-Time Achievement Award for his World War II photographs.

Exhibitions
Edward Steichen included two of Morse's pictures in the world-touring 1955 MoMA exhibition The Family of Man; an English couple tightly embracing on a rug in a park, and children in China dancing a Ring a Ring o' Roses.

References

External links
 Photographs by Ralph Morse at Life.Com
 Photographs by Ralph Morse at Getty Images

American photojournalists
Life (magazine) photojournalists
DeWitt Clinton High School alumni
1917 births
2014 deaths
American war correspondents
Photographers from New York City

Ralph Morse


François Loos (born 24 December 1953) was appointed Minister Delegate for Industry on 2 June 2005, following a term as Minister Delegate for Foreign Trade (June 2002 to May 2005). He was Minister Delegate for Higher Education & Research in the first Raffarin government.

François Loos is a graduate from the Ecole Polytechnique, the prestigious state-run industrial and engineering school and has an engineering diploma from the Ecole des Mines. He also holds a postgraduate diploma (diplôme d'études approfondies – DEA) in mathematics.

After starting his career as an engineer with various firms in France and Germany, François Loos became a technical advisor to Pierre Pflimlin, President of the European Parliament (1984), and subsequently to Hubert Curien, French Minister of Research & Technology (1984–1985). He next joined Rhône Poulenc as Managing Director of the Thann plant, which  he ran for two years before being appointed Executive Secretary for Research (1987–1989). From 1990 to 1993, he was Chief Executive of the Lohr SA group.

In 1992 François Loos was elected Conseiller Régional (regional government representative) for the Alsace region and deputy of the Bas-Rhin département in 1993. He has been Vice-Chairman of the Conseil Régional (regional government) of Alsace since 1996. He was re-elected as a deputy in 1997 and again on 9 June 2002 (after the first election round). He chaired the Parliamentary Board of Enquiry into Industrial Hazards in France following the Toulouse disaster in 2001.

In 1994 and 1995 he was the Deputy General Secretary of the Parti Radical Valoisien, a centre-right political party. He was then promoted to National Secretary and in 1997 to National Delegate for International Affairs, followed by a term as party chairman from 1999 to October 2003. He is a founding member and a member of the political bureau of the Union for a Popular Movement, a right-wing political party.

References
French Ministry of Industry

1953 births
Living people
École Polytechnique alumni
Mines Paris - PSL alumni
Corps des mines
Radical Party (France) politicians
Deputies of the 13th National Assembly of the French Fifth Republic
Union of Democrats and Independents politicians
Politicians from Strasbourg

François Loos


The Yorkshire Museum of Farming is located in Murton Park near York in England. It is housed on a grass field site of approximately , and is the only museum in the district specifically dedicated to the subject of farming. In the autumn of 2010, the museum was awarded full accreditation status by the Museums, Libraries and Archives Council.

The museum has built up a large collection of artefacts that illustrate the history of farm mechanisation. The collection also contains domestic items and other documentary material relating to the social structure of rural life in the area. Events are held throughout the year relating to rural and farming themes. There is also a children's play area and a cafe.

The site is also home to the last surviving stretch of the Derwent Valley Light Railway, part of whose archive is also in the museum's collection.

The museum shares the site with the Danelaw Centre for Living History. Living history facilities include a mock Roman fort called Brigantium, which is a disguised outdoor classroom designed to cater for up to 65 children at a time. There are also buildings dedicated to the Tudor and Viking ages, including a Dark Age village and how they farmed the land centuries ago.

History and collection
The museum opened in 1982. It was originally designed to house a growing collection of farm machinery that had been donated by various farms from North and East Yorkshire to the East Yorkshire Farm Machinery Preservation Society and stored at Burton Constable.

The core of the collection focuses on the development of the mechanisation of farming during the nineteenth and twentieth centuries. A wide variety of items are on display, divided between two main exhibition galleries, the Four Seasons Gallery and the Livestock Gallery. A number of rare breeds of livestock are kept on site, including a Toggenburg goat, 'Jeffrey', who has been made an honorary member and mascot for the RAF 609 (West Riding) squadron since March 2010.

The Four Seasons Gallery looks at the farming year, and the different practices and tools which are used across the four seasons. In 2013 a new exhibition opened; Feeding the Nation: A Celebration of the Women's Land Army is located on the upper floor of the Four Seasons Building. Funded by the Heritage Lottery fund, the exhibition showcases some of the museum's rich Land Army collection and includes audio points featuring interviews with ex-members and film footage.

The Livestock building considers the rearing and farming of a variety of types of livestock. This also includes a display of the contents of the James Herriot's (Alf Wight) veterinary surgery.

The museum is also home to a large manuscript archive which can be viewed on appointment. Subjects covered in the archive include: manorial documents, agricultural machinery manufacturers' accounts, the Women's Land Army, the Derwent Valley Light Railway, the Cleveland Bay Horse Society, and a huge array of miscellaneous accounts, correspondence, certificates, photographs, maps and prints. There is also a sizeable library on-site which contains numerous historic journals, manuals, text books, and magazines.  This can be accessed by appointment.

Farming families

During 2007-2008, a project which involved interviewing a number of different farming families was completed.  This provides an audiovisual display of different types of farms from around Yorkshire, including dairy, sheep, pigs and arable crops, both organic and those using agrochemicals, an artificial inseminater and some subsistence farms. A new audiovisual room was built as part of the project.

Derwent Valley Light Railway

The museum lies on the trackbed of the Derwent Valley Light Railway - a privately owned standard-gauge railway which ran from Layerthorpe, on the outskirts of York, to Cliffe Common near Selby. This closed in 1981, but a small section has been restored as part of the museum. It opened in 1993, and incorporates a station building formerly located at Wheldrake. There is approximately  of track running along the original trackbed towards York.

Gallery

References

External links

Yorkshire Museum of Farming Official Website

Museums in York
Farm museums in England
Railway museums in England
Murton, North Yorkshire

Yorkshire Museum of Farming


Marvin Robert Brown (born 6 July 1983) is an English football forward who plays for Southern Football League Premier Division side Chippenham Town F.C. He has formerly played League football. He is the owner of elite sports coaching company Total Pro Soccer.

Brown began his career as a trainee with Bristol City. On his City debut, as a second-half substitute for Alex Meechan in the League Cup defeat away to Nottingham Forest on 15 September 1999 he became their youngest ever player, aged 16 years and 71 days. Brown's league debut came a month later, on 17 October 1999 when he came on as a late substitute for Tony Thorpe in a goalless draw at home to local rivals Bristol Rovers. He made one further league appearance and two in the Football League Trophy, all as substitute, that season.

Unable to establish himself in the first team, Brown joined Torquay United on loan on 27 September 2002, playing four times before returning to Ashton Gate. In January 2003, Brown joined Cheltenham Town on loan until the end of the season, playing regularly as Cheltenham narrowly failed to avoid relegation back to the Third Division.

Brown played twice for Bristol City the following season before released in May 2004. He subsequently joined Conference side Forest Green Rovers, but appeared only as a substitute before joining Tamworth on 25 September 2004. His stay at Tamworth was not a long one, joining Northern Irish side Cliftonville on trial in November 2004.

In March 2005, Brown returned to the Football League, joining Yeovil Town, but played just twice before being released at the end of the season.

Brown joined Weston-super-Mare at the start of the 2005–06 season and was top scorer that season. He was leading scorer again for Weston when he left on 8 March 2007 to join Conference South rivals Salisbury City.

In the 2008 close season Brown was transfer listed by Salisbury City boss Nick Holmes He left to rejoin Weston-super-Mare in July 2008.

During the 2010 January transfer window he joined big spending Southern Premier League team, Truro City. He made his debut against Bashley United. He scored his first goal for Truro City, against Leamington in a 2–2 draw.

His older brother Aaron is also a professional footballer.

References

External links

England profile at theFA

1983 births
Living people
Footballers from Bristol
English men's footballers
Bristol City F.C. players
Torquay United F.C. players
Cheltenham Town F.C. players
Forest Green Rovers F.C. players
Tamworth F.C. players
Yeovil Town F.C. players
Weston-super-Mare A.F.C. players
Salisbury City F.C. players
Truro City F.C. players
Chippenham Town F.C. players
Men's association football forwards

Marvin Brown


The First Triumvirate is the name most historians give to the political alliance between Gaius Julius Caesar, Marcus Licinius Crassus and Gnaeus Pompeius Magnus (Pompey). They made it in 60 BC to give each other power. Each person helped the others to be more powerful.

Caesar was able to gain money from Crassus to finance his public works campaign. He also gained military power from Pompey's loyal legions. Crassus, who was much envied and hated for his wealth and the means he used to attain it, was also able to gain popularity from Pompey as well as Caesar who had a loyal following in the plebeian class. Pompey was grateful to Caesar for his support against slander in the senate. Caesar's speeches in the senate were in favor of giving the newly conquered land to Pompey's returned legions. Pompey and Crassus ended their old grudge that dated back to the Third Servile War because they realised the advantages they allowed each other. To cement the Triumvirate, Crassus told Caesar's numerous debt holders that he would pay Caesar's loans if Caesar defaulted. Pompey married Caesar's only child, Julia. The Triumvirate lasted until Crassus' death in the Battle of Carrhae in 53 BC.

Caesar and Pompey started fighting. Caesar won at the Battle of Pharsalus. Caesar became dictator in the year 44 BC.

Related pages
Second Triumvirate

Ancient Rome
60s BC
50s BC

First Triumvirate


Pinocchio is a character in the comic book series Fables.  The wooden boy magically brought to life in the story by Carlo Collodi, he was among those Fables who fled to the mundane world and formed a community in New York City.

Personality
The readers first see Pinocchio during the Remembrance Day gala scene in "Legends in Exile," where he reveals to a fellow Fable that he is angry at the Blue Fairy for granting his wish to be a real boy in such a way that he would never grow up into a man.  He is over three hundred years old but hasn't hit puberty.  He attends the celebration every year in the hopes that she will show up so that he can finally give her a piece of his mind (and boot).

Appearance

Pinocchio is always shown as a very short person with short dark hair, but other specifics of his appearance vary depending on the artist.  In "A Wolf in the Fold" and "Around the Town," he is drawn as a typical prepubescent child with a slender frame and a receding chin, but most other chapters show him with thick shoulders, a square jaw and a heavy brow.  Nevertheless, in "A Two-Part Caper," Bigby describes Pinocchio as looking like a little boy.

Mark Buckingham, one of the primary artists on the series, draws Pinocchio with a jutting lower lip and, even when speaking, always with his mouth closed; Buckingham depicts all wooden characters in this same way.

Character history

Pinocchio and Geppetto
In "March of the Wooden Soldiers," Pinocchio realizes that his father Geppetto must still be alive.  He concludes that he has been enslaved by the Adversary and forced to carve wooden armies for him.  Pinocchio wishes to return to the Homelands to find his father, but is beheaded during the Battle of Fabletown, reverting immediately to his original wooden form.  He is later carried back to the Homelands by his friend Boy Blue and restored to life by Geppetto, who turns out to be the Adversary himself.  As Boy Blue escapes Geppetto's clutches, he offers Pinocchio a chance to return to Fabletown. Pinocchio, very confused, opts to stay with his father, possibly because of the loyalty geas Geppetto had placed on him.  As such, despite any misgivings that he might have, Pinocchio becomes unable to act against his father's interests. During an incursion by Bigby Wolf, it is revealed Pinocchio is also protected magically against multiple forms of harm. An explosion only served to confuse him.

The imperial conference
In "Sons of Empire," Pinocchio attends the imperial conference with his father, where he is expected to provide details of Fabletown's population and defenses, having been a longtime resident.  When the Snow Queen describes an apocalyptic plans for dealing with the mundane world: a series of plagues, fires and then a three-year winter to wipe out the mundy civilization and reduce any survivors to barbarism, Pinocchio is appalled.  After a discussion with Sir Rodney Greenwood, he finds himself in the position of having to make a counter-proposal.  He responds by saying that an attack of that magnitude would prompt Fabletown to reveal its existence to the mundys (mundane peoples), would be so angry at the Empire's use of biological weapons that they would immediately unite with Fabletown and with each other, using their combined infrastructure and technology to invade the Homelands using magic, automatic weapons and fighter jets.  As such, Geppetto decides that the Snow Queen's three-year plan will not work. The others believe Pinocchio, for he is magically compelled to only have the Adversary's best interests at heart.  Secretly, Geppetto tells the Snow Queen that they must wipe out Fabletown without first attacking the mundys.

"War and Pieces"
Pinocchio later escapes from the Imperial homeworld and makes it to Fabletown, where he negotiates a deal to end the war with the Empire.  The terms of the deal are that Pinocchio would reveal the location of five hidden gates to the Fables and, in exchange, Geppetto would be allowed to sign the Fabletown Compact and offered the same general amnesty for past deeds as Bigby and Frau Totenkinder.  Pinocchio is able to seemingly go against Geppetto's wishes and ally with his father's enemies because he believes himself to be acting in Geppetto's best interests. Attempting to cheer his father up, Pinocchio finds an old set of wooden soldiers Geppetto had worked on centuries before and gives them to his father as a present. Geppetto is pleased and Pinocchio is happy that he's helped his father, unaware that the soldiers are alive and Geppetto plans to use them as his spies.

References

Fables (comics)
Comics characters introduced in 2002
Characters created by Bill Willingham
Vertigo Comics characters
Works based on The Adventures of Pinocchio

Pinocchio (Fables)