Frankenstein's monster or Frankenstein's creature, often referred to as simply "Frankenstein",<ref>For example, in Peggy Webling's 1927 stage play, and the 2004 film, Van Helsing.</ref> is a fictional character who first appeared in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus as the main antagonist. Shelley's title thus compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire.

In Shelley's Gothic story, Victor Frankenstein builds the creature in his laboratory through an ambiguous method based on a scientific principle he discovered. Shelley describes the monster as  tall and emotional.  The monster attempts to fit into human society but is shunned, which leads him to seek revenge against Frankenstein. According to the scholar Joseph Carroll, the monster occupies "a border territory between the characteristics that typically define protagonists and antagonists".

Frankenstein's monster became iconic in popular culture, and has been featured in various forms of media, including films, television series, merchandise and video games. The most popularly recognized versions are the film portrayals by Boris Karloff in the 1931 film Frankenstein, the 1935 sequel Bride of Frankenstein, and the 1939 sequel Son of Frankenstein.Names

Mary Shelley's original novel never gives the monster a name, although when speaking to his creator, Victor Frankenstein, the monster does say "I ought to be thy Adam" (in reference to the first man created in the Bible).  Frankenstein refers to his creation as "creature", "fiend", "spectre", "the dæmon", "wretch", "devil", "thing", "being", and "ogre". Frankenstein's creation referred to himself as a "monster" at least once, as did the residents of a hamlet who saw the creature towards the end of the novel.

As in Shelley's story, the creature's namelessness became a central part of the stage adaptations in London and Paris during the decades after the novel's first appearance. In 1823, Shelley herself attended a performance of Richard Brinsley Peake's Presumption, the first successful stage adaptation of her novel. "The play bill amused me extremely, for in the list of dramatis personae came alive, by Mr T. Cooke," she wrote to her friend Leigh Hunt. "This nameless mode of naming the unnameable is rather good."

Within a decade of publication, the name of the creator—Frankenstein—was used to refer to the creature, but it did not become firmly established until much later. The story was adapted for the stage in 1927 by Peggy Webling, and Webling's Victor Frankenstein does give the creature his name. However, the creature has no name in the Universal film series starring Boris Karloff during the 1930s, which was largely based upon Webling's play. The 1931 Universal film treated the creature's identity in a similar way as Shelley's novel: in the opening credits, the character is referred to merely as "The Monster" (the actor's name is replaced by a question mark, but Karloff is listed in the closing credits). However, in the sequel Bride of Frankenstein (1935), the frame narration by a character representing Shelley's friend Lord Byron does refer to the monster as Frankenstein, although this scene takes place not quite in-universe. Nevertheless, the creature soon enough became best known in the popular imagination as "Frankenstein". This usage is sometimes considered erroneous, but some usage commentators regard the monster sense of "Frankenstein" as well-established and not an error.

Modern practice varies somewhat. For example, in Dean Koontz's Frankenstein, first published in 2004, the creature is named "Deucalion", after the character from Greek mythology, who is the son of the Titan Prometheus, a reference to the original novel's title.  Another example is the second episode of Showtime's Penny Dreadful, which first aired in 2014; Victor Frankenstein briefly considers naming his creation "Adam", before deciding instead to let the monster "pick his own name". Thumbing through a book of the works of William Shakespeare, the monster chooses "Proteus" from The Two Gentlemen of Verona. It is later revealed that Proteus is actually the second monster Frankenstein has created, with the first, abandoned creation having been named "Caliban", from The Tempest, by the theatre actor who took him in and later, after leaving the theatre, named himself after the English poet John Clare. Another example is an attempt by Randall Munroe of webcomic xkcd to make "Frankenstein" the canonical name of the monster, by publishing a short derivative version which directly states that it is. In The Strange Case of the Alchemist's Daughter, the 2017 novel by Theodora Goss, the creature is named Adam.

Shelley's plot

Victor Frankenstein builds the creature over a two-year period in the attic of his boarding house in Ingolstadt after discovering a scientific principle which allows him to create life from non-living matter. Frankenstein is disgusted by his creation, however, and flees from it in horror. Frightened, and unaware of his own identity, the monster wanders through the wilderness.

He finds solace beside a remote cottage inhabited by an older, blind man and his two children. Eavesdropping, the creature familiarizes himself with their lives and learns to speak, whereby he becomes an eloquent, educated, and well-mannered individual. During this time, he also finds Frankenstein's journal in the pocket of the jacket he found in the laboratory and learns how he was created. The creature eventually introduces himself to the family's blind father, who treats him with kindness. When the rest of the family returns, however, they are frightened of him and drive him away. Enraged, the creature feels that humankind is his enemy and begins to hate his creator for abandoning him. However, although he despises Frankenstein, he sets out to find him, believing that he is the only person who will help him. On his journey, the creature rescues a young girl from a river but is shot in the shoulder by the child's father, believing the creature intended to harm his child. Enraged by this final act of cruelty, the creature swears revenge on humankind for the suffering they have caused him. He seeks revenge against his creator in particular for leaving him alone in a world where he is hated. Using the information in Frankenstein's notes, the creature resolves to find him.

The monster kills Victor's younger brother William upon learning of the boy's relation to his creator and frames Justine Moritz, a young woman who lives with the Frankensteins, as the culprit (causing her execution afterwards). When Frankenstein retreats to the Alps, the monster approaches him at the summit, recounts his experiences, and asks his creator to build him a female mate. He promises, in return, to disappear with his mate and never trouble humankind again, but threatens to destroy everything Frankenstein holds dear should he fail or refuse. Frankenstein agrees, and eventually constructs a female creature on a remote island in Orkney, but aghast at the possibility of creating a race of monsters, destroys the female creature before it is complete. Horrified and enraged, the creature immediately appears, and gives Frankenstein a final threat: "I will be with you on your wedding night."

After leaving his creator, the creature goes on to kill Victor's best friend, Henry Clerval, and later kills Frankenstein's bride, Elizabeth Lavenza, on their wedding night, whereupon Frankenstein's father dies of grief. With nothing left to live for but revenge, Frankenstein dedicates himself to destroying his creation, and the creature goads him into pursuing him north, through Scandinavia and into Russia, staying ahead of him the entire way.

As they reach the Arctic Circle and travel over the pack ice of the Arctic Ocean, Frankenstein, suffering from severe exhaustion and hypothermia, comes within a mile of the creature, but is separated from him when the ice he is traveling over splits. A ship exploring the region encounters the dying Frankenstein, who relates his story to the ship's captain, Robert Walton. Later, the monster boards the ship, but upon finding Frankenstein dead, is overcome by grief and pledges to incinerate himself at "the Northernmost extremity of the globe". He then departs, never to be seen again.

Appearance

Shelley described Frankenstein's monster as an  creature of hideous contrasts:His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.A picture of the creature appeared in the 1831 edition. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist.

Portrayals in film

The best-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein, in which he wore makeup applied and designed by Jack P. Pierce, who based the monster's face and iconic flat head shape on a drawing Pierce's daughter (whom Pierce feared to be psychic) had drawn from a dream. Universal Studios, which released the film, was quick to secure ownership of the copyright for the makeup format. Karloff played the monster in two more Universal films, Bride of Frankenstein and Son of Frankenstein; Lon Chaney Jr. took over the part from Karloff in The Ghost of Frankenstein; Bela Lugosi portrayed the role in Frankenstein Meets the Wolf Man; and Glenn Strange played the monster in the last three Universal Studios films to feature the character – House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein. However, the makeup worn by subsequent actors replicated the iconic look first worn by Karloff. The image of Karloff's face is currently owned by his daughter's company, Karloff Enterprises, secured for her in a lawsuit for which she was represented by attorney Bela G. Lugosi (Bela Lugosi's son), after which Universal replaced Karloff's features with those of Glenn Strange in most of their marketing. In 1969, the New York Times mistakenly ran a photograph of Strange for Karloff's obituary.

Since Karloff's portrayal, the creature almost always appears as a towering, undead-like figure, often with a flat-topped angular head and bolts on his neck to serve as electrical connectors or grotesque electrodes. He wears a dark, usually tattered, suit having shortened coat sleeves and thick, heavy boots, causing him to walk with an awkward, stiff-legged gait (as opposed to the novel, in which he is described as much more flexible than a human). The tone of his skin varies (although shades of green or gray are common), and his body appears stitched together at certain parts (such as around the neck and joints). This image has influenced the creation of other fictional characters, such as the Hulk.

In the 1957 film The Curse of Frankenstein, Christopher Lee was cast as the creature. The producers Hammer Film Productions refrained from duplicating aspects of Universal's 1931 film, and so Phil Leakey designed a new look for the creature bearing no resemblance to the Boris Karloff design created by Jack Pierce. For his performance as the creature Lee played him as a loose-limbed and childlike, fearful and lonely, with a suggestion of being in pain. Author Paul Leggett describes the creature as being like an abused child; afraid but also violently angry. Christopher Lee, was annoyed on getting the script and discovering that the monster had no dialogue, for this creature was totally mute. According to Marcus K. Harmes in contrasting Lee's creature with the one played by Karloff, "Lee's actions as the monster seem more directly evil, to judge from the expression on his face when he bears down on the helpless old blind man but these are explained in the film as psychopathic impulses caused by brain damage, not the cunning of the literary monster. Lee also evokes considerable pathos in his performance."In this film the aggressive and childish demeanour of the monster are in contrast with that of the murdered Professor Bernstein, once the "finest brain in Europe", from whom the creature's now damaged brain was taken. The sequels to The Curse of Frankenstein would feature the Baron creating various different creatures, none of which would be played by Christopher Lee.

In the 1965 Toho film Frankenstein Conquers the World, the heart of Frankenstein's monster was transported from Germany to Hiroshima as World War II neared its end, only to be irradiated during the atomic bombing of the city, granting it miraculous regenerative capabilities. Over the ensuing 20 years, it grows into a complete human child, who then rapidly matures into a giant, 20-metre-tall man. After escaping a laboratory in the city, he is blamed for the crimes of the burrowing kaiju Baragon, and the two monsters face off in a showdown that ends with Frankenstein's monster victorious, though he falls into the depths of the Earth after the ground collapses beneath his feet.

In the 1973 TV miniseries Frankenstein: The True Story, in which the creature is played by Michael Sarrazin, he appears as a strikingly handsome man who later degenerates into a grotesque monster due to a flaw in the creation process.

In the 1994 film Mary Shelley's Frankenstein, the creature is played by Robert De Niro and has an appearance closer to that described in the original novel, though this version of the creature possesses balding grey hair and a body covered in bloody stitches. He is, as in the novel, motivated by pain and loneliness. In this version, Frankenstein gives the monster the brain of his mentor, Doctor Waldman, while his body is made from a man who killed Waldman while resisting a vaccination. The monster retains Waldman's "trace memories" that apparently help him quickly learn to speak and read.

In the 2004 film Van Helsing, the monster is shown in a modernized version of the Karloff design. He is  tall, has a square bald head, gruesome scars, and pale green skin. The electrical origin of the creature is emphasized with one electrified dome in the back of his head and another over his heart, and he also has hydraulic pistons in his legs, with the design being similar to that of a steam-punk cyborg. Although not as eloquent as in the novel, this version of the creature is intelligent and relatively nonviolent.

In 2004, a TV miniseries adaptation of Frankenstein was made by Hallmark. Luke Goss plays the creature. This adaptation more closely resembles the monster as described in the novel: intelligent and articulate, with flowing, dark hair and watery eyes.

The 2005 film Frankenstein Reborn portrays the creature as a paraplegic man who tries to regain the ability to walk by having a nanobots surging through his body but has side effects. Instead, the surgeon kills him and resurrects his corpse as a reanimated zombie-like creature. This version of the creature has stitches on his face where he was shot, strains of brown hair, black pants, a dark hoodie, and a black jacket with a brown fur collar.

The 2014 TV series Penny Dreadful also rejects the Karloff design in favour of Shelley's description. This version of the creature has the flowing dark hair described by Shelley, although he departs from her description by having pale grey skin and obvious scars along the right side of his face. Additionally, he is of average height, being even shorter than other characters in the series. In this series, the monster names himself "Caliban", after the character in William Shakespeare's The Tempest. In the series, Victor Frankenstein makes a second and third creature, each more indistinguishable from normal human beings.

Personality
As depicted by Shelley, the creature is a sensitive, emotional person whose only aim is to share his life with another sentient being like himself. The novel portrayed him as versed in Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther, books he finds after having learnt language.

From the beginning, the creature is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator cannot stand the sight of him; this is obvious when Frankenstein says "…one hand was stretched out, seemingly to detain me, but I escaped…". Upon seeing his own reflection, he realizes that he too is repulsed by his appearance. His greatest desire is to find love and acceptance; but when that desire is denied, he swears revenge on his creator.

The creature is a vegetarian. While speaking to Frankenstein, he tells him, "My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment...The picture I present to you is peaceful and human." At the time the novel was written, many writers, including Percy Shelley in A Vindication of Natural Diet, argued that practicing vegetarianism was the morally right thing to do.

Contrary to many film versions, the creature in the novel is very articulate and eloquent in his speech. Almost immediately after his creation, he dresses himself; and within 11 months, he can speak and read German and French. By the end of the novel, the creature is able to speak English fluently as well. The Van Helsing and Penny Dreadful interpretations of the character have similar personalities to the literary original, although the latter version is the only one to retain the character's violent reactions to rejection. In the 1931 film adaptation, the creature is depicted as mute and bestial; it is implied that this is because he is accidentally implanted with a criminal's "abnormal" brain. In the subsequent sequel, Bride of Frankenstein, the creature learns to speak, albeit in short, stunted sentences. However, his intelligence is implied to be fairly developed, since what little dialogue he speaks suggests he has a world-weary attitude to life, and a deep understanding of his unnatural state. When rejected by his bride, he briefly goes through a suicidal state and attempts suicide, blowing up the laboratory he is in. In the second sequel, Son of Frankenstein, the creature is again rendered inarticulate. Following a brain transplant in the third sequel, The Ghost of Frankenstein, the creature speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel, Frankenstein Meets the Wolf Man, but the dialogue was excised before release. The creature was effectively mute in later sequels, although he refers to Count Dracula as his "master" in Abbott and Costello Meet Frankenstein''. The creature is often portrayed as being afraid of fire, although he is not afraid of it in the novel, even using fire to destroy himself.

The monster as a metaphor
Scholars sometimes look for deeper meaning in Shelley's story, and have drawn an analogy between the monster and a motherless child; Shelley's own mother died while giving birth to her. The monster has also been analogized to an oppressed class; Shelley wrote that the monster recognized "the division of property, of immense wealth and squalid poverty". Others see in the monster the dangers of uncontrolled scientific progress, especially as at the time of publishing; Galvanism had convinced many scientists that raising the dead through use of electrical currents was a scientific possibility.

Another proposal is that Victor Frankenstein was based on a real scientist who had a similar name, and who had been called a modern Prometheus – Benjamin Franklin. Accordingly, the monster would represent the new nation that Franklin helped to create out of remnants left by England. Victor Frankenstein's father "made also a kite, with a wire and string, which drew down that fluid from the clouds," wrote Shelley, similar to Franklin's famous kite experiment.

Racial interpretations

In discussing the physical description of the monster, there has been some speculation about the potential his design is rooted in common perceptions of race during the 18th century. Three scholars have noted that Shelley's description of the monster seems to be racially coded; one argues that, "Shelley's portrayal of her monster drew upon contemporary attitudes towards non-whites, in particular on fears and hopes of the abolition of slavery in the West Indies."

In her article "Frankenstein, Racial Science, and the Yellow Peril," Anne Mellor claims that the monster's features share a lot in common with the Mongoloid race. This term, now out of fashion and carrying some negative connotations, is used to describe the "yellow" races of Asia as distinct from the Caucasian or white races. To support her claim, Mellor points out that both Mary and Percy Shelley were friends with William Lawrence, an early proponent of racial science and someone whom Mary "continued to consult on medical matters and [met with] socially until his death in 1830." While Mellor points out to allusions to Orientalism and the Yellow Peril, John Malchow in his article "Frankenstein's Monster and Images of Race in Nineteenth-Century Britain" explores the possibility of the monster either being intentionally or unintentionally coded as black. Malchow argues that the monster's depiction is based in an 18th-century understanding of "popular racial discourse [which] managed to conflate such descriptions of particular ethnic characteristics into a general image of the 'Negro' body in which repulsive features, brute-like strength and size of limbs featured prominently." Malchow makes it clear that it is difficult to tell if this alleged racial allegory was intentional on Shelley's part or if it was inspired by the society she lived in (or if it exists in the text at all outside of his interpretation), and he states that "There is no clear proof that Mary Shelley consciously set out to create a monster which suggested, explicitly, the Jamaican escaped slave or maroon, or that she drew directly from any person knowledge of either planter or abolitionist propaganda." In addition to the previous interpretations, Karen Lynnea Piper argues in her article, "Inuit Diasporas: Frankenstein and the Inuit in England" that the symbolism surrounding Frankenstein's monster could stem from the Inuit of the Arctic. Piper argues that the monster accounts for the "missing presence" of any indigenous people during Waldon's expedition, and that he represents the fear of the savage, lurking on the outskirts of civilization.

Portrayals

See also

 Frankenstein in popular culture
 List of films featuring Frankenstein's monster
 Allotransplantation, the transplantation of body parts from one person to another

  Frankenstein's Promethean dimension

References

External links
 Literary discussion of the argument of Frankenstein
 2014 Irish Examiner article

Fictional characters without a name
Fictional characters with superhuman strength
Fictional monsters
Fictional murderers
Fictional murderers of children
Fictional suicides
Fictional undead
Frankenstein characters
Godzilla characters
Literary characters introduced in 1818
Male horror film villains
Male literary villains
Toho monsters

Frankenstein's monster


Androboros is a play by Robert Hunter written in 1715 when Hunter was serving as the colonial governor of New York and New Jersey. It survives as the earliest known play ever written and published in the North American British colonies. The only surviving copy is currently held in the collections of the Huntington Library in San Marino, California.

The play is a three-act tragicomedy that ridicules Hunter's political enemies with lightly veiled characters corresponding to many important political figures in early New York, including the Rev. William Vesey, Adolphe Philipse, Thomas Smithfield, and Lewis Morris.  The story takes place in a hidden room in the basement of the governor's mansion where a secret society meets plotting to take over the colony.  Several characters, led by Adolphe Philipse, are duped into dressing like women to seduce the governor general and kidnap him.  When they are found out, the seditious plotters are exposed and run out of town.

External links
 Androboros on Books Google

References

Aspects of Early New York Society and Politics.  Jacob Judd and Irwin H. Polishook, eds. Sleepy Hollow Press, NY, 1974.
Three Hundred Years of American Drama and Theatre (Second edition). Garff B. Wilson, Prentice-Hall, Inc., Englewood Cliffs, NJ, 1983.

1714 plays
American plays
Tragicomedy plays
Fiction set in the 1710s
Plays set in New York (state)

Androboros


The United States Department of Housing, often abbreviated HUD, is a Cabinet department of the United States federal government. Although its beginnings were in the House and Home Financing Agency, it was founded in 1965 to develop and execute policy on housing and cities. It has largely scaled back its urban development function and now focuses primarily on housing.

The department was established on September 9, 1965 when President Lyndon Johnson signed the Department of Housing and Urban Development Act  into law. It stipulated that the department was to be created no later than November 8, 60 days following the date of enactment. The actual implementation was postponed until January 13, 1966, following the completion of a special study group report on the federal role in solving urban problems.

HUD is administered by the United States Secretary of Housing and Urban Development. The former administrator of the US Small Business Association, Steve Preston, was nominated to the Position of Secretary of HUD by President Bush on April 18, 2008. He was confirmed by the Senate and his public swearing in ceremony was on June 6, 2008.

1965 establishments in the United States

United States Department of Housing and Urban Development


A coonskin cap is a hat made from the fur of a raccoon. Usually, the tail of the racoon is attached to the back of the hat. The coonskin cap is a symbol of the early United States frontier. Coonskin caps were first worn by the Native Americans who lived around Tennessee and Kentucky. The American settlers who moved to this area liked the caps and wore them themselves.  Some famous American pioneers who wore coonskin caps are Davy Crockett and Daniel Boone.

Other websites

http://www.coonskincap.com/

Hats

Coonskin cap


Viðareiði (pronoonced , literally: Wood-Isthmus, ) is the northmaist dounset in the Faroe Islands an lees on the Island o Viðoy, which belangs tae the Norðoyar Region. It lees on an isthmus wi heich muntains tae baith the north an sooth.

The community is linked owerland bi a dam an tunnel seestem tae the regional centre o Klaksvík on Borðoy. The road tae Viðareiði goes alang the wast coast o Viðoy, throu the toun, an then alang the island's east coast tae the uninhabitit Miðdalur Valley wi its teepical sma waterfaw.

Tae the north, Munt Villingdalsfjall rises ower 844 meters (2,769 ft) frae the watter.  It is the heichest muntain in the North Islands an the third-lairgest in the entire Faroese airchipelago. The north coast is merked bi Cape Enniberg, the seicont heichest sea cliff in Europe at 754 meters (2,474 ft). Leukin tae the wast frae Viðareiði, ane haes a view o the michty northren peaks o Borðoy an Kunoy. Turnin aroond, ane can see throu the crag an tails o the isthmus tae the eastren Island o Fugloy.  Feenally, tae the sooth o the toun, the 751 meters (2,464 ft) heich cone-shaped muntain o Malinsfjall can be seen during guid wather. Viðareiði is a depairtur pynt for a vast aurie o hikin. In the community, thare is no anerlie a sma grocery store, but an aw the Hotel Norð wi its restaurant that serves traditional cuisine.

History
In the 17t century, the auld kirk wis destroyed in a storm.  It is said that a pairt o the cemetery wis washed away bi the sea an that coffins frae the cemetery wur recovered in Hvannasund an reburiet in Viðareiði.

The current kirk wis biggit in 1892.  The kirk siller is a gift frae the Breetish govrenment, thankin the Viðareiði's ceetizens for the rescue o the Brig Marwood, which wis shiprecked near Viðareiði durin a winter storm in 1847.

See also

 Leet o touns in the Faroe Islands

References
 The information in this airticle is based on that in its German equivalent.
 Faroeislands.dk: Vidareidi

Populatit places in the Faroe Islands
Populatit coastal places in the Faroe Islands

Viðareiði


Carlo Tresca (March 9, 1879 – January 11, 1943) was an Italian-American newspaper editor, orator, and labor organizer and activist who was a leader of the Industrial Workers of the World during the 1910s. He is remembered as a leading public opponent of fascism, Stalinism, and Mafia infiltration of the trade unions for the purposes of labor racketeering and corruption.

Born, raised, and educated in Italy, Tresca was editor of an Italian socialist newspaper and secretary of the Italian Federation of Railroad Workers before he emigrated to the United States in 1904. After a three-year spell as secretary of the Italian Socialist Federation of North America, he joined the Industrial Workers of the World in 1912, and was involved in strikes across the United States over the rest of the decade. He was jailed in 1925 after printing a paid advertisement for a birth control pamphlet in one of his newspapers.

During the 1930s, Tresca was a vocal critic of both Benito Mussolini's Fascist government in his native Italy, and of Joseph Stalin and Communist Party of the Soviet Union. In 1937, he was a member of the Dewey Commission, which cleared Leon Trotsky of all charges made during the Moscow Trials. Tresca also used his newspapers to mount a public campaign criticising the Mafia. He was assassinated in New York, January 1943 allegedly by Carmine Galante.

Personal life
Carlo Tresca was born March 9, 1879, in Sulmona, Abruzzo, Italy, the son of a landowner. His formal education reached to secondary school. Tresca had no hope of attending university as his family's finances were poor during the economic slump of the 1880s. He enrolled at a seminary instead, but left soon after, emerging as an anticlerical atheist.

From 1898 to 1902, Tresca was secretary of the Italian Federation of Railroad Workers. He was also the editor of Il Germe, a socialist weekly based in Abruzzo. Seeking to avoid a jail term for his radical political activities, Tresca emigrated to the United States in 1904, settling in Philadelphia.

Tresca had a relationship with Elizabeth Gurley Flynn, and Flynn's sister, Bina, and was the father of Bina's son Peter D. Martin.  He also had a relationship with sculptor Minna Harkavy, whose bust of him was erected in his birth town of Sulmona.

American years
In America, Tresca was elected Secretary of the Italian Socialist Federation of North America in 1904. He remained in that position for the next three years. During this same interval, Tresca was also the editor of Il Proletario (The Proletarian), the official newspaper of the Italian Socialist Federation.

Tresca's political views became increasingly radical and he soon came to identify himself as an anarchist. In 1907 Tresca resigned as editor of Il Proletario and began publishing his own newspaper, La Plebe (The Plebeian). He would later transfer La Plebe to Pittsburgh and, with it, revolutionary ideas to Italian miners and mill workers in Western Pennsylvania. In 1909, Tresca became editor of L'Avvenire, (The Future) remaining in that capacity until the coming of World War I, when the publication was suppressed under the Espionage Act.

Tresca joined the revolutionary syndicalist Industrial Workers of the World (IWW) in 1912, when he was invited by the union to Lawrence, Massachusetts, to help mobilize the Italian workers during a campaign to free strike leaders Joseph Ettor and Arturo Giovannitti, jailed on false murder charges. After the victorious strike in Lawrence, Tresca was active in several strikes across the United States; the Little Falls, New York, textile workers' strike (1912), the New York City hotel workers' strike (1913), the Paterson silk strike (1913), and the Mesabi Range, Minnesota, miners' strike (1916). He was arrested several times and jailed for nine months awaiting trial for murder in conjunction with the Minnesota action, ultimately being released without going to trial.

In August 1920, Tresca became involved tangentially in the Irish War of Independence. As Sidney Czira, secretary of Cumann na mBan in New York, and sister of Grace Gifford, later recalled, "Picketing of the British Embassy in Washington had been going on from 1916 onwards and I remember a very successful picketing that was undertaken as a protest in New York against the British arrest of Dr. Mannix in August 1920. This latter picketing was largely the work of an Italian called Carlo Tresca, a personal friend of the well-known Irish-American family of Flynn, who were great friends of James Connolly. Tresca had great influence among the sea-faring fraternity and suggested that we should call out the seamen from the British ships as a protest against the arrest of Dr. Mannix. This was done by pickets walking on the docks with placards, calling on the men to leave the ships. So far as I was concerned, this was rather an amusing incident, because I had a placard which read something like this, "Hear the call of the blood and refuse to work on British ships". I realised that the call of the blood was addressed to Greeks, Italians, Lascars, etc., and when they saw a young woman with a placard they came up to enquire what the strike was about. My efforts to translate "Hear the call of the blood" into Italian were funny, but I found one word which they all seemed to know was "tyranny - Irlanda", and smiling and nodding, they would all walk away. The picketing was extremely effective because when we were holding our meetings it was a thrilling sight when, from time to time, we would hear the march of feet and the crew of some ship would come marching into the room. We found out subsequently that Tresca, who had organised them, was generally supposed to be an anarchist! Of course, there were extremely severe penalties under American law for behaviour of this kind."

In August 1923, Tresca was arrested on charges of having printed an advertisement for a birth control pamphlet in his new publication, Il Martello (The Hammer). He was found guilty in an October 1923 trial and was sentenced to a year and a day in Atlanta Federal Penitentiary. This sentence was confirmed on November 10, 1924, and Tresca entered prison on January 5, 1925.

Making enemies
Tresca became a prominent figure among Italian-Americans for his opposition to fascism and was reported to Benito Mussolini as a leading enemy of the fascist movement. Tresca edited an anti-fascist newspaper named Il Martello, where he attacked the myths that undergirded Mussolini's power. Tresca was monitored by the United States Department of Justice, who sought to deport him, and by Rome, where Mussolini feared that Italian-Americans would hurt his reputation with the United States and its banks. With pressure from the Italian ambassador to ban Tresca's newspaper, the American government charged Tresca with publishing obscenities. Tresca was sentenced and subject to deportation, but public dissent led the United States President Calvin Coolidge to commute Tresca's sentence. The fascists turned to violence, with a bombing assassination attempt in 1926, after which the antifascists fought back. Tresca contributed towards stopping Mussolini's ideological spread among Italian-Americans, despite Tresca's lack of reach into Italian-American media and business influence.

During the trial of Sacco and Vanzetti, Tresca organized publicity, fundraising, and the defense lawyer Fred Moore.

In the 1930s, Tresca became an outspoken opponent of Soviet communism and Stalinism, particularly after the Soviet Union had engineered the destruction of the anarchist movement in Catalonia and Aragon during the Spanish Revolution of 1936.

In 1937, Tresca was a member of the Dewey Commission, which cleared Leon Trotsky of all charges made during the Moscow Trials.

In early 1938, Tresca publicly accused the Soviets of kidnapping Juliet Stuart Poyntz to prevent her defection from the Communist Party USA underground apparatus. Tresca alleged that before she had disappeared, Poyntz had talked to him about "exposing the communist movement".

Assassination

On January 11, 1943, in New York City, Tresca was leaving his parole officer's offices when he dodged surveilling officers by jumping into a car that was waiting for him. Two hours later, Tresca was crossing Fifth Avenue at 15th Street on foot when a black Ford pulled up beside him. A short, squat gunman in a brown coat jumped out and shot Tresca in the back of the head with a handgun, killing him instantly. The black Ford was later found abandoned nearby with all four doors open. One theory at the time was that the suspected assassin was a member of the Mafia, acting on orders from Sicily, while other theories suggested that he was murdered by Italian fascists. Others have theorized that Tresca was eliminated by the NKVD as retribution for criticism of the Stalin regime of the Soviet Union.

Vito Genovese, boss of the Genovese crime family, is said to have allegedly ordered the murder of Tresca, with the shooter allegedly being Carmine Galante of the Bonnano crime family. No one was ever charged in the Tresca murder.

A eulogy at his memorial service was delivered by Angelica Balabanoff, socialist activist and former Bolshevik. According to Lewis Coser's account of the funeral, "I was sitting near a burly Irish policeman who clearly didn't understand a word of Balabanoff's fierce Italian oratory. But at her climax he burst into tears."

See also
 List of unsolved murders

References

Bibliography

1879 births
1943 deaths
1943 murders in the United States
American anarchists
American atheists
American birth control activists
American people of Italian descent
Assassinated American journalists
Assassinated newspaper editors
Deaths by firearm in Manhattan
Former Roman Catholics
Industrial Workers of the World leaders
Italian anarchists
Italian anti-fascists
Italian atheists
Italian emigrants to the United States
Italian socialists
Italian syndicalists
Italian trade unionists
Male murder victims
Assassinated anarchists
People from Sulmona
People murdered by Italian-American organized crime
People murdered in New York City
Unsolved murders in the United States
Assassinated Italian journalists
Murdered trade unionists

Carlo Tresca


Saeed Jaffrey  (8 January 1929 – 15 November 2015) was a British-Indian actor. His career covered film, radio, stage and television roles over six decades and more than 150 British, American, and Indian movies. During the 1980s and 1990s he was considered to be Britain's highest-profile Asian actor, thanks to his leading roles in the movie My Beautiful Laundrette (1985) and television series The Jewel in the Crown (1984), Tandoori Nights (1985–1987) and Little Napoleons (1994). He played an instrumental part in bringing together film makers James Ivory and Ismail Merchant and acted in several of their Merchant Ivory Productions films such as The Guru (1969), Hullabaloo Over Georgie and Bonnie's Pictures (1978), The Courtesans of Bombay (1983) and The Deceivers (1988).

He broke into Indian films with Satyajit Ray's Shatranj Ke Khilari (1977) for which he won the Filmfare Best Supporting Actor Award in 1978. His cameo role as the paanwala Lallan Miyan in Chashme Buddoor (1981) won him popularity with Indian audiences. He became a household name in India with his roles in Raj Kapoor's Ram Teri Ganga Maili (1985) and Henna (1991), both of which won him nominations for the Filmfare Best Supporting Actor Award.

He was the first Asian to receive British and Canadian film award nominations. In 1995 he was awarded an OBE in recognition of his services to drama, the first Asian to receive this honour. His memoirs, Saeed: An Actor's Journey, were published in 1998. He died at a hospital in London on 15 November 2015, after collapsing from a brain haemorrhage at his home. He was posthumously given the Padma Shri award in January 2016.

Early life and education
Saeed Jaffrey was born on 8 January 1929 to a Punjabi Muslim family in Malerkotla, Punjab region. At that time, his maternal grandfather, Khan Bahadur Fazle Imam, was the Dewan or Prime Minister of the princely state of Malerkotla. His father, Dr Hamid Hussain Jaffrey, was a physician and a civil servant with the Health Services department of the United Provinces of British India. Jaffrey and his family moved from one medical posting to another within the United Provinces, living in cities like Muzaffarnagar, Lucknow, Mirzapur, Kanpur, Aligarh, Mussoorie, Gorakhpur and Jhansi.

In 1938, Jaffrey joined Minto Circle School at Aligarh Muslim University where he developed his talent for mimicry. In 1939 he played the role of Dara Shikoh in a school play about Aurangzeb. At Aligarh, Jaffrey also mastered the Urdu language and attended riding school. At the local cinemas in Aligarh, he saw many Bollywood movies and became a fan of Motilal, Prithviraj Kapoor, Noor Mohammed Charlie, Fearless Nadia, Kanan Bala and Durga Khote.

In 1941 at Mussoorie, Jaffrey attended Wynberg Allen School, a Church of England public school, where he picked up British-accented English. He played the role of the Cockney cook, Mason, in the annual school play, R. C. Sherriff's Journey's End. After completing his Senior Cambridge there, Jaffrey attended St. George's College, Mussoorie, an all-boys' Roman Catholic school run by Brothers of Saint Patrick. He played the role of Kate Hardcastle in the annual school play, Oliver Goldsmith's She Stoops To Conquer. At Mussoorie, Jaffrey and his brother Waheed would often sneak out at night to watch British and American films at the local theatres.

In 1945, Jaffrey gained admission to Allahabad University where he completed his BA in English literature in 1948 and MA in medieval Indian literature in 1950. At Allahabad, Jaffrey learned about Hindu religion and mythology for the first time. While visiting his father in Gorakhpur in the winter of 1945, Jaffrey discovered the BBC World Service on the shortwave radio. When India gained independence from Britain on 15 August 1947 Jaffrey heard Jawaharlal Nehru's inaugural speech on All India Radio as the Prime Minister of India, titled "Tryst with Destiny". The partition of India caused all of Jaffrey's relatives in New Delhi and Bannoor, Punjab, to migrate to Pakistan.

Jaffrey was awarded his MFA in drama from the Catholic University of America in 1957.

Career

New Delhi (1951–1956)
In February 1951, Jaffrey travelled to New Delhi to try his luck as a cartoonist, writer or broadcaster. He successfully auditioned as an announcer at All India Radio. He started his radio career as an English Announcer with the External Services of All India Radio on 2 April 1951 for a salary of ₹250 / month. Unable to afford a place to stay and having no relatives in the city, Jaffrey spent his nights on the bench behind the office building. Mehra Masani, the station director, eventually arranged for him to share a room at the YMCA for ₹30 / month. Jaffrey bought a Raleigh bicycle for the commute.

Along with Frank Thakurdas and "Benji" Benegal, Jaffrey set up the Unity Theatre, an English-language repertory company at New Delhi in 1951. The first production was of Jean Cocteau's play The Eagle Has Two Heads, with Madhur Bahadur playing the role of the Queen's Reader opposite Saeed as Azrael. Unity Theatre subsequently staged J. B. Priestley's Dangerous Corner, Dylan Thomas' Under Milk Wood, Molière's The Bourgeois Gentleman, Christopher Fry's The Firstborn and T. S. Eliot's The Cocktail Party .

After graduation from Miranda House in 1953, Bahadur joined All India Radio. She worked as a disc jockey at night. Jaffrey and Bahadur, having fallen "madly in love", dated at Gaylord, a restaurant in Connaught Place. At Unity Theatre, Bahadur and Jaffrey acted together in Christopher Fry's A Phoenix Too Frequent, followed by Oscar Wilde's The Importance of Being Earnest, Tennessee Williams' Auto-da-Fé, and William Shakespeare's Othello.

In early 1955, Bahadur left to study drama formally at the Royal Academy of Dramatic Art (RADA), a drama school in the UK. In late 1955, Jaffrey won a Fulbright scholarship to study drama in America the following year. In spring 1956, he approached Bahadur's parents in Delhi for her hand in marriage but they refused because they felt that his financial prospects as an actor did not appear sound. In summer 1956, Jaffrey resigned from his position as Radio Director at All India Radio. He flew to London on his way to America and proposed to Bahadur. She refused but gave him a tour of RADA where she pointed out a young Peter O'Toole and other English stage actors who would later achieve prominence. A few days later, Jaffrey boarded the  to sail across the Atlantic Ocean from Southampton to New York City.

New York (1958–1965)
In 1957, Jaffrey graduated from the Catholic University of America's Department of Speech and Drama and was selected to act in summer stock plays at St. Michael's Playhouse in Winooski, Vermont. Jaffrey arranged for Bahadur to join him there after she graduated from RADA. He played the lead in three of the plays put on by St. Michael's Playhouse: Sakini, the Okinawan interpreter in The Teahouse of the August Moon; barrister Sir Wilfred Robarts in Agatha Christie's Witness for the Prosecution; and Voice of God, with Gino, in The Little World of Don Camillo.

In September 1957, Bahadur and Jaffrey returned to Washington, D.C. where Jaffrey rehearsed for the 1957 – 58 season with the National Players, a professional touring company that performed classical plays all over America. He was the first Indian to take Shakespearean plays on a tour of the United States. He was cast in the role of Friar Laurence in Romeo and Juliet. He played Gremio in The Taming of the Shrew. Midway through the tour, Jaffrey returned to Washington DC from Miami to marry Bahadur in a modest civil ceremony. The next day, they travelled to New York City where Bahadur was taken on as a tour guide at the United Nations while Jaffrey undertook public relations work for the Government of India Tourist Office. They lived on West 27th Street, between Sixth and Broadway. Between 1959 and 1962 Bahadur and Jaffrey had three daughters, Meera, Zia and Sakina.

In 1958, Jaffrey joined Lee Strasberg's Actors Studio and played the lead in an Off-Broadway production of Federico García Lorca's Blood Wedding. At this time, he met Ismail Merchant who had recently arrived from Bombay to attend the New York University Stern School of Business. Merchant approached Jaffrey with a proposal to put on a Broadway production of The Little Clay Cart starring the Jaffreys. Jaffrey took him home for dinner, where he met Madhur for the first time. In 1959, James Ivory, then a budding filmmaker from California, approached Jaffrey to provide the narration for his short film about Indian miniature painting, The Sword and the Flute (1959). Jaffrey provided the narration for Ismail Merchant's Oscar-nominated short film, The Creation of Woman (1960). The same year, he appeared in a limited run off-Broadway production of Twelfth Night at the Equity Library Theatre in the role of sea captain Antonio.

In 1961, when The Sword and the Flute was shown in New York City, the Jaffreys encouraged Ismail Merchant to attend the screening, where he met Ivory for the first time. They subsequently met regularly at the Jaffreys' dinners and cemented their relationship into a lifetime partnership, both personal and professional. The Jaffreys planned to go back to India, start a travelling company and tour with it. They would often discuss this idea with James Ivory and started writing a script in his brownstone on East 64th Street.

In 1961, Jaffrey was forced to give up his job as Publicity Officer with the Government of India Tourist Office. He went back to radio and joined The New York Times Company's radio station WQXR-FM, where his first broadcast programme was Reflections of India with Saeed Jaffrey. Jaffrey also took up acting on stage. The pay for such roles was generally $10/hour.

Within a year of Jaffrey's joining the Actors Studio in 1958, he was able to get Madhur admitted there too. However, they left by 1962 because they felt the criticism offered by Lee Strasberg was too much for their sensitivity. He played the role of the Wigmaker in a three-week run of a theatre version of Akira Kurosawa's Rashomon at Fort Lee Playhouse in New Jersey. He appeared briefly in Rabindranath Tagore's The King of the Dark Chamber along with Madhur. From January to May 1962, Jaffrey appeared at Broadway's Ambassador Theatre in a stage adaption of E. M. Forster's novel A Passage to India in the role of Professor Godbole. In November 1962 Madhur and Saeed appeared in Rolf Forsberg's Off-Broadway production of A Tenth of an Inch Makes The Difference. Their performance was described by The New York Times drama critic, Milton Esterow, as "sensitive acting" that made up "the brightest part of the evening".

In 1963, Jaffrey toured with Lotte Lenya and the American National Theater and Academy to perform Brecht on Brecht, a revue which was seen in Boston, Chicago, Milwaukee and Detroit. In summer 1964, Jaffrey along with some actor friends, created a multi-racial touring company called Theater In The Street, giving free performances of Molière's The Doctor Despite Himself in Harlem, Brooklyn and Bedford–Stuyvesant.

By 1964, the Jaffreys' marriage had collapsed. Madhur arranged for their children to live with her parents and sister in Delhi while she went to Mexico for the formal divorce proceedings. The divorce was finalized in 1966.

London (1965–2000)
In 1965, Jaffrey was offered the role of the Hindu God Brahma in Kindly Monkeys at the Arts Theatre, London. Favourable reviews of the play brought an offer from the BBC World Service to write, act and narrate scripts in Urdu and Hindi. Jaffrey played the small part of barrister Hamidullah in the BBC Television adaptation of A Passage to India. In order to pay the rent on his one-bedroom flat in Chelsea, Jaffrey took a job as an assistant cashier at Liberty's, a department store selling luxury goods.

In early 1966, Jaffrey returned to New York City to play the haiku-karate expert Korean police chief Kim Bong Choy in Nathan Weinstein, Mystic, Connecticut that opened on Broadway at the Brooks Atkinson Theatre. In summer that year he played a role in The Coffee Lover, a comedy starring Alexis Smith that toured Massachusetts, Connecticut and Maine. Later that year, he recorded a narration of the Kama Sutra titled The Art of Love for Vanguard Records. It was listed by Time magazine in February 1967 as "one of the five best spoken word records ever made".

Back in London, Jaffrey was given the opportunity to shoot in India for the next Merchant Ivory film, The Guru (1969). He flew to Bombay in December 1967 and met his daughters after a gap of three years. He returned to London in the summer of 1968. He became the first Indian in a starring role in London's West End theatre when he played a Pakistani photographer in On A Foggy Day. In 1975 he appeared as Billy Fish in John Huston's classic film The Man Who Would Be King.

In the 1980s, Jaffrey won substantial roles on British television in colonial dramas The Jewel in the Crown and The Far Pavilions plus the British Indian sitcom Tandoori Nights, Little Napoleons (1994) and the ITV soap Coronation Street.

He was the subject of This Is Your Life in 2001 when he was surprised by Michael Aspel during the curtain call of the musical The King and I at the London Palladium.

Death
The veteran actor died in the early hours of 14 November 2015 at a London hospital. He was 86 years old. He had collapsed at his London residence from a brain haemorrhage and never regained consciousness. His funeral was held in London on 7 December.

Filmography

Jaffrey appeared in many Bollywood and Hollywood movies, and appeared with actors including Sean Connery, Michael Caine and Pierce Brosnan. He starred in cinema directed by Satyajit Ray, James Ivory, Richard Attenborough, and John Huston.

His film credits include The Wilby Conspiracy (1975), The Man Who Would Be King (1975), Shatranj Ke Khiladi (The Chess Players) (1977), Sphinx (1981), as Sardar Patel in Gandhi (1982), A Passage to India (1965 BBC version and 1984 film), The Far Pavilions (1984), The Razor's Edge (1984), and My Beautiful Laundrette (1985).

He also appeared in many Bollywood films in the 1980s and 1990s. For television he starred in The Protectors (1973), The Persuaders! Gangsters (1975–1978), The Jewel in the Crown (1984), Tandoori Nights (1985–1987) and Little Napoleons (1994). He also appeared as Ravi Desai on Coronation Street and in Minder as Mr Mukerjee in Series 1 episode The Bengal Tiger.

Awards and nominations
 Civilian Award
 2016 – Padma Shri – India's fourth highest civilian honour from the Government of India (Posthumously)
Film Awards

Personal life
Saeed Jaffrey was born into an Indian Shia Muslim family in Malerkotla, the eldest of the four children of Hamid Hussain Jaffrey and his wife Hamida Begum. He had two brothers, Waheed and Hameed, and a sister, Shagufta. His father was a doctor in government service who was posted in many rural areas across the United Provinces and the family invariably moved with him. At the time of his birth, Jaffrey's maternal grandfather was the diwan (first minister) of Malerkotla State.

His first wife, Madhur Bahadur, came from an old and affluent Hindu Kayastha family of Old Delhi. She is a well-known character actress who appeared in a number of Indian and British films and had a successful career as a food and travel television personality. Jaffrey and Bahadur were married in Washington DC in September 1958 and divorced in Mexico in 1966. They had three daughters: Zia, Meera and Sakina Jaffrey. The latter made her acting debut alongside her mother in Merchant-Ivory's film The Perfect Murder. After the divorce, the children were sent to India, to be cared for by Bahadur's parents and sister in Delhi. Bahadur married Sanford Allen in 1969, an American classical violinist, but she remained professionally known by her first husband's name.

In 1980, Jaffrey married Jennifer Sorrell, an agent and freelance casting director. Jaffrey converted to Christianity and attended Sunday service with his wife at St Mary's Church in South Ealing, where his funeral took place.

In 1998, Jaffrey published his autobiography, Saeed: An Actor's Journey.

References

External links

1929 births
2015 deaths
20th-century British male actors
21st-century British male actors
Actors Studio alumni
Aligarh Muslim University alumni
British male actors of Asian descent
British male film actors
British male stage actors
British male television actors
British people of Indian descent
British people of Punjabi descent
Catholic University of America alumni
Filmfare Awards winners
Fulbright alumni
Indian emigrants to England
Indian Shia Muslims
Male actors in Hindi cinema
Naturalised citizens of the United Kingdom
Officers of the Order of the British Empire
People from Sangrur district
Recipients of the Padma Shri in arts
University of Allahabad alumni

Saeed Jaffrey


What Have We Learned, Charlie Brown? A Tribute is the 26th prime-time animated television special based upon the comic strip Peanuts, by Charles M. Schulz, who introduced the special. It originally aired on the CBS network on May 30, 1983, Memorial Day in the United States, and one week prior to the 39th anniversary of the D-Day Invasion. It was rebroadcast on CBS on May 26, 1984 and again on May 29, 1989.

Production
The special directly follows the events of the 1980 theatrical feature film Bon Voyage, Charlie Brown (and Don't Come Back!!). Charlie Brown, Linus, Snoopy, Peppermint Patty, Marcie, and Woodstock are returning from their student exchange in France. The film was purposefully open-ended in case there could be other adventures among the characters prior to returning home.

Charles Schulz said about its development,

Schulz struggled with development of the storyline until shortly after his open-heart surgery in 1981. While recuperating, he was able to finalize the concept with a common line that would tie everything together, "What Have We Learned, Charlie Brown?"

Plot
The special opens with Charlie Brown at home and he takes a book from his shelf titled "My Trip". His younger sister, Sally, approaches and asks him what he's doing. Charlie Brown tells her that he's making a photo album with pictures he took in France when he, Linus, Peppermint Patty, Marcie, Snoopy, and Woodstock went there for a student exchange. Sally realizes that Charlie Brown never told her what happened after the fire in the chateau and how he got home and asks if he learned anything. From there, it is shown in a flashback:

As they begin to head back from the chateau to the train station for the return trip to London (where they would return to America by plane), their problematic rental car (a Citroen 2CV) slows their progress, before breaking down entirely in a small French town. Renting another one from a French lady (who immediately accepts their offer after realizing Snoopy is, in fact, a World War I Flying Ace) they soon become lost and camp at a nearby beach for the night. Linus, however, wakes up shortly before daybreak and walks along the beach, realizing they are at Omaha Beach.

Linus then tells of the battle of D-Day, leading the group to the nearby cemetery for all of the American soldiers. The voice of General Dwight D. Eisenhower is also heard, reminiscing about the experiences of the battle. Archival news footage is also used, in some cases with the characters inserted through rotoscoping.

While proceeding up north, they head towards Ypres, which Linus recognized as the site of a series of battles during World War I. They arrive at a field of red poppies, which grew throughout the wastelands of battles fought during the war, and which serves as a marker for the Ypres battle site. Linus then recites John McCrae's famous poem In Flanders Fields, after directing the group to the British field dressing station where McCrae was inspired to write the poem.

They come away realizing what the impact of the wars were, and how important the sacrifice of the soldiers was. Standing among the field of red poppies, Linus then turns and asks, "What have we learned, Charlie Brown?". The scene flashes back to him and Sally. She then tells him that he is pasting the pictures upside down.

Voice cast
 Brad Kesten as Charlie Brown
 Jeremy Schoenberg as Linus van Pelt
 Stacy Heather Tolkin as Sally Brown
 Brent Hauer/Victoria Vargas as Peppermint Patty
 Michael Dockery as Marcie
 Monica Parker as French Lady
 Bill Melendez as Snoopy and Woodstock

Award
The special won a Peabody Award for "distinguished achievement and meritorious public service" in broadcasting. Schulz would later say of the acclaim,

Home media
The special was released on VHS by Kartes Video Communications in 1987 and again by Paramount on June 25, 1996. The special is available for purchase on iTunes together with You're Not Elected, Charlie Brown and He's a Bully, Charlie Brown, and is now available on DVD in the Peanuts Emmy Honored Collection.

References

External links

Peanuts television specials
Peabody Award-winning broadcasts
Television shows directed by Bill Melendez
1980s American television specials
1980s animated television specials
1980s American animated films
1983 television specials
1983 in American television
CBS television specials
CBS original programming
Television shows written by Charles M. Schulz
American sequel films

What Have We Learned, Charlie Brown?


Modern reenactment is historical reenactment of events of the modern period, most commonly events from the 18th century to the present.

The period starts with events such as the Seven Years' War, the Napoleonic Wars, and the peak of the Royal Navy's power.

The Victorian era is included, although not as well covered in terms of events as the major battles before and after it, with the notable exception of the American Civil War, which has a large and active community of reenactors.

Depictions of 20th century events such as World War II, the Korean War, and the Vietnam War are more firmly classified as modern reenactment.

The period includes the development of firearms, from musket and cannon to automatic weapons, and vehicles.

External links

Historical reenactment by period
Reenactment

Modern reenactment


Plastic canvas is a craft material of lightweight plastic with regularly spaced holes in imitation of embroidery canvas. It is also commonly known as vinyl weave.

Plastic canvas is typically used as a foundation for needlepoint or other canvas work embroidery, usually in acrylic or wool knitting yarn.  Due to its rigidity, it is useful for creating 3-dimensional objects such as tissue box covers, small jewelry boxes, handbags, and other decorative objects.

Plastic canvas is manufactured in many colors and with various size holes for different thicknesses of yarn. As with textile canvas, these are described in count – that is, 10-count plastic canvas has 10 holes per linear inch.  Typical sizes are 5-, 7-, 10-, and 14 count. It is most readily available in A4 size sheets but pre-made shapes such as circles, triangles as well as novelty shapes (e.g. dinosaur, bird, cross) are also available.

Plastic canvas is also employed in teaching needlepoint and cross stitch to children, since its riged structure does not require the use of a hoop or frame.

Other uses
Plastic canvas is also used by some for making animal mascot heads as a frame to build faux fur upon to make the head of the mascot, some people stick the plastic canvas together with glue but this is not the only method of construction or sticking together a frame of a mascot head.

External links
Learn the three types of tent stitch for plastic canvas

Embroidery equipment

Plastic canvas


Denis Crispin Twitchett (23 September 192524 February 2006) was a British Sinologist and historian, and is well known as one of the co-editors of The Cambridge History of China.

Biography
Denis Twitchett was born on 23 September 1925 in London, England, the son of an architectural draughtsman, and attended Isleworth County Grammar School. During World War II he took a crash course in Japanese, and for the remainder of the war he was part of the Bletchley Park operations acting as a listener at one of the forward listening stations in Sri Lanka. He also spent a great deal of time in Japan, and was able to learn from the best Japanese historians of China (who tended to focus on Tang China, a period which became his field of expertise also). Following demobilisation he read Modern Chinese at the School of Oriental and African Studies at the University of London for a year (1946–47). Having won a scholarship to read Geography in 1943 while still a school pupil, he then took up his place at St Catharine's College, Cambridge, whence he graduated with a first-class degree in Oriental Studies in 1950.

He was a lecturer at the University of London (1954–56) and Cambridge (1956–60), the Chair of Chinese at the universities of London (1960–68) and Cambridge (1968–80), and the Gordon Wu '58 Professor of Chinese Studies at Princeton University (1980–94). He was a fellow of the British Academy from 1967. He greatly expanded the role of Chinese studies in Western intellectual circles.

He married Umeko Ichikawa in 1956. Together they had two children.

The Cambridge History of China

Starting in 1966, Professor Twitchett and historian John K. Fairbank (who taught at Harvard) began plans for the first comprehensive history of China to be published in the English language. Originally expected to be a six volume set of books, the series expanded as time passed and eventually grew to the currently planned 15 volumes. While he was at Princeton, Twitchett worked closely with fellow Sinologist Frederick W. Mote (who had a related wartime experience).

Drawing upon the most respected living historians for individual chapters of the books, the series (though still missing one volume as of 2022) is very highly regarded as an authoritative history of China. Twitchett wrote many sections and guided the creation of the whole series from the start until his death.

Twitchett deliberately held off creating a book on China before the Ch'in dynasty because, as Twitchett put it in the preface to Volume 7, there was still so much work to be done on the period. Since that time the history has become better understood and in 1999 a companion volume The Cambridge History of Ancient China, From the Origins of Civilization to 221 BC edited by Michael Loewe and Edward L. Shaughnessy was published.

Other publications

 Financial Administration under the T'ang Dynasty (1963)
 Printing and Publishing in Medieval China (1983)
 The Writing of Official History Under the T'ang (1992)
 (with P.J.M. Geelan) The Times Atlas of China (1974)

Twitchett was the expert who helped create the China maps for The Times Atlas of World History (first published in 1979).

References

External links
 Obituary in The Times
 David McMullen, "Denis Crispin Twitchett (1925-2006)," Proceedings of the British Academy 166 (2010): 322–345.

1925 births
2006 deaths
British sinologists
Historians of China
Alumni of SOAS University of London
Alumni of St Catharine's College, Cambridge
Academics of the University of London
Academics of the University of Cambridge
Princeton University faculty
Fellows of the British Academy
Bletchley Park people

Denis Twitchett


Bence Szabolcsi (2 August 1899 – 21 January 1973) was a Hungarian music historian. Along with Ervin Major, "he can be considered the founder of scholarly study of the history of Hungarian music, and he was primarily responsible for creating an establishment for musicology in Hungary."

Szabolcsi was born in Budapest, the younger son of Miksa Szabolcsi (1856-1915), editor of the Hungarian Jewish weekly Egyenlőség. He studied musicology at Leipzig University, gaining a doctorate in 1923 with a thesis on the Italian monodist composers Pierro Benedetti and Claudio Sarcini. He edited the first music dictionary in Hungarian, established the Department of Musicology at the Franz Liszt Academy of Music in 1951, and established the Bartók Archive in 1961.

Works
 The Twilight of Ferenc Liszt, 1956
 A Concise History of Hungarian Music, 1964
 Béla Bartók: his life in pictures, 1964
 A History of Melody, 1965

References

1899 births
1973 deaths
Hungarian musicologists
Music historians
Herder Prize recipients
20th-century musicologists
Hungarian expatriates in Germany

Bence Szabolcsi


Ellen Isham Schutt (April 15, 1873 – December 5, 1955) was an early 20th-century American botanical illustrator for the U.S. Department of Agriculture. Her work now forms part of the USDA National Agricultural Library's Pomological Watercolor Collection.

Early life and family
Ellen Isham Schutt was born on April 15, 1873, on Oak Grove estate in Arlington, Virginia, to Francis Granger Schutt (a merchant of Dutch descent) and Emily Elizabeth Thomas Schutt (née Wallis). She was one of seven children, with two brothers (Francis and Wallis) and four sisters (Blanch, Elizabeth, Stella, and Mary). They were raised in what is now Cherrydale, Virginia, where her father had bought land after the Civil War. Ellen's father eventually acquired nearly 300 acres in the area and is now considered one of the fathers of modern Cherrydale.

In 1906, Ellen built a substantial neoclassical house in Cherrydale that was known as "Ellenwood." It was built entirely of concrete as protection against fire, and it is said to have been the first home in the area to get electricity.

Ellen and her mother were interested in genealogy and together created numerous unpublished family trees and other records relating to the Wallis family that were later archived at the Maryland Historical Society. In 1914, Ellen served as the state recording secretary of the Virginia chapter of the Daughters of the American Revolution.

Career

Schutt worked for the United States Department of Agriculture between 1904 and 1914, part of a select cadre of illustrators that included Deborah Griscom Passmore, Amanda Newton, Royal Charles Steadman, J. Marion Shull, and Elsie Lower. During this period, she painted over 700 watercolors of fruits and nuts for the USDA. Her subjects ranged from the common (apples, hickory nuts) to the then-exotic (bael, custard apple, cashew nuts), and quite a few show fruit damage from molds, insects, and other causes. Her precise and rather dry style resulted in watercolors that at times look more like drawings than paintings. She signed her USDA watercolors 'E.I. Schutt'. She also modeled some fruit such as apples and pears in wax to demonstrate the effects of long storage and packaging upon fruit. She contributed a few drawings of plant specimens collected in Mexico to Britton and Rose's definitive work on cactus.

Beginning in 1911, the University of California commissioned Schutt to paint watercolors of apples grown locally and showing damage from conditions ranging from disease and insect damage to storage injury. One scholar argues that this series of "hyperreal" images amounts to an implied representation of the idea of a perfect or normal apple, a vision suitable to Progressive era aspirations of control over natural forces like decay. The full series of 286 watercolors painted between 1911 and 1915 is held by the University of California, Davis.

Personal life and death

In 1914, the year her father died, she married Walter David Blackburn in Florida. This marriage did not last, and in 1917 she married her first cousin, Thomas Smythe Wallis (1876–1949), in Virginia.

Ellen died on December 5, 1955, at Falls Church, Virginia, and is buried in Columbia Gardens Cemetery in Arlington.

References

External links

Ellen Schutt Pomological Watercolors — UC Davis collection, online
 National Agricultural Library Pomological Watercolor Collection — USDA collection, online

1873 births
1948 deaths
Botanical illustrators
20th-century American painters
American women illustrators
American illustrators
20th-century American women artists
United States Department of Agriculture people
People from Arlington County, Virginia
Painters from Virginia

Ellen Isham Schutt


New Writings in SF 28 is an anthology of science fiction short stories edited by Kenneth Bulmer, the seventh volume of nine he oversaw in the New Writings in SF series in succession to the series' originator, John Carnell. It was first published in hardcover by Sidgwick & Jackson in 1976, followed by a paperback edition issued by Corgi in 1977. The contents of this volume, together with those of volume 27 of the series, were later included in the omnibus anthology New Writings in SF Special 3, issued by Sidgwick & Jackson in 1978.

The book collects several novelettes and short stories by various science fiction authors, with a foreword by Bulmer.

Contents
"Foreword" (Kenneth Bulmer)
"What Happened to William Coombes" (Angela Rogers)
"The Way Erving Went" (Grahame Leman)
"The Banks of the Nile" (Ritchie Smith and Thomas Penman)
"The Bones of Bertrand Russell: A Triptych of Absurd Enigmatic Plays" (Brian W. Aldiss)
"Futurity Takes a Hand" (Brian W. Aldiss)
"Through a Galaxy Backwards" (Brian W. Aldiss)
" Where Walls Are Hung with Multi-Media Portraits" (Brian W. Aldiss)
"On the Inside" (Robert P. Holdstock)
"The Great Plan" (Leroy Kettle)
"Face to Infinity" (E. C. Tubb)
"The Call of the Wild" (Manuel van Loggem)
"Wordsmith" (Bryn Fortey)
"Manganon" (Michael Stall)

External links

1976 anthologies
28
Sidgwick & Jackson books

New Writings in SF 28


The Pallavolo Parma was one of the oldest and most successful professional man's volleyball clubs in Italy. Its colours were white and azure.

Founded in Parma in the 1940s, after a sequence of incorporations with other teams, it is currently disappeared from Italian professional volleyball panorama. It won 8 national titles, 2 CEV Champions League and a number of other Italian and European trophies.

History
Founded in 1946 for initiative of the Railroaders's Recreative Club as Ferrovieri Parma, the team took part for the first time at Serie A in 1949 and won its first national title in 1950. In 1954 Ferrovieri merged into CUS Parma.

In the 1960s the Gruppo Sportivo Salvarani supported briefly the club, which won another championship in 1969.

In 1980 Parmalat Industries started to economically supported the club, declined in the 1970s. Sponsored by Santal, it won two national titles, three Coppa Italia and two CEV Champions League. In 1987 Parmalat was replaced by another sponsor, Maxicono Motta, and the club could extend its winning tradition in Italy and in Europe.

In 1996, for economical reasons, Pallavolo Parma did not enrol at Serie A1 and restarted from the lower division. It has been renamed Sky Volley in 1996 and disappeared in 2004. Audax Parma is today in Serie B2 division.

References and sources
 Profile on Legavolley.it

Volleyball clubs in Italy
Volleyball clubs established in 1946
Sport in Parma
1946 establishments in Italy

Pallavolo Parma


Kewal Kishan Talwar (born 30 April 1946) is an Indian cardiologist, medical academic and writer, and a former chairman of the Medical Council of India. He is a former director of the Post Graduate Institute of Medical Education and Research (PGIMER) and is reported to have performed the first implantation of Implantable cardioverter-defibrillator (ICD) therapy in South Asia. He is also credited with the introduction of Cardiac Resynchronization Therapy in India. He is a recipient of several honours including B. C. Roy Award, the highest Indian award in the medical category. The Government of India awarded him the third highest civilian honour of the Padma Bhushan, in 2006, for his contributions to medicine. Presently Dr. Talwar is working in PSRI Hospital Sheikh Sarai, New Delhi as the chairman of Cardiac Sciences

Biography
Talwar, born on 30 April 1946 at Payal, a small town in Ludhiana district in the north Indian state of Punjab, did his early education in his home town and the neighboring city of Jalandhar and graduated in medicine (MBBS) from Punjabi University, Patiala in 1969. He continued his studies at Postgraduate Institute of Medical Education and Research (PGIMER), Chandigarh from where secured his MD in general medicine in 1973 and DM in cardiology in 1976 and underwent training in Electrophysiology at the University of Gothenburg as a senior research fellow of the World Health Organization. His career started at his alma mater, PGIMER, in December 1977, as a member of faculty where he worked for three years before moving to the All India Institute of Medical Sciences (AIIMS), Delhi, as an assistant professor of cardiology in 1980. During the next twenty four years he worked at AIIMS, he became the professor in 1992 and the head of the department of cardiology in 2002. After leaving AIIMS in 2004, he returned to PGIMER as the director, professor and head of the department of cardiology and stayed there till his superannuation in 2011. His next move was to Max Healthcare, Delhi in 2013 where he serves as the chairman of the Cardiology department of the institution.

Talwar is associated with several government initiatives and is a member of Punjab Governance Reforms Commission (PGRC) and its Task Group on Health and Medical Education. He is a former chairman of the Medical Council of India and the incumbent chair of the Board of Governors of the National Institute of Technical Teachers' Training and Research, Chandigarh (NITTTR). He also chairs the Board of Governors of the Indian Institute of Science Education and Research, Mohali (IISER) and is an adviser to the Government of Punjab on Health and Medical Education as well as a Visitor Nominee to Banaras Hindu University. He is a former president of the Heart Failure Society of India (2009–2012) and the National Academy of Medical Sciences (2009–2012). He has served as the president of the Indian Heart Rhythm Society and is the patron of the society.

Legacy
After introducing the endomyocardial biopsy (EMB) procedure at AIIMS in 1986, he deployed the technique in the evaluation and diagnosis of tropical heart muscle diseases, and his findings on the occurrence of inflammatory myocarditis in Takayasu's arteritis patients have been documented, the first instance the topic was published in medical literature. He also proposed therapeutical protocol for reversing the myocardial dysfunction using immunosuppressants. He established radiofrequency ablation facility in 1992 at AIIMS as a therapeutic procedure for remedying Cardiac arrhythmia and three years later, he introduced Implantable cardioverter-defibrillator implantation procedure in 1995, the first time the procedure was performed in South Asia. The effort earned him a mention in the 1997 edition of the Limca Book of Records. In 2000, he brought the Cardiac Resynchronization Therapy to India for the first time. The introduction of multisite pacing system for managing heart failure and pioneering efforts in electrophysiology and cardiac pacemakers are some of his other notable contributions. His work on Cardiac arrhythmia helped develop it as a specialty in India and he was associated with Heart transplant program at AIIMS. His work has been documented by way of several publications which include 240 articles and 270 abstracts, published in various peer-reviewed medical journals. He has also contributed 15 chapters to various medical texts.

Awards and honours

The researches during his early years at AIIMS earned Talwar the Prof. Sujoy B. Roy Memorial Investigator Award of the Cardiological Society of India in 1986. This was followed by Searle Award, again from the Cardiological Society of India the next year and Shyamlal Saksena Award From the National Academy of Medical Sciences in 1988. The Indian Council of Medical Research awarded him the Amrut Mody Unichem Award in 1993 and the Ranbaxy Research Award reached him in 1997. He received the highest Indian medical award, B. C. Roy Award in 2000, for his services to medical education before receiving awards such as Goyal Prize for Science of Kurukshetra University in 2002 and Basanti Devi Amir Chand Award of the Indian Council of Medical Research in 2003. The International Academy of Cardiovascular Sciences awarded him their Norman Alpert Award for Established Investigators in Cardiovascular Sciences to him in 2005 and the Government of India included him in the Republic Day Honours list of 2006 for the civilian honour of the Padma Bhushan. The National Academy of Medical Sciences honoured him again in 2012 with Aryabhat Award.

Talwar, an Emeritus Professor of the National Academy of Medical Sciences, is an elected fellow of NAMS (1993) and the Indian National Science Academy (2005). He is also a fellow of the American College of Cardiology and the International Academy of Cardiovascular Sciences. Dr. NTR University of Health Sciences had conferred the honoris causa degree of Doctor of Science (DSc) on him. Besides, he has delivered several award orations; Dr. K. L. Wig Oration of NAMS (2000-2001), Dr. Menda Oration of Indian Medical Association (2005), Sphere Oration of Cardiological Society of India (1989), Glaxo Oration of NAMS (1996), Dr. Austin Doyle Memorial Lecture (1996), Dr. Devi Chand Memorial Oration (1992), R. S. Tiwari Oration (1999), Dr. R. N. Chatterjee Memorial Oration (2003), Prof. Raman Vishwanath – VPCI Oration (2007), Prof. P. S. Bidwai Memorial Oration (2007), Kuwait Medical Association Oration (2007), Dr. Ivan Pinto Oration (2008), Dr. J. P. Das Heart Failure Annual Oration (2009), P. L. Wahi Oration (2010), First Innova Foundation Oration (2012), 5th annual Cardiology Chair Oration of Sri Venkateswara Institute of Medical Sciences (2013), and Dr. G.N.Sen Oration (2013) are some of the notable ones.

See also
 Implantable cardioverter-defibrillator
 Cardiac Resynchronization Therapy

References

External links

Recipients of the Padma Bhushan in medicine
1946 births
Living people
People from Ludhiana district
Medical doctors from Punjab, India
Punjabi University alumni
University of Gothenburg alumni
Academic staff of the All India Institute of Medical Sciences, New Delhi
Fellows of the National Academy of Medical Sciences
Fellows of the Indian National Science Academy
Dr. B. C. Roy Award winners
Indian cardiologists
Indian medical researchers
Indian medical writers
20th-century Indian medical doctors
Fellows of the American College of Cardiology
Postgraduate Institute of Medical Education and Research alumni

K. K. Talwar


Connie Berube Binsfeld (April 18, 1924 – January 12, 2014) was an American Republican politician from the U.S. State of Michigan. She served as the 60th lieutenant governor of Michigan. Starting as an advocate for the environment in planning for the Sleeping Bear Dunes National Lakeshore, she also was known for protecting interests of women and children. She was the first woman to hold leadership posts in Michigan's House, Senate and executive branch, where she served four terms in the House, two in the Senate, and two as Lieutenant Governor.

Biography
Born Connie Berube in Munising, Michigan, in 1924, she attended local schools. After graduating from high school, Berube went to Siena Heights College. After she married in the 1940s, she and her husband settled near Detroit and had a family. She later taught high school history and politics.

Binsfeld became involved in local politics in Leelanau County, Michigan, where she and her family moved to Glen Lake from Detroit in 1968. She headed a citizens' council to participate in planning for the Sleeping Bear Dunes National Seashore. She served 10 years on the Great Lakes Commission.

Recognized for her speaking and leadership, Binsfeld was first elected to political office as county commissioner for Leelanau County, Michigan. In 1974, she was elected to the first of four successive terms in the Michigan House of Representatives. She would later serve two terms in the Michigan Senate. As a member of the Legislature, she was known for sponsoring some of the strongest legislation to address domestic violence, and was known as an advocate for women and children. She continued her interest in the environment. At the time of her death, Gov. Rick Snyder noted the importance of her sponsoring the Sand Dunes Protection Act and introducing the 1983 Quality of Life Bonding Bill for cleanup of areas.

In 1990, Binsfeld was selected to be the running mate of Republican gubernatorial candidate John Engler. She took office as the state's lieutenant governor in 1991 and served until early 1999. As lieutenant governor, she headed the Binsfeld Children's Commission. Its investigation of issues related to adoption and the child welfare system produced 197 proposed reforms, including for adoption and other laws. The state legislature passed 20 laws drafted by Binsfeld and her staff to make policy to implement these recommendations.

Binsfeld died at age 89 in Glen Lake, Michigan, on January 12, 2014, in hospice.

Personal life
She was married to John Binsfeld. They had five children together: John, Greg, Susan, Paul and Mike.

Legacy and honors
1977, named Michigan Mother of the Year
1990, Binsfeld received the Sister Ann Joachim Award from her alma mater, Siena Heights University.
In 1998, she was named to the Michigan Women's Hall of Fame.
She also received Honorary Doctorates of Humane Letters from University of Notre Dame, Northern Michigan University, Grand Valley State University, and other institutions of higher learning.

See also
List of female lieutenant governors in the United States

References

External links
Lt. Gov. Connie Binsfeld, State of Michigan profile]
 "Connie Binsfeld", Notable Women of NW Michigan
"Lt. Gov. Connie Binsfeld Obituary", Reynolds-Jonkhoff Funeral Home, January 2014

1924 births
2014 deaths
People from Munising, Michigan
People from Leelanau County, Michigan
Siena Heights University alumni
County commissioners in Michigan
Republican Party members of the Michigan House of Representatives
Republican Party Michigan state senators
Lieutenant Governors of Michigan
Women state constitutional officers of Michigan
Women state legislators in Michigan
20th-century American politicians
20th-century American women politicians
21st-century American women

Connie Binsfeld


The 1971 Salem, Illinois derailment occurred on June 10, 1971, when Amtrak's City of New Orleans passenger train derailed near Salem, Illinois. It is sometimes referred to as the Tonti derailment, after the unincorporated community of Tonti, Illinois, which was the site of the crash. An investigation by the National Transportation Safety Board (NTSB) found that the derailment was caused by a false flange on a flat wheel caused by a seized axle bearing. The crash killed 11 people and injured 163. It was Amtrak's first fatal accident since assuming control of most intercity passenger trains in the United States on May 1, 1971.

Accident

Amtrak #1 (later #59), the City of New Orleans departed Chicago's Central Station at 8:00 AM CT on June 10, 1971. The City of New Orleans was a daytime train between Chicago and New Orleans, Louisiana. Up until April 30, 1971, it had been operated by the Illinois Central Railroad, but passed to Amtrak when the latter assumed operation of most intercity service in the United States. It was scheduled to arrive in New Orleans at 1:30 AM on June 11. The train was composed of 15 cars: a baggage car, 11 coaches, a diner-counter, a lounge car, and a combination coach/food service car. Amtrak had inherited or leased this equipment from other railroads. A set of four leased Illinois Central EMD E-units of various models pulled the train: E8A #4031 (leading), E9Bs #4109 and #4106, and E10A (a rebuilt E8A) #2024 (formerly #4032).

The lead locomotive assigned to the train was #4031, an EMD E8A originally manufactured in 1952. The E8 developed  from two 12 cylinder model 567B engines, each driving a generator to power the two traction motors on one truck. During the run south from Chicago the #2 engine on #4031 failed and could not be repaired. After a crew change in Champaign, Illinois, the new crew observed the #2 engine respond to the throttle and concluded that it was operational again. South of Champaign the Illinois Central main line was double track with crossovers. As the train passed over one of these crossovers at Tonti, #4031 derailed.

#4031 was badly damaged in the derailment; #4109, immediately behind, caught fire and was destroyed. The rear two locomotives remained upright and suffered little damage. The lead baggage car and first five coaches were destroyed. The remaining eight cars suffered varying degrees of damage. Eleven people were killed and 163 were injured. Six of the eleven fatalities occurred when passengers were ejected through large side windows. It was Amtrak's first fatal accident.

Investigation

The NTSB investigation found flat spots on the rear truck of #4031. Inspection of the tracks between Tonti and Effingham, Illinois, revealed markings where the wheels had slid instead of spun. Further investigation revealed that the truck's traction motor had seized prior to the accident, and that the wheels had probably locked at Effingham during a station stop. The locked wheels created a false flange. When the compromised wheel reached the switch at the crossover at Tonti it derailed.

#4031 had made another run from Chicago to New Orleans on June 6. Engine #2 had failed on that trip as well and was shut down in New Orleans. As an added precaution the reverser for the engine was locked in neutral for trip to Chicago. Shutting down the engine and locking the reverser in neutral had the effect of disabling the wheel slip indicator, which would notify the locomotive engineer that a wheel was slipping or sliding. While #4031 was repaired in Chicago, the Illinois Central maintenance forces did not observe that the reverser was locked and did not realize that power was not being supplied to the rear truck.

Aftermath
The NTSB found that the mechanical faults in Illinois Central locomotive #4031 caused the derailment. It recommended improvements in wheel-slip detection devices for locomotives and in pre-departure testing procedures. The NTSB also recommended that the Federal Railroad Administration (FRA) draft safety standards to address the ejection of passengers through windows in the event of accidents.

Notes

Endnotes

References
 - Read online at ROSAP (USDOT website)

External links

Railway accidents and incidents in Illinois
Railway accidents in 1971
1971 in Illinois
Accidents and incidents involving Amtrak
Accidents and incidents involving Illinois Central Railroad
1971 disasters in the United States
Marion County, Illinois
Derailments in the United States

1971 Salem, Illinois, derailment


Manuel Pereira da Silva (7 December 1920 – 2003) was a Portuguese sculptor. He was born in Oporto, Portugal.

The workmanship of Manuel Pereira da Silva has an abstract formal orientation inspired in the human figure, in particularly the man and the woman. In 2000, the Medal of Cultural Merit was attributed to Manuel Pereira da Silva for the City Council of Vila Nova de Gaia.

Education
In 1939, he entered the Oporto University's College of Arts. In 1953, he finished his coursework with the final classification of 18 values. During his coursework he was distinguished with two awards, "Teixeira Lopes" and "Soares dos Reis".

In 1946 and 1947, he studied in Paris, France, at the Paris College of Arts.

Selected works
I Exposition of the Independents, in the Oporto University's College of Arts. (1943)
II Exposition of the Independents, in the Atheneum Commercial of Oporto. (1944)
III Exposition of the Independents, in the Coliseum of Oporto. (1945)
Low-relives in Stone in the Rivoli Theatre and in the Coliseum, in Oporto. (1945)
Exposition of the Portuguese Life and the Art in Lourenço Marques, Moçambique (1946)
Exposition of Modern Art in the city of Caldas da Rainha. (1954)
Sculpture in Bronze of General Ulysses S. Grant, 18º President of the United States of America between 1868 and 1876. This monument was ordered by the Portuguese Government to Pereira da Silva for the capital of Guiné-Bissau. (1955)
Paintings in the Church of Saint Luzia, in the city of Viana do Castelo. (1956)
Paintings of the "Snow White" in the Street of Saint Catarina, in Oporto. (1957)
Sculpture in Bronze in the Square Marquis do Pombal, in Oporto. (1958)
II Exposition of Modern Art in the city of Viana do Castelo. (1959)
Low-relief in Ceramics in the capital of Angola. (1960)
Low-relief in Stone of "D. Pedro Pitões exhorting the Crusades" in the Courthouse, in Oporto. (1961)
II Exposition of Plastic Arts of the Foundation Calouste Gulbenkian, in the city of Lisbon. (1962)
Retrospective Exposition in Homage to the workmanship of Pereira da Silva by the Artists Association of Vila Nova de Gaia. (1987)

Other websites
Twitter
Facebook
Blogspot
Instagram
Flickr
 Youtube

1920 births
2003 deaths
Portuguese artists
Sculptors

Manuel Pereira da Silva


Deborah Polaski (born May 26, 1949, in Richland Center, Wisconsin) is an American opera and concert singer (soprano). She has specialized in dramatic soprano roles and also sings mezzo-soprano roles occasionally.

Biography
After being educated in the US, Polaski moved to Europe. Her debut was in 1976 as Senta in Wagner's Der fliegende Holländer at the Musiktheater im Revier in Gelsenkirchen. She subsequently sang on a number of opera stages in Germany (for example, Mannheim, Ulm, Karlsruhe, Darmstadt, Hannover and Freiburg). Her repertoire comprises primarily dramatic soprano roles, such as the Wagnerian roles of Isolde in Tristan und Isolde, Brünnhilde (Der Ring des Nibelungen), Kundry (Parsifal) and Ortrud (Lohengrin), and Richard Strauss' Ariadne auf Naxos and Elektra, Berlioz' Didon and Cassandre (Les Troyens), Alban Berg's Marie (Wozzeck) and Janáček's Kostelnička (Jenůfa).

Polaski achieved recognition in 1988 at the Bayreuth Festival in the role of Brünnhilde, conducted by Daniel Barenboim. In November 1988, after a single performance of Der fliegende Holländer with the San Francisco Opera, Polaski, a born-again Christian, canceled all her future engagements and announced she would sing only spiritual music. In 1991 she reprised her performance, and under James Levine she sang the role for five consecutive years from 1994.

She has appeared as a guest in Amsterdam, at the Gran Teatre del Liceu in Barcelona, at the Deutsche Oper Berlin, the Berlin State Opera and the Berlin Philharmonic, in Bonn, Chicago, Duisburg, Dresden, Florence, Frankfurt, Geneva, Genoa, Hamburg, Copenhagen and Cologne, at the Royal Opera House Covent Garden in London, in Lucerne, Mailand, Mannheim, Montreux and Munich, at the New York Metropolitan Opera and the Carnegie Hall, in Oslo, Paris, Rome, Salzburg, Stuttgart, at the Sydney Festival, in Tokyo, Vienna, Yokohama and Zürich. She made her debut at the Vienna State Opera in 1996 as Brünnhilde; she has also sung Ariadne, Elektra, Marie, Ortrud and Kundry there. She was named an Austrian Kammersänger in 2003. Polaski has also made a name for herself as a Lied and concert singer.

The title role of Elektra has been a feature of Polaski's repertoire for years, and she has performed it with major orchestras, directors and conductors (for example, Simone Young, Daniel Barenboim, Lorin Maazel, and Semyon Bychkov).

Discography
Audio
Brahms: Lieder
Dukas: Ariane et Barbe-bleue
Strauss: Elektra
Wagner: Excerpts from Der Ring des Nibelungen, Walküre, Lohengrin and Tristan und Isolde
Wiener Opernfest 2005 (Gala Concert)
Wolf-Ferrari: Sly

DVD
Berlioz: Les Troyens
Wagner: Die Walküre, Siegfried, Götterdämmerung and Tristan und Isolde
Gala Concert - Vienna State Opera 2005

VHS
Covent Garden Re-Opening Gala

References
J. Warrack and E. West, "Polaski, Deborah", The Concise Oxford Dictionary of Opera, Oxford University Press, 1996. (accessed 1 November 2007)
List of reviews of Deborah Polaski's recordings and live performances in Opera News
 in Los Angeles Times

Specific

External links
Official web site
Short profile at Vienna State Opera
Profile and review of Tristan und Isolde highlights recording

American operatic sopranos
1949 births
Living people
People from Richland Center, Wisconsin
Österreichischer Kammersänger
Singers from Wisconsin
20th-century American women opera singers
21st-century American women opera singers
Classical musicians from Wisconsin

Deborah Polaski