Perch Zeytuntsyan (; July 18, 1938 – August 21, 2017) was an Armenian playwright and screenwriter who served as the Minister of Culture of Armenia from 1990 to 1991.

Early life and works
Zeytuntsyan was born in Alexandria, Egypt in 1938. In the aftermath of World War II, his family moved to Soviet Armenia during a period of intense economic hardship. Zeytuntsyan attended the Aghayan School in Yerevan and it was during this period that he published his first short story "Nvere" [The Gift] (1953). Several years later, he published his first collection, Nra arajin enkere [His First Companion]. The latter work won him critical acclaim, after which he published a series of novels and novellas, including Mer taghi dzaynere [Sounds of Our Neighborhood] (1959), Mezanitz heto [After Us] (1963), Parizi hamar [For Paris] (1965), Klod Robert Isrli kam xx dari legend [Claude Robert Eatherly or a Twentieth-Century Legend] (1975), Arshak Erkrord [Arshak the Second], Verjin arevagale [The Last Dawn] (1989), and Goghatsvats Dzyune [The Stolen Snow] (1995). Since their publication, many of these works have been translated into Russian, Czech, Bulgarian, Hungarian, and the languages of the Baltic Republics.

Theatrical works
Zeytuntsyan wrote his first theatrical work, Amenatkhur marde [The Saddest Man], in 1974. The work was a tragicomedy staged in Yerevan, and since then, ten of his plays have been produced and later published in the Armenian Republic. These include Avervats kaghaki araspele [The Legend of the Ruined City] (1975), Astvatsneri kanche [The Call of the Gods], Anavart menakhosutyun [Unfinished Monologue] (1981), Mec Irutyune [The Great Silence] (1984), Otki, datarann e galis [All Rise, The Court is in Session] (1988), and Tsnvel e u mahatsel [Born and Died] (1995).

Themes and subject matter
A recurrent theme in Zeytuntsyan's works has been the relationship between the individual, society, and the exercise of authority. The majority of his plays draw their subject matter from Armenian history, particularly historical episodes that are relevant to contemporary issues. One major theme in his more recent prose and theatrical works is the Armenian genocide in the Ottoman Empire, reflecting the growth of nationalism in the Armenian Republic towards the end of Soviet rule. His novel the Last Dawn as well as his plays The Great Silence and All Rise, the Court Is in Session explore these themes. These plays have often been performed in both Armenia and different areas of the Armenian Diaspora.

Film and recent works
After graduating from an advanced screenwriting course in Moscow in 1964, Zeytuntsyan worked at the Hayfilm center in Yerevan, later becoming the senior editor of the art film section of the Yerevan studio for television films from 1968-1975. The film Erevanyan oreri khronika [Chronicle of Yerevan Days] (1973) was based on his screenplay. He also went on to write a number of speeches and newspaper articles focusing on sociopolitical issues affecting the Armenian Republic. One collection of these works, titled Tsulere der ayntegh en [The Bulls Are Still There] (1990) won the Golden Pen Award of the Republic's Union of Journalists. He has since received myriad accolades, including the State Prize of Armenia, the republic's highest award.

In 1975, Zeytuntsyan became the executive secretary of the Writer's Union of Armenia, a position he held until 1981. He went on to become the Minister of Culture in the first post-Soviet administration of the Republic of Armenia.

References

External links
Perch Zeytuntsyan's biography

1938 births
2017 deaths
Politicians from Alexandria
Egyptian people of Armenian descent
20th-century Armenian dramatists and playwrights
Government ministers of Armenia
Egyptian emigrants to the Soviet Union
Culture ministers of Armenia
Armenian screenwriters
Armenian male novelists
20th-century Armenian novelists
Male screenwriters
Male dramatists and playwrights
20th-century male writers

Perch Zeytuntsyan


The Yé-yé team was the name given to the generation of all-Spanish Real Madrid players that dominated Spanish football in the 1960s. The team was captained by the veteran player Francisco Gento who won the European Cup five times with Alfredo Di Stefano in the 1950s. He would lead a group of younger players that included José Araquistáin, Pachín, Pedro de Felipe, Manuel Sanchís, Pirri, Ignacio Zoco, Fernando Serena, Amancio Amaro, Ramón Grosso and Manuel Velázquez. This group of younger players sometimes were considered to be hippies because they wore longer hair than the previous generation. The name "Yé-yé" came from the "Yeah, yeah, yeah" chorus in The Beatles' song "She Loves You" after four members of the team posed for Marca impersonating the Beatles. "Yé-yé" was also how youngsters were called in Spain in the sixties when Beatlemania was catching on around the world, as well as a musical style popular in Spain in that decade.

The transformation of the team began in 1959 when Miguel Muñoz became the coach of Real Madrid. As a player, he captained Real Madrid as they won the European Cup in 1956 and 1957. The team he played with was built with the best foreign talents Real Madrid could acquire. The team he built as the head coach of Real Madrid was composed of Spanish players entirely. They dominated La Liga, winning the competition nine times, including a five in a row sequence. They also won the European Cup in 1966 at Brussels' Heysel Stadium by coming from behind to beat Partizan Belgrade 2–1.

References

Real Madrid CF
Nicknamed groups of association football players
1960–61 in Spanish football
1961–62 in Spanish football
1962–63 in Spanish football
1963–64 in Spanish football
1964–65 in Spanish football
1965–66 in Spanish football
1966–67 in Spanish football

Yé-yé (Real Madrid)


Hornfels is the group name for a set of contact metamorphic rocks that have been baked and hardened by the heat of intrusive igneous masses and have been rendered massive, hard, splintery, and in some cases exceedingly tough and durable. These properties are caused by fine grained non-aligned crystals with platy or prismatic habits, characteristic of metamorphism at high temperature but without accompanying deformation. The term is derived from the German word Hornfels, meaning "hornstone", because of its exceptional toughness and texture both reminiscent of animal horns. These rocks were referred to by miners in northern England as whetstones.

Most hornfels are fine-grained, and while the original rocks (such as sandstone, shale, slate and limestone) may have been more or less fissile owing to the presence of bedding or cleavage planes, this structure is effaced or rendered inoperative in the hornfels. Though many hornfels show vestiges of the original bedding, they break across this as readily as along it; in fact, they tend to separate into cubical fragments rather than into thin plates. Sheet minerals may be abundant but are aligned at random.

Hornfels most commonly form in the aureole of granitic intrusions in the upper or middle crust. Hornfels formed from contact metamorphism by volcanic activity very close to the surface can produce unusual and distinctive minerals. Changes in composition caused by fluids give off by the magmatic body (metasomatism) sometimes takes place. The hornfels facies is the metamorphic facies which occupies the lowest pressure portion of the metamorphic pressure-temperature space.

The most common hornfels (the biotite hornfels) are dark-brown to black with a somewhat velvety luster owing to the abundance of small crystals of shining black mica. Also, most common hornfels have a black streak. The lime hornfels are often white, yellow, pale-green, brown and other colors. Green and dark-green are the prevalent tints of the hornfels produced by the alteration of igneous rocks. Although for the most part the constituent grains are too small to be determined by the unaided eye, there are often larger crystals (porphyroblasts) of cordierite, garnet or andalusite scattered through the fine matrix, and these may become very prominent on the weathered faces of the rock.

Structure
The structure of the hornfels is very characteristic. Very rarely do any of the minerals show crystalline form, but the small grains fit closely together like the fragments of a mosaic; they are usually of nearly equal dimensions. This has been called pflaster or pavement structure from the resemblance to rough pavement work. Each mineral may also enclose particles of the others; in the quartz, for example, small crystals of graphite, biotite, iron oxides, sillimanite or feldspar may appear in great numbers. Often the whole of the grains are rendered semi-opaque in this way. The minutest crystals may show traces of crystalline outlines; undoubtedly they are of new formation and have originated in situ. This leads us to believe that the whole rock has been recrystallized at a high temperature and in the solid state so that there was little freedom for the mineral molecules to build up well-individualized crystals. The regeneration of the rock has been sufficient to efface most of the original structures and to replace the former minerals more-or-less completely by new ones. But crystallization has been hampered by the solid condition of the mass and the new minerals are formless and have been unable to reject impurities, but have grown around them.

Compositions

Pelitic
Clays, sedimentary slates and shales yield biotite hornfels in which the most conspicuous mineral is biotite mica, the small scales of which are transparent under the microscope and have a dark reddish-brown color and strong dichroism. There is also quartz, and often a considerable amount of feldspar, while graphite, tourmaline and iron oxides frequently occur in lesser quantity. In these biotite hornfels the minerals, which consist of aluminium silicates, are commonly found; they are usually andalusite and sillimanite, but kyanite appears also in hornfels, especially in those that have a schistose character. The andalusite may be pink and is then often pleochroic in thin sections, or it may be white with the cross-shaped dark enclosures of the matrix that are characteristic of chiastolite. Sillimanite usually forms exceedingly minute needles embedded in quartz.

In the rocks of this group cordierite also occurs, not rarely, and may have the outlines of imperfect hexagonal prisms that are divided up into six sectors when seen in polarized light. In biotite hornfels, a faint striping may indicate the original bedding of the unaltered rock and corresponds to small changes in the nature of the sediment deposited. More commonly there is a distinct spotting, visible on the surfaces of the hand specimens. The spots are round or elliptical, and may be paler or darker than the rest of the rock. In some cases they are rich in graphite or carbonaceous matter; in others they are full of brown mica; some spots consist of rather coarser grains of quartz than occur in the matrix. The frequency with which this feature reappears in the less altered slates and hornfels is rather remarkable, especially as it seems certain that the spots are not always of the same nature or origin. Tourmaline hornfels are found sometimes near the margins of tourmaline granites; they are black with small needles of schorl that under the microscope are dark brown and richly pleochroic. As the tourmaline contains boron, there must have been some permeation of vapors from the granite into the sediments. Rocks of this group are often seen in the Cornish tin-mining districts, especially near the lodes.

Carbonate
A second great group of hornfels are the calc–silicate hornfels that arise from the thermal alteration of impure limestone. The purer beds recrystallize as marbles, but where there has been originally an admixture of sand or clay lime-bearing silicates are formed, such as diopside, epidote, garnet, sphene, vesuvianite and scapolite; with these phlogopite, various feldspars, pyrites, quartz and actinolite often occur. These rocks are fine-grained, and though often banded, are tough and much harder than the original limestones. They are excessively variable in their mineralogical composition, and very often alternate in thin seams with biotite hornfels and indurated quartzites. When perfused with boric and fluoric vapors from the granite they may contain much axinite, fluorite and datolite, but the altiminous silicates are absent from these rocks.

Mafic
From diabases, basalts, andesites and other igneous rocks a third type of hornfels is produced. They consist essentially of feldspar with hornblende (generally of brown color) and pale pyroxene. Sphene, biotite and iron oxides are the other common constituents, but these rocks show much variety of composition and structure. Where the original mass was decomposed and contained calcite, zeolites, chlorite and other secondary minerals either in veins or in cavities, there are usually rounded areas or irregular streaks containing a suite of new minerals, which may resemble those of the calcium-silicate hornfelses above described. The original porphyritic, fluidal, vesicular or fragmental structures of the igneous rock are clearly visible in the less advanced stages of hornfelsing, but become less evident as the alteration progresses.

In some districts hornfelsed rocks occur that have acquired a schistose structure through shearing, and these form transitions to schists and gneisses that contain the same minerals as the hornfels, but have a schistose instead of a hornfels structure. Among these may be mentioned cordierite and sillimanite gneisses, andalusite and kyanite mica-schists, and those schistose calcite-silicate rocks that are known as cipolins. That these are sediments that have undergone thermal alteration is generally admitted, but the exact conditions under which they were formed are not always clear. The essential features of hornfelsing are ascribed to the action of heat, pressure and permeating vapors, regenerating a rock mass without the production of fusion (at least on a large scale). It has been argued, however, that often there is extensive chemical change owing to the introduction of matter from the granite into the rocks surrounding it. The formation of new feldspar in the hornfelses is pointed out as evidence of this. While this felspathization may have occurred in a few localities, it seems conspicuously absent from others. Most authorities at the present time regard the changes as being purely of a physical and not of a chemical nature.

Facies

The hornfels facies occupies the portion of the metamorphic pressure-temperature space of lowest pressure and low to high temperature. It is subdivided into a low-temperature regime of albite-epidote hornfels, a medium-temperature regime of hornblende hornfels, a high-temperature regime of pyroxene hornfels, and an ultra-high-temperature sanidinite regime. The latter is sometimes regarded as a separate facies. Maximum pressures are around 2 kbar and temperatures are around 300-500 C for the albite-epidote hornfels facies, 500-650 C for the hornblende hornfels facies, 650-800 C for the pyroxene hornfels facies, and above 800 C for the sanidinite facies.

The actual minerals present in each facies depends on the composition of the protolith. For a mafic protolith, the albite-epidote hornfels facies is characterized by albite and epidote or zoisite with minor actinolite and chlorite. This gives way to hornblende, plagioclase, pyroxene, and garnet in the hornblende hornfels facies, which in turn gives way to orthopyroxene, augite, plagioclase, and characteristic trace garnet in the pyroxene hornfels facies and sanidinite facies, the latter two being indistinguishable for this composition of protolith.

For an ultramafic protolith, the albite-epidote facies is characterized by serpentine, talc, tremolite, and chlorite, giving way to forsterite, orthopyroxene, hornblende, chlorite, and characteristic minor aluminum spinel and magnetite in the hornblende facies, which in turn gives way to forsterite, orthopyroxene, augite, plagioclase, and aluminum spinel in the pyroxene hornfels facies. The sanidinite facies for this composition differs from the pyroxene hornfels facies only in the disappearance of aluminum spinel.

For a pelitic protolith, the sequence is quartz, plagioclase, muscovite, chlorite, and cordierite in the albite-epidote facies; quartz, plagioclase, muscovite, biotite, cordierite, and andalusite in the hornblende hornfels facies; and quartz, plagioclase, orthoclase, andalusite, sillimanite, cordierite, and orthopyroxene in the pyroxene hornfels facies. The sanidinite facies features quartz, plagioclase, sillimanite, cordierite, orthopyroxene, sapphirine, and aluminum spinel.

For a calcareous protolith, the sequence is calcite, dolomite, quartz, tremolite, talc, and forsterite for the albite-epidote hornfels facies; calcite, dolomite, quartz, tremolite, diopside, and forsterite for the hornblende hornfels facies; calcite, quartz, diposide, forsterite, and wollastonite for the pyroxene hornfels facies; and calcite, quartz, diopside, forsterite, wollastonite, monticellite, and akermanite for the sanidinite facies.

Acoustic properties
Hornfels have the ability to resonate when struck. Michael Tellinger had described these stones in South Africa also known as "ring-stones" due to their ability to ring like a bell. The Musical Stones of Skiddaw are an example of a lithophone made from hornfels.

See also

References

External links

Metamorphic rocks

Hornfels


The National Engineering Laboratory (NEL) was originally one of several large government-funded public research laboratories in the UK, staffed by scientists and engineers of the Scientific Civil Service.  Other such laboratories include the National Physical Laboratory (NPL), the Laboratory of the Government Chemist (LGC), the Building Research Establishment (BRE) and the Transport Research Establishment (TRL). NEL was established in 1948 at Thorntonhall under the name Mechanical Engineering Research Laboratory (MERL), in the village of the same name near East Kilbride, Glasgow, Scotland.

History
The location was partly dictated by politics, since it was realised that Scotland did not have a UK public research establishment (in contrast to its defence establishments).  There was also debate on whether the new laboratory would be an outpost of the prestigious NPL (which now has its main base in Teddington, just west of London), or have a separate identity.  Eventually the latter course was taken with the new laboratory focussing on mechanical engineering research, complementing the work of the then CEGB laboratories in electrical engineering when the name was changed to NEL.

As NEL expanded, it moved to a large, purpose-built site in East Kilbride itself.  Under the control of the Director, it was then part of the DTI. The 'lab' was organised into a number of subject-based divisions, including Creep Division, an important part of the UK effort to catalogue wear characteristics of materials, a Control Systems Division, Manufacturing Services Division, Fluid Power Division and Design Analysis Division.   The last of these was in the forefront in the use of the emerging technology of Finite Element Analysis (FEA).   Indeed, the growing need for quality-assurance in FEA led to the foundation of the National Agency for Finite Element Methods and Standards, now operating simply as NAFEMS.

Each building at NEL was named after a prominent engineer whose field was related to the focus of that division, so there was Maudsley Building, named after Henry Maudslay, famous for his invention of the slide-rest lathe amongst many other achievements, Bramah Building so called after Joseph Bramah owing to his contribution to hydraulic engineering, Rankine Building named after William John Macquorn Rankine which specialised in thermodynamics, Whitworth Building named after Joseph Whitworth immortalised after his work to unify standards for screw threads, one of the key stepping stones that paved the way for mass production.

The policy of the Thatcher Government was originally for the full privatisation of all of the government laboratories and the dismantling of NEL was undertaken by Lord Young. In practice, re-organisation has in some cases stopped short of a straight sale of these internationally important facilities, but NEL became part of the German-owned TÜV SÜD group in 1995. Along with the other national laboratories, some of which are still owned or controlled by the UK government, NEL now has a mixed portfolio of work from both government and private sectors. NEL holds the national standard for flow measurement, one of the most important roles it undertakes as part of the overall UK government science strategy.  This is now in the remit of the Department for Innovation, Universities and Skills, working in part through the new National Measurement Office, which is itself an Executive Agency created in April 2009.

Engineering apprenticeships

NEL operated an indentured apprentice training scheme and offered a wide range of skills for young engineers before being privatised ranging between light machining, heavy machining, fitting, electro-discharge-machining, jig and horizontal boring and in later years CNC machining, programming and introductions to FMS (flexible manufacturing system) and CAD/CAM facilities running KCurve on DEC/VAX mini computers. This work commenced around 1982-6 using raster scan, (green) monitors to visualise the programming, each known as workstations, (since the 'intelligence' was built into the desk, not the monitor) and the CAD CAM programs were still printed out on punched paper to be transferred in some cases into onboard RAM and in others read and implemented sequentially. Machines in use in the CAD / CAM department were Matchmaker 7000M vertical mill, Norton Variant with Fanuc control, Cincinnati horizontal mill that had (then) been recently retrofitted with Gould drives.

Notable Directors

Douglas George Sopwith FRSE from 1951 to 1967.

Engineering sections operated in Maudsley Building between 1979 and 1989

 Main workshop:
 Horizontal Boring (x3)
 Jig Boring (x3 De-Vleig)
 Floor mounted plane
 Pillar drill
 Small lathes
 Large lathes
 Lapping
 Sub workshops:
 Precision jig boring was carried out under temperature controlled conditions next to the metrology room.
 Heat treatment
 Grinding
 Sheet Metal
 Fitting

Work scheduling was carried out (innovatively for the time) using Work Analysis & Scheduling Program: W.A.S.P.

References

 Cabinet Office archive
 Scottish Screen Archive. Why Scotland, Why East Kilbride? (dramatised account of a tour by two businessmen (one English, the other American) of the New Town of East Kilbride containing descriptor of NEL and some footage of James Watt building with 'floating chair')

External links
 TUV NEL site
 TRL
 LGC
 BRE
 NAFEMS
 NMO (National Measurement Office) website
 DIUS (Department for Innovation, Universities and Skills) website

Research institutes in Scotland
Privatised executive agencies of the United Kingdom government
Engineering research institutes
1948 establishments in Scotland
Government research
Government agencies established in 1948
Buildings and structures in East Kilbride
Laboratories in the United Kingdom

National Engineering Laboratory


The Arrors or Northern Tugen are the inhabitants of the Tugen Hills stretching from the western shores of Lake Baringo on the East to the foot of the Keiyo escarpment along the Kerio Valley to the west, north of Baringo District, Rift Valley Province, Kenya.  their population was 92,470.

Of the Kalenjin dialects, their speech is sharply accented and fast. They are able to easily understand all the other dialects of the Kalenjin, a feat which the others hardly accomplish. Due to this dynamism, their contribution to the Kalenjin lexicon is worth noting.

References

Kalenjin

Arror people


John William Gleeson (14 March 1938 – 7 October 2016) was an Australian cricketer who played in 29 Test matches from 1967 to 1972. He is best known for his unique bowling style, which according to Cricket Australia CEO James Sutherland "bamboozled batsmen" and could "regularly dumbfound the best batsmen in any team".

Early years
Gleeson was born in the northern NSW town of Wiangaree (14 km north of Kyogle) and grew up in the country town of Tamworth. He was the son of a Wiangaree dairy farmer, and attributed the finger strength required to bowl with his two-fingered grip to his childhood, which he spent milking cows. Aged 15, he worked for the Postmaster-General's Department, and later for Telstra.

Style
He used a grip similar to that of the then unique "bent-finger" action of Jack Iverson, using two fingers: a bent middle finger and the thumb pressing against the ball on both sides in an attempt to find a new variety of bowling tricks. He was one of a small number of Australians who experimented with revolutionary bowling grips in the wake of Iverson's stay in international cricket.

Gleeson preferred to bowl downwind on a greenish surface, since pace from the wicket compensated for his not being a large spinner of the ball. His accuracy resulted in his mainly being used for defensive purposes, rather than an attacking one. Under the old lbw law, batsmen could not be given out if they were struck outside off stump, allowing batsmen to safely use their pads without offering a shot to nullify his googly.

Career
Gleeson was one of the prominent debutants of the 1966–67 Australian cricket season in the Sheffield Shield, taking 23 wickets in six matches.

In the 1966–67 season, he took four wickets in five balls, including a hat-trick, in a Sydney grade game, before taking 5/28 against Victoria. He was subsequently selected in an Australian "Second" team to tour New Zealand at the end of the year. He was selected for the 1967–68 Test series against India in Australia. He made his debut in the First Test at Adelaide Oval, taking 2/36 and 2/38. He managed less success in the remaining three Tests, taking five wickets to end with nine at an average of 28.55. In 1968 he won selection for the Ashes tour of England, playing all five Tests and taking 12 wickets at 34.66.

The 1968–69 season saw a heavy workload for Gleeson, in five Tests against the West Indies cricket team. In the first two Tests he took 13 wickets, including hauls of 5/122 and 5/61, and finished the series with 26 wickets at an average of 32.46. He also peaked in his batting contributions, making his two highest scores of 42* and 45 in consecutive Tests at the Sydney Cricket Ground and the Adelaide Oval. The subsequent 1969–70 tour to India was to be Australia's last Test series win there for 35 years. He took match figures of 7/108 in the First Test at Mumbai, the leading return by an Australian in an eight-wicket victory, but only three wickets in the next four matches, ending the series with ten wickets at 34.70.

In 1969–70, when Australia toured South Africa, Gleeson's value was such that he insured his right hand for A$10,000. Gleeson took 18 wickets in two first-class matches against provincial teams at the start of the tour and then another five in the First Test at Cape Town, and five in the second innings in the Third Test in Johannesburg. Most of the South Africans were seeing him for the first time and struggled to understand his action. It was Barry Richards, the most junior of them, who claimed to have worked him out. Not once in seven innings did Gleeson, who took 19 wickets at 38.94 in the series, dismiss Richards, as South Africa took a 4–0 series win.

Gleeson was the top Australian wicket taker in the 1970–71 Ashes series, but his 14 wickets cost 43.21 as his quest for variety resulted in loose balls and he was punished by the English batsmen who had met him in 1968. Despite being able to use their legs without danger, batsmen were still unable to overcome him during the 1971–72 domestic season when he took 45 wickets at 16.31 in eight matches, including 19 wickets in two consecutive matches. Gleeson was recalled for the 1972 Ashes tour, but was dropped after the first three Tests, in which he managed only three wickets at 52.33. He had minor skills with the bat, with one first-class half-century and a Test top score of 45.

After Gleeson toured South Africa with Derrick Robins' team in 1973–74, Graeme Pollock helped to organise a position for him in the Eastern Province team for his final first class season.

Later life and death
He served on the inaugural governing committee of World Series Cricket.  After 40 years of service with Telecom, the Australian telecommunications company, he retired in 1995 as the New South Wales internal communications manager for the firm. Gleeson died on 7 October 2016 in Tamworth. James Sutherland, CEO of Cricket Australia, said that "John captured the imagination of cricket fans everywhere as he bamboozled batsmen with his odd bowling grip, borrowed from another mystery Australian spinner, Jack Iverson." Gleeson is survived by wife Sandra, two sons and two daughters.

References

1938 births
2016 deaths
Australian cricketers
Australia Test cricketers
New South Wales cricketers
Eastern Province cricketers
Cricketers from New South Wales
D. H. Robins' XI cricketers
People from the Northern Rivers

John Gleeson (cricketer)


"Big" Ron O'Brien (real name:  Richard Walls; October 24, 1951 – April 27, 2008) was a disc jockey who worked at many top radio stations during his lifetime.

O'Brien grew up in Des Moines, IA, and worked at KBAB in Indianola and KYNA in Des Moines.  He started in 1969 at KUDL (now KMBZ-FM) in Kansas City.  During the ensuing years, he worked for many stations, including KTLK in Denver, WCAR in Detroit, WQXI in Atlanta, WCFL (now WMVP) in Chicago, WOKY in Milwaukee, WFIL in Philadelphia, KFI and KIIS in Los Angeles, KWK (now WARH) in St. Louis (where he stayed for nine years), KZDG in Denver, WYXR (which became WLCE during his tenure and is now WRFF) in Philadelphia, WNBC (now WFAN) and WXLO (now WEPN-FM) in New York, WPGC in Washington, D.C., and WRKO in Boston.  WOGL, also in Philadelphia, was his employer for the final six years of his life, and he had recently signed a two-year contract extension.

Big Ron had been the host of the syndicated radio program "On the Radio" from 1985 until 1992.

O'Brien also enjoyed singing.  He recorded cover versions of "Everybody Knows Matilda" (Duke Baxter) and "Take Some Time Out" (Thomas Kemp and Robert Gordy), both of which were released on 45.

In addition to music and radio, Big Ron loved trolley cars and baseball.

O'Brien died of complications from pneumonia after a two-month illness.

References

External links

1951 births
2008 deaths
American radio DJs
Deaths from pneumonia in Pennsylvania
20th-century American musicians

Ron O'Brien (DJ)


Maquoketa Caves State Park is a state park of Iowa, United States, located in Jackson County. It stands northwest of the city of Maquoketa. In 1991  on the east side of the park were listed as a historic district on the National Register of Historic Places.

Description
The park contains more caves than any other state park in Iowa. A trail system links the caves, formations, and overlooks while providing a scenic hiking experience. Many areas on these trails have seen new construction, making the journey to the caves safer. Most of the caves may be entered by persons of average physical ability, but some are more advanced.  However the park's caves were closed to humans between 2010 and April 2012 in the hopes of protecting the resident bats from white nose syndrome.

The park is in the Driftless Area of Iowa. This region escaped being glaciated in the last ice age, while regions to the east and west were not spared. The park has been subjected to hundreds of thousands of years of natural non-glacial erosion.

The park's caves, limestone formations and rugged bluffs represent a step back in geological time of thousands of years. Stalactites once hung from the ceilings and stalagmites rose from the floor. Souvenir hunters have robbed the caves of this rare beauty, but many formations remain.  The park's limestone caves, arches and chimneys including Dancehall Cave, Hernado's Hideaway, Shinbone Cave, Wye Cave, and an unmarked cave within the Dancehall Cavern locally known as Steelgate Cave.

Today a modern interpretive center outside the park entrance provides maps and other informational materials. Inside the park, a central map kiosk includes charts of some of the more interesting caves.

History
Artifacts such as pottery, as well as tools and projectile points made of stone have been found in the caves and surrounding area. These discoveries indicate that the Maquoketa Caves area has been of interest to humans for hundreds, perhaps thousands, of years. Early recorded history tells that the Native Americans in the area were likely visitors to the Raccoon Creek valleys.  The first Euro-American explorers first visited the caves as late as the mid-1830s.  The area was originally known as Morehead Caves or Burt's Cave.  It had become a popular place for exploration, picnics, parties, and dances by the 1860s.  A dance floor was constructed north of Natural Bridge in 1868, and a pavilion, which was used until the 1920s, was built sometime later.  By the turn of the 20th century the area had become seriously degraded, and its popularity declined.

The first park land was purchased in 1921 by the Maquoketa Women's Club for the purposes of establishing a state park.  Originally called Morehead Caves State Park, its name was changed to Maquoketa Caves in 1928.  Additional land was acquired in 1931.  The majority of the park facilities were constructed from 1932 to 1939 by the Civilian Conservation Corps (CCC) and the Works Progress Administration (WPA). Both programs resulted from the federal government effort to make work for Americans during the Great Depression. Their work makes up the contributing properties of the historic district.  They include three CCC overlook shelters, the entrance portals, the custodian's residence, the shelterhouse/concession building, the stone picnic circle, and two stone latrines.  The noncontributing structures in the park include the CCC/WPA cave improvements, the CCC/WPA trail system, the park ranger's residence, a picnic shelter, and two wood-frame latrines.  State Landscape Architect John Fitzsimmons designed the custodian's residence.  It and the other historic structures designed by the Central Design Office in Ames, Iowa were built in the Rustic style, which was promulgated by the National Park Service in the 1930s as being appropriate for parks.

The State of Iowa purchased an additional  on the west side of the park between 1961 and 1981.  This section was dedicated as a nature preserve.

In popular culture

The park was once featured on an episode of Rescue 911 when a story was done on a hiker who had fallen and was seriously injured while at the park. The hiker was saved by paramedics and the Maquoketa volunteer fire department.

Familicide

In the early morning of July 22, 2022, an assailant killed three members of a family at the campground. The assailant, identified as 23-year-old Anthony Sherwin of Nebraska, later committed suicide.

See also
List of Iowa state parks

References

External links
Maquoketa Caves State Park

Caves of Iowa
Civilian Conservation Corps in Iowa
Driftless Area
State parks of Iowa
Maquoketa, Iowa
Protected areas established in 1921
Protected areas of Jackson County, Iowa
Show caves in the United States
Works Progress Administration in Iowa
Landforms of Jackson County, Iowa
National Register of Historic Places in Jackson County, Iowa
Park buildings and structures on the National Register of Historic Places in Iowa
Historic districts on the National Register of Historic Places in Iowa
Historic districts in Jackson County, Iowa
Parks on the National Register of Historic Places in Iowa
Rustic architecture in Iowa
1921 establishments in Iowa

Maquoketa Caves State Park


The West Eifel () refers to that part of the Eifel mountains in Germany that is centred on the town of Prüm and reaches as far as the border with Belgium and Luxembourg. It is not geographically precisely defined however, overlapping by about 60% with the Schnee Eifel), whilst geologically its northern half is part of the Vulkaneifel and its southern half part of the South Eifel.

The grassy summits are somewhat higher than those of the Vulkan Eifel, but are generally more rounded and less rugged. Geographically and topologically it can be divided into three regions:

 Schneifel (Schwarzer Mann 697 m), a ridge near the Belgian border
 Belgian Eifel (not a uniformly used term)
 Islek (in the southwest), up to the German-Luxembourg border.

The region is only sparsely populated in the north (~Schneifel), but is crossed by Autobahn 60 (to Malmedy). It is heavily wooded and mining is of some importance (see Bleialf). In the southern parts—in the valley of the Prüm and its tributaries—there is greater settlement and a degree of non-local traffic on the South Eifel Holiday Route (Ferienstraße Südeifel) and the Eifel-Ardennes Green Road (Grüne Straße Eifel-Ardennen). The area is part of the German-Luxembourg Nature Park.

See also
 South Eifel, Vulkan Eifel, North Eifel
 Belgian Eifel, Ösling (Luxembourg)

Literature and external links
 Deutsche Generalkarte 1:200.000, Blatt 12 (Germany: General Map, Sheet 12)
 Mineral finds in Bleialf
 Luxembourg Earth science portal

Regions of the Eifel
Ardennes
Landscapes of Rhineland-Palatinate
Areas of Belgium
Regions of Wallonia
Regions of Luxembourg
German-speaking Community of Belgium
Geography of Liège Province

West Eifel


Bram Stoker's Dracula is a 1993 video game released for the Mega Drive/Genesis, Nintendo Entertainment System, Super NES, Game Boy, Master System, Sega CD, Game Gear, MS-DOS, and Amiga. It is based on the 1992 film Bram Stoker's Dracula which in turn is based on the 1897 novel Dracula by Bram Stoker. Most versions are platform games. The Sega CD and Amiga releases are beat 'em ups, and the MS-DOS version is a first-person shooter. The Amiga version was released in 1994 for North America and Europe. A CD-ROM version for MS-DOS compatible operating systems was released in 1995.

Gameplay
Each console has a different styled genre game based on the film, and in most games the single player character is Jonathan Harker, who is one of the main protagonists of the film, as well as the original novel Dracula by Bram Stoker, upon which the film was based. Mina Harker, Jonathan's wife, is absent throughout each version of the game and only mentioned in the Sega CD version. However, Lucy Westenra, who is also a character in the novel and film, is present in SNES, Sega Genesis, Sega CD, and Amiga versions of the game as a boss character.

8-bit versions

Bram Stoker's Dracula for the Game Boy is a 1993 video game that bears a closer resemblance to platform games such as Super Mario Land than horror films.

The player controls a young lawyer named Jonathan Harker. Harker must free himself from Count Dracula's captivity, follow him to London, and end his reign of terror. It was voted to be the 21st worst video game of all time, according to FLUX magazine.

The game is also on the Nintendo Entertainment System. The gameplay is very similar to the Game Boy version, though the NES version has much smoother character animation, colors and better resolution. Master System and Game Gear versions of the game are also similar, but with a wider color palette and more shading effects.

16-bit versions
The release for the Super NES and Megadrive/Genesis releases were platforming action games that are identical to each other, but have a few alterations depending on the version. In the game, the player takes on the role of Jonathan Harker. Throughout the levels, Abraham Van Helsing will help Jonathan in his quest by providing advanced weapons. The game is of the side-scrolling genre. In the game, Jonathan Harker travels through six different stages (each having between a number of areas, except for the final stage which only has one area) and fights various bosses, such as Lucy Westenra as a vampiress, Count Dracula's three brides, Dracula's coach driver, Dracula's fire-breathing dragon, Renfield, and even Dracula himself in multiple forms, such as his bat form, his young form, his evil wolf form and finally his knight form. Levels in the game include the Romanian countryside, a rat-infested old village inn, Dracula's castle, Dracula's cavernous vaults, Dracula's misty catacombs, various locations in London, Lucy's crypt, a graveyard and Carfax Abbey.

Sega CD version
The release for Sega CD makes use of digitized backgrounds and includes full motion video (FMV) cutscenes from the film. Released in North America, the player controls Jonathan Harker as he travels through seven stages that are based on scenes from the film.

Amiga version
The release for the Amiga uses digitized graphics for characters that were recycled from the Sega CD game. However, the setup is quite different. There are nine stages in the game to play through. Each stage has a primary task that involves finding and destroying all the coffins that have Transylvanian earth inside, in order to advance in the game, but the last coffin to be destroyed is guarded by one of Dracula's stronger minions, in each stage. Like in the Sega CD game, Jonathan Harker has to punch and kick his enemies. The player can restore health by finding potions, and extra lives are available to pick up as well. Picking up Holy Crosses allows the player to fire a long-ranged holy beam attack, but only for a short period of time. Staircases and doors can be used to travel throughout each stage.

DOS version
The release for DOS is played from a first-person perspective, similar to other games like Doom or Wolfenstein 3D. In this version, Harker must traverse several large stages to locate and purify a varying number of coffins with holy wafers, while warding off various monsters with either a pistol or a knife. When all of the coffins in a stage are purified, Harker must then confront Dracula in one of three forms (his old man, young man, and original knight form).

Reception

Electronic Gaming Monthly gave the Sega CD version a 5.25 out of 10, commenting that the main character's movements are choppy, the battling with birds and bats is unimpressive and dull, and the full motion video sequences are so pixelated and blurry that it is difficult to make out what is going on. Computer Gaming World stated of the DOS version, "It appears that Psygnosis spent most of their Dracula budget on acquiring the movie license, leaving little for game development and packaging. The game play is uninspired and repetitious". The magazine recommended Veil of Darkness or Dracula Unleashed to vampire fans.

References

External links
 - Game Gear, Master System and NES
 - Amiga, Genesis/Mega-Drive and  SNES

1993 video games
1990s horror video games
Amiga games
Beat 'em ups
DOS games
Epic/Sony Records games
First-person shooters
Game Gear games
Master System games
Nintendo Entertainment System games
Platformers
Probe Software games
Psygnosis games
Sega CD games
Sega Genesis games
Sony Pictures video games
Sprite-based first-person shooters
Super Nintendo Entertainment System games
Video games based on Dracula
Video games based on films
Video games based on adaptations
Video games developed in the United Kingdom
Video games scored by Jeroen Tel
Video games scored by Matt Furniss
Video games set in castles
Video games with 2.5D graphics
Single-player video games

Bram Stoker's Dracula (video game)


Another is a 2012 Japanese adult animated horror television series produced by P.A. Works and directed by Tsutomu Mizushima that aired twelve episodes from 10 January to 27 March 2012. Based on the 2009 novel of the same name by Yukito Ayatsuji, the series is set in 1998 and focuses on a boy named Kōichi Sakakibara who, upon transferring into Yomiyama Middle School and meeting the curious Mei Misaki, finds himself in a mystery revolving around students and people related to his class facing gruesome and senseless deaths. Another was directed by Tsutomu Mizushima and produced by P.A. Works, with character designs by Yuriko Ishii, the chief animation director of the series, based on Noizi Ito's original concepts for the novel.

Another premiered in late-night slots on Kitanihon Broadcasting, TVQ Kyushu Broadcasting, and several independent TV stations, then appeared on Nippon BS Broadcasting beginning in April.

Sentai Filmworks has licensed the anime series for digital and home video release in 2012. An original video animation episode set before the beginning of the series was released on May 26, 2012 with a "0th" volume of the manga.

Episode list

Notes

References

External links

 . Retrieved 2 June 2018.

Another
2012 anime OVAs
Censored television series
Horror anime and manga
Mystery anime and manga
2010s adult animated television series

List of Another episodes


Francis Badgley (14 June 1807 – 24 December 1863) was the son of  Francis Badgley (1767–1841), a merchant with business connections to the London, England, fur trade. The senior Badgley had made his start in Canada as a partner of Richard Dobie.  His brother, William became a judge and attorney general for Canada East.

Francis was licensed to practice in 1826 and, after receiving his diploma from the Royal College of Physicians of Edinburgh and his MD from the University of Edinburgh in 1829, he finished his studies in Europe. He then practiced in England until returning to Montreal in 1843. Upon his return, he concentrated mainly on teaching medicine and  in 1843 was instrumental in setting up the Montreal School of Medicine and Surgery, later to become the Université de Montréal Faculty of Medicine. He was also involved in setting up the College of Physicians and Surgeons of Lower Canada. This organization received government recognition in 1847.

Francis Badgley continued to teach medicine in Canada until 1860. At that time he was on the medical faculty of the University of Trinity College in Toronto. He returned to England that year because of his wife's health and remained there in practice until his death.

External links

Biography at the Dictionary of Canadian Biography Online
 Canadians who graduated with an MD from the University of Edinburgh 1809 - 1840.

1807 births
19th-century Canadian physicians
Alumni of the University of Edinburgh Medical School
Academic staff of the University of Toronto
1863 deaths

Francis Badgley (doctor)


Geza Gedeon (born September 28, 1952), professionally known as Geza X, is an American producer. He was a personality in the Los Angeles punk scene in the late 1970s. He is now a producer.

Early life and career
Gedeon was born in Indiana and moved to California when he was a teen. Geza produced records for a number of early California punk bands including the Dead Kennedys, Germs, Redd Kross, Black Flag, The Avengers and The Weirdos. His productions of "Holiday in Cambodia" for Dead Kennedys and "Lexicon Devil" for Germs separated California's punk sound from others at the time with its eccentricity, humor and spunk, making Los Angeles and San Francisco very different from the scenes in New York or London. Record executive Howie Klein, then writing for BAM, a San Francisco music magazine, was quoted as saying "...Geza X is The Only person to capture the West Coast's compelling power and urgency."

Geza also played guitar, sang, and dealt with most studio issues in his band Geza X and the Mommymen. He is credited as having pioneered the use of the headset microphones now ubiquitous in music. They released one official single and a full-length album You Goddam Kids! on the minor label Final Gear in 1982. The song "Isotope Soap" was also featured on Jello Biafra's Let Them Eat Jellybeans! sampler via Alternative Tentacles, and "We Need More Power" appeared on Posh Boy's Rodney on the ROQ: Volume Two. The "Power Pals" fan club was started after the release of the latter song.  It was thought that if enough people joined this fan club they would conquer the impossible and obtain telekinetic powers to reshape history.

In the 1990s, X opened a recording studio, City Lab, with Josie Cotton, and recorded acts like Butt Trumpet. He achieved his greatest mainstream success in 1997, when Meredith Brooks' "Bitch", which he produced at City Lab, spent 30 weeks on the Billboard Hot 100, peaking at number two for six weeks.

Again with Cotton, X designed, built, owned, and operated Satellite Park Recording, in Malibu, California. Satellite Park is the "basement on the hill" Elliott Smith named From a Basement on the Hill after, having done a lot of recording there. Satellite Park closed Jan 1, 2011 after 13 years of Indie and Major-Label recording. Geza is now one of the organizers of The Vortex, a multipurpose community center in Downtown Los Angeles, dedicated to political and social activism.

See also
:Category:Albums produced by Geza X

References

External links
Geza X Records
Geza X on Myspace

Living people
American people of Hungarian descent
American punk rock guitarists
American punk rock singers
Record producers from Los Angeles
Place of birth missing (living people)
Alternative Tentacles artists
1952 births
Guitarists from Los Angeles
American male guitarists
20th-century American guitarists
20th-century American male singers
20th-century American singers
Singers from Los Angeles

Geza X


John Carter (31July 18154June 1850) was an English silk weaver and artist, who, after an accident left him paralysed from below the neck, learnt to draw, paint and write by holding the pencil, pen or brush in his mouth. His outstanding ability drew much public interest, with accounts of his life and favourable reviews of his work appearing in the press both at home, the United States and elsewhere.

Life
Carter, a silk-weaver by trade, was born of humble parents at Coggeshall, in the county of Essex, on 31 July 1815. He attended the local infants' school in Church Street in the town, followed by the Parish National School, then, at the age of 13, the local endowed school (founded by Sir Robert Hitcham in 1636), where he remained for two years. Although he had no obvious great talent as a boy, he admitted that "Whenever I had a pen or pencil in my hand, I was sure to be drawing in my books or on my slate, and at home about the walls of the house"; however this propensity was not developed any further and an artistic career was not considered.

On leaving school, Carter was apprenticed to a silk-weaver named Charles Beckwith, and, after his marriage to Lucy (d. Nov. 1841) in 1835, pursued the business on his own account. However, he fell into bad company and spent much of his time drinking in the local public house.

First accident and aftermath
One Saturday night, in May 1836, after a drinking session with friends, Carter was persuaded to climb a tree in search of bird's eggs, in the course of which he missed his hold, falling 40 feet to the ground and severely damaging his cervical vertebrae. He was lucky to survive, but was left effectively paralysed from below the neck, though with some movement in the chest and left shoulder.

Articles about Carter's injuries appeared in The Lancet on 19 July 1856 and 27 October 1860, some years after his death. His case was described by doctors as "the most remarkable....with which we are acquainted" due to his having lived for another 14 years after the accident. A post-mortem revealed that paralysis had been caused by compression of the spinal cord due to displacement of the vertebrae; the fact that the cord had not been severed allowed the continued functioning of the autonomic system which accounts for his survival.

Carter was now totally dependent on others for care and obviously unable to work. The shock also inclined him to seek solace in religion and prayer, which he had previously forsaken. After 6 weeks of recovery, he moved, with his wife, for reasons of economy and practicality, back to his father's house, where he was attended by friends and family.

Career beginnings
About a year after the accident, he read an account of how Elizabeth Kinning, an inmate of a Liverpool asylum, having lost the use of her limbs, learnt to draw using her mouth. He began to do the same thing, using either a slate or a piece of paper pinned to his pillow, and a pencil or very-fine brush held in his mouth.

By dogged perseverance, he taught himself to draw and paint, and to such a great proficiency that belied his disability. He devoted himself mainly to line-drawing, and, with the help of an attendant to supply his materials, and a specially adapted desk, produced work of great beauty and thorough artistic finish in every detail. He was also able to write legibly using the same method.

Carter became something of a celebrity, and received personal visits from many eminent people, including leading members of the medical profession, the Church, and artists such as George Richmond. His life and work was still the subject of many articles in journals several decades after his death, in Britain, the United States and elsewhere.

Second accident and death
On 21 May 1850, he was involved in an accident, when the small carriage in which he was travelling overturned; his system received so severe a shock that he never recovered, and died on 4 June that same year. His dying words, which reflected his new-found faith after the accident of 1836, were carefully recorded:

"O Lord, have mercy on me ! Help me through this misery, and lead me in the way everlasting. Help me through the valley of death, and pardon and forgive all my sins; and receive me into thy heavenly kingdom, O Lord, I beseech thee, for Jesus Christ's sake. Amen. O Lord Jesus, make haste to help me."

Works

The Rev. W. J. Dampier, vicar of Coggeshall, published a memoir in 1850 (reissued in 1875). A list of eighty-seven of Carter's drawings is given, with the names of the owners at the time. They include drawings after Albrecht Dürer, Raphael, Rembrandt, Van Dyke, and Landseer. They resemble fine line-engravings and as George Richmond, who knew Carter well, commented to the author of the book, the power of imitation is most extraordinary.

Of his original works, his best, and most widely acclaimed is A Ratcatcher and his Dogs (1849), which drew uniform praise in all its reviews, and a copy of which was acquired by Queen Victoria; The great artist, Landseer described the work as the finest specimen of animal drawing he had ever seen. Other works of importance include Our Father who art in Heaven, and Innocence (the latter based on a work by Hermann Winterhalter).

See also

Quadriplegia
Sarah Biffen (1784–1850), mouth artist, born without arms
Bartram Hiles (1872–1927), a mouth artist who lost both arms in an accident
Christy Brown
Association of Mouth and Foot Painting Artists of the World

References

Further reading

Mills, Frederick James. The life of John Carter (New York, Hurd and Houghton, 1868).
Beaumont, George Frederick. A history of Coggeshall, in Essex: with an account of its church, abbey, manors, ancient houses, &c., and biographical sketches of its most distinguished men and ancient families, including the family of Coggeshall from 1149, to the re-union at Rhode Island, U.S.A., in 1884 (London: Marshall, 1890).

External links
John Carter (Coggleshall Museum – "Local Heroes")

1815 births
1850 deaths
English Christians
19th-century English painters
English male painters
English people with disabilities
People from Coggeshall
People with tetraplegia
British weavers
Mouth and foot painting artists
19th-century English male artists
British artists with disabilities

John Carter (mouth artist)


Wilhelm Roser (26 March 1817 – 16 December 1888) was a German surgeon and ophthalmologist. He was born in Stuttgart and died in Marburg.

In 1839 he received his medical doctorate from the University of Tübingen, and afterwards continued his education in Würzburg, Halle, Vienna and Paris. In 1841 he returned to Tübingen, where he was habilitated for surgery. In 1846 he practiced medicine in Reutlingen, and later succeeded Eduard Zeis (1807–1868) as professor of surgery at the University of Marburg. Roser would remain at Marburg for the remainder of his career.

With his lifelong friends, clinician Carl Wunderlich (1815–1877) and neurologist Wilhelm Griesinger (1817–1868), he founded a journal of physiological medicine titled Archiv für physiologische Heilkunde. He published over 150 medical papers, and was the author of Handbuch der anatomischen Chirurgie, a textbook on anatomical surgery that ran through eight editions, and was translated into French and English.

Associated eponyms
 "Roser-König mouth gag": An oral implement used in medicine; named with German surgeon Franz König (1832–1910).
 "Roser-Nélaton line": A theoretical line drawn from the anterior superior iliac spine to the tuberosity of the ischium. Named with French surgeon Auguste Nélaton (1807–1873).

References
 Wilhelm Roser @ Who Named It
 Museum of Medical Equipment Roser-Koenig Mouth Gag.

German surgeons
German ophthalmologists
Physicians from Stuttgart
University of Tübingen alumni
University of Halle alumni
University of Vienna alumni
University of Paris alumni
Academic staff of the University of Marburg
1817 births
1888 deaths

Wilhelm Roser


Abbas Attar (; full name:  ʿAbbās ʿAṭṭār; 29 March 1944 – 25 April 2018), better known by his mononym Abbas, was an Iranian photographer known for his photojournalism in Biafra, Vietnam and  South Africa in the 1970s, and for his extensive essays on religions in later years. He was a member of Sipa Press from 1971 to 1973, a member of Gamma from 1974 to 1980, and joined Magnum Photos in 1981.

Career
Attar, an Iranian transplanted to Paris, dedicated his photographic work to the political and social coverage of the developing southern nations. Since 1970, his major works have been published in world magazines and include wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, and South Africa with an essay on apartheid.

From 1978 to 1980, he photographed the revolution in Iran, and returned in 1997 after a 17-year voluntary exile. His book iranDiary 1971–2002 (2002) is a critical interpretation of its history, photographed and written as a personal diary.

From 1983 to 1986, he travelled throughout Mexico, photographing the country as if he were writing a novel. An exhibition and a book, Return to Mexico, journeys beyond the mask (1992), which includes his travel diaries, helped him define his aesthetics in photography.

From 1987 to 1994, he photographed the resurgence of Islam from the Xinjiang to Morocco. His book and exhibition Allah O Akbar, a journey through militant Islam (1994) exposes the internal tensions within Muslim societies, torn between a mythical past and a desire for modernization and democracy. The book drew additional attention after the September 11 attacks in 2001.

When the year 2000 became a landmark in the universal calendar, Christianity was the symbol of the strength of Western civilization. Faces of Christianity, a photographic journey (2000) and a touring exhibit, explored this religion as a political, a ritual and a spiritual phenomenon.

From 2000 to 2002 he worked on Animism. In our world defined by science and technology, the work looked at why irrational rituals make a strong come-back. He abandoned this project on the first anniversary of the September 11 attacks.

His book, In Whose Name? The Islamic World after 9/11 (2009), is a seven-year quest within 16 countries : opposed by governments who hunt them mercilessly, the jihadists lose many battles, but are they not winning the war to control the mind of the people, with the "creeping islamisation" of all Muslim societies?

From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same sceptical eye for his book Les Enfants du lotus, voyage chez les bouddhistes (2011). In 2011, he began a similar long-term project on Hinduism which he concluded in 2013.

Before his death, Abbas was working on documenting Judaism around the world.

Filming for Abbas by Abbas (2020) by director Kamy Pakdel (who also served as art director for some of Abbas' books) was completed days before Abbas' death. In the film Abbas is asked how he got a particular shot and he replies "Let the photos live their lives and keep their mystery."

He died in Paris on 25 April 2018, aged 74.

About his photography Abbas wrote:
My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity – the suspended moment – intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photo, by the limit of the real which he must transcend so as not to become its prisoner.

Books

 Iran, la révolution confisquée, Clétrat, Paris, 1980
 Retornos a Oapan, FCE Rio de Luz, Mexico, 1986
 Return to Mexico, W. W. Norton, New York, 1992
 Allah O Akbar, voyages dans l'Islam militant, Phaidon, London, 1994
 Allah O Akbar, a journey through militant Islam, Phaidon, London, 1994
 Viaggio negli Islam del Mondo, Contrasto, Roma, 2002
 Voyage en chrétientés, La Martiniere, Paris, 2000
 Faces of Christianity, A. Abrams, New York, 2000
 Glaube-liebe-hoffnung, Knesebeck, Munchen, 2000
 IranDiary 1971–2002, Autrement, Paris, 2002
 IranDiario 1971–2005, Sagiattore, Milano, 2006
 Abbas, I Grandi Fotografi di Magnum, Hachette, Milan, 2005
 Sur la Route des Esprits, Delpire, Paris, 2005
 The children of Abraham, (exhibition catalogue), Intervalles, Paris, 2006
 In Whose Name?, Thames & Hudson, London, 2009
 Ali, le Combat, Sonatines, Paris, 2011
 Les Enfants du lotus, voyage chez les bouddhistes, De la Martinière, Paris, 2011

Exhibitions

1972: Ganvie People, Falomo, Nigeria
1977: Retrospective, Galerie Litho, Tehran; Ce jour là, Galerie FNAC, Paris
1977: Le reportage d'agence, Rencontres de la Photographie, Arles, France
1980: Iran, the revolution, Tehran Museum of Contemporary Art; Darvazeh Ghar mosque, Tehran; Fundacao Cultural, Rio de Janeiro
1982: Citizen of the Third World, The Photographers' Gallery, London; Open Eye Gallery, Liverpool, G.B.
1983: Retrospective, Consejo de Fotogragia, Mexico; Galerie ARPA, Bordeaux, France, 1983; Imagina, Almeria, Espana, 1991
1986: Votez pour Moi, Magnum Gallery, Paris
1992: Return to Mexico, Mexico Cultural Center, Paris; Maison pour Tous, Calais; Centro Nacional de la Fotografia, Mexico, 1994
1999: Islamies, Place Royale, Brussels; Islamies, Arab World Institute, Paris, 1999
1999: Christians, Moscow House of Photography, Moscow; Eberhardskirche, Stuttgart, 1999; Centre cultural français, Seoul, Korea, 1999
2002: Iran, the revolution, The Grey Gallery, New York
2002: Viaggio negli Islam del mondo, Palazzo Vecchio, Firenze, Italia
2002: Visiones de l'Islam, La Caixa, Tarragona, Madrid, Malaga, Orense, Espana
2002: IranDiary, Visa pour l'Image, Perpignan, France
2003: Visiones de l'Islam, La Caixa, Girona, Granada, Pamplona and Palma de Mallorca, Espana
2004: Iran, Haus der Kulturen der Welt, Berlin
2004: Resurgence of Shias, Visa pour l'Image, Perpignan, France
2004: Ya Saddam, Noorderlicht, Leeuwarden, Hollande
2004: Islams, United Nations, New York
2005: Sur la Route des Esprits, La Chambre Claire, Paris
2006: The Children of Abraham, Nobel Peace Center, Oslo
2006: Islams and Shias, Vicino/Lontano, Udine, Italia
2007: The Children of Abraham, Groningen and Amsterdam, Holland; Institut Français de Fès, Morocco, 2008
2008: Jardin Botanique, Brussels, Belgium
2009: In Whose Name?, Magnum Gallery, Paris
2009: Visa pour l'Image, Perpignan, France
2009: Gallerie Polka, Paris
2011: Abbas, 45 Years in Photography, National Museum of Singapore
2014: Faces of Christianity, Photography Festival, Guernsey

See also
 Culture of Iran
 Islamic art
 Iranian art
 List of Iranian artists

References

 Jeffrey, Ian et al. (1997). The Photography Book. London:Phaidon Press Limited.

External links
Photographs by Abbas at Magnum Photos
Abbas tribute at Magnum Photos
Abbas Attar at famousphotographers.net
Documentary film Abbas by Abbas

1944 births
2018 deaths
Iranian photographers
Magnum photographers
Photography in Vietnam
Iranian photojournalists
People from Sistan and Baluchistan Province

Abbas (photographer)


A festival is a gathering of people to celebrate something. It can also refer to a one-day or more when people in a country have a holiday so that they can celebrate something. Festivals may be religious or national. They also may be events which feature different cultural programs such as music, dancing, poetry, movies, etc.

Related pages
 Halloween
 Christmas
 Thanksgiving
 New Year
 Easter
 Pentecost
 Eid festival
 Divali
 Yom Kippur
 Guy Fawkes Night

Festival


Jeroen Godfried Marie Brouwers (30 April 1940 – 11 May 2022) was a Dutch writer.

From 1964 to 1976 Brouwers worked as an editor at Manteau publishers in Brussels. In 1964 he made his literary debut with Het mes op de keel (The Knife to the Throat).

He won the Ferdinand Bordewijk Prijs in 1989 for De zondvloed, the Constantijn Huygens Prize in 1993 for his collected works, and in 1995 the Prix Femina for International works for his book Bezonken rood (Sunken Red). In 2007 he refused the Dutch Literature Prize (Prijs der Nederlandse Letteren) - the highest literary accolade in the Dutch-speaking world - because he considered the prize money of €16,000 too low for all his work.

Brouwers received the Libris Prize for Cliënt E. Busken in 2021.

Life
Jeroen Brouwers was born on 30 April 1940 in Batavia, the capital of the former Dutch East Indies, then Reichskommissariat Niederlande, Germany (now Jakarta, Indonesia). He was the fourth child of Jacques Theodorus Maria Brouwers (1903–1964), an accountant in a firm of architects, and Henriëtte Elisabeth Maria van Maaren (1908–1981), daughter of the musician Leo van Maaren (1885–1945).

After the Japanese invasion of Java in 1942 and KNIL's capitulation, his father was sent to a POW camp near Tokyo, Japan. Jeroen, his grandmother (Elisabeth Henrica), his mother and his sister were sent to the Japanese detainment camp 'Kramat'. After some months they were transferred to the Tjideng camp, in a Batavia suburb. His grandparents did not survive these camps. In 1986 Jeroen wrote the autobiographical novel Bezonken Rood (translated in 1988 as Sunken Red), about the lifelong effects of this Japanese internment.

After the war his family was reunited and they moved to Balikpapan (Borneo). Jeroen's mother returned, with her children, to the Netherlands in 1947. In 1948 their father joined them. Until 1950 Jeroen lived with his parents. When he was 10 years old, he was sent to several Roman Catholic institutions. He was sent there because he was considered in need of additional psychological care. He had difficulties adjusting to the Dutch way of life after life in Indonesia. His parents moved to Delft, The Netherlands. Upon leaving secondary school in 1955, Brouwers did military service from 1958 to 1961, after which he started working as an apprentice journalist for De Gelderlander a Dutch provincial newspaper. He wrote for a military magazine entitled Salvo.

In 1962 he was hired by the Geillustreerde Pers (Illustrated Press) in Amsterdam, the Netherlands. He became an editor for the Romance magazine, which was later renamed Avenue. From 1964 to 1976 he worked for Manteau publishers in Brussels, Belgium as assistant editor and later editor (in chief). From 1968 to 1971 he lived with his family in Vossem, Belgium and later in Huize Krekelhof in Rijmenam, Belgium. He has had three children: two sons, Daan Leonard (1965–2006) and Pepijn (1968), and a daughter Anne (1980).

After quarreling with his CEO Julien Weverbergh Brouwers resigned from Manteau and devoted himself full-time to literature. After a period in Warnsveld, Netherlands, he moved to Exel (a village in the Dutch municipality of Lochem).

In 1991 he moved to a houseboat near Uitgeest, Netherlands. In 1993 he moved again, to Zutendaal, Belgium.

Since 1992 Brouwers has been included in the Orde van de Vlaamse Leeuw (Order of the Flemish Lion) and since 1993 knight in the Belgian crown order.

In 2001 he received the Multatuli Prize.

In 2007 the Taalunie (Language Union) awarded Brouwers the Prijs der Nederlandse Letteren, a prize presented every three years to a Dutch-language author for his or her entire oeuvre. It is the only literary prize presented jointly by the Dutch and Flemish governments. He initially accepted the prize, but later refused it because he claimed the prize money of €16,000 was insultingly low.

In spring 2021, Brouwers announced he would stop writing books and considered himself to be retired.

On 11 May 2022, Brouwers' publisher announced that he had died after a brief period of illness.

References

1940 births
2022 deaths
20th-century Dutch journalists
20th-century Dutch male writers
20th-century Dutch novelists
21st-century Dutch male writers
21st-century Dutch novelists
Constantijn Huygens Prize winners
Dutch editors
Dutch magazine editors
Ferdinand Bordewijk Prize winners
Libris Prize winners
People from Batavia, Dutch East Indies
Prijs der Nederlandse Letteren winners
Prix Femina Étranger winners
Knights of the Order of the Crown (Belgium)

Jeroen Brouwers


The 1932 dismissal of Premier Jack Lang by New South Wales Governor Philip Game was the first real constitutional crisis in Australia. Lang remains the only Australian premier to be removed from office by his governor, using the reserve powers of the Crown.

Background
Early in 1931 Jack Lang released his own plan to combat the Great Depression in Australia; this became known as "the Lang Plan". This was in contrast to the "Melbourne Agreement", later known as the Premiers' Plan, which all other state governments and the federal government had agreed to in 1930. Lang believed that the Depression was essentially caused by overseas bankers who were greedy for even more money and that this deflationary plan would only secure their wealth.

Key points of the Lang Plan included the reduction of interest owed by Australian governments on debts within Australia to 3%, the cancellation of interest payments to overseas bondholders and financiers on government borrowings, the injection of more funds into the nation's money supply as central bank credit for the revitalisation of industry and commerce, and the abolition of the Gold Standard, to be replaced by a "Goods Standard," whereby the amount of currency in circulation would be fixed to the amount of goods produced within the Australian economy. The banks had indicated that if he paid the interest they would advance him an additional amount which was greater than the interest, thus giving him a positive cash flow.

Lang was totally opposed to the Premiers' Plan agreed to by the federal Labor government of James Scullin and all the other premiers, which called for even more stringent cuts to government spending to balance the budget. In October 1931 Lang's followers in the Australian House of Representatives crossed the floor to vote with the conservative United Australia Party (UAP) and bring down the Scullin government. This action split the NSW Labor Party in two – Lang's followers became known as Lang Labor, while Scullin's supporters, led by Chifley, became known in NSW as Federal Labor. Most of the party's branches and affiliated trade unions supported Lang.

When the United Australia Party Government of Joseph Lyons came to federal power in January 1932, it passed the Financial Agreement Enforcement Act, forcing the NSW government to adhere to its debt commitments and to cut government spending. In response, Lang withdrew all the state's funds from government bank accounts so that the federal government could not gain access to the money. Governor Game advised Lang that in his view this action was illegal, and that if Lang did not reverse it he would dismiss the government. Lang stood firm, and issued a leaflet in defiance of Game. Game then reluctantly decided to exercise his reserve powers and called Lang to Government House to dismiss him.

Gerald Stone, in his book 1932, states that there is evidence that Lang considered arresting the governor to prevent the governor from dismissing him. The possibility of this was sufficiently high that the armed forces of the Commonwealth, who would have come to the assistance of the governor, were put on alert.

Dismissal and result
On 13 May 1932, Game dismissed Lang's government, and appointed UAP leader Bertram Stevens as Premier. Stevens formed a coalition with Michael Bruxner's Country Party, and immediately called an election at which he defeated Lang's NSW Labor Party in a landslide, with the NSW Labor Party losing 31 seats.

This was the first case of an Australian government with the confidence of the lower house of Parliament being dismissed by a vice-regal representative, the second (and as of 2022, most recent) case being when Governor-General Sir John Kerr dismissed Gough Whitlam's government on 11 November 1975.

Game himself felt his decision was the right one, despite his personal liking of Lang. He wrote to his mother-in-law on 2 July 1932: "Still with all his faults of omission and commission I had and still have a personal liking for Lang and a great deal of sympathy for his ideals and I did not at all relish being forced to dismiss him. But I felt faced with the alternative of doing so or reducing the job of Governor all over the Empire to a farce." Lang himself, despite objecting to his dismissal, conceded that he too liked Game, regarding him as fair and polite, and having had good relations with him.

See also
 1975 Australian constitutional crisis

References

notes

New South Wales
Political controversies in Australia
New South Wales
New South Wales
1930s in New South Wales

1932 New South Wales constitutional crisis


Josh Spiegel (born July 25, 1975) is an American radio personality based in Baltimore, Maryland.

He lives in Owings Mills, Maryland.

Career
Spiegel began his career in radio at age 12. He served as a radio intern at WPGC-FM and has worked on morning shows in Dallas, Denver, New York and Washington, D.C. Spiegel was also a news writer for the television stations WJZ in Baltimore and WJLA in D.C.

On August 22, 2005, Spiegel joined the WIYY 98 Rock Morning Show as a news man.

He formerly broadcast on the show Out to Lunch with Big O and Dukes on the then WHFS 99.1. The "Kirk, Mark and Spiegel" morning show was nominated as "Best Personality/Show Of The Year" by Radio & Records magazine in 2006.

In 2007, Baltimore City Paper named Spiegel the "Best Radio Personality"; for the rest of that day, the Mickey, Amelia & Spiegel Show was renamed to Spiegel, Spiegel & Spiegel in honor of the award.

In 2007 and 2008, the "Mickey, Amelia and Spiegel" show was nominated as "Best Personality/Show Of The Year" by Radio & Records magazine at its industry achievement awards.

References

External links
 Official site

American radio journalists
Radio personalities from Baltimore
Living people
People from Owings Mills, Maryland
1975 births

Josh Spiegel


Sir Philip Albert Gustave David Sassoon, 3rd Baronet,  (4 December 1888 – 3 June 1939) was a British politician, art collector, and socialite, entertaining many celebrity guests at his homes, Port Lympne Mansion, Kent, and Trent Park, North London. He served as a staff officer during the First World War, from July 1914 to November 1918.

Family
Sassoon was a member of the prominent Jewish Sassoon family and Rothschild family. He was born in his mother's mansion on Avenue de Marigny, Paris. His father was Sir Edward Albert Sassoon, 2nd Baronet, MP, son of Albert Abdullah David Sassoon; his mother was Aline Caroline, daughter of Gustave Samuel de Rothschild. His sister was Sybil Sassoon, who married the Marquess of Cholmondeley. He was a cousin of the war poet Siegfried Sassoon. He was descended from the banking family of Frankfurt. When aged only nineteen years old his great-grandfather, James Rothschild was sent to Paris to set up the family business in France. James became wealthy. When he died in 1868 he was buried in Père Lachaise Cemetery. His branch of the Sassoon-Rothschild family kept the Jewish faith, donated to Jewish charities and founded synagogues.

His great-grandfather David Sassoon had been imprisoned in Baghdad in 1828, and in 1832 he established his business David Sassoon & Co. at Bombay. He took advantage of British rule to return to Baghdad to trade. The family eventually established a Head Office at 12, Leadenhall Street, London and a company branch in Manchester. The Sassoons became assimilated Jews, dressing, acting and thinking like Englishmen. The Sassoon Brothers, David and Albert were friends of the Prince of Wales, built the 'Black Horse' brand. The business came with a baronetcy of Kensington Gore. His father bought Shorncliffe Lodge, in Sandgate Kent, where his cousin Mayer Rothschild was the MP. His father was not a successful backbencher, but the political influences had a profound effect on young Philip.

He was educated at Farnborough Prep school and Eton before going up to Oxford. Old Etonian Arthur Balfour recommended the Debating Society to him. His father was also friendly with Frances Horner, wife of Sir John Horner, a longtime friend of Gladstone who lived at Mells Manor in Somerset. His house master was a member of the secret society of liberals, the Young Apostles.  Also a near contemporary was Osbert Sitwell, the Yorkshireman and author. A French scholar, he learned the language doing classes at Windsor Castle. Sassoon was taught aesthetics by Henry Luxmoore giving an insight into philosophy and social realism.  However he chose to read Modern History at Christ Church, Oxford. He was one of only 25 Jewish undergraduates, but was invited to join the Bullingdon Club. He joined the East Kent Yeomanry while still at Oxford and was commissioned as a second lieutenant.

Philip Sassoon entered Parliament in 1912. After the death of his relative David Gubbay (1865–1928), Sassoon became chairman of his family's company, David Sassoon & Co., although his participation in the management of it was only nominal. However, he continued to be a shareholder.

A 2016 biography, Charmed Life: The Phenomenal World of Philip Sassoon by Damian Collins, his successor as Member of Parliament for Hythe, provides a great deal of additional information about Sassoon. A summary by The Guardian includes this comment:Sassoon enjoyed witty gossip, but was never spiteful. He spoke with a clipped sibilant lisp, and liked to relax in a blue silk smoking jacket with slippers of zebra hide. He had fickle, moody fascinations with young men with whom he soon grew bored, but was loyally appreciative of female friends and kept an inner court of elderly, cultivated, ironical bachelors. His sexuality was central to his character and activities, but there is never any hint of sexual activity in the many memories of him. One hates to think that he was as sublimated as he sounds. His restlessness and fatalism, which were notorious among his friends, killed him at the age of 50 in 1939: although his physicians ordered bed rest after a viral infection, he hurtled about in unnecessary gaieties until his body was beyond recovery.

First World War
Sassoon served as private secretary to Field Marshal Sir Douglas Haig during the First World War from 1915 to 1918. Sassoon was present at the meeting on 1 December 1914 at the Chateau Demont at Merville in France, when King George V and Edward Prince of Wales met with Raymond Poincaré, President of France, and the Generals Joseph Joffre, Ferdinand Foch and Sir Henry Rawlinson. The allies showed their determination to fight Germany and the Central Powers. Because of his "numerous social and political connections", Sassoon, at that time a second lieutenant in the Royal East Kent Yeomanry, was in attendance. A square bronze plaque commemorating the occasion was auctioned in 2012.

Political career

He was Unionist Member of Parliament (MP) for Hythe from 1912, succeeding his father, initially as the "Baby of the House". As an MP, he advocated aviation and bought his own aeroplane in 1919. In his role as undersecretary in the air ministry, he promoted civilian air travel.

Sassoon was Parliamentary Private Secretary to David Lloyd George in 1920. Between 1924 and 1929 and again from 1931 until 1937 he served as Under-Secretary of State for Air, and gained much prominence in political circles. He was appointed a Privy Councillor in the 1929 Dissolution Honours. In 1937 he became First Commissioner of Works, a post which he held until his death, aged fifty, two years later.

He idolised the Prince of Wales, and supported the King during the abdication crisis of 1936. According to a review of the 2016 biography, "he wanted international peace at any cost, and convinced himself that Hitler's promises were dependable."

Trent Park
He had a reputation for being one of the greatest hosts in Britain. Although he owned a house at Park Lane, Sassoon arranged for Herbert Baker to design another home for him in 1912, Port Lympne in Kent. (Decades later, it became the Port Lympne Wild Animal Park.) "It was a unique building, Italianate and Moorish in its influence, built for a voluptuary of the senses who wanted his rooms to be a rapturous medley of strong, exotic colours and filled with the luscious fragrance of flowers. The formal grounds at Port Lympne were like a Hollywood version of Tuscany," according to a summary of his 2016 biography.

He also owned Trent Park and hired Philip Tilden to largely rebuild that mansion located in Cockfosters. Stylistic differences between the two houses illustrate changes in taste among members of British high society of the period. Trent Park possessed a landscape designed by Humphrey Repton but the existing house was Victorian and undistinguished. Sassoon had the Victorian additions demolished or altered, except for the west service wing, between 1926 and 1931. The projecting wings were added to the entrance (south) front. These modifications led to a large mansion in early Georgian-style. It became one of the houses of the age according to one report, "a dream of another world – the white-coated footmen serving endless courses of rich but delicious food, the Duke of York coming in from golf... Winston Churchill arguing over the teacups with George Bernard Shaw, Lord Balfour dozing in an armchair, Rex Whistler absorbed in his painting... while Philip himself flitted from group to group, an alert, watchful, influential but unobtrusive stage director – all set against a background of mingled luxury, simplicity and informality, brilliantly contrived..."

This atmosphere, as Clive Aslet has suggested, represented a complete about-face from Sassoon's earlier extravagance at Port Lympne to what Aslet called "an appreciation of English reserve." In the words of Christopher Hussey, at Trent Sassoon caught "that indefinable and elusive quality, the spirit of a country house... an essence of cool, flowery, chintzy, elegant, unobtrusive rooms that rises in the mind when we are thinking of country houses."

Sassoon conducted excavations of Camlet Moat at Trent Park in the 1920s and was reported to have found oak beams which formed the basis of a drawbridge, Roman shoes and daggers as well as mosaic tiles depicting a knight mounted on a white horse. The foundations of a large stone building were also found. English Heritage refilled the excavations in 1999.

Port Lympne Mansion
Neither the eye-popping interiors nor the extravagant gardens at Port Lympne Mansion could be described as in any way "reserved", or even "English". In fact, one reviewer of a 2016 bio about Sassoon described it as a "sybaritic mansion". Mark Girouard has written of the "quiet good taste expected of a country gentleman" against which Philip may have chafed in his younger years, apparently torn between the standards of Country Life and Metro-Goldwyn-Mayer. His Ballets Russes-inspired dining room at Port Lympne with its lapis walls, opalescent ceiling, gilt-winged chairs with jade-green cushions, all surmounted by a frieze of scantily-clad Africans, suggests the outsider confidence of a Rothschild and of an openly gay man.

Philip Tilden added a bachelor's wing with Moorish courtyard, which Lady Honor Channon, (wife of Chips), unkindly likened to a Spanish brothel, to accommodate young airmen from nearby Romney Marsh flying field – among his other enthusiasms, Sir Philip was himself an aviator – and Tilden's twin swimming pools and monumentally classical garden staircase were in much the same theatrical spirit.

One frequent guest was Lawrence of Arabia.

Flying

As Secretary of State for Air, Sassoon was Honorary Air Commodore of No. 601 (County of London) Squadron. The squadron was nicknamed "The Millionaires' Squadron" because it was reported to have six millionaire members. In 1932 he was enthusiastic about the new Percival Gull monoplane and ordered his own model powered by a Napier Javelin 111 six cylinder engine, with the interior finished in red leather. In this luxurious Gull Four G-ACGR (currently on display at the Brussels Military Museum) he competed in the King's Cup and the Folkestone Aero Trophy Race. He later became the owner of the first Percival Petrel two-engine monoplane, completed in 1938.  As Under-secretary of State for Air, Sassoon carried out the first general inspection of British overseas air stations, flying the Blackburn Iris. Afterwards he wrote The Third Route, published by Heinemann in 1929, recounting the story of the development of the air route from England to India.

Honours and decorations
Sassoon was appointed a Companion of the Order of St Michael and St George (CMG) in 1917. On 7 October 1919, it was announced that Sassoon had been awarded the French Croix de Guerre "for distinguished services rendered during the course of the campaign". In 1923 he was made Knight Grand Cross of the Order of the British Empire (GBE).

In 2012 Sassoon's set of decorations was sold at auction. The decorations included the GBE, made by the court-jeweller Garrard, the CMG neck badge, also by Garrard, 1914–15 Star (engraved Lieut. Sir P.A.D.G.Sassoon. R.E.Kent Yeo.); British War Medal and Victory Medal (engraved Major Sir P.A.D.G.Sassoon. R.E.Kent Yeo.); 1935 Jubilee Medal and 1937 Coronation Medal (both engraved A/Cdre Sir Philip Sassoon 601 Squ. A.A.F.); France, a decoration of a Knight of the Legion d'Honneur, a decoration of a Knight of the French Colonial Order of the Black Star; Belgium, Officer of the Order of the Crown; French Croix de Guerre and Belgian Croix de Guerre; mounted in the court style.

The arts
He was Chairman of the Trustees of the National Gallery from 1933 to 1935, and as Minister for Works in the 1930s he was responsible for embellishing many of London's monuments and parks. As a collector Philip Sassoon was, like many of the Rothschilds, drawn mainly to the English and French 18th century, but he also collected contemporary artists such as John Singer Sargent and William Orpen. A Mamuluk glass mosque lamp, once belonging to Sassoon can be found in the collection of the Calouste Gulbenkian Museum in Lisbon, Portugal.

Personal life
Sassoon was said to have lived an openly homosexual life. According to a reviewer of a 2016 biography of Sassoon, "his personal life was something that he shut away from the world". There was only a single intimate letter among his personal papers, to "Jack", a travel companion. The reviewer adds, "despite his many gay and bisexual friends, away from 'bohemian circles' it was still a taboo subject (homosexual acts were illegal). Sassoon was consequently regarded as an enigmatic solitary figure". Another reviewer offered that, "His sexuality was central to his character and activities, but there is never any hint of sexual activity in the many memories of him".

Death
Sassoon died on 3 June 1939, aged 50, of complications from influenza. He left an estate valued at £1,980,892 () on which death duty of close on £800,000 was paid. His cousin Hannah Gubbay (1885–1968), the widow of David Gubbay, was the main beneficiary, inheriting Port Lympne, Trent Park and an annuity of £11,000 ().

After Sassoon's death, he was described by his friend Noël Coward as "a phenomenon that would never recur". According to biographer Damian Collins "I think because he died just three months before the Second World War started, he became part of that lost golden era; war had closed a chapter on that".

References

Sources
 Peter Stansky. Sassoon: The Worlds of Philip and Sybil (2003) Yale University Press
 Robert Boothby. I Fight to Live (1947) Gollancz London
 Clive Aslet. The Last Country Houses (1982) Yale University Press New Haven and London
 Christoper Hussey Country Life article, 17 January 1931 issue, pp. 66–7
 Mark Girouard. Life in the English Country House (1978) Yale University Press New Haven and London

Notes

External links

Conservative Party (UK) MPs for English constituencies
UK MPs 1910–1918
UK MPs 1918–1922
UK MPs 1922–1923
UK MPs 1923–1924
UK MPs 1924–1929
UK MPs 1929–1931
UK MPs 1931–1935
UK MPs 1935–1945
British Jews
Rothschild family
Baronets in the Baronetage of the United Kingdom
Philip
1888 births
1939 deaths
Parliamentary Private Secretaries to the Prime Minister
Companions of the Order of St Michael and St George
Knights Grand Cross of the Order of the British Empire
Royal East Kent Yeomanry officers
LGBT Jews
English LGBT politicians
Members of the Privy Council of the United Kingdom
Trent Park
LGBT members of the Parliament of the United Kingdom
LGBT military personnel
Ministers in the Chamberlain peacetime government, 1937–1939
Bullingdon Club members
British people of Indian-Jewish descent
Baghdadi Jews
Jewish British politicians

Philip Sassoon


For acronym usages see CAST.

Cast can mean:

Casting, a process where a material is put into a mold while it is a liquid, and then hardens into a shape
Cast iron
Caste, social division in society
Casting (performing arts), a pre-production process for choosing a cast of actors and other talent
Cast member
Orthopedic cast, a protective shell to hold a broken bone in place until it has healed
In archaeology, a cavity that is formed by the decomposition of wood furnishings or human or animal remains, previously covered due to volcanic ash fall

In popular culture:
Cast (comic), a comic series published in the Philippines

In music:
Cast (band), an English rock and roll band from the 1990s
Cast (Mexican band), a progressive Mexican rock band

Other
Cast, Finistère, a commune of the Finistère département, in France
Cast (earthworm), mineral-rich organic matter that is excreted by earthworms
Urinary casts, tubules found in urine
Casting (tails), a process whereby animals can 'drop' their tail, which may or may not regenerate
Cast (archery), the distance a bow can shoot its arrow

Related pages
 Casting (disambiguation)
 Type conversion, a programming language method for changing data types

Cast


Witold Pruszkowski (14 January 1846, Bershad - 10 October 1896, Budapest) was a Polish painter and graphic artist in the Symbolist style.

Biography
He spent his childhood in Odessa and Kiev. The family emigrated to Dieppe in 1860, and he relocated to Paris in 1866, where he had his first drawing lessons with the portrait painter, Tadeusz Gorecki, the son-in-law of Adam Mickiewicz. From 1869 to 1872, he studied at the Academy of Fine Arts, Munich with Alexander von Wagner then, from 1872 to 1875, at the Kraków Academy of Fine Arts with Jan Matejko.

In 1882, he settled in Mników. Over the next few years, he and his brother travelled to Algeria, Tunisia and Italy. He also held several exhibitions in Warsaw and Lwów. Later, he exhibited internationally, including shows in San Francisco and Chicago. In 1892, he became a member of the construction committee for a monument to Artur Grottger.

He was ill for several years before his death. While visiting with family in Kołomyja, he suddenly disappeared. He was found at the train station in Budapest, suffering from extreme exhaustion, and was taken to a hospital, where he died two days later.

Although he painted portraits and rural scenes, he is best known for his depictions of fairy tales and folklore; working in pastels as well as oils. He also drew inspiration from the works of Juliusz Słowacki and Zygmunt Krasiński. His most familiar work is, perhaps, "March to Siberia", painted in 1893. Its whereabouts were unknown for many years, but it was found in a private collection after World War II and is now in the Lviv National Art Gallery.

Selected paintings

References

Further reading
 Dorota Suchocka, Witold Pruszkowski: katalog wystawy monograficznej (exhibition catalog), Polish National Museum, 1992

External links

 ArtNet: More works by Pruszkowski.

19th-century Polish painters
19th-century Polish male artists
Polish draughtsmen
1846 births
1896 deaths
People from Bershad
Polish portrait painters
Symbolism (arts)
Polish male painters

Witold Pruszkowski


The 1852 State of the Union Address was given by the 13th president of the United States, Millard Fillmore, on Monday, December 6, 1852. It was spoken to the 32nd United States Congress by a clerk, not the president.  He said, "Besides affording to our own citizens a degree of prosperity of which on so large a scale I know of no other instance, our country is annually affording a refuge and a home to multitudes, altogether without example, from the Old World.
We owe these blessings, under Heaven, to the happy Constitution and Government which were bequeathed to us by our fathers, and which it is our sacred duty to transmit in all their integrity to our children."

References

State of the Union addresses
Presidency of Millard Fillmore
32nd United States Congress
State of the Union Address
State of the Union Address
State of the Union Address
State of the Union Address
December 1852 events

1852 State of the Union Address


Systematic POW labor in the Soviet Union is associated primarily with the outcomes of World War II and covers the period of 1939–1956, from the official formation of the first POW camps, to the repatriation of the last POWs, from the Kwantung Army.

This form of forced labor was handled by the Chief Directorate for Prisoners of War and Internees Affairs (Главное управление по делам военнопленных и интернированных, ГУПВИ, transliterated as GUPVI) of the NKVD, established in 1939 (initially as the "Directorate for Prisoners' Affairs", управление по делам военнопленных) according to the NKVD Order no. 0308 "On the Organization of POW Camps"  to handle Polish POWs after the Soviet Invasion of Poland. The first POW camps were formed in the European part of the USSR.

By the end of World War II, the Soviet Union amassed a huge number of German and Japanese and other Axis Powers POW, estimated over 5 million(of which estimated 15% died in captivity), as well as interned German civilians used as part of the reparations.

The POW and internees were handled by 24 frontline camps, 72 transit camps, over 500 labor camps and "special camps", 421 "worker battalions" (рабочий батальон), 214 "special hospitals", and 322 camps for handling of repatriation, over the whole territory of the Soviet Union. Many POWs were used for the reconstruction of cities damaged by the Wehrmacht during World War II.

In 2000 a collection of Soviet archived documents related to POWs in the Soviet union was published in Russia, with an introduction, map of POW camps, and comments.

See also
Forced labor of Germans in the Soviet Union
Forced labor of Hungarians in the Soviet Union
Polish prisoners-of-war in the Soviet Union after 1939
Italian prisoners of war in the Soviet Union
WW II forced labor reparations
Japanese prisoners of war in the Soviet Union
Romanian prisoners of war in the Soviet Union

References

Unfree labor in the Soviet Union
.POW
Unfree labor during World War II
Foreign relations of the Soviet Union
Post–World War II forced migrations

POW labor in the Soviet Union


The Ten Guide was a television channel provided by Network Ten to digital television viewers in Australia. It began broadcasting on 1 July 2004 network-wide simultaneously on Network Ten in Sydney, Melbourne, Brisbane, Adelaide, and Perth and was broadcast 24 hours per day. The channel ceased broadcasting on 20 November 2007.

Features
The Ten Guide featured a twenty-four-hour television guide for programming on Channel Ten. The channel also provided an updated television schedule for Channel Ten's programming, including information for the availability of native high-definition and ratings classification. Realtime weather information was also available for select Australian cities.

Live preview
A live video preview of Channel Ten was available on the Ten Guide. The live video preview was in a small, widescreen format.

Advertising
The Ten Guide advertised new and high rating television programs from Channel Ten via a large billboard loop. The advertising contained minimal broadcast information, however contained images of celebrities featured on Channel Ten.

Identity

The Ten Guides' onair look changed several times since July 2004 when the channel launched. The initial onair identity of the Ten Guide featured a small 16:9 ratio preview of Network Ten. The design and colour scheme was based on Network Ten's on-air branding in 2004, with the use of light blue, light grey, and white.

The most recent onair identity of the Ten Guide, prior to the channel's closure, launched on 1 June 2007. The guide featured a larger 16:9 ratio preview of Network Ten's main service. The design and colour scheme was based on Network Ten's on-air branding which launched in early 2007.

Demise
The Ten Guide was closed down on 20 November 2007, due to the channel needing to be removed to free up more room on the spectrum to enable the increase of the bit rate to the Network Ten and Ten HD channels, as well as providing an increased digital programming guide, which can be read on some digital televisions and set top boxes.

References

See also
 Seven Guide
 Nine Guide
 SBS Essential

Network 10
Television channels and stations established in 2004
Television channels and stations disestablished in 2007
English-language television stations in Australia
Digital terrestrial television in Australia
Defunct television channels in Australia

Ten Guide