Keith Graham Tippetts (25 August 1947 – 14 June 2020), known professionally as Keith Tippett, was a British jazz pianist and composer. According to AllMusic, Tippett's career "..spanned jazz-rock, progressive rock, improvised and contemporary music, as well as modern jazz for more than half-a-century". He held " an unparallelled place in British contemporary music," and was known for "his unique approach to improvisation". Tippett appeared and recorded in many settings, including a duet with Stan Tracey, duets with his wife Julie Tippetts (née Driscoll), solo performances, and as a bandleader.

Early life
Born in Southmead, Bristol, England, Tippett was the son of an English father who was a policeman and an Irish mother named Kitty. He wrote music dedicated to her after she died. He was the oldest of three siblings and went to Greenway Secondary Modern school in Southmead.  As a child he played piano, church organ, cornet, and tenor horn. At fourteen he formed his first band, KT Trad Lads, with school friends Richard Murch, Mike Milton, Terry Pratt, and Bob Chard, and Eric Condell performing traditional jazz. He formed a modern jazz trio in Bristol and played regularly at the Dugout Club in Park Row, Bristol.

Music career
In 1967, Tippett moved to London to pursue a career in music, taking menial jobs while performing in jazz clubs. With a scholarship he attended the Barry Summer School Jazz Course in Wales, where he met Elton Dean, Nick Evans, and Marc Charig and with them started a band. The Keith Tippett Sextet was hired for a residency at the 100 Club in Oxford Street, leading to a contract with Vertigo Records, which released their first two albums, You Are There... I Am Here (1970) and Dedicated to You, but You Weren't Listening (1971).

After leaving Vertigo, Tippett formed Centipede, a 50-piece band that included his wife Julie Driscoll, and brought together much of a generation of young British jazz and rock musicians. As well as performing some concerts (limited economically by the size of the band), they recorded one double-album, Septober Energy, a Tippett composition, which was released on the RCA label in 1971. Despite substantial publicity, the album failed to sell in sufficient numbers to justify the expense of maintaining the project.

During 1970 and 1971 Tippett contributed as a session musician to three King Crimson albums, In the Wake of Poseidon, Lizard and Islands.

For his next album as a leader, Blueprint (1972), he used a smaller group comprising himself and Julie Tippetts with bassist Roy Babbington and drummer Frank Perry. The band then expanded slightly to become Ovary Lodge, who recorded two albums, one for RCA and a second for the Ogun label. Tippett and his band also recorded in the 1970s for Giorgio Gomelsky's label, Utopia, releasing the Julie Tippetts album, Sunset Glow. Tippett continued to play with various combinations of musicians through the 1970s, playing improvisational jazz and jazz-rock with such musicians as Stan Tracey, Robert Wyatt, Dudu Pukwana, Harry Miller, Elton Dean, Hugh Hopper, and Louis Moholo. From 1979, he also started to release many live albums of solo piano performances, beginning with The Unlonely Raindancer.

In the late 1980s, he, along with Paul Dunmall saxes, Paul Rogers bass, and Tony Levin drums, formed the quartet Mujician, playing purely improvised jazz. Mujician released six albums between 1990 and 2002. He also formed a trio with Julie Tippetts and Willi Kellers, and wrote film and television scores. He also wrote music for string quartets and piano, and taught at summer schools. Tippett also continued to record and to tour in Britain and Europe with various ensembles. He also worked with musicians Andy Sheppard, as well as with his frequent collaborators Elton Dean, Louis Moholo, and Howard Riley.

In Bristol, starting in 1989 and continuing through the 1990s, he started the Seedbank Orchestra (SO), which performed at venues including the Thekla, the Arnolfini and Bristol Old Vic. This enabled beginners, amateurs and professional musicians to play in a large ensemble and was "emblematic of his quest to unite music of all types in a non-elitist, open to all, friendly environment free of establishment restrictions." He became a "musician's musician when he first set up the Seedbed Orchestra where many Bristol musicians could benefit from his guidance."

Personal life and death
He married singer Julie Driscoll in 1970.

In 2018, he had a heart attack and pneumonia but returned to performing in 2019.

He died on 14 June 2020 at the age of 72.

Discography

As leader
 You Are Here... I Am There (Polydor, 1970)
 Dedicated to You but You Weren't Listening (Vertigo, 1971)
 Septober Energy with Centipede (RCA 1971)
 Blueprint (RCA Victor, 1972)
 Ovary Lodge (RCA Victor, 1973) (different album than the 1976 release with the same name; with Roy Babbington and Frank Perry)
 Ovary Lodge (Ogun, 1976) (different album than the 1973 release with the same name; with Julie Tippetts, Frank Perry, and Harry Miller)
 TNT with Stan Tracey (Emanem, 1976)
 Cruel but Fair with Hugh Hopper, Elton Dean, Gallivan (Compendium, 1976)
 Warm Spirits Cool Spirits (Vinyl, 1977)
 Frames (Ogun, 1978)
 The Unlonely Raindancer (Universe, 1980)
 Mujician (FMP, 1982)
 No Gossip with Louis Moholo (FMP, 1982)
 Tern with Louis Moholo (FMP, 1983)
 In Focus with Howard Riley (Affinity, 1985)
 Mercy Dash with Hugh Hopper, Elton Dean (Culture Press, 1985)
 A Loose Kite in a Gentle Wind Floating with Only My Will for an Anchor (Ogun, 1986)
 Low Flying Aircraft (Red Hot, 1987)
 Mujician II (FMP, 1987)
 Couple in Spirit with Julie Tippett (EG, 1988)
 Mujician III (August Air) (FMP, 1989)
 Mr. Invisible and the Drunken Sheilas (FMP, 1989)
 66 Shades of Lipstick with Andy Sheppard (EG, 1990)
 The Dartington Concert (EG, 1992)
 The Bern Concert with Howard Riley (FMR, 1994)
 Une Croix Dans L'Ocean (Victo, 1995)
 Twilight Etchings (FMP, 1996)
 Wild Silk with Peter Fairclough (ASC, 1996)
 Couple in Spirit II with Julie Tippett (ASC, 1997)
 Friday the 13th (Nrl, 1997)
 The First Full Turn with RoTToR (Paul Rutherford, Julie Tippett, Keith Tippett, Paul Rogers) (Emanem, 1998)
 Linuckea (FMR, 2000)
 First Encounter with Howard Riley (Jazzprint, 2001)
 Imago with Peter Fairclough (Jazzprint, 2003)
 Another Part of the Story with Howard Riley (Emanem, 2003)
 Pianoforte with Howard Riley (Slam, 2004)
 Mahogany Rain with Julie Tippetts (DUNS, 2005)
 Dartington Improvising Trio Live at the Priory with Julie Tippetts (FMR, 2005)
 Live at Le Mans (Red Eye Music, 2007)
 Viva La Black Live at Ruvo with Julie Tippetts (Ogun, 2007)
 Supernova with Stan Tracey (Resteamed, 2008)
 Nostalgia 77 Sessions Featuring Keith & Julie Tippett (Tru Thoughts, 2009)
 Live at the Purcell Room (Ogun, 2010)
 From Granite to Wind (Ogun, 2011)
 Two for Joyce (Long Song, 2013)
 Mujician Solo IV (Dark Companion, 2015)
 The Nine Dances of Patrick O'Gonogon (Discus, 2016)
 Four Quartets with Jackson, Long, Taylor (Confront, 2016)
 Live in Triest (Klopotec, 2018)
 A Mid Autumn Night's Dream with Julie Tippetts, Lino Capra Vaccina and Paolo Tofani (Dark Companion, 2019)
 Noise in Your Eye with Adrian Chivers, Daniel Pennie (April 2020)
 The Monk Watches The Eagle (Discus, 2020)

As sideman
With Company
 Epiphany (Incus, 1982)
 Epiphanies I-VI (Honest Jon's, 2019)
 Epiphanies VII-XIII (Honest Jon's, 2019)

With Elton Dean
 Oh! for the Edge (Ogun, 1976)
 They All Be on This Old Road (Ogun, 1977)
 Happy Daze (Ogun, 1977)
 Boundaries (Japo, 1980)
 Duos (Elton Dean Tapes, 1988)
 Trios (Elton Dean Tapes, 1989)
 The Vortex Tapes (Slam, 1992)
 Two's and Three's (Voiceprint, 1995)
 Bladik (Cuneiform, 1997)
 Live at The BBC (Hux, 2003)
 Ninesense Suite (Jazzwerkstatt, 2011)

With Paul Dunmall
  Desire and Liberation (Slam, 1997)
 Bebop Starburst (Cuneiform, 1999)
  Onosante (DUNS, 2000)
  The Great Divide (Cuneiform, 2001)
  Bridging (Clean Feed, 2003)
  I Wish You Peace (Cuneiform, 2004)

With King Crimson
 In the Wake of Poseidon (Island, 1970)
 Lizard (Island, 1970)
 Islands (Island, 1971)

With Harry Miller
 Family Affair (Ogun, 1977)
 In Conference (Ogun, 1978)
 Which Way Now (Cuneiform, 2006)
 Full Steam Ahead (Reel, 2009)
 Different Times, Different Places (Ogun, 2013)
 Different Times Different Places Vol. Two (Ogun, 2016)

With Mujician
 The Journey (Cuneiform, 1990)
 Poem About the Hero (Cuneiform, 1994)
 Birdman (Cuneiform, 1996)
 Colours Fulfilled (Cuneiform, 1998)
 Spacetime (Cuneiform, 2002)
 There's No Going Back Now (Cuneiform, 2006)

With others
 Arthur Brown, Dance (Gull, 1975)
 Harry Beckett, Passion and Possession (ITM, 1991)
 Mark Charig, Pipedream (Ogun, 1977)
 Keith Christmas, Fable of the Wings (B & C, 1970)
 Julie Driscoll, 1969 (Polydor, 1971)
 Dennis Gonzalez, Catechism (Daagnim, 1988)
 Jack Lancaster & Robin Lumley, Peter and the Wolf (RSO, 1975)
 Iain Matthews , If You Saw Thro' My Eyes (Vertigo, 1971)
 Harold McNair, The Fence (B & C, 1970)
 Louis Moholo, Spirits Rejoice! (Ogun, 1978)
 Louis Moholo, Mpumi (Ogun, 2002)
 Shelagh McDonald, Album (Polydor, 1970)
 Dudu Pukwana, Diamond Express (Arista, 1977)
 Dudu Pukwana, Black Horse (1201 Music, 2012)
 Daryl Runswick, Set of 5 (ASC, 2000)
 Peter Sinfield, Still (Manticore, 1973)
 David Sylvian, Everything and Nothing (Virgin, 2000)
 Julie Tippetts, Sunset Glow (Utopia, 1975)
 Toyah, Ophelia's Shadow (Demon, 1991)
 Working Week, Fire in the Mountain (10 Records, 1989)

References

External links
Complete Keith Tippett Discography at Downtown Music Gallery
Keith Tippett at Calyx
Mind Your Own Music, the Keith Tippett/Julie Tippetts management website.
Interview with Keith Tippett
Free Music Production, Tippetts FMP releases

1947 births
2020 deaths
Musicians from Bristol
English people of Irish descent
21st-century British pianists
Avant-garde jazz musicians
British composers
British jazz pianists
Centipede (band) members
Mujician members
The Dedication Orchestra members
FMP/Free Music Production artists
Leo Records artists
Emanem Records artists
E.G. Records artists
Edition Records artists
Ogun Records Artists

Keith Tippett


Drosophila pseudoobscura is a species of fruit fly, used extensively in lab studies of the genetics of natural populations.

It was first used by Theodosius Dobzhansky and his colleagues. They collected samples from populations in western North America and Mexico, and grew them in 'population cages' in the laboratory. They were interested in natural selection, genetic drift, and other aspects of population genetics.

In 1989 Diane Dodd gave laboratory populations of D. pseudoobscura two different food types, starch and maltose. They rapidly evolved into two distinct groups after only eight generations with the different foods. As the two groups both showed a strong preference for mating with their own type, this was claimed as an example of speciation by reproductive isolation. Dodd's experiment has been repeated by others, and works with other kinds of fruit flies and foods.

In 2005, D. pseudoobscura was the second Drosophila species to have its genome sequenced, after Drosophila melanogaster.

References

Drosophila
Evolutionary biology
Experiments
Model organisms

Drosophila pseudoobscura


Shaving soap is a hard soap that is used to produce lather with a shaving brush. The lather it produces is used to coat the face during shaving, softening the hair in preparation for shaving.

While shaving soap produces plenty of dense and long-lasting lather, its use in modern times is less widespread and has been overtaken by various types of shaving cream.

History

Hard shaving soaps in their modern form have existed since at least the early 19th century. Williams (a common American shaving soap intended for use in a mug rather than a scuttle) has been produced since 1840, and a US patent for a shaving scuttle for use with a hard soap was granted in 1867. Shaving sticks (shaving soap formed into a cylinder) have existed at least since the mid-19th century.

The 21st Century has seen a pop culture renaissance of Wet Shaving and thus, shaving soaps have become increasingly popular, with multiple brands being established to exclusively sell the product.

Appearance

Traditional shaving soap is often sold as a round puck, either with a rounded bottom intended for use with a shaving scuttle or a flat bottom for use in a mug. High-end soaps may be sold with their own dishes, typically made of either wood or ceramic, and be formed to fit the dish with which the puck is sold. Shaving soap may also be formed in a stick, sold either in a plastic tube or wrapped in foil or paper. Shaving soap is more rarely sold as rectangular bars (as is common with body soap).

Use
A hard shaving soap is used with a shaving brush to create lather for shaving. For soap in the form of a puck or bar, the brush is first soaked in water and then swirled vigorously over the surface of the soap, causing moist soap to coat the brush's bristles. The brush is then transferred either to a separate bowl or to the shaver's face to be lathered.

Shaving sticks are typically used by rubbing the exposed end of the stick across the shaver's face, coating the face with soap. The soap is then lathered with a moistened brush. Owing to their compact form and ease of use, shaving sticks are popular for use while traveling.

Ingredients
Shaving soap is produced like a traditional soap with an ingredient selection oriented to producing a stable, slick lather. Its manufacture often differs slightly from normal bath soap in that both potassium hydroxide and sodium hydroxide may be used as saponification agents. Sodium hydroxide creates a harder soap such as is used in pucks, where potassium hydroxide facilitates creation of a softer soap which loads on the brush more easily.  Historically, tallow has been a popular ingredient in shaving soaps and is still in use in some traditional products. Palm oil is frequently used as a substitute for tallow where animal fats are not desired.  Other oils such as coconut oil are commonly used.  Component  fatty acids such as stearic acid are also used in shaving soaps for the properties which they contribute; stearic acid contributes to a more stable dense lather.

Advantages and disadvantages
The primary advantages of shaving soap over aerosol shaving creams is the additional hydration provided by shaving soaps.

Shaving soaps are also approved by the Transportation Security Administration and other airport security agencies as permitted in carry-on luggage. There is furthermore little risk of accidental discharge of the product during transport.

The principal disadvantages of shaving soap is lack of convenience and space. Creating the lather and preparing the face is more time-consuming than with other shaving creams. In addition, use of a shaving mug and optionally a lather bowl, consumes more space and takes more time than most shaving creams do.  Although, some people build up the lather from shave soap directly on the skin without the use of a mug or bowl.

Shaving soaps typically cost more initially, when the shaving mug and soap is purchased. These costs can be significantly reduced by using mugs and bowls found in the kitchen, or purchased for a small amount at resale stores. Even though shaving soaps may cost more initially when buying the soap and equipment, over a longer period of time, shaving soaps are comparable in cost, or even cheaper than many shaving creams. Furthermore, shaving soaps have less ecological impact with respect to aerosol shaving creams.

See also

 Aftershave
 Barber
 Bay rum
 Beard
 Burma-Shave
 Colognes
 Head shaving
 Leg shaving
 List of cleaning products
 Razors
 Saltwater soap
 Shaving cream
 Straight razor

References

Bibliography

Soaps
Shaving implements

Shaving soap


CCU is a Chilean producer of diversified beverages founded in 1902. The company produces both alcoholic and non-alcoholic beverages, also operating in the food sector. They have operations in Chile, Argentina, Bolivia, Colombia, Paraguay, Uruguay and Peru.

CCU is notably far from obscurity in South America and is somewhat diverse. It is Chile's largest brewer, the second largest soft drink producer, the second largest wine producer, the largest bottler of mineral water and fruit-based beverages in Chile, one of the largest pisco producers in the region, and it participates in the candy manufacturing business. CCU is the second-largest brewer in Argentina and also participates in the cider, spirits and wine industries. In Uruguay and Paraguay, the Company is present in the beer, mineral and bottled water, soft drinks and fruit-based beverage categories. In Bolivia, CCU participates in the beer, water, soft drinks and malt beverage categories. In Colombia, the Company participates in the beer industry and in Peru, in the pisco industry.

The CCU product portfolio includes its own brands, as well as licensed and imported brands, maintaining licensing agreements and / or joint ventures with Heineken International N.V., Anheuser-Busch Inc. (now a wholly owned subsidiary of Anheuser-Busch InBev N.V.), PepsiCo Inc., Paulaner Brewery GmbH & Co. KG, (Brau Holding International GmbH & Co. KGaA) Dr Pepper Snapple Group Inc. (formerly Cadbury Schweppes), Guinness Brewery (a subsidiary of Diageo Plc), and Societe des Produits Nestlé S.A..

In 1957, the first digital computer arrived in Chile after the CCU purchased a Univac to be delivered to Valparaiso. The machine was one of the first documented cases in the history of computer science in South America.

References

Companies listed on the Santiago Stock Exchange
Companies listed on the New York Stock Exchange
Food and drink companies of Chile
1902 establishments in Chile
Beer in Chile
Manufacturing companies based in Santiago
PepsiCo bottlers
Companies established in 1902

Compañía de las Cervecerías Unidas


The  New Year Concert of the Vienna Philharmonic Orchestra is a concert of classical music that takes place each year on the morning of 1 January in Vienna, Austria. The concert hall where they are held is called the Wiener Musikverein. The music traditionally consists of waltzes, marches and polkas by the Strauss family. The concert is shown on television to about one billion people in 44 countries.

Music and setting

The music always includes pieces from the Strauss family (Johann Strauss I, Johann Strauss II, Josef Strauss and Eduard Strauss). The music consists mainly of waltzes, polkas, mazurkas and marches. Sometimes other Austrian composers are included. In 2009, for the first time, music by Joseph Haydn was played. It was the 4th movement of Haydn's Symphony No. 45, known as the "Farewell Symphony". It was performed because the year 2009 is the 200th anniversary of Haydn's death.

These concerts have been held in the "Großer Saal" (Large Hall) of the Wiener Musikverein since 1939. Since 1980 the flowers that decorate the concert hall are a gift each year from the city of Sanremo, Liguria, Italy. On television the viewers can also see ballet dancers who dance to the music. These dancers are often dancing in Schönbrunn Palace, Schloss Esterházy, the Vienna State Opera or in the Wiener Musikverein itself.

The concert always ends with three encores after the main programme. The first encore is a fast polka. The second encore is Johann Strauss II's Blue Danube Waltz. The audience start to clap as soon as the music for this famous waltz starts. The last encore is the Radetzky March. The audience like to clap along to the music.

The concert was first performed in 1939.

Conductors
 Clemens Krauss, 1939, 1941–1945, 1948–1954
 Josef Krips, 1946–1947
 Willi Boskovsky, 1955–1979
 Lorin Maazel, 1980–1986, 1994, 1996, 1999, 2005
 Herbert von Karajan, 1987
 Claudio Abbado, 1988, 1991
 Carlos Kleiber, 1989, 1992
 Zubin Mehta, 1990, 1995, 1998, 2007
 Riccardo Muti, 1993, 1997, 2000, 2004
 Nikolaus Harnoncourt, 2001, 2003
 Seiji Ozawa, 2002
 Mariss Jansons, 2006, 2012
 Georges Prêtre, 2008, 2010
 Daniel Barenboim, 2009
 Franz Welser-Möst, 2011

Concerts
January events

Vienna New Year's Concert


Free Cinema was a documentary film movement that emerged in the United Kingdom in the mid-1950s. The term referred to an absence of propagandised intent or deliberate box office appeal. Co-founded by Lindsay Anderson (but he later disdained the 'movement' tag) with Karel Reisz, Tony Richardson and Lorenza Mazzetti, the movement began with a programme of three short films at the National Film Theatre, London on 5 February 1956. The programme was such a success that five more programmes appeared under the 'Free Cinema' banner before the founders decided to end the series. The last event was held in March 1959. Three of the screenings consisted of work from overseas filmmakers.

Background
Together with Gavin Lambert, Anderson and Reisz had previously founded the short-lived but influential journal Sequence, of which Anderson later wrote 'No Film Can Be Too Personal'. So ran the initial pronouncement in the first Free Cinema manifesto. It could equally well have been the motto of SEQUENCE'.

The manifesto was drawn up by Anderson and Mazzetti at a Charing Cross cafe named The Soup Kitchen, where Mazzetti worked. It read:

These films were not made together; nor with the
idea of showing them together. But when they came together, we felt they had an attitude in common.
Implicit in this attitude is a belief in freedom, in the importance of people and the significance of
the everyday.

As filmmakers we believe that
      No film can be too personal.
      The image speaks. Sound amplifies and comments.
      Size is irrelevant. Perfection is not an aim.
      An attitude means a style. A style means an attitude.

At an interview in 2001, Mazzetti explained that the reference to size was prompted by the then-new experiments in CinemaScope and other large screen formats. "The image speaks" was an assertion of the primacy of the image over the sound. Reisz said that 'An attitude means a style' meant that 'a style is not a matter of camera angles or fancy footwork, it's an expression, an accurate expression of your particular opinion'.

The first 'Free Cinema' programme featured just three films:
 Anderson's O Dreamland (1953), previously unshown, about an amusement park in Margate, Kent
 Reisz and Richardson's Momma Don't Allow (1956), about a Wood Green (North London) jazz club
 Mazzetti's Together (1956), a fiction based on a short story by Denis Horne about a pair of deaf-mute dockworkers in London's  East End.
The films were accompanied by the above provocative film manifesto, written chiefly by Anderson, which brought the film-makers valuable publicity. Later programmes brought in like minded filmmakers, among them Alain Tanner and Claude Goretta (with Nice Time), Michael Grigsby and Robert Vas. The two film technicians closely associated with the movement were Walter Lassally and John Fletcher. The three of the six programmes were devoted to foreign work, including the new Polish cinema (fourth programme), emerging French New Wave (fifth programme); and  American independent filmmaker Lionel Rogosin was invited to screen his ground-breaking film On the Bowery at the second Free Cinema programme in September 1956. That event also included Norman McLaren's Neighbours and Georges Franju's Le Sang des bêtes.

Characteristics
The films were free in the sense that they were made outside the confines of the film industry and were distinguished by their style and attitude and the conditions of production. All of the films were made cheaply, for no more than a few hundred pounds, mostly with grants from the British Film Institute's Experimental Film Fund. Some of the later films were sponsored by the Ford Motor Company or funded independently. They were typically shot in black and white on 16mm film, using lightweight, hand-held cameras, usually with a non-synchronised soundtrack added separately. Most of the films deliberately omitted narration. The film-makers shared a determination to focus on ordinary, largely working-class British subjects. They felt these people had been overlooked by the middle-class-dominated British film industry of the time.

The founders of the movement were dismissive of mainstream documentary film-making in Britain, particularly of the Documentary Film Movement of the 1930s and 1940s associated with John Grierson, although they made an exception for Humphrey Jennings. Another acknowledged influence was French director Jean Vigo (1905–34). Free Cinema bears some similarities to the cinéma vérité and Direct Cinema movements.

Legacy
Free Cinema was a major influence on the British New Wave of the late 1950s and early 1960s, and all of the founders except Mazzetti would make films associated with the movement. Richardson directed Look Back in Anger (1958), A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962); Reisz directed Saturday Night and Sunday Morning (1960); and Anderson directed This Sporting Life (1963) and If.... (1968).

Many of these films have also been categorized as part of the kitchen sink realism genre, and many of them are adaptations of novels or plays written by members of Britain's so-called "angry young men".

See also
British New Wave
Direct Cinema
Cinéma vérité
Kitchen sink realism
Karel Reisz

References

External links

 Interactive video talk by Malcolm McDowell on Free Cinema, made for BFI Screenonline
Sequence magazine on Issuu

British documentary films
Movements in cinema
1950s in film
1950s in British cinema

Free Cinema


The Woods Are Full of Cuckoos is a 1937 Merrie Melodies cartoon directed by Frank Tashlin. The short was released on December 4, 1937.

Plot
The cartoon starts with an owl named "Owl Kott" (satirizing Alexander Woollcott's Town Crier radio program) giving an introduction to the festivities. This is followed by a Ben Bernie caricature called "Ben Birdie", feuding with "Walter Finchell". The same spoof was used in the cartoon The CooCoo Nut Grove (1936). Walter Winchell had a well-publicized feud with Bernie at the time, which, like Jack Benny's "feud" with Fred Allen, was faked for publicity purposes – Bernie and Winchell were actually good friends.

Next is "Milton Squirrel" (Milton Berle, Master of Ceremony , M.C.  of Gillette Community Sing) introducing "Wendell Howl" (Wendell Hall) and an audience trying to figure out which page to go to in their songbooks, which results in Wendell getting pelted by the audience's songbooks. Then, "Billy Goat and "Ernie Bear" (Billy Jones and Ernie Hare) and everyone else sings a song with the lyrics:

The Woods are full of cuckoos,
Cuckoos, cuckoos,
The Woods are full of cuckoos
and my heart is full of love.

During the song, a fox (a caricature of Fred Allen) called "Mr. Allen" is told that he's singing "Swanee River" instead of the actual song. Then the song is sung by "Eddie Gander" (Eddie Cantor), "Sophie Turkey" (Sophie Tucker), "W.C. Fieldmouse" (W. C. Fields), "Dick Fowl" (Dick Powell), "Fats Swallow" (Fats Waller), "Deanna Terrapin" (Deanna Durbin), "Irvin S. Frog" (Irvin S. Cobb), "Fred McFurry" (Fred MacMurray), "Bing Crowsby" (Bing Crosby), "Al Goatson" (Al Jolson), "Ruby Squealer" (Ruby Keeler, Jolson's wife at the time), and "Lanny Hoss" (Lanny Ross). Then "Grace Moose" (Grace Moore) and "Lily Swans" (Lily Pons) sing notes, each note higher than the other. Comedian and jazz singer Martha Raye (caricatured here as a mule named "Moutha Bray") makes an appearance in a scatting jazz take.  More caricatures appear, including movie critic and gossip columnist "Louella Possums" (Louella Parsons), Raven McQuandry (Haven McQuarrie, emcee of Do You Want To Be An Actor?), Joe Penguin (Joe Penner), Tizzie Fish ("Tizzie Lish", a character on Al Pearce's radio show), Jack Bunny (Jack Benny), Mary Livingstone, and Andy Devine (a regular on Benny's radio program). Finally Owl Kott finishes the cartoon by bidding the audience goodnight, and saying "All is well, all is well..."

Home media
LaserDisc - The Golden Age of Looney Tunes, Volume 4, Side 5
DVD - Looney Tunes Golden Collection: Volume 3, Disc 2

Notes
The cartoon is notable for being a parody/send-up of several different radio programs of the era, particularly the then-popular "community sing" programs. Author and critic Alexander Woollcott is parodied as Owl Kott in the cartoon, a parody that Tashlin would revisit in another Merrie Melodies'' cartoon, "Have You Got Any Castles?", which was released in 1938.

References

External links

1937 films
1937 animated films
Animation based on real people
Merrie Melodies short films
Short films directed by Frank Tashlin
1930s American animated films
Films based on radio series
Cultural depictions of W. C. Fields
Cultural depictions of Bing Crosby
Cultural depictions of Al Jolson
Cultural depictions of Fats Waller
American black-and-white films

The Woods Are Full of Cuckoos


, also known as Shin Buddhism or True Pure Land Buddhism, is a school of Pure Land Buddhism. It was founded by the former Tendai Japanese monk Shinran.

Shin Buddhism is the most widely practiced branch of Buddhism in Japan.

History

Shinran (founder)
Shinran (1173–1263) lived during the late Heian to early Kamakura period (1185–1333), a time of turmoil for Japan when the emperor was stripped of political power by the shōguns. Shinran's family had a high rank at the Imperial court in Kyoto, but given the times, many aristocratic families were sending sons off to be Buddhist monks instead of having them participate in the Imperial government. When Shinran was nine (1181), he was sent by his uncle to Mount Hiei, where he was ordained as a śrāmaṇera in the Tendai sect. Over time, Shinran became disillusioned with how Buddhism was practiced, foreseeing a decline in the potency and practicality of the teachings espoused.

Shinran left his role as a dosō ("practice-hall monk") at Mount Hiei and undertook a 100-day retreat at Rokkaku-dō in Kyoto, where he had a dream on the 95th day. In this dream, Prince Shōtoku appeared to him, espousing a pathway to enlightenment through verse. Following the retreat, in 1201, Shinran left Mount Hiei to study under Hōnen for the next six years. Hōnen (1133–1212) another ex-Tendai monk, left the tradition in 1175 to found his own sect, the Jōdo-shū or "Pure Land School". From that time on, Shinran considered himself, even after exile, a devout disciple of Hōnen rather than a founder establishing his own, distinct Pure Land school.

During this period, Hōnen taught the new nembutsu-only practice to many people in Kyoto society and amassed a substantial following but also came under increasing criticism by the Buddhist establishment there. Among his strongest critics was the monk Myōe and the temples of Enryaku-ji and Kōfuku-ji. The latter continued to criticize Hōnen and his followers even after they pledged to behave with good conduct and to not slander other Buddhists.

In 1207, Hōnen's critics at Kōfuku-ji persuaded Emperor Toba II to forbid Hōnen and his teachings after two of Imperial ladies-in-waiting converted to his practices. Hōnen and his followers, among them Shinran, were forced into exile and four of Hōnen's disciples were executed. Shinran was given a lay name, Yoshizane Fujii, by the authorities but called himself Gutoku "Stubble-headed One" instead and moved to Echigo Province (today Niigata Prefecture).

It was during this exile that Shinran cultivated a deeper understanding of his own beliefs based on Hōnen's Pure Land teachings. In 1210 he married Eshinni, the daughter of an Echigo aristocrat. Shinran and Eshinni had several children. His eldest son, Zenran, was alleged to have started a heretical sect of Pure Land Buddhism through claims that he received special teachings from his father. Zenran demanded control of local monto (lay follower groups), but after writing a stern letter of warning, Shinran disowned him in 1256, effectively ending Zenran's legitimacy.

In 1211 the nembutsu ban was lifted and Shinran was pardoned, but by 1212, Hōnen had died in Kyoto. Shinran never saw Hōnen following their exile. In the year of Hōnen's death, Shinran set out for the Kantō region, where he established a substantial following and began committing his ideas to writing. In 1224 he wrote his most significant book, the Kyogyoshinsho ("The True Teaching, Practice, Faith and Attainment of the Pure Land"), which contained excerpts from the Three Pure Land sutras and the Mahāyāna Mahāparinirvāṇa Sūtra along with his own commentaries and the writings of the Jodo Shinshu Patriarchs Shinran drew inspiration from.

In 1234, at the age of sixty, Shinran left Kantō for Kyoto (Eshinni stayed in Echigo and she may have outlived Shinran by several years), where he dedicated the rest of his years to writing. It was during this time he wrote the Wasan, a collection of verses summarizing his teachings for his followers to recite.

Shinran's daughter, Kakushinni, came to Kyoto with Shinran, and cared for him in his final years and his mausoleum later became Hongan-ji, "Temple of the Original Vow". Kakushinni was instrumental in preserving Shinran's teachings after his death, and the letters she received and saved from her mother, Eshinni, provide critical biographical information regarding Shinran's earlier life. These letters are currently preserved in the Nishi Hongan temple in Kyoto. Shinran died at the age of 90 in 1263 (technically age 89 by Western reckoning).

Revival and formalization

Following Shinran's death, the lay Shin monto slowly spread through the Kantō and the northeastern seaboard. Shinran's descendants maintained themselves as caretakers of Shinran's gravesite and as Shin teachers, although they continued to be ordained in the Tendai School. Some of Shinran's disciples founded their own schools of Shin Buddhism, such as the Bukko-ji and Kosho-ji, in Kyoto. Early Shin Buddhism did not truly flourish until the time of Rennyo (1415–1499), who was 8th in descent from Shinran. Through his charisma and proselytizing, Shin Buddhism was able to amass a greater following and grow in strength. In the 16th-century, during the Sengoku period the political power of Honganji led to several conflicts between it and the warlord Oda Nobunaga, culminating in a ten-year conflict over the location of the Ishiyama Hongan-ji, which Nobunaga coveted because of its strategic value. So strong did the sect become that in 1602, through mandate of Shogun Tokugawa Ieyasu, the main temple Hongan-ji in Kyoto was broken off into two sects to curb its power. These two sects, the Nishi (Western) Honganji and the Higashi (Eastern) Honganji, exist separately to this day.

During the time of Shinran, followers would gather in informal meeting houses called dojo, and had an informal liturgical structure. However, as time went on, this lack of cohesion and structure caused Jōdo Shinshū to gradually lose its identity as a distinct sect, as people began mixing other Buddhist practices with Shin ritual. One common example was the Mantra of Light popularized by Myōe and Shingon Buddhism. Other Pure Land Buddhist practices, such as the nembutsu odori or "dancing nembutsu" as practiced by the followers of Ippen and the Ji School, may have also been adopted by early Shin Buddhists. Rennyo ended these practices by formalizing much of the Jōdo Shinshū ritual and liturgy, and revived the thinning community at the Honganji temple while asserting newfound political power. Rennyo also proselytized widely among other Pure Land sects and consolidated most of the smaller Shin sects. Today, there are still ten distinct sects of Jōdo Shinshū, Nishi Hongan-ji and Higashi Hongan-ji being the two largest.

Rennyo is generally credited by Shin Buddhists for reversing the stagnation of the early Jōdo Shinshū community, and is considered the "Second Founder" of Jōdo Shinshū. His portrait picture, along with Shinran's, are present on the onaijin (altar area) of most Jōdo Shinshū temples. However, Rennyo has also been criticized by some Shin scholars for his engagement in medieval politics and his alleged divergences from Shinran's original thought. After Rennyo, Shin Buddhism was still persecuted in some regions. Secret Shin groups called kakure nenbutsu would meet in mountain caves to perform chanting and traditional rituals.

Following the unification of Japan during the Edo period, Jōdo Shinshū Buddhism adapted, along with the other Japanese Buddhist schools, into providing memorial and funeral services for its registered members under the Danka system, which was legally required by the Tokugawa shogunate in order to prevent the spread of Christianity in Japan. The danka seido system continues to exist today, although not as strictly as in the premodern period, causing Japanese Buddhism to also be labeled as "Funeral Buddhism" since it became the primary function of Buddhist temples. The Honganji also created an impressive academic tradition, which led to the founding of Ryukoku University in Kyoto and formalized many of the Jōdo Shinshū traditions which are still followed today.

Following the Meiji Restoration and the subsequent persecution of Buddhism (haibutsu kishaku) of the late 1800s due to a revived nationalism and modernization, Jōdo Shinshū managed to survive intact due to the devotion of its monto. During World War II, the Honganji, as with the other Japanese Buddhist schools, was compelled to support the policies of the military government and the cult of State Shinto. It subsequently apologized for its wartime actions.

In contemporary times, Jōdo Shinshū is one of the most widely followed forms of Buddhism in Japan, although like other schools, it faces challenges from many popular Japanese new religions, or shinshūkyō, which emerged following World War II as well as from the growing secularization and materialism of Japanese society.

All ten schools of Jōdo Shinshū Buddhism commemorated the 750th memorial of their founder, Shinran, in 2011 in Kyoto.

Doctrine
Shinran's thought was strongly influenced by the doctrine of Mappō, a largely Mahayana eschatology which claims humanity's ability to listen to and practice the Buddhist teachings deteriorates over time and loses effectiveness in bringing individual practitioners closer to Buddhahood. This belief was particularly widespread in early medieval China and in Japan at the end of the Heian. Shinran, like his mentor Hōnen, saw the age he was living in as being a degenerate one where beings cannot hope to be able to extricate themselves from the cycle of birth and death through their own power, or jiriki (自力). For both Hōnen and Shinran, all conscious efforts towards achieving enlightenment and realizing the Bodhisattva ideal were contrived and rooted in selfish ignorance; for humans of this age are so deeply rooted in karmic evil as to be incapable of developing the truly altruistic compassion that is requisite to becoming a Bodhisattva.

Due to his awareness of human limitations, Shinran advocated reliance on tariki, or other power (他力)—the power of Amitābha (Japanese Amida) made manifest in his Primal Vow—in order to attain liberation. Shin Buddhism can therefore be understood as a "practiceless practice", for there are no specific acts to be performed such as there are in the "Path of Sages". In Shinran's own words, Shin Buddhism is considered the "Easy Path" because one is not compelled to perform many difficult, and often esoteric, practices in order to attain higher and higher mental states.

Nembutsu

As in other Pure Land Buddhist schools, Amitābha is a central focus of the Buddhist practice, and Jōdo Shinshū expresses this devotion through a chanting practice called nembutsu, or "Mindfulness of the Buddha [Amida]". The nembutsu is simply reciting the phrase Namu Amida Butsu ("I take refuge in Amitābha Buddha"). Jōdo Shinshū is not the first school of Buddhism to practice the nembutsu but it is interpreted in a new way according to Shinran. The nembutsu becomes understood as an act that expresses gratitude to Amitābha; furthermore, it is evoked in the practitioner through the power of Amida's unobstructed compassion. Therefore, in Shin Buddhism, the nembutsu is not considered a practice, nor does it generate karmic merit. It is simply an affirmation of one's gratitude. Indeed, given that the nembutsu is the Name, when one utters the Name, that is Amitābha calling to the devotee. This is the essence of the Name-that-calls.

Note that this is in contrast to the related Jōdo-shū, which promoted a combination of repetition of the nembutsu and devotion to Amitābha as a means to birth in his pure land of Sukhavati. It also contrasts with other Buddhist schools in China and Japan, where nembutsu recitation was part of a more elaborate ritual.

The Pure Land
In another departure from more traditional Pure Land schools, Shinran advocated that birth in the Pure Land was settled in the midst of life. At the moment one entrusts oneself to Amitābha, one becomes "established in the stage of the truly settled". This is equivalent to the stage of non-retrogression along the bodhisattva path.

Many Pure Land Buddhist schools in the time of Shinran felt that birth in the Pure Land was a literal rebirth that occurred only upon death, and only after certain preliminary rituals. Elaborate rituals were used to guarantee rebirth in the Pure Land, including a common practice wherein the fingers were tied by strings to a painting or image of Amida Buddha. From the perspective of Jōdo Shinshū such rituals actually betray a lack of trust in Amida Buddha, relying on jiriki ("self-power"), rather than the tariki or "other-power" of Amida Buddha. Such rituals also favor those who could afford the time and energy to practice them or possess the necessary ritual objects—another obstacle for lower-class individuals. For Shinran Shonin, who closely followed the thought of the Chinese monk Tan-luan, the Pure Land is synonymous with nirvana.

Shinjin
The goal of the Shin path, or at least the practicer's present life, is the attainment of shinjin in the Other Power of Amida. Shinjin is sometimes translated as "faith", but this does not capture the nuances of the term and it is more often simply left untranslated. The receipt of shinjin comes about through the renunciation of self-effort in attaining enlightenment through tariki. Shinjin arises from jinen (自然 naturalness, spontaneous working of the Vow) and cannot be achieved solely through conscious effort. One is letting go of conscious effort in a sense, and simply trusting Amida Buddha, and the nembutsu.

For Jōdo Shinshū practitioners, shinjin develops over time through "deep hearing" () of Amitābha's call of the nembutsu. According to Shinran, "to hear" means "that sentient beings, having heard how the Buddha's Vow arose—its origin and fulfillment—are altogether free of doubt." Jinen also describes the way of naturalness whereby Amitābha's infinite light illumines and transforms the deeply rooted karmic evil of countless rebirths into good karma. It is of note that such evil karma is not destroyed but rather transformed: Shin stays within the Mahayana tradition's understanding of śūnyatā and understands that samsara and nirvana are not separate. Once the practitioner's mind is united with Amitābha and Buddha-nature gifted to the practitioner through shinjin, the practitioner attains the state of non-retrogression, whereupon after his death it is claimed he will achieve instantaneous and effortless enlightenment. He will then return to the world as a Bodhisattva, that he may work towards the salvation of all beings.

Tannishō
The Tannishō is a 13th-century book of recorded sayings attributed to Shinran, transcribed with commentary by Yuien-bo, a disciple of Shinran. The word Tannishō is a phrase which means "A record [of the words of Shinran] set down in lamentation over departures from his [Shinran's] teaching". While it is a short text, it is one of the most popular because practitioners see Shinran in a more informal setting.

For centuries, the text was almost unknown to the majority of Shin Buddhists. In the 15th century, Rennyo, Shinran's descendant, wrote of it, "This writing is an important one in our tradition. It should not be indiscriminately shown to anyone who lacks the past karmic good". Rennyo Shonin's personal copy of the Tannishō is the earliest extant copy. Kiyozawa Manshi (1863–1903) revitalized interest in the Tannishō, which indirectly helped to bring about the Ohigashi schism of 1962.

In Japanese culture
Earlier schools of Buddhism that came to Japan, including Tendai and Shingon Buddhism, gained acceptance because of honji suijaku practices. For example, a kami could be seen as a manifestation of a bodhisattva. It is common even to this day to have Shinto shrines within the grounds of Buddhist temples.

By contrast, Shinran had distanced Jōdo Shinshū from Shinto because he believed that many Shinto practices contradicted the notion of reliance on Amitābha. However, Shinran taught that his followers should still continue to worship and express gratitude to kami, other buddhas, and bodhisattvas despite the fact that Amitābha should be the primary buddha that Pure Land believers focus on. Furthermore, under the influence of Rennyo and other priests, Jōdo Shinshū later fully accepted honji suijaku beliefs and the concept of kami as manifestations of Amida Buddha and other buddhas and bodhisattvas.

Jōdo Shinshū traditionally had an uneasy relationship with other Buddhist schools because it discouraged the majority of traditional Buddhist practices except for the nembutsu. Relations were particularly hostile between the Jōdo Shinshū and Nichiren Buddhism. On the other hand, newer Buddhist schools in Japan, such as Zen, tended to have a more positive relationship and occasionally shared practices, although this is still controversial. In popular lore, Rennyo, the 8th Head Priest of the Hongan-ji sect, was good friends with the famous Zen master Ikkyū.

Jōdo Shinshū drew much of its support from lower social classes in Japan who could not devote the time or education to other esoteric Buddhist practices or merit-making activities.

Outside Japan
During the 19th century, Japanese immigrants began arriving in Hawaii, the United States, Canada, Mexico and South America (especially in Brazil). Many immigrants to North America came from regions in which Jōdo Shinshū was predominant, and maintained their religious identity in their new country. The Honpa Hongwanji Mission of Hawaii, the Buddhist Churches of America and the Jodo Shinshu Buddhist Temples of Canada (formerly Buddhist Churches of Canada) are several of the oldest Buddhist organizations outside of Asia. Jōdo Shinshū continues to remain relatively unknown outside the ethnic community because of the history of Japanese American and Japanese-Canadian internment during World War II, which caused many Shin temples to focus on rebuilding the Japanese-American Shin sangha rather than encourage outreach to non-Japanese. Today, many Shinshū temples outside Japan continue to have predominantly ethnic Japanese members, although interest in Buddhism and intermarriage contribute to a more diverse community. There are also active Jōdo Shinshū sanghas in the United Kingdom.

During Taiwan's Japanese colonial era (1895–1945), Jōdo Shinshū built a temple complex in downtown Taipei.

Shin patriarchs

The "Seven Patriarchs of Jōdo Shinshū" are seven Buddhist monks venerated in the development of Pure Land Buddhism as summarized in the Jōdo Shinshū hymn Shoshinge. Shinran quoted the writings and commentaries of the Patriarchs in his major work, the Kyogyoshinsho, to bolster his teachings.

The Seven Patriarchs, in chronological order, and their contributions are:

In Jodo Shinshu temples, the seven masters are usually collectively enshrined on the far left.

Branch lineages
 Jōdo Shinshū Hongwanji School (Nishi Hongwan-ji)
 Jōdo Shinshū Higashi Honganji School (Higashi Hongan-ji)
 Shinshū Ōtani School
 Shinshū Chōsei School (Chōsei-ji)
 Shinshū Takada School (Senju-ji)
 Shinshū Kita Honganji School (Kitahongan-ji)
 Shinshū Bukkōji School (Bukkō-ji)
 Shinshū Kōshō School (Kōshō-ji)
 Shinshū Kibe School (Kinshoku-ji)
 Shinshū Izumoji School (Izumo-ji)
 Shinshū Jōkōji School (Jōshō-ji)
 Shinshū Jōshōji School (Jōshō-ji)
 Shinshū Sanmonto School (Senjō-ji)
 Montoshūichimi School (Kitami-ji)
 Kayakabe Teaching (Kayakabe-kyō) - An esoteric branch of Jōdo Shinshū

Major holidays
The following holidays are typically observed in Jōdo Shinshū temples:

Major modern Shin figures
Nanjo Bunyu (1848–1927)
Saichi Asahara (1850-1932)
Kasahara Kenju (1852–1883)
Kiyozawa Manshi (1863–1903)
Jokan Chikazumi (1870–1941)
Eikichi Ikeyama (1873–1938)
Soga Ryojin (1875–1971)
Otani Kozui (1876–1948)
Akegarasu Haya (1877–1954)
Kaneko Daiei (1881–1976)
Zuiken Saizo Inagaki (1885–1981)
Takeko Kujo (1887–1928)
William Montgomery McGovern (1897–1964)
Rijin Yasuda (1900–1982)
Gyomay Kubose (1905–2000)
Shuichi Maida (1906–1967)
Harold Stewart (1916–1995)
Kenryu Takashi Tsuji (1919-2004)
Alfred Bloom (1926–2017)
Zuio Hisao Inagaki (1929–present)
Shojun Bando (1932–2004)
Taitetsu Unno (1935–2014)
Eiken Kobai (1941–present)
Dennis Hirota (1946–present)
Kenneth K. Tanaka (1947-present)
Marvin Harada (1953-present)

See also
Ohigashi schism
Hongan-ji
Kenryo Kanamatsu

References

Literature
 Bandō, Shojun; Stewart, Harold; Rogers, Ann T. and Minor L.; trans. (1996) : Tannishō: Passages Deploring Deviations of Faith and Rennyo Shōnin Ofumi: The Letters of Rennyo, Berkeley: Numata Center for Buddhist Translation and Research.
 Bloom, Alfred (1989). Introduction to Jodo Shinshu, Pacific World Journal, New Series Number 5, 33-39
 Dessi, Ugo (2010), Social Behavior and Religious Consciousness among Shin Buddhist Practitioners, Japanese Journal of Religious Siudies, 37 (2), 335-366
 Dobbins, James C. (1989). Jodo Shinshu: Shin Buddhism in Medieval Japan. Bloomington, Illinois: Indiana University Press. ;  OCLC 470742039
 Ducor, Jerome (2021): Shinran and Pure Land Buddhism; San Francisco, Jodo Shinshu International Office; 188 pp., bibliography ().
 Inagaki Hisao, trans., Stewart, Harold (2003). The Three Pure Land Sutras, 2nd ed., Berkeley, Numata Center for Buddhist Translation and Research.
 Lee, Kenneth Doo (2007). The Prince and the Monk: Shotoku Worship in Shinran's Buddhism. Albany, New York: State University of New York Press. .
 Matsunaga, Daigan, Matsunaga, Alicia (1996), Foundation of Japanese Buddhism, Vol. 2: The Mass Movement (Kamakura and Muromachi Periods), Los Angeles; Tokyo: Buddhist Books International, 1996.
 Takamori/Ito/Akehashi (2006). "You Were Born For A Reason: The Real Purpose of Life," Ichimannendo Publishing Inc;
 S. Yamabe and L. Adams Beck (trans.): Buddhist Psalms of Shinran Shonin, John Murray, London 1921. e-book
 Galen Amstutz, Review of Fumiaki, Iwata, Kindai Bukkyō to seinen: Chikazumi Jōkan to sono jidai and Ōmi Toshihiro, Kindai Bukkyō no naka no Shinshū: Chikazumi Jōkan to kyūdōshatachi, in H-Japan, H-Net Reviews July, 2017.

External links
 List of Jodo Shinshu Organisations with Links
 Jodo Shinshu Buddhism, Dharma for the Modern Age A basic portal with links.
 Homepage for Jodo Shinshu Hongwanji-ha Hongwanji International Center - English
 Buddhist Churches of America Includes basic information, shopping for Shin Buddhist ritual implements, and links to various Shin churches in America.
 Jodo Shinshu Buddhist Temples of Canada National website, includes links and addresses of Shin temples throughout Canada.
 Institute of Buddhist Studies: Seminary and Graduate School
 Jodo Shinshu Honganji-ha. Shinran Works The collected works of Shinran, including the Kyōgōshinshō.
 nembutsu.info: Journal of Shin Buddhism
 The Way of Jodo Shinshu: Reflections on the Hymns of Shinran Shonin

Schools of Buddhism founded in Japan
Pure Land Buddhism

Jōdo Shinshū


Information security is about protecting information so that people who should not have access to it cannot distribute, see, change, or delete it. Although this has a lot in common with computer security, information risk management and information assurance, it is different from them. For example, computer security can focus on making sure that the computer is available when it is needed and that it works correctly but may not have anything to do with the data that it stores.

Information security has to do with the confidentiality, integrity and availability of data in any form e.g. electronic, print, or other forms. Organizations, including governments, private businesses and others have much information stored and processed on computers. Data that is lost or released to the wrong people or that is not properly secured could lead to legal and ethical problems for the organization.

For an individual person, information security has a big effect on privacy, which is viewed very differently by people in different cultures.

References

Other websites
 Information security -Citizendium

Security

Information security


The Union Building is a building on the Bund in Shanghai, China. It is located at No. 3, the Bund (formerly no. 4).

Completed in 1916, the building was used by a number of insurance companies. The six-storey building was the first work in Shanghai of P&T Architects and Surveyors (Palmer & Turner), and was the first building in Shanghai to use a steel structure. The building occupied 2241 square metres, with a floor area of 13760 square metres. Because it had a narrow frontage onto the Bund, the main door was located on the adjacent Guangdong Road.

The building is in Neo-Renaissance style with a symmetrical facade, but with some Baroque style details. The roof features a domed corner pavilion.

In 1937, the Japanese Imperial Army threatened Shanghai. Being unable to indemnify war damages, the insurance companies had their assets frozen. The Union Bank then purchased the building. In 1949 the Union Bank evacuated from Shanghai in the wake of the Communist takeover. From 1953 the building was used by the Shanghai Civil Architecture and Design Institute. In 1997 a private equity fund from Singapore purchased the building, and in 2004 converted it to a shopping centre, called "Three on the Bund". The restoration was led by American architect Michael Graves who meticulously restored the Beaux-Arts facade, reinforced the structure, and installed new building systems. He hailed his efforts as a model of adaptive reuse and won the 2006 design in Asia award.

References

External links
 Three on the Bund
 High resolution architectural photographs of historical buildings in Shanghai
 Historic Architecture of "The Bund - Shanghai"

Buildings and structures completed in 1916
Buildings and structures in Shanghai
Landmarks in Shanghai
The Bund
1916 establishments in China

Union Building, Shanghai


April Saul is an American journalist.  She specializes in documentary photojournalism.

Saul has photographed and written for The Philadelphia Inquirer since 1981.  In 1997, Saul, along with Inquirer reporter Michael Vitez and photographer Ron Cortes, was awarded the Pulitzer Prize in Explanatory Journalism for a series of articles on end-of-life care, telling the stories of terminally-ill patients who wished to die with dignity.

Biography
Saul was born on May 27, 1955, in Brooklyn, New York and grew up in East Brunswick Township, New Jersey.  She received her BA in English from Tufts University and her MA in Mass Communication from the University of Minnesota. Saul is the daughter of journalist Louise Saul (1921-2015).

Saul became a photographer at The Baltimore Sun in 1980, and the following year, joined the staff of The Philadelphia Inquirer. She was the first recipient of the Nikon/ NPPA Documentary Sabbatical Grant for her work on Hmong refugees in 1985.

Over the last twenty-five years, she has won numerous honors, including the Robert F. Kennedy Journalism Award, the World Press Photo Budapest Award for Humanistic Photography and on various occasions, been named Photographer of the Year by the Northern Short Course, the Pennsylvania Press Photographers Association and the New Jersey Press Photographers Association.

In January 2006, Saul "vowed to document in words and photos the death of every child by gun in the eight-county Philadelphia region in 2006."  The resulting column in the Philadelphia Inquirer was called "Kids, Guns and a Deadly Toll."

References

1955 births
Living people
Writers from Brooklyn
People from East Brunswick, New Jersey
Tufts University School of Arts and Sciences alumni
University of Minnesota School of Journalism and Mass Communication alumni
Pulitzer Prize for Explanatory Journalism winners
Journalists from New York City

April Saul


The Naniboujou Club Lodge is a resort and restaurant built as part of a private club on the North Shore of Lake Superior in Cook County, Minnesota, United States, about  east of Grand Marais.  It is named after Naniboujou, a character from the Cree, and the lodge's décor has both Native American and Art Deco influences.  Commenced in the twilight of the Jazz Age, the club's grandiose plans succumbed to the economic realities of the Great Depression, and only the clubhouse was built. That building retains its original design and is listed as a historic property.

History
Wealthy businessmen from Duluth, Minnesota, planned a resort on  along the newly opened North Shore Highway and announced the project in 1927. The name selected was that of a Cree spirit of the woods, and the membership sales pitch was rooted in Indian legend. Ground was broken in 1928, and the club opened for business in 1929. Membership was to be limited, and free memberships were given to public figures of the day in order to attract other members. Members included celebrities Babe Ruth, Jack Dempsey, and Ring Lardner.

Plans included a golf course, swimming pool, tennis courts, a marina, a 150–room clubhouse, and an inland hunting lodge, but only a smaller clubhouse was built. Financial difficulties during the Great Depression led to foreclosure in 1935. The facility was sold in 1939. Much of the land became part of Judge C. R. Magney State Park, but the lakeshore property on which the lodge is located remained in private hands. Thereafter the lodge has had a number of owners, who operated it as part of a hotel chain and later as a family resort.

Architecture and décor

The Naniboujou Club Lodge is on the National Register of Historic Places.  It was nominated for the Register in 1982, as it had retained "its original design in a good state of preservation".

Design elements include architectural features such as polygonal towers, cedar shakes, a gambrel roof pierced by dormers, and French doors topped by sashes with pointed crowns.  The Cree theme of the lodge is displayed in the common room, which has a 200-short-ton (180 t) native rock fireplace about  high. Inset above the hearth is a native welcome symbol in the shape of a sunburst, made of the same water-rounded stone used in the fireplace. The chamber's walls and ceilings were painted by the artist Antoine Gouffe (who was of French descent and studied art in Paris) with other native-inspired designs and have been called a "psychedelic marriage of Art Deco and traditional Cree Indian patterns".

The lodge today

Now known as Naniboujou Lodge and Restaurant, the property is a privately owned hotel and restaurant.  The sleeping wings contain the hotel rooms, and the former common area, still bearing its original decoration, is now the dining hall.  Later changes to the building have continued the Cree theme.

Facilities include a restaurant, in the former Great Hall club commons, and a solarium. Lake Superior and the Brule River adjoin the  plot on which the resort is located. Across the highway are the exotic rock formations and natural beauties of Judge C. R. Magney State Park, created from the former club's lands, including the Devil's Kettle. Nearby are other state parks and the Superior National Forest, which offer canoeing, hiking, camping, and fishing in the North Woods and lakes of Minnesota's Arrowhead Region.

Naniboujou in modern culture
Naniboujou Lodge has been featured in books on tourism in Minnesota or the North Shore. Monica Ferris' murder mystery novel Unraveled Sleeve is set at Naniboujou Lodge. Naniboujou Club Lodge has also been featured in Minnesota Monthly.

Nanabozho

In Anishinaabe mythology, particularly among the Ojibwa, Nanabozho is a spirit who figures prominently in their storytelling, including their account of the world's creation. Nanabozho is the Ojibwe trickster figure and culture hero (these two archetypes are often combined into a single figure in First Nations mythologies). He plays a similar role as the Saulteaux Wiisagejaak (Cree Wisakedjak).

Notes and references

External links

Website of the Naniboujou Lodge and Restaurant
History
Gallery of photographs
Gihring, Tim, "Call of the Wild", Minnesota Monthly, January 2011.  Section on Naniboujou is on second page.

Hotel buildings completed in 1929
Hotel buildings on the National Register of Historic Places in Minnesota
Restaurants in Minnesota
Buildings and structures in Cook County, Minnesota
Tourist attractions in Cook County, Minnesota
National Register of Historic Places in Cook County, Minnesota
Restaurants on the National Register of Historic Places
Commercial buildings on the National Register of Historic Places in Minnesota
1929 establishments in Minnesota
Art Deco architecture in Minnesota
Clubhouses on the National Register of Historic Places in Minnesota

Naniboujou Club Lodge


The Animal Spirits is the eighth studio album released by American heavy metal band Slough Feg. It is the first album by Slough Feg to be released by label Profound Lore Records. A vinyl pressing of the album was released on February 21, 2011, by Cruz del Sur Music. The album was remastered for vinyl release by Justin Weis to play at high resolution (24 bit/96 kHz .wav).

Promotion

Leading up to the album's release, Mike Scalzi debuted a series of articles on popular metal webzine Invisible Oranges. These pieces, entitled "Bullpen Bulletins" featured Scalzi philosophizing about the current state of the metal scene, particularly about the elements that he felt are causing stagnation of musical creativity. While some readers saws these postings as too critical of the genre, Scalzi reiterated that by voicing his opinions he was trying to stir up debate and engage in discussion with fans of differing viewpoints. Regarding the seemingly harsh nature of some of his comments, Scalzi affirmed, "In fact, I am definitely a MUSICAL SNOB!! How can one not be in today's musical climate?!" In total, Scalzi contributed four "Bullpen Bulletins", including two after The Animal Spirits was released. While Scalzi comments tangentially about certain aspects of the album, such as Bob Wright's inclusion as a guest vocalist, the subject matter of the articles are decidedly not focused on the album itself. These articles also received a moderate amount of praise from the heavy metal journalistic community. On his NPR-based blog, heavy metal journalist Lars Gotrich defended the frankness of Scalzi's writing, saying, "It's a damning clarion call for quality control, and while Scalzi may come off as a curmudgeonly metal purist, he's really just a bleeding heart."

While no named tour was organized to promote the album's release, Slough Feg organized several shows in 2011 along the west coast and in the Midwest. Several European festival dates are also scheduled to take place during the summer of 2011.

Stylistic elements

According to lead singer and guitarist Mike Scalzi, the album's title refers to an Aristotelian theory of perception that postulated a fluid called "animal spirits" that flowed through the veins of human beings, carrying information of perception in order to be stored in the heart. Unlike many of Slough Feg's albums that are united under a single concept or theme, the songs on The Animal Spirits cover many different subject with their lyrical content, such as "Medieval Catholic theology", "horror themes", and "frustration, misery and madness".

In an interview with Adam Kohrman of The Metal Crypt, Scalzi revealed that some of his ideas for lyrics come from his experience as a professor of philosophy. Specifically addressing the lyrics to the song "95 Thesis", Scalzi said, "It's all just Martin Luther, and putting the different things together that you've read about what he did [for a lecture], and lyrics come [from that process]. . . . So then because you're going through that process of reconfiguring it, making it into a form that people can understand more clearly and all that. Naturally, that's the same process you go through in songwriting."

The Animal Spirits is the first Slough Feg album to exclusively feature art done by lead singer and guitarist Mike Scalzi. The rough-looking, stylized priest that appears on the cover is a departure from the more intricate, fantasy- and sci-fi-inspired artwork featured on previous releases. In a November 2010 interview, Scalzi commented on the choice of not getting a professional artist, saying, "[T]hat's how the music looks to me. The scratchy pen and ink, that's how it looks to me. That's how Slough Feg music always looks to me. We've always had artwork that's too modernized, too slick. It never should have been like that, it should've been more scratchy, because those are the images that inspired what our music was to become."

Track listing

Reception
The Animal Spirits has received mostly positive reviews. Larry Griffin of The Metal Crypt gave the album five out of five, praising it for "something very natural and organic about the sound of The Animal Spirits, with its jangling guitars and earthy bass tone and scratchy drums." Griffin also gave a glowing appraisal of Scalzi's vocals, saying in summation, "Frankly, he's never sounded better." Adam Kohrman, another reviewer from The Metal Crypt, gave The Animal Spirits a slightly lower, but still favorable, score of four and one-quarter out of five. Kohrman highlighted a stylistic shift from earlier albums by pointing out that this release "is more of a gritty record made with sheer emotion mixed with punk-like rawness" and that the "epic themes that marked their earlier work are close to gone."

Philip Whitehouse of OneMetal scored the album four out of five in his review, saying, "If you're exhausted with Pro-Tools-spawned, clinically 'extreme' deathcore and point-missing thrash revivalists, or you're just looking for a sheer unadulterated blast of 70s-style trad metal energy, The Animal Spirits is certainly the album for you." On a critical note, Whitehouse mentions that not all of the tracks on the album stand out, specifically citing "Ask the Casket" and "Heavyworlder" as creating a "mid-album slump". PopMatters gave the album seven out of ten stars, stating that for Slough Feg, "It's not their goal to reinvent the wheel, rather they're simply happy riding it ragged, no matter how predictable the music becomes." Despite this lack of invention, the review writer Adrien Bergrand calls the band "a metal version of comfort food", saying that "they consistently bring instant gratification to fans of old-fashioned heavy metal."

Personnel
 Mike Scalzi – guitars/vocals, all lyrics except for "Tell-Tale Heart", artwork, production
 Angelo Tringali – guitars
 Adrian Maestas – bass
 Harry Cantwell – drums
 Bob Wright (of Brocas Helm) – vocals on "Tactical Air War"
 Justin Weis – production
 Alan Parson, Eric Woolfson – lyrics on "Tell-Tale Heart"

References

2010 albums
Slough Feg albums

The Animal Spirits


Andrew Carnegie (November 25, 1835 – August 11, 1919) was a Scottish-American businessman. He ran U.S. Steel, a major steel making corporation. When he retired, he was one of the richest men in America. He used his large amounts of money to fund charities. These charities gave money to universities. He had a hall built for himself (called Carnegie Hall), and he also built public libraries (called Carnegie Libraries).

Andrew Carnegie was very charitable in the will he created through the State of New York. In his will, he gave monetary gifts to several funds, institutions, societies, and to Pittsburgh University. He also gave gifts to his employees and family. Carnegie had given away nearly $350, 000, 000 on charities, pensions, schools, libraries, and museums. Carnegie had given all of that amount of money because after a disaster happened outside his company people thought he was a bad person. He thought by giving away all that money people would think he was good.

He died on August 11, 1919.

Early life
Birthplace of Andrew Carnegie in Dunfermline, Scotland
Andrew Carnegie was born to Margaret Morrison Carnegie and William Carnegie in Dunfermline, Scotland, in a typical weaver's cottage with only one main room, consisting of half the ground floor, which was shared with the neighboring weaver's family. The main room served as a living room, dining room and bedroom. He was named after his paternal grandfather. In 1836, the family moved to a larger house in Edgar Street (opposite Reid's Park), following the demand for more heavy damask, from which his father benefited. He was educated at the Free School in Dunfermline, a gift to the town from the philanthropist Adam Rolland of Gask.

Carnegie's maternal uncle, Scottish political leader George Lauder, Sr., deeply influenced him as a boy by introducing him to Robert Burns' writings and historical Scottish heroes such as Robert the Bruce, William Wallace, and Rob Roy. Lauder's son, also named George Lauder, grew up with Carnegie and became his business partner. When Carnegie was 12, his father had fallen on very hard times as a handloom weaver; making matters worse, the country was in starvation. His mother helped support the family by assisting her brother and by selling potted meats at her "sweetie shop", leaving her as the primary breadwinner. Struggling to make ends meet, the Carnegies then decided to borrow money from George Lauder, Sr. and move to Allegheny, Pennsylvania, in the United States in 1848 for the prospect of a better life. Carnegie's migration to America would be his second journey outside Dunfermline – the first being an outing to Edinburgh to see Queen Victoria.

In September 1848, Carnegie arrived with his family in Allegheny. Carnegie's father struggled to sell his product on his own. Eventually, the father and son both received job offers at the same Scottish-owned cotton mill, Anchor Cotton Mills. Carnegie's first job in 1848 was as a bobbin boy, changing spools of thread in a cotton mill 12 hours a day, 6 days a week in a Pittsburgh cotton factory. His starting wage was $1.20 per week ($38 by 2021 inflation).

His father quit his position at the cotton mill soon after, returning to his loom and removing him as breadwinner once again. But Carnegie attracted the attention of John Hay, a Scottish manufacturer of bobbins, who offered him a job for $2.00 per week ($63 by 2021 inflation). In his autobiography, Carnegie writes about the hardships he had to endure with this new job.

Telegraph
Carnegie age 16, with younger brother Thomas, c. 1851
In 1849, Carnegie became a telegraph messenger boy in the Pittsburgh Office of the Ohio Telegraph Company, at $2.50 per week ($81 by 2021 inflation) following the recommendation of his uncle. He was a hard worker and would memorize all of the locations of Pittsburgh's businesses and the faces of important men. He made many connections this way. He also paid close attention to his work and quickly learned to distinguish the different sounds the incoming telegraph signals produced. He developed the ability to translate signals by ear, without using the paper slip, and within a year was promoted to an operator. Carnegie's education and passion for reading were given a boost by Colonel James Anderson, who opened his personal library of 400 volumes to working boys each Saturday night. Carnegie was a consistent borrower and a "self-made man" in both his economic development and his intellectual and cultural development. He was so grateful to Colonel Anderson for the use of his library that he "resolved, if ever wealth came to me, [to see to it] that other poor boys might receive opportunities similar to those for which we were indebted to the nobleman". His capacity, his willingness for hard work, his perseverance and his alertness soon brought him opportunities.

Railroads
Starting in 1853, when Carnegie was around 18 years old, Thomas A. Scott of the Pennsylvania Railroad Company employed him as a secretary/telegraph operator at a salary of $4.00 per week ($130 by 2021 inflation). Carnegie accepted the job with the railroad as he saw more prospects for career growth and experience there than with the telegraph company. At age 24, Scott asked Carnegie if he could handle being superintendent of the Western Division of the Pennsylvania Railroad. On December 1, 1859, Carnegie officially became superintendent of the Western Division. Carnegie then hired his sixteen-year-old brother, Tom, to be his personal secretary and telegraph operator. Not only did Carnegie hire his brother, but he also hired his cousin, Maria Hogan, who became the first female telegraph operator in the country. As superintendent Carnegie made a salary of fifteen hundred dollars a year ($45,000 by 2021 inflation). His employment by the Pennsylvania Railroad Company would be vital to his later success. The railroads were the first big businesses in America, and the Pennsylvania was one of the largest of them all. Carnegie learned much about management and cost control during these years, and from Scott in particular.

References

Other websites
http://www.biography.com/people/andrew-carnegie-9238756

1835 births
1919 deaths
Deaths from pneumonia
American philanthropists
Businesspeople from New York City
People from Dunfermline
Massachusetts Republicans

Andrew Carnegie


Sir George White, 1st Baronet (1854–1916), was an English businessman and stockbroker based in Bristol.  He was instrumental in the construction of the Bristol tramways and became a pioneer in the construction of electric tramways in England.  In 1910 he formed, with his brother Samuel, the Bristol Aeroplane Company. He had many other interests, particularly in transport companies.

Early life
White was born in Kingsdown, Bristol, on 28 March 1854, the son of James White, a painter and decorator, and his wife Eliza who had been a domestic servant before marrying.  He attended St Michaels Boys' School, and in 1869 joined Stanley & Wasbrough (a Bristol firm of solicitors)   as a junior clerk. In 1874 the firm was involved in the promotion of the  Bristol Tramways Company, following the passage of the Tramways Act 1870, and White played a major part.  In 1875 he left the company and established a stockbroking firm, George White & Co.

Tramways, cabs and omnibuses
In 1875 White was working with some of the richest and most influential men in Bristol. William Butler was the chairman of the Bristol Tramways Company who had already made a fortune in tar-distilling. Wholesaler Henry Gale Gardner and coal magnate Joseph Wethered were also on the board, and George White became the part-time secretary of the Bristol Tramways Company at a salary of £150 per annum. Over the next ten years, White grew his stockbroking firm, using money borrowed from Henry Gale Gardner's wagon-building company and working on behalf of the wealthy contacts he had already made including Stuckey's Bank.

White continued to become more prominent in the Bristol Tramways Company. The 1880s saw the tramway network in Bristol grow and demand for more growth was abundant. George White maintained a good public profile and worked the local press so that the working class districts of Bristol would see the benefits the trams would give them. In the more affluent Clifton it was feared that the trams would bring in undesirable visitors and depress property values, resulting in the Clifton route being served only by horse omnibuses. In 1892 he also became involved in the Imperial Tramways Company, which operated horse trams in Middlesbrough, Dublin, Gloucester and Reading, the Corris Railway and, from 1894, London United Tramways, which operated horse trams in West London.

In 1887 the Bristol tramways company was merged into the new Bristol Tramways and Carriage Company with White as managing director after the company gained a monopoly on horse-drawn cabs travelling from Bristol Temple Meads station. By 1889 the company owned 876 horses and by 1891 the combined tramways, cab and omnibus company provided 38 journeys per head of Bristol's population per year.

In the 1890s White was an enthusiastic promoter of electric tramways together with the engineer James Clifton Robinson, to cut the high costs and get rid of the dirty aspects of horse-drawn trams. Starting with a line in Old Market  and quickly rolling out the electric line to the existing tram system, as well as extending lines to Fishponds, Bedminster Down, Knowle, Brislington and Hanham, which was completed by 1900.

White's influence went far beyond Bristol. By 1892 he gained control of Imperial Tramways Company which ran networks in Dublin, Reading and Middlesbrough. In 1894 White and Clifton Robinson formed London United Tramways and created a major suburban transport system for the capital out of the derelict remains of the West Metropolitan Tramways Company. White also got himself involved in greater projects such as expansion of the Bristol & London & South Western Junction Railway, which involved using the tracks that the London and South Western Railway ran on for trains from Waterloo. Whilst the venture did not come to fruition due to overwhelming opposition from Great Western Railway, it still increased White's profile and standing with Bristol's civic and commercial elite. By 1887, White was the largest shareholder in the Bristol Port Railway & Pier Company and launched an ambitious but unsuccessful project to link the city docks with the Avonmouth Docks, opened only 10 years previously, to make a direct connection with the Midland Railway at Bristol.

White understood the importance of publicity and worked closely with his brother-in-law, Edward Everard to publish illustrated guides and brochures to advertise his companies' services.

White became Managing Director of Bristol Tramways in 1894 and chairman in 1900, a post he retained until his death. Under his leadership the company introduced motor buses in 1906, and began the manufacture of buses in 1908. It was renamed as the Bristol Omnibus Company in 1957.

Motor vehicles
Between 1905 and 1908, White tested and developed a fleet of twelve motorised Thornycroft double-decker buses, with routes starting from Bristol and travelling to depots in Bath, Cheltenham, Gloucester and Weston-super-Mare. White saw motor taxis used in France and introduced them to Bristol's streets in 1908. In 1913 White built a motor construction factory in South Bristol capable of building 300 vehicles per year, and by 1914 the company was one of the biggest employers in Bristol with 17 tramways services and 15 omnibus services and a fleet of 44 buses, 169 tramcars, 124 taxis and 29 charabancs, plus vans, lorries and commercial vehicles.

Aircraft
White became interested in heavier-than-air flight, and in 1909 saw Wilbur Wright flying in France. On 19 February 1910 he founded the Bristol Aeroplane Company (originally called the British & Colonial Aeroplane Company). This set out from the first to produce aircraft on a commercial scale, with premises in Filton at the end of White's tramway terminus. After some early misadventures the company produced 80 Bristol Boxkites to great commercial success. The first overseas order for Boxkites was from the Russian government in 1910, following which the licence to produce Bristol designs was sold to France, Germany and Italy. The Bristol Fighter went into production in 1916, shortly before White's death, for use during World War I.

Other interests
White also had interests in the Great Western Steamship Company, the Bristol Port and Channel Dock Company (which built Avonmouth Docks), the North Somerset Railway, the Main Colliery Company and the Taff Vale Railway.  He also served as president of the Bristol Stock Exchange.

Philanthropy
In 1904 Sir George White saved the hospital from debts of over £15,000 by increasing the number of subscribed donors and planning a fundraising carnival at Bristol Zoo. White was appointed president of the hospital in 1906. Recognising the need to modernise the hospital building to keep up with innovations in science and medicine, he established a £50,000 fund to build a new hospital building. As a result, the new Edward VII Memorial Wing designed by Charles Holden was completed in 1912. White was also a benefactor of the Red Cross and other charities.  He was created a baronet on 26 August 1904 for his public service.

Personal life and death
White married Caroline Thomas (d. 1915) in 1876.  They had two children, Daisy May (b. 1877) and George Stanley (b. 1882).  He died at his home in Stoke Bishop, Bristol, on 22 November 1916, aged 62.

Archives
Bristol Archives holds George White's personal papers and correspondence (Ref. 35810) (online catalogue), including records related to the Western Wagon & Property Company (Ref. 35810/WWP) (online catalogue), James Clifton Robinson (Ref. 35810/JCR) (online catalogue) and London United Tramways (Ref. 35810/LUT) (online catalogue), as well as the records of the Bristol Omnibus Company (Ref. 39735) (online catalogue). The British Library Sound Archive holds speech recordings of White which include reference to early aviation.

Successors to the title
 White baronets
 Sir George Stanley White, 2nd Baronet (1882–1964)
 Sir George Stanley Midelton White, 3rd Baronet (1913–1983)
 Sir George Stanley James White, 4th Baronet (b. 1948)

References

Bibliography

Further reading
 London United Tramways, Geoffrey Wilson 1971
 Corris Railway Society Journal, 1992 & 1993
 Radio interview with present baronet about Sir George White & his legacy

1854 births
1916 deaths
Baronets in the Baronetage of the United Kingdom
Businesspeople from Bristol
Tram transport in the United Kingdom
Corris Railway
English stockbrokers
History of Bristol
19th-century English businesspeople

Sir George White, 1st Baronet


The Durham Light Infantry was a light Infantry regiment in the British Army from 1881-1968. It started in 1881 after the merger of the 68th and 106th.

Formation
It was formed in 1881 by a joining of the 68th (Durham) Regiment of Foot (Light Infantry) and the 106th Regiment Of Foot (Bombay Light Infantry) along with the Militia and Volunteers of Durham county.

They served notably in the Second Boer War,  World War 1, World War II, the Korean War, and the Indonesia-Malaysia confrontation.

In 1968 the regiment was merged with the Somerset and Cornwall Light Infantry, King's own Yorkshire Light Infantry and the King's Shropshire Light Infantry to form The Light Infantry. The Light Infantry joined with the Devonshire and Dorset Regiment, Royal Gloucestershire, Berkshire and Wiltshire Regiment and the Royal Green Jackets to form The Rifles.

Victoria Crosses
The Durham Light Infantry had 8 of its members to be awarded with the Victoria Cross, the highest award available in the British military.

In November 1915 Pte. Thomas Kenny of the 13th Battalion was awarded with a VC

In October 1916 Lieutenant Colonel Roland Bradford of the 9th Battalion was awarded with a VC

In May 1917 Pte Michael Heaviside of the 15th Battalion was awarded with a VC

In July 1917 2nd Lieutenant Frederick Youens of 13th Battalion was awarded with a VC

In December 1917 Captain Arthur Moore Lascelles of the 14th Battalion was awarded with a VC

In March 1918 Pte Thomas Young of the 9th Battalion was awarded with a VC

In May 1940 2nd Lieutenant Richard Annand of the 2nd Battalion was awarded with a VC

in June 1942 Pte Adam Herbert Wakenshaw of the 9th Battalion was awarded with a VC

Battle Honours
 Salamanca
 Vittoria
 Pyrenees
 Nivelle
 Orthes
 Peninsula
 Alma
 Inkerman
 Sevastapol
 Reshire
 Bushire
 Koosh-Ab
 Persia
 New Zealand
 South Africa 1899-1902
 Ypres
 Hooge
 Loos
 Somme
 Delville Wood
 Arras
 Messines
 Polyogn Wood
 Lys
 Passchendaele
 Kemmel
 Hindenburg Line
 Selle
 Sambre
 Flanders
 Macedonia
 Egypt
 Afghanistan
 Dyle
 Arras
 Dunkirk
 Rauray
 Syria
 Tobruk
 El Alamein
 El Kourzia
 Cosina
 Salerno
 Burma
 Middle East
 Malta
 Athens
 Greece
 Korea

British Army
1881 establishments in the United Kingdom
1968 disestablishments

Durham Light Infantry


Macanese cuisine (, ) is mainly influenced by Chinese cuisine, especially Cantonese cuisine and European cuisine, especially Portuguese cuisine and influences from Southeast Asia and the Lusophone world, due to Macau's past as a Portuguese colony and long history of being an international tourist gambling centre.

Minchi, egg tarts, pork chop buns, ginger milk and almond cakes are some of the region's most common delicacies. Common cooking methods make use of various spices such as turmeric, coconut milk, and cinnamon to give dishes an extra kick of aroma and enhancement of taste. Many routinely consumed dishes in Macau belong to a subclass (Heungshan) of Cantonese cuisine. Many Macanese dishes resulted from the spice blends that the wives of Portuguese sailors used in an attempt to replicate European dishes with local Chinese ingredients and seasonings.

Typically, Macanese food is seasoned with various spices including turmeric, coconut milk, and cinnamon, and dried cod (bacalhau), giving special aromas and tastes. Popular dishes include galinha à Portuguesa, galinha à Africana (African chicken), bacalhau (traditional Portuguese salt cod), pato de cabidela, Macanese chili shrimps, minchi, stir-fried curry crab; pig's ear and papaya salad, and rabbit stewed in wine, cinnamon and star anise.

Cha Gordo (literally "Fat Tea") is a culinary tradition amongst the Macanese community in Macau that is likened to afternoon tea. Historically, families with Portuguese heritage in Macau would host a Cha Gordo for a number of occasions, including Catholic holidays, christening, or birthdays, but they can be held for any reason. Historically, some families would even host one on a weekly basis. A Cha Gordo would take place following a Macanese wedding, instead of the elaborate banquet seen in Chinese weddings.

Macanese dishes and desserts

Non-Macanese Macau snacks

See also
 Cantonese cuisine
 History of Macau
 Hong Kong cuisine
 List of Chinese dishes

Select bibliography

 Ferreira Lamas, João António (1995). A culinária dos macaenses.  Oporto: Lello & Irmão.
 Gomes, Maria Margarida (1984). A cozinha macaense. Macau: Imprensa Nacional.
 Senna, Maria Celestina de Mello e (1998). Cozinha de Macau. Lisbon: Vega

References

External links
 A Guide to Macanese Food: What happens when China, Portugal, and Las Vegas come together.
 Some Macau dishes, incarnating Portuguese influences

Cantonese cuisine

Macanese cuisine


The National Banking Acts of 1863 and 1864 were two United States federal banking acts that established a system of national banks, and created the United States National Banking System. They encouraged development of a national currency backed by bank holdings of U.S. Treasury securities and established the Office of the Comptroller of the Currency as part of the United States Department of the Treasury and a system of nationally chartered banks. The Act shaped today's national banking system and its support of a uniform U.S. banking policy.

Background

Antebellum Period
At the end of the Second Bank of the United States in 1836, the control of banking regimes devolved mostly to the states. Different states adopted policies including a total ban on banking (as in Wisconsin), a single state-chartered bank (as in Indiana and Illinois), limited chartering of banks (as in Ohio), and free entry (as in New York). While the relative success of New York's "free banking" laws led several states also to adopt a free-entry banking regime, the system remained poorly integrated across state lines. Though all banknotes were uniformly denominated in dollars, notes would often circulate at a steep discount in states beyond their issue.

In the end, well-publicized frauds arose in states like Michigan, which had adopted free entry regimes but did not require the redeemability of bank issues for specie. The perception of dangerous "wildcat banking", along with the poor integration of the U.S. banking system, led to increasing public support for a uniform national banking regime.

The United States Government, on the other hand, still had limited taxation capabilities and so had an interest in the seigniorage potential of a national bank. In 1846, the Polk Administration created a United States Treasury system that moved public funds from private banks to Treasury branches to fund the Mexican–American War. However, the revenue generated this way was limited without a national currency.

Civil War
This became more urgent during the Civil War, when Congress and Lincoln were struggling to finance the war efforts. Without a national mechanism for issuing currency, the Lincoln administration could not exploit the powers and loopholes that, for example, Britain could with its central bank, in order to finance the high expenses involved. Previously, the damage that would be done to state banks by national competition was sufficient to prevent significant national bank chartering. But using the war crisis, Lincoln was able to expand this effort.

One of the first attempts to issue a national currency came in the early days of the Civil War when Congress approved the Legal Tender Act of 1862, allowing the issue of $150 million in national notes known as greenbacks and mandating that paper money be issued and accepted in lieu of gold and silver coins. The bills were backed only by the national government's promise to redeem them and their value was dependent on public confidence in the government as well as the ability of the government to give out specie in exchange for the bills in the future. Many thought this promise backing the bills was about as good as the green ink printed on one side, hence the name "greenbacks."

The Second Legal Tender Act, enacted July 11, 1862, a Joint Resolution of Congress, and the Third Legal Tender Act, enacted March 3, 1863, expanded the limit to $450 million. The largest amount of greenbacks outstanding at any one time was calculated as $447,300,203.10.

The National Bank Act (ch. 58, ; February 25, 1863), originally known as the National Currency Act, was passed in the Senate by a 23–21 vote, and was supplemented a year later by the National Banking Act of 1864. The goals of these acts was to create a single national currency, a nationalized bank chartering system, and to raise money for the Union war effort. The Act established national banks that could issue notes which were backed by the United States Treasury and printed by the government itself. The quantity of notes that a bank was allowed to issue was proportional to the bank's level of capital deposited with the Comptroller of the Currency at the Treasury. To further control the currency, the Act taxed notes issued by state and local banks, essentially pushing non-federally issued paper out of circulation.

Since the establishment of the Republic, state governments had held authority to regulate banks. Before the act, state legislatures typically issued bank charters on a case-by-case basis, taking into consideration whether the area needed a new bank, and if the applicant was of good moral standing. As this system could be subject to corruption, states began passing "free banking" laws in 1837, which meant that any applicant who filled out the correct paperwork and deposited an in-kind payment to the state would be granted a charter. By the 1860s, over half of states had such a law on the books. However, the National Banking Act of 1864 (ch. 106, ; June 3, 1864) brought a close to the issue by establishing federally-issued bank charters, which took banking out of the hands of state governments. The first bank to receive a national charter was the First National Bank of Philadelphia, Pennsylvania (Charter #1). The first new national bank to open was The First National Bank of Davenport, Iowa (Charter #15). Additionally, the new Act converted more than 1,500 state banks to national banks.

National Bank Acts

National Bank Act of 1863
The National Bank Act of 1863 was passed on February 25, 1863, and was the first attempt to establish a federal banking system after the failures of the First and Second Banks of the United States, and served as the predecessor to the Federal Reserve Act of 1913. The act allowed the creation of national banks, set out a plan for establishing a national currency backed by government securities held by other banks, and gave the federal government the ability to sell war bonds and securities (in order to help the war effort). National banks were chartered by the federal government, and were subject to stricter regulation; they had higher capital requirements and were not allowed to loan more than 10% of their holdings. A high tax on state banks was levied to discourage competition, and by 1865 most state banks had either received national charters or collapsed.

National Bank Act of 1864

The 1864 act, based on a New York State law, brought the federal government into active supervision of commercial banks.

National Bank Acts of 1865 and 1866
Further acts passed in 1865 and 1866 imposed a tax to speed the adoption of the system. All banks (national or otherwise) had to pay a 10 percent tax on payments that they made in currency notes other than national bank notes. The tax rate was intentionally set so high as to effectively prohibit further circulation of state bank and private notes. By this time the conversion from state banks to national banks was well underway. The constitutionality of the tax came before the Supreme Court in Veazie Bank v. Fenno, a case by a state-chartered Maine bank and the collector of internal revenue. The Court ruled 7–2 in favor of the government. State banks declined until the 1870s, when the growing popularity of checks and the declining profitability of national bank currency issues caused a resurgence.

Resurgence of state banks

The granting of charters led to the creation of many national banks and a national banking system which grew at a fast pace. The number of national banks rose from 66 immediately after the Act to 7,473 in 1913. Initially, this rise in national banking came at the expense of state banking—the number of state banks dwindled from 1,466 in 1863 to 247 in 1868. Though state banks were no longer allowed to issue notes, local bankers took advantage of less strict capital requirements ($10,000 for state banks vs. $50,000–200,000 for national banks) and opened new branches en masse. These new state banks then served as competition for national banks, growing to 15,526 in number by 1913.

The years leading up to the passing of the 10% tax on banknotes consisted of events surrounding the National Banking Act of 1864.  During this time period, Hugh McCulloch was determined to "fight against the national banking legislation, which he rightly perceived as a threat to state-chartered banking.  Although he tried to block the system's creation, he [McCulloch] was not determined to be its champion."  Part of his plans to revamp this portion of the banking system included hiring a new staff, being hands-on with several aspects such as "personally evaluating applications for bank charters and consoled prospective bankers", and "assisting in the design of the new national bank notes, and arranged for their engraving, printing, and distribution." As an result of McCulloch's efforts, many banks were just not willing to conform to his system of operations.  This prompted Congress to pass "a 10 percent tax on the notes of state banks, signaling its determination that national banks would triumph and the state banks would fade away."

A later act, passed on March 3, 1865, imposed a tax of 10 percent on the notes of state banks to take effect on July 1, 1866. Similar to previous taxes, this effectively forced all non-federal currency from circulation. It also resulted in the creation of demand deposit accounts, and encouraged banks to join the national system, increasing the number of national banks substantially.

Legacy

The National Banking Acts served to create the (federal-state) dual structure that is now a defining characteristic of the U.S. banking system and economy. The Comptroller of the Currency continues to have significance in the U.S. economy and is responsible for administration and supervision of national banks as well as certain activities of bank subsidiaries (per the Gramm-Leach-Bliley Act of 1999).  In 2004, the Act was used by  John D. Hawke, Jr., Comptroller of the Currency, to effectively bar state attorneys general from national bank oversight and regulatory roles. Many blame the resulting lack of oversight and regulation for the  late-2000s recession, the bailout of the U.S. financial system and the subprime mortgage crisis.

See also

US banking law
Cuomo v. Clearing House Ass'n, L.L.C.

Notes

Further reading

External links
National-Bank Act as Amended, the Federal Reserve Act and Other Laws Relating to National Banks. February, 1920: Document compiled under the direction of the Comptroller of the Currency for the use of the Senate, providing dates of acts relating to national banks, 1863–1920, text of the acts and amendments, and indexes.
An Act to Provide a National Currency, Secured by a Pledge of United States Bonds, and to Provide for the Circulation and Redemption Thereof, Act of June 3, 1864, National Bank Act of 1864, National Banking Act of 1864
An Act to Provide for a National Currency, Secured by a Pledge of United States Stocks, and to Provide for the Circulation and Redemption Thereof, Act of February 25, 1863, National Bank Act, National Banking Act, National Currency Act
The Library of Congress
History of the Office of the Comptroller of the Currency
History of banking at About.com

1863 in American politics
1863 in American law
37th United States Congress
United States federal banking legislation

National Bank Act


An old master print is a work of art made by a printing process. Most of the old master prints were made by 1830 and no new ones came after. The main techniques used to make an old master print are woodcut, engraving and etching. Sometimes, old master prints are printed on paper, but rarely.

Many great European artists, such as Albrecht Dürer, Rembrandt, and Francisco Goya, were printmakers.

Other websites
The Printed Image in the West: History and Techniques
Large list of links to museum etc. online images of old master prints
Old master prints blog

Printmaking

Old master print